•k 
 
 
 \ 
 
 i 
 
THE 
 
 ART 
 
 O F 
 
 painting: 
 
 B Y 
 
 C.A.DU FRESNO T: 
 
 WITH 
 
 REMARKS. 
 
 Xranflated into Englijh, with an Original 
 PREFACE, containing a Parallel 
 between Fainting and Poetry ; 
 
 By Mr, D R r D E N. 
 
 As alfo a fliort Account of the moft Eminent 
 Painters, both Ancient and Modern: 
 
 By Richard Graham, Efqj 
 LONDON} 
 
 Printed for Henry Lin tot. MDCCL. 
 

 
 
 I 
 
 i 
 
 Kt-' • 
 
 iP' 
 
 •( 
 
 
 
 
TO THE 
 
 Right Honourable 
 
 R I C H A R A 
 
 Earl of Burlington, &cc. 
 
 MY LORD, 
 
 HE firft Impreflion of this 
 Latin Poem having beea 
 addrefs’d to the famous 
 MonJ. Colbert^ Marqiiifi de 
 Seignelay : I thought I could not do a 
 A 3 greater 
 
'Efljile Vedkcttorj. 
 
 greater Honour to the Memory of its ex- 
 cellent Author, than to infcribe this pre- 
 fent Edition of it to a young British 
 Peer, to whom the Noble Arts have 
 the fame Acknowledgments to pay in 
 thefe Kingdoms, as they had to that great 
 Minijier in France. The Command of 
 a King’s Purfe was indeed a mighty 
 Advantage which He had over You. 
 But for a juft Senfe of the Benefits ac- 
 cruing to Mankind, from the Advance- 
 ment of Arts and Sciences in general : 
 or for a refin’d, and elegant Tafte of the 
 particular Beauties of each of them ; as 
 He was by no means Your Superior 5 fo, 
 it muft, without Flattery, be faid, that 
 hardly any Man (at Your Age) has yet 
 been Equal to Your Lordship. 
 
 Painting, Sculpture, ArchiteBure, 
 Mujic, &c. are not more the Entertain- 
 ments of Your Fancy, than of Your 
 Judgment. Your Penetration has ren- 
 der’d You Mafter of them, in the fame 
 Degree with thofe who make the Pro- 
 
 feffion 
 
Efiflle Dedicatory, 
 
 feffion of them their Bufinefs. And I 
 congratulate my Country-men^ upon the 
 happy Profped: they have, of faving 
 themfelves the Trouble and Expence of 
 a Journey to Rome, or Paris, for the 
 Study of thofe Arts, which they may 
 find in their utmoft Perfedion at Bur- 
 lington-House. 
 
 The fame Force of Genius which 
 fhines fo bright in thefe the ornamental 
 Parts of Life, has no lefs Luftre in every 
 other thing You do. ’Twas this di- 
 fiinguifti’d You every where abroad : 
 and made You more admir’d in Holland, 
 Flanders, Italy, and France, for Your 
 Endowments of Mind, than for Your 
 Titles and Pofleflions. And to what- 
 ever high Station Your Merit lhall call 
 You, in the Court, the Cabinet, or the 
 Camp, the fame Superiority of Genius 
 will ftill prevail : And amongft the moft 
 Excellent You muft Excel. 
 
 A 4 Nor 
 
Bf ifile Dedicatory., 
 
 Noris it a Wonder that Your Lord- 
 ship fliould be thus univerfally accom- 
 plifh’d. By right of Succeflion, You 
 have collected in Your felf all the illu- 
 ftrious Qualities that adorn’d Your 
 eefiors. The Name of BOTLE is 
 famous throughout all the Civiliz’d 
 World : wherever Vfeful Knowledge is 
 cultivated j or wherever an able^ and 
 dijinterejled Patriot finds any Efteem. 
 And defcended (as You are) from a 
 Father y whom our late King pronounc’d 
 the Fineji Gentlemen in his Dominions : 
 and from a Mother y whom one of the 
 heft of ^eens call’d Her Friend j it 
 would be amazing, if Your Lordship 
 were any Other than what You are. 
 
 MY LORD, 
 
 It is not for common Purpofes that 
 Heaven has entrufted thefe rich Falents 
 in Your Hands. You ftand accountable 
 for them to Your Prince y your Country y 
 and Your noble Relations, Nay, every 
 
 true 
 
Bftfile Dedicatory} 
 
 true Briton claims an Intereft in them : 
 and aflUres himfelf, that You are born 
 for his Advantage. You have already 
 given them an Earneji of it, by Your 
 glorious Condudl in the North, upon 
 the late unhappy Difturbances that 
 threaten’d Your Province : and by that 
 exemplary Moderation and Gcnerofity, 
 which mov’d You to intercede for the 
 Lives of thofe, againft whom You ftood 
 prepar’d to hazard Tour own. But this,, 
 My Lord, will be Matter for our Bri~ 
 tijh Chronicles : or will better become 
 fuch Pens, as have made the Two Names 
 prefix’d to thefe Sheets renown’d in 
 Englijh Poetry. Confcious therefore of 
 my own Infuffidency for fuch a Tafk, 
 I fliall prefume no farther on Your Pa- 
 tience, than to fay fomething of the 
 Work, which You have permitted me 
 to lay at Your Feet. 
 
 The Reputation of Monf. du Frefno'f 
 is efiablilh’d all over Europe : and his 
 Poem allow’d to be the mofl: complete 
 
 and 
 
Vedicatoryl 
 
 ^nd methodical Syjlem^ that has yet 
 been publ idl’d of the Art of Painting. 
 And to the CharaSler of Mr. Dry den ^ 
 if any thing can be added, it is, that He 
 is one of Your Lordship’s favourite 
 Authors: and, as fuch^ it will be expe<ft- 
 ed I fhould account for fome Liberties 
 that have been taken with his excellent 
 ^ranjlation. 
 
 The Misfortune that attended him in 
 that Undertaking, was, that for want of 
 a competent Knowledge in Paintings he 
 fufFer’d himfelf to be mifled by an un- 
 fkilful Guide. Monf. de Piles told him, 
 in his Preface^ that his French Verfon 
 was made at the Requeft of the Author 
 himfelf : and alter’d by him, till it was 
 wholly to his Mind. This Mr. Dryden 
 taking upon Content, thought there was 
 nothing more incumbent on him, than 
 to put it into the beft Englijh he could : 
 and accordingly perform’d his part here 
 (as in every thing elfe) with Accuracy. 
 But, My Lord, it being manifeft, that 
 
 the 
 
EfiJUe Dedicatorf. 
 
 the French Tranflator has frequently miA 
 ftaken the Senfe of his Author ^ and very 
 often alfo not fet it in the moft advan- 
 tageous Light i to do Juftice to Monf. 
 du Frejnoy, Mr. Jervas (a very good 
 Critick in the Language^ as well as in 
 the Subjedi of the Poem) has been pre- 
 vail’d upon to corredl what was found 
 amifs ; and his Amendments being every 
 where diftinguilh’d with proper Marks, 
 are moft humbly fubmitted to Your 
 ‘Judgment, 
 
 I fliould not have had the Confidence 
 to offer any thing to Your Lordship’s 
 View, that my own mean Abilities have 
 produc’d ; but as it gives me a long- 
 wifti’d-for Opportunity of paying the 
 moft humble Tribute of my ^hanks^ for 
 a continued Series of undeferv’d Fa~> 
 •vours, which by Inheritance have de- 
 fcended to me from Your Noble 
 Hou SE. They bear Date from the 
 
 earlieft Years of my Father'^ Life: and 
 Your Lordship is now in the Fourth 
 
 Genera- 
 
Dedkatorjl 
 
 Oeneration of our Patrons and Bene~ 
 faBors. To let the World know, that 
 it is from the Firft Perfons of the Age 
 that thefe great Favours have been re- 
 ceiv’d, is an Ambition, which, I hope, 
 will be pardon’d in One, who by all the 
 ftridteft Ties of Duty, Gratitude, and 
 Inclination, is, 
 
 MY LORD, 
 
 Your Lordship’s 
 
 mofl oblig'd, 
 
 moji humble, and 
 
 moji obedient Servant^ 
 
 Ri. Graham. 
 
r 
 
 T O 
 
 Ur. y E R VA S, 
 
 W I T Jf 
 
 JF R E s N o iV Art of^ Taintingy 
 
 Tranflated by Mr. D r y d e N. 
 
 HIS Verfe be thine, my Friend, nor 
 thou refufe 
 
 This, from ito venal Of ungrateful 
 Mufe. 
 
 Whether thy Hand ftrike out fome free Defign, 
 "VVhere Life awakes, and dawns at every Line j 
 
 Or 
 
Or blend in beauteous Tints the colour’d Mals, 
 And from the Canvas call the mimic Face : 
 
 Read thefe inftrudlive Leaves, in which confpire 
 Frefnof% dole Art, and Bryden^s native Fire : 
 
 And reading wifh, like theirs, our Fate and Fame, 
 So mix’d our Studies, and fo join’d our Name j 
 Like them to fhine thro’ long-fucceeding Age, 
 
 So juft thy Skill, fo regalar my Rage. 
 
 Sm'it with the Love of Sifter- Arts we came. 
 And met congenial, mingling Flame with Flame j 
 Like friendly Colours found our Arts unite. 
 
 And each from each contrad new Strength and 
 Light. 
 
 How oft in pleafing Talks we wear the Day, 
 
 While Summer Suns roll unperceiv’d away? 
 
 How oft our flowly-growing Works impart. 
 
 While Images refledl from Art to Art? ; i 
 How oft review ; each finding like a Friend * 
 Something to blame, and fomething to com- 
 mend ? 
 
 What 
 
■VVhat flatt’ring Scenes our wandering Fancy 
 wrought, 
 
 Rome’s pompous Glories rifing to our Thought! 
 Together o’er the j^lps methinks we fly. 
 
 Fir’d with Ideas of fair Italy. 
 
 With thee, on Raphael’s Monument I mourn. 
 
 Or wait infpiring Dreams at Maro’s Urn : 
 
 With thee repofe, where Tally once was laid. 
 
 Or feek fome Ruin’s formidable Shade j 
 While Fancy brings the vanifh’d Piles to view, 
 iVnd builds imaginary Rome a-new. 
 
 Here thy well-ftudy’d Marbles fix ogr Eye } 
 
 A fading Frefco here demands a Sigh : 
 
 Each heavenly Piece unwearied we compare. 
 Match Raphael’s Grace, with thy lovM Guido’s 
 Air, 
 
 Caracci’s Strength, Correggio’s fofter Line, 
 Raulo’s free Stroke, and Titian’s Warmth divine. 
 
 How 
 
How finifli’d with illuftrious Toil appears 
 This fmall well-polifh’d Gem, the * Work of 
 Years ! 
 
 Yet ftill how faint by Precept is exprefl 
 The living Image in the Painter’s Breaft ? 
 
 Thence endlefs Streams of fair Ideas flow, 
 
 f 
 
 Strike in the Sketch, or in the Pifture glow ; 
 Thence Beauty, waking all her Forms, fupplies 
 An Angel’s Sweetnefs, or Bridgwaterh Eyes, 
 
 Mufe ! at that Name thy facred Sorrows fhed, 
 Thofe Tears eternal that embalm the Dead : 
 
 Call round her Tomb each Objedt of Defire, 
 
 Each purer Frame inform’d with purer Fire ; 
 
 Bid her be all that cheats or foftens Life, 
 
 The tender Sifter, Daughter, Friend and Wife f 
 Bid her be all that thakes Mankind adore ; 
 
 Then view this Marble, and be vain no more ! 
 
 ^ Prefnoy emplofd above tvoentj Years in this Poem. 
 
 Yet 
 
Vet ft i li her Charms in breathing Paint engage | 
 Her niodeft Cheek fliall warm a future Age, 
 Beauty, frail Flow’r, that ev^ry Seafbn fears. 
 Blooms in thy Colours for a thouland Years. 
 
 Thus Churchill's Race (hall other Hearts furprize* 
 And other Beauties envy Wortley's Eyes, 
 
 Each pleafing Blount fliall endlefs Smiles beftow* 
 And foft Belinda's Blulh for ever glow. 
 
 Oh ! lading as thofe Colours may they IhinCji 
 Eree as thy Stroke, yet faultlefs as thy Line ! 
 New Graces yearly, like thy Works, dilplay j 
 Soft withotit Weaknels, without glaring gay; 
 
 Led by fome Bulci that guides, but not conftrainsj 
 And finilh’d more thro’ Happinefs than Pains ! 
 The Kindred- Arts lhall in their Praife confpire^ 
 One dip the Pencilj and one firing the Lyre. 
 
 Yet ftiould the Graces all thy Figures place. 
 
 And breath an Air Divine on ev’ry Face j 
 
 a 
 
 Yet 
 
Yet fliould the Mufes bid my Numbers roll. 
 Strong as their Charms, and gentle as their Soul ; 
 With Zeuxis’ Helen thy Bridgwater vye. 
 
 And thefe be fung till Granvilleds Mira die ; 
 
 Alas ! how little from the Grave we claim ? 
 
 Thou but preferv’ft a Form^ and I a Name. 
 
 A. Pope. 
 
 PREFACE 
 
PREFACE 
 
 OF THE, 
 
 TRANSLATOR, 
 
 With a Parallel of 
 
 Poetry and Painttng, 
 
 ) 
 
 r may be reafbnably expelled, 
 that I Ihould fay fomething on 
 my Behalf, in refpedl to my 
 prefent Undertaking. Firft 
 then, the Reader may be 
 pleas’d to know, that it was not of my own 
 Choice that I undertook this Work. Many 
 of our moft fkilful Painters, and other Ar- 
 tifts, were pleas’d to recommend this Author 
 to me, as one who perfedly underftood the 
 
 a ^ Rules 
 
.1 
 
 11 
 
 p k n p A c E. 
 
 Rules of Painting ; who gave the beft and 
 mod concife Inftruftions for Performance, 
 and the fureft to inform the Judgment of all 
 who lov’d this noble Art : That they who 
 before were rather fond of it, than knowing- 
 ly admir’d it, might defend their Inclination 
 by their Reafon : That they might under- 
 ftand thofe Excellencies which they blindly 
 valu’d, fo as not to be farther impos’d on by 
 bad Pieces, and to know when Nature was 
 well imitated by the mod able Maders. *Tis 
 true indeed, and they acknowledge it, that, 
 befides the Rules which are given in this Trea- 
 tife, or which can be given in any other, to 
 make a perfect Judgment of good Pitdures, 
 and to value them more or lefs, when com- 
 par’d with one another, there is farther re- 
 quir’d a long Converfation with the bed 
 Pieces, which are not very frequent either in 
 France^ or England ; yet fome we have, not 
 only from the Hands of Holbein^ Rubens^ and 
 Vandyck^ (one of them admirable for Hidory- 
 Painting, and the other two for Portraits) but 
 of many Fkmijh Mafiers^ and thofe not in- 
 confiderable, though for Defign, not equal 
 to the Italians. And of thefe latter alfo, we 
 are not unfurnilh’d with fome Pieces of Ra- 
 phael^ Fitiany Correggioy Michael Angelo and 
 
 others. 
 
PREFACE. 
 
 others. But to return to my own Underta- 
 king of this Tranflation, I freely own, that I 
 thought my felf uncapable of performing ir, 
 either to their Satisfadtion, or my own Cre- 
 dit. Not but that I underftood the Origi- 
 nal Latin, and the French Author, perhaps 
 as well as mod Englijhmen : But I was not 
 fufRciently vers’d in the ‘terms of Art ; And 
 therefore thought, that many of thole Pcr- 
 fons who put this honourable Tafk on me, 
 were more able to perform it themfelves, as 
 undoubtedly they were. But they afluring me 
 of their afliftance, in correfting my Faults, 
 where I fpoke improperly, I was encourag’d 
 to attempt it *, that I might not be wanting 
 in what I cou’d, to fatisfie the Defires of fo 
 many Gentlemen, who were willing to give 
 the World this ufeful Work. They have ef- 
 fectually perform’d their Promife to me ; and 
 I have been as careful on my fide, to take 
 their Advice in all Things ; fo that the Rea- 
 der may affure himfelf of a tolerable Tranf- 
 lation : Not Elegant, for I propos’d not that 
 to my felf; but familiar, clear and inftrpdlive. 
 In any of which Parts, if I have fail’d, the 
 Fault lies wholly at my Poor, In this one 
 Particular only, I mud beg the Reader’s Par- 
 don. The Profe Franjlation of the Poem, is 
 a 3 not 
 
I 
 
 iv PREPACK 
 
 not free from Poetical Expreflions, and I dare 
 not promife, that fome of them are not Fu^ ^ 
 ftian, or at leaft highly metaphorical •, but 
 this being a Fault in the firft Digeftion (that 
 is, the Original Latin) was not to be remer 
 dy’d in the fecond {viz.) the Lranjlation. And 
 I may Confidently lay, that whoever had at- 
 tempted it, muft have fallen into the fame 
 Inconvenience, or a much greater, that of a 
 falfe Verfion. When I undertook this Work, 
 
 I was already engag’d in the Tranflation of 
 Virgil.^ from whom I have borrow’d only 
 two Months ; and am now returning to that, 
 which I ought to underfland better. In the 
 mean time, I beg the Reader’s Pardon, for 
 entertaining him fo long with my felf : ’Ti$ 
 an ufual Part of ill Manners in all Authors^ 
 and almoft in all Mankind, to trouble others 
 with their Bufinefs ; and I was fo fenfible of 
 it beforehand, that I had not now commit-? 
 ted it, unlefs fome Concernments of the Reads^ 
 ers had been interwoven with my own. But 
 I know not, while I am attoning for one Er-? 
 ror, if I am not falling into another : For I 
 have been importun’d to fay fomething far- 
 ther of this Art', and to make fome Obfer- 
 vations on it, in relation to the Likenefs and 
 Agreement which it has with Poetry its Sifter. 
 
 But 
 
PREFACE. 
 
 'i But before I proceed, it will not be amifs, 
 if I copy from Bellori (a mofl: ingenious 
 Author) fome Part of his Idea of a Painter^ 
 which cannot be unpleafing, at lead to fuch 
 j who are converfant in the Philofophy of 
 j Plato. And to avoid Tedioufnefs, I will 
 not tranflate the whole Difcourfe, but take, 
 and leave, as I find Occafion, 
 
 God Almighty., in the Fabrick of the Univerfe., 
 firft contemplated himjelf and reJleSfed on his 
 own Excellencies ; from which he drew., and con- 
 Jiituted thofe firft Forms., which are calPd Idea's. 
 So that every Species which was afterwards ex^ 
 
 I prefs'd, was produc'd from that firft Idea, form- 
 ing that wonderful Contexture of all created 
 Beings. But the Cceleftial Bodies above the 
 Moon being incorruptible, and not fitbjeli to 
 Change, remain'd for ever fair, and in perpe- 
 tual Order. On the contrary, all Fhings which 
 are fublunary, are fubjeli to Change, to Defor- 
 mity, and to Decay. And though Nature al- 
 ways intends a conjummate Beauty, in her Pro- 
 duSlions, yet through the Inequality of the Maf 
 ter, the Forms are altePd j and in particular, 
 human Beauty fufifers Alteration for the worfe, 
 as we fee to our Mortification, in the Deformi- 
 ties, and Difproportions which are in us. For 
 
 a 4 which 
 
VI 
 
 PREFACE. 
 
 which Reafon^ the artful Painter^ and the 
 Sculptor^ imitating the Divine Maker^ forni 
 to themfelves^ as well as they are able, a Mo~ 
 4el of the Superiour Beauties •, and refleiling 
 on them endeavour to correi and amend the 
 common Nature ; and to reprefent it as it was, 
 firfi created, without Fault, either in Colouif 
 or in Lineament. 
 
 'This Idea, which we may call the Goddefs of 
 Fainting and of Sculpture, defends upon the 
 Marble and the Cloth, and becomes the Origi- 
 nal of thofe Arts ; and being meafur'd by the 
 Compafs of the IntelleSl, is it felf the Meafure 
 of the performing Hand ; and being animated 
 by the Imagination, infufes Life into the Image ^ 
 The Idea of the Painter and the Sculptor, ««- 
 4oubtedly that perfect and excellent Example of 
 the Mind, by Imitation of which imagined Form, 
 all Things are reprefented which, fall under hu- 
 man Sight t Such is the Definition which is^ 
 made by Cicero in his Book of the Orator to 
 Brutus. As therefore in Forms and Figures 
 there is fomewhat which is Excellent and, 
 “ Perfebl, to which imagined Species all 
 Things are referred by Imitation, which are 
 “ the Objebls, of Sight ; in like manner, we 
 behold the Species of Eloquence in aw Minds, 
 
 “ the 
 
PREFACE. vU 
 
 the Effigies^ or actual Image of which we 
 feek in the Organs of our Hearing. ‘This is 
 likewife confirm’d by Proclus, in the Dia-r 
 logue of 'PhiQ, Timfcus : Ifi fays he, 
 
 “ you take a Man^ as he is made by Nature^ 
 
 “ and compare him with another who is the EffeSl 
 “ of Art ; the Work of Nature will always 
 appear the lefs beautiful^ becaufe Art is more 
 “ accurate than Nature”. But Zeuxis, who 
 from the Choice which be made of five VirginSy 
 drew that wonderful PiUure c/fielena, which 
 Cicero in his Orator beforemention’ d fets ber 
 fore uSy as the mojl perfect Example of Beauty y 
 at the fame tinie admonijhes a Painter , to con~ 
 template the Idea’s of the mofi natural Forms ; 
 and to make a judicious Choice of feveral Bo~ 
 diesy all of them the mofi elegant which he can 
 find. By which we may plainly underftandy that 
 he thought it impoffible to find in any one Body 
 all thofe Perfections which he fought, for the 
 Accomplijhment of a Helena; becaufe Nature 
 in any individual Perfon makes nothing that is 
 perfedl. in all its. Parts. For this Reafon, Maxi- 
 inus Tyrius alfo. fays, that the Image which is 
 taken by a Painter from feveral Bodies, produces 
 p, Beauty, which it is impoffible to find in any 
 fingle Natural Body, approaching to the Per- 
 fedtion of the fairejl Statues. Ehus Nature, on 
 
 this 
 
vlii PREFACE. 
 
 this account^ is fo much inferior to Art, that 
 ihofe Artifts who prop^ofe to themfelves only the 
 Imitation or Likenefs of fuch or fuch a -parti- 
 cular Perfon, without Election of thofe Idea’s 
 beforemention*d, have often been reproach'd for 
 that Omiffion. Demetrius was tax'd for being 
 too Natural; Dionyfius was alfo blam'd for 
 drawing Men like us^ and was commonly caWd 
 that is, a Painter of Men. 
 In our Himes Michael Angelo da Caravaggio, 
 was efieem'd too Natural. He drew Perfons 
 as they were ; and Bamboccio, and moft of the 
 Dutch Painters, have drazvn the worft Like- 
 nefs. Lyfippus of old, upbraided the common 
 fort of Sculptors, for making Men fuch as they 
 were found in Nature ; and boafted of himfelf, 
 that he made them as th^ ought to be : which 
 is a Precept of Ariftotle, given as well to Poets, 
 as to Painters. Phidias rais'd an Admiration 
 even to Afionifhment, in thofe who beheld his 
 Statues, with the Forms which he gave to his 
 Cods and Heroes ; by imitating the Idea, ra- 
 ther than Nature. And Cicero fpeaking of him^ 
 affirms, that figuring Jwpittx and Pallas, he did 
 not contemplate any Objebi from whence he took 
 any Likenefs, but confider'd in his own Mind 
 a great and admirable Form of Beauty, and ac- 
 cording to that Image in his Soul^ he direlied the- 
 
 Operation 
 
ix 
 
 PREFACE. 
 
 Operation of his Hand, Seneca alfo feems to 
 wonder., that Phidias having never beheld ei- 
 ther Jove or Pallas, yet coni' d conceive their di- 
 vine Images in his mind. Apollonius Tyante- 
 us fays the fame in other Words, that the Fancy 
 more inftrubts the Painter, than the Imitation i 
 for the lajl makes only the ‘Things which it fees, 
 but the firft makes alfo the Things which it ne- 
 ver fees. 
 
 Leon Battifla Alberti tells us, that we ought 
 not fo much to love the Likenefs as the Beauty, 
 and to choofe from the faireft Bodies feverally 
 the fairejl Parts. Leonardo da Vinci injlrubls 
 the Painter to form this Idea to himfelf: And 
 Raphael, the greateft of all modern Majters, 
 writes thus to Caftiglione, concerning his Ga- 
 latea : “ To paint a Fair one, *tis neceffary for 
 me to fee many Fair ones ; but becaufe there 
 is fo great a Scarcity of lovely Women, I am 
 conftrained to make ufe of one certain Idea, 
 ‘‘ which I have form'd to my felf in my own 
 Fancy'' Guido Reni fending to Rome his 
 St. Michael, which he had painted for the 
 Church of the Capuchins, at the fame time wrote 
 to Monfignor Mafiano, who was the Maeftro di 
 Cafa {or Steward of the Houfe) to Pope Urban 
 the Eighth, in this manner. I wifh I bad the 
 
 Wings 
 
X 
 
 PREFACE. 
 
 Wings of an Angel, to have afcended into Pa- 
 rad ife, and there to have beheld the Forms of 
 thofe beatify* d Spirits^ from which I might 
 have copy*d my Archangel. But not being able 
 to mount fo high, it was in vain for me to 
 fearch his Refemblance here below: So that 
 I was forc'd to make an Introfpebiion into 
 my own Mind, and into that Idea of Beau- 
 ty, which 1 have form'd in my own Ima- 
 gination. I have likewife created there the 
 contrary Idea of fheformity and Uglinefs ; but 
 J leave the Confiderathn of it, till I paint 
 the Devil : and in the mean time, fhun the 
 very thought of it, as much as poffibly I can, 
 and am even endeavouring to blot it wholly out 
 of my Remembrance. Fhere was not any Lady 
 in all Antiquity, who was Miftrefs of fo much 
 Beauty, as was to be found in the Venus of 
 Gnidus, made by Praxiteles ; or the Minerva 
 of Athens, by Phidias ; which was therefore 
 call'd the Beautiful Form. Neither is there 
 any Man of the prefent Age, equal in the Strength, 
 Proportion, and Knitting of his Limbs, to the 
 Hercules of Farnefe, made by Glicon : Or any 
 Woman who can jufily be compar'd with the 
 Medicean Venus, <?/ Cleomenes. And upon this 
 account, the noblejl Poets, and the befi Orators, 
 when they defined to celebrate any extraordinary 
 
 Beauty 
 
xi 
 
 f 
 
 PREFACE. 
 
 Beauty, are forced to have recourfe to Statues 
 and Pidures, and to draw their Perfonsand Faces 
 into Comparifon. Ovid, endeavouring to exprefs 
 the Beauty of Cillarus, the faireft of the Cen- 
 taures, celebrates him as next in Perfe^ion^ to 
 the moft admirable Statues. 
 
 Gratus in ore vigor, cervix, humeriq; manufqi 
 Pedoraq-, Artificum laudatis Proxima Signis. 
 
 A pleajing Vigour his fair Face exprefs*d\ 
 His Neck, his Hands, his Shoulders, and bis 
 Breajl, 
 
 Bid next in Gracefulnefs, and Beauty, Jland 
 Fo breathing Figures of the Sculptor's Hand, 
 
 In another Place he fets Apelles above Venus. 
 
 Si Venerem Cois nunquam pinxiflet Apelles, 
 Merfa fub aequoreis illa lateret Aquis. 
 
 Thus vary'd. 
 
 One Birth to Seas the Cyprian Goddefs ow'd, 
 A Second Birth the PainterV Art bejlow'd : 
 I^fs by the Seas than by his Pow'r was giv'n j 
 They made her live, but He advanc'd to Heav'rt. 
 
 The 
 
xii PREFACE \ 
 
 / The Idea of this Beauty is indeed various^ i 
 according to the feveral Forms which the Painter ; 
 or Sculptor woi^d defcribe : As one in Strength^ ; 
 another in Magnanimity ; and fometimes it con- 
 fifts in Chearfulnefs^ and fometimes in Delicacy j 
 and is always diverjiffd by the Sex and Age. 
 
 The Beauty of Jove is one, and that Juno 
 another : Hercules, and Cupid, are 'perfedi 
 Beauties, though of different kinds ; for Beauty 
 is only that which makes all things as they are 
 in their proper and perfedl Nature ; which the 
 bfl Painters always choofe, by contemplating the 
 Forms of each. We ought farther to confider, 
 that a Pidure being the Reprefentation of a hu^ 
 man ASiion, the Painter ought to retain in his 
 Mind, the Examples of all Affedlions, and Paf- 
 Jions i as a Poet preferves the Idea of an angry 
 Man, of one who is fearful, fad, or merry, and 
 fo of all the reft. For 'tis impofftble to exprefs 
 that with the Hand, which never enter'd intg 
 the Imagination. In this Manner, as I have 
 rudely and briefly fhevon you. Painters and 
 Sculptors, choofing the moft elegant natural 
 Beauties, perfediiomate the Idea, and advance 
 their Art, even above Nature it felf, in her m- 
 dividual Produdlions, which is the utmoft Ma~ 
 fiery of human Performance. 
 
 X 
 
 From 
 
PREFACE. xiii 
 
 From hence arifes that Aft onijhment, 'and al~ 
 moft Adoration^ which is faid by the Knowing, 
 to thofe divine Remains of Antiquity. From 
 hence Phidias, Lyfippus, and other noble Sculp- 
 tors, are.fi.ilLheld in Veneration ; Appelles, 
 
 Zeuxis, Protogenes, and other adrdrahle Pain- 
 ters, though their Works are periJPd, are, and 
 •will be, eternally admiVd'^ who all of them 
 drew after the Idea’s of PerfeSlion \ which are 
 the Miracles of Nature, the Providence of the 
 Underftanding, the Exemplars of the Mind, the 
 Light of the Fancy ; the Sun which from itS‘ 
 vifing infpiPd the Statue of Memnon, and the 
 Fire which warmed into Life the Image of Pro- 
 metheus : ^Lis this which caufes the Graces, 
 md the Loves, to take up their Habitations in 
 the bardeft Marble, and to fubjift in the Emptu 
 Tfefs of Light and Shadows. Blit fince the I- 
 dea 0/ 'Eloquence is as inferior to that of Paint- 
 ing, as' the Force of Words is to the Sight j I 
 muft here break off abruptly, and having con- 
 duced the Reader it were to a fecret Walk, 
 there leave him in the midft of Silence to con- 
 template thofe Idea’s, which I have only sketch'd, 
 and which every Man muft finifh for himfelf. 
 
 In thefe pompous Expreflions, or fuch as 
 thefe, the Italian has given you his Idea of a 
 Painter j and though I cannot much com- 
 mend 
 
xlv PREFACE. 
 
 mend the Style, I niufl: needs fay, there 
 fomewhat in the Matter : Plato himfelf is ac- 
 cuftom’d to write loftily, imitating, as the 
 Gri ticks tell us, the Manner of Homer ; but 
 furely that inimitable Poet had not fo muclr 
 of Smoak in his Writings, though not lefs of 
 Fire. But in ftiort, this is the prefent Genius 
 of Italy. What Philoftratus tells us, in the 
 Proem of is Figures^ is fomewhat plainer } 
 and therefore I will tranflate it almoft Word 
 for Word. “ He who will rightly govern thi 
 “ Art of Painting, ought of Hecejfity firfi id 
 underftand human Nature. He ought like- 
 “ wife to be endued with a Genius to exprefs- 
 “ the Signs of their Paffions whom he repre- 
 “ fents ; and to make the Dumb as it were td 
 fpeak: He muft yet farther underftand^ what 
 “ is contain'd in the Conftitution of the Cheeks, 
 “ in the 'temperament of the Eyes, in the Na- 
 “ turalnefs {if I may fo call it) of the Eye- 
 hro^vs : and in jhort, whatfoever belongs to 
 “ the Mind and thought. He who thorough^ 
 “ poffeftes all thefe things, will obtain the whole: 
 “ And the Hand will exquifitely reprefent the 
 “ A£Hon of every particular Perfon. If it 
 happens that he be either mad, or angry, 
 “ melancholique, or chearful, a fprightly Youth, 
 “ or a languijhing Lover \ in one word, he will 
 I be 
 
XV 
 
 PREFACE. 
 
 “ he able to paint whatfoever is proportionable 
 “ to any one. And even in all this there is a 
 fweet Error without cauftng any Shame. For 
 “ the Eyes^ and Minds of the Beholders, being 
 “ fajien'd on Objects which have no real Beings 
 “ as if they were truly Exiftent, and being in- 
 “ duc*d by them to believe them fo, what Flea-' 
 “ fure is it not capable of giving ? 'The Ancients., 
 “ and other Wife Men, have written many things 
 “ concerning the Symmetry, which is in the 
 “ Art of Painting ; conjlituting as it were fome 
 “ certain Laws for the Proportion of every 
 “ Member ; not thinking it pojfble for a Pain- 
 “ ter to undertake the Expreffion of thofe Mo- 
 “ tions which are in the Mind, without a con- 
 “ current Harmony in the natural Meafure. 
 “ For that which is out of its own kind and 
 “ meafure, is not receiv’d from Nature, whofe 
 “ Motion is always right. On a ferious Con^ 
 “ Jideration of this Matter, it will be found, 
 “ That the Art of Painting has a wonderful 
 “ Affinity with that of Poetry ; and that there 
 “ is betwixt them a certain common ImaginatF 
 “ on. For, as the Poets introduce the Gods 
 “ and Heroes, and all thofe things which are 
 “ either Majejlical, Honejl, or Delightful j in 
 “ like manner, the Painters, by the virtue 
 “ of their Outlines, Colours, Lights, and Sha- 
 b “ dows. 
 
xvi PREFACE. 
 
 “ dows^ reprefent the fame 'Things^ and Per- 
 “ fons in their Pidlures. 
 
 Thus, as Convoy Ships either accompany, 
 or Ihou’d accompany their Merchants^ till 
 they may profecute the reft of their Voyage 
 without Danger ; fo Philojlratus has brought 
 me thus far on my way, and I can now fail 
 on without him. He has begun to fpeak of 
 the great Relation betwixt Painting and Poe- 
 try., and thither the greateft part of this Dif- 
 courfe, by my Promife, was diredted. I have 
 not engag’d my felf to any perfedl Method, 
 neither am I loaded with a full Cargo. ’Tis 
 fufficient, if I bring a Sample of fome Goods 
 in this Voyage. It will be eafy for others to 
 add more, when the Commerce is fettled. 
 For nT’reatife, twice as large as this, of Paint- 
 ing, could not contain all that might be faid 
 on the Parallel of thefe two Sifter-Arts. I 
 will take my rife from Bellori, before I pro- 
 ceed to the Author of this Book. 
 
 The Bufinels of his Preface is to prove, that 
 a learned Painter ftiould form to himfelf an 
 Idea of perfedt Nature. This Image he is to 
 fet before his Mind in all his Undertakings, 
 and to draw from thence, as from a Store- 
 Houfe, the Beauties which are to enter into 
 his Work j thereby corredling Nature from 
 
 what 
 
r 
 
 I PREFACE. xvU 
 
 I what a(5lually flie is in Individuals, to what 
 I flie ought to be, and what fhe was created, 
 j Now as this Idea of Perfeliion is of little uft 
 I in Portraits ( or the Refemblances of particu- 
 lar Perfons) ; fo neither is it in the Charadlers 
 of Comedy and Tragedy ; which are never to 
 be made perfedl, but always to be drawn with 
 fome Specks of Frailty and Deficience ; fuch 
 as they have been defcribed to us in Hiftory^ 
 if they were real Charadlers ; or fuch as th6 
 Poet began to (hew them, at their firft Appear- 
 ance, if they were only fidlitious, (or imagi- 
 nary.) The Perfeftion of fuch Stage-Charac- 
 ters confifts chiefly in their Likenels to the 
 deficient faulty Nature, which is their Origi- 
 nal. Only (as it is obferv’d more at large 
 hereafter) in fuch Cafes, there will always be 
 found a better Likenefs, and a worfe ; and 
 I the better is conftantly to be chofen : I mean 
 
 I in Tragedy, which reprefents the Figures of . 
 the higheft Form among Mankind. Thus 
 in Portraits, the Painter will not take that 
 fide of the Face which has fome notorious 
 Blemifli in it ; but either draw it in Profile 
 i (as Apelles did Antigonus, who had loft one 
 t of his Eyes) or elfe Shadow the more imper- 
 I fedl fide. For, an ingenious Flattery is to 
 I be allow’d to the Profeffors of both Arts ; fo 
 
 I b 2 long 
 
Ti 
 
 xviii PREFACE. 
 
 long as the Likenefs is not deftroy’d. ’Tis 
 true, that all manner of Imperfedtions mud not 
 be taken away from the CharaSiers j and the 
 Reafon is, that there may be left fome grounds 
 of Pity for their Misfortunes. We can ne- 
 ver be griev’d for their Miferies who arc tho- 
 roughly wicked, and have thereby juftly call’d 
 their Calamities on themfelves. Such Men 
 are the natural Objedts of our Hatred,* not of 
 our Commiferation. If, on the other fide, 
 their Charaders were wholly perfed, (fuch 
 as, for Example, the Character of a or 
 Martyr in a Play^ his, or her Misfortunes, 
 wou’d produce impious Thoughts in the Be- 
 holders: they wou’d accufe the Heavens of 
 Injuftice, and think of leaving a Religion^ 
 where Piety was fo ill requited. I fay the 
 greater part would be tempted fo to do *, I 
 fay not that they ought : and the Confequence 
 is too dangerous for the Pradice. In this 
 I have accus’d my felf, for my own St, Cathe- 
 rine., but let Truth prevail. Sophocles has ta- 
 ken the juft medium in his Oedipus. He is 
 fomewhat arrogant at his firft Entrance ; and 
 is too inquifitive through the whole 'Pragedy : 
 Yet thefe Imperfedions being balanc’d by 
 great Virtues, they hinder not our Compani- 
 on for his Miferies \ neither yet can they de- 
 
 ftroy 
 
xix 
 
 PREFACE. 
 
 f ftroy that Horrour, which the Nature of his 
 Crimes have excited in us. Such in Painting 
 i are the Warts and Moles, which adding a 
 I Likenefs to the Face, are not therefore to be 
 ] omitted : But thefe produce no loathing in 
 ij us. But how far to proceed, and where to 
 i ftop, is left to the Judgment of the Poet, and 
 i the Painter. In Comedy there is fomewhat 
 j more of the worfe Likenefs to be taken. Be- 
 ll caufe that is often to produce Laughter; 
 I which is occafion’d by the fight of fbme De- 
 I formity : but for this I refer the Reader to 
 I Arijlotle. ’Tis a fharp manner of Inftruftion 
 I for the Vulgar, who are never well amended, 
 ^ till they are more than fufficiently expos*d. 
 I That I may return to the beginning of this 
 I Remark, concerning perfed Ideas, I have 
 $ only this to fay, that the Parallel is often true 
 i in Epique Poetry. 
 
 I The Heroes of the Poets are to be drawn 
 I according to this Rule. There is foarce a Frail- 
 i ty to be left in the beft of them ; any more 
 I than is to be found in a Divine Nature. And 
 
 I if Mneas fometimes weeps, it is not in be- 
 moaning his own Miferies, but thofe which 
 his People undergo. If this be an Imperfec- 
 tion, the Son of God, when he was incarnate, 
 Ihed Tears of Companion over Jerufalem. 
 
 b 3 And 
 
XX PREFACE. 
 
 And Lentulus defcribes him often weeping, but 
 never laughing; fo iheit Virgil is juftify’d e- 
 ven from the Holy Scriptures. I have but one 
 Word more, which for once I will anticipate 
 from the Author of this Book. Though it 
 mull be an Idea of Perfedticn, from which 
 both the Epique Poet, and the Hitlory Painter 
 draws ; yet all Perfections are not fui table to 
 all Sulyefts : But every one muft be defign’d 
 according to that perfeCt Beauty which is pro- 
 per to him. An Apollo muft be diftinguilh’d 
 from a Jupiter ; a Pallas from a Venus : and 
 fo in Poetij, an Mneas from any other Heroe : 
 for Piety is his chief Perfedlion. Homefs A- 
 thilles is a kind of Exception to this Rule : 
 but then he is not a perfeCl Heroe.^ nor fo 
 intended by the Poet. All his Gods had fome^ 
 what of human Imperfection ; for which he 
 has been tax’d by Plato, as an Imitator of 
 what was bad. But Virgil obferv’d his Fault, 
 and mended it. Yet Achilles was perfeCt in 
 the Strength of his Body, and the Vigour of 
 his Mind. Had he been lefs paffionate, or 
 lefs revengeful, the Poet well forefaw that 
 Hell or had been kill’d, and ‘Proy taken at the 
 firft Affaiilt ; which had deftroy’d the beauti- 
 ful Contrivance of his Iliad, and the Moral 
 of preventing Difcord amongft Confederate 
 
 Princes, 
 
XXI 
 
 PREFACE. 
 
 f Princes, which was his principal Intention. 
 
 ' For the Moral (as Bojfu obferves) is the firft 
 ) Bufinefs of the Poely as being the Ground- 
 h work of his Inftruftion. This being form’d, 
 r he contrives fuch a T>efigfiy or Fable y as may 
 ; be moft fuitable to the Moral. After this he 
 : begins to think of the Perfons, whom he is 
 I to employ in carrying on his Peftgn : and gives 
 : them the Manner Sy which are moft proper to 
 ■*j their feveral CharaSlers. The Thoughts and 
 / Words are the laft parts, which give Beauty 
 ![ and Colouring to the Piece. When I fay, 
 f that the Manners of the Heroe ought to be 
 5 good in Perfedion, I contradidi not the Mar- 
 ‘ quifs of Normanbfs, Opinion, in thatadmira- 
 I ble Verfe, where, fpeaking of a perfedl Cha- 
 “i radler, he calls it 
 
 > A faultlefs Monflery which the World ne'er knew. 
 
 \ 
 
 \ 
 
 i For that Excellent Critick intended only to 
 
 I fpeak of Dramatic CharablerSy and not of £- 
 pique. Thus, at leaft, I have fhewn, that in 
 the moft perfedl Poem, which is that of 
 gily a perfect Idea was requir’d, and follow’d ; 
 and confequently, that all fucceeding Poets 
 ought rather to Imitate himy than even Ho- 
 mer. I will now proceed, as I promis’d, to 
 b 4 the 
 
PREFACE. 
 
 the Author of this Book. He tells you, al- 
 mofl: in the firfl: Lines of it, that the chief 
 Eyid of Painting is to pleafe the Eyes : and 'sis 
 me great End of Poetry to pleafe the Mind. 
 Thus far the Parallel of the Arts holds true : 
 with this Difference ; That the principal End 
 of Painting is to pleafe ; and the chief Defign 
 of Poetry is to inftrudl. In this the latter 
 feems to have the Advantage of the former. 
 But if we confider the Artijis themfelves on 
 both fides, certainly their Aims are the very 
 fame : they wou’d both make fure of Pleafing, 
 and that in Preference to Inftrudtion. Next, 
 the Means of this Pleafure is by Deceipt. One 
 impofes on the Sight, and the other on the 
 Underftanding. Fidtion is of the Eflence of 
 Poetry\ as well as of Painting ; there is a Re- 
 femblance in one, of Human Bodies, Things, 
 and Actions, which are not real ; and in the 
 other, of a true Story by a Fidtion. And, as 
 all Stories are not proper Subjefts for an E- 
 pique Poem or a Hragedy \ fo neither are they 
 for a noble Pidlure. The Subjedts both of 
 the one, and of the other, ought to have no- 
 thing of immoral, low, or filthy in them ; 
 but this being treated at large in the Book it 
 felf I wave it, to avoid Repetition. Only 
 J muft add, that though Catullus^ Qvid^ and 
 
 others. 
 
r 
 
 PREFACE. 
 
 others, were of another Opinion, that the 
 Subjedl of PoeiSy and even their Thoughts 
 and Expreflions might be loofe, provided their 
 Lives were chafte and holy ; yet there are no 
 fuch Licences permitted in that any 
 
 more than in Paintingy to defign and colour 
 obfcene Nudities. Vita proha eft is no Ex- 
 cufe : for it will fcarcely be admitted, that ei- 
 ther a Poety or a Painlery can be chafte, who 
 give us the contrary Examples in their Wri~ 
 tingSy and their PiSfures. We fee nothing 
 of this kind in Virgil: That which comes the 
 neareft to it, is the Adventure of the Cave, 
 where Dido and Mneas were driven by the 
 Storm ; Yet even there, the Poet pretends a 
 Marriage before the Confummation ; and Ju- 
 no her felf was prefent at it. Neither is there 
 any Expreffion in that Story, which a Roman 
 Matron might not read, without a Bluftj. Be- 
 fides, the Poet pafles it over as haftily as he 
 can, as if he were afraid of ftaying in the Cave 
 with the two Lovers, and of being a Witnefs 
 to their Adfions. Now I fuppofe, that a Pain- 
 ter wou’d not be much commended, who 
 Ihou’d pick out this Cavern from the whole 
 MneiSy when there is not another in the 
 Work. He had better leave them in their 
 Obfeurity, than let in a Flalh of Lightning, 
 
 to 
 
 xxlli 
 
P R E FJ C E. 
 
 to clear the natural Darknefs of the Place, 
 by which he muft difcover himfelf, as much 
 as them. The JUar-Pieces, and holy Deco- 
 rations of Paintings ftiow tha( Art may be 
 apply’d to better Ufes, as vteli as Poetry. 
 
 And amongft many other Inftances, the 
 Farne fe Gallery., Painted by Hannibal Carracci., 
 is a fufRcient Witnels yet remaining : the 
 whole Work being morally inflrudtive, and 
 particularly the Herculis Bivium, which is a 
 perfect Triumph of Virtue over Vice-, as it is 
 wonderfully well defcrib’d by the ingenious 
 Bellori. 
 
 Hitherto I have only told the Reader what 
 ought not to be the Subjeft of a PiSture, or 
 of a Poem. What it ought to be on either 
 fide, our Author tells us : It muft in general 
 be great and noble. And in this, the Parallel 
 is exadtly true. The Subjefl of a Poet either 
 in Tragedy, or in an Epique Poem, is a great 
 Action of fome illuftrious Hero. ’Tis the 
 fame in Painting -, not every Adlion, nor e- 
 vcry Perfon is confiderable enough to enter 
 into the Cloth. It muft be the Anger of an 
 Achilles, the Piety of an Mneas, the Sacrifice 
 of an Iphigenia (for Heroines as well as Heroes 
 are comprehended in the Rule ; ) but the Pa- 
 rallel is more compleat in Tragedy, than in 
 
I 
 
 PREFACE. 
 
 an Epiq^ue Poem. For as a Tragedy may be 
 made out of many particular Epifodes of Ho- 
 mer, or of Virgil •, fo may a noble Pi£lure be 
 defign’d out of this, or that particular Story, 
 in either Author. Hiftory is alfo fruitful of 
 Defigns, both for the Painter and the Tragic 
 Poet : Curtius throwing himfelf into a Gulph, 
 and the two Eecii facrificing themfelves for the 
 Safety of their Country, are Subjefts for Tra- 
 gedy, and Picture. Such is Scipio reftoring the 
 Spanifh Bride, whom he either lov’d, or may 
 be fuppos’d to love •, by which he gain’d the 
 Hearts of a great Nation, to intereft them- 
 felves for Rome againft Carthage : Thefe are 
 all but particular Pieces in Livy’s Hiftory, 
 and yet are full compleat Subje<51:s for the Pen 
 and Pencil. Now the Reafon of this is evi- 
 dent. Tragedy and Picture are more narrow- 
 ly circumfcrib’d by the Mechanick Rules of 
 Time and Place, than the Epic Poem. The 
 Time of this laft is left indefinite. ’Tis true, 
 Homer took up only the Space of eight and 
 forty Days for his Iliad ; but, whether Vir- 
 gil’s Aftion was comprehended in a Year, or 
 Ibmewhat more, is not determin’d by Bojju. 
 Homer made the Place of his Adlion Troy, and 
 the Greqian Camp befieging it. Virgil intro- 
 duces 
 
 XX^ 
 
xxvi 
 
 PREFACE. 
 
 duces his JEneas, fometimes in Sicily, fome- 
 times in Carthage, and other times at Cum<e, \ 
 before he brings him to Laurentum ; and even 
 after that, he wanders again to the Kingdom 
 of Evander, and feme Parts of Lufeany, be- 
 fore he returns to finifti the War by the Death 
 of ’Turnus. But Tragedy (according to the 
 Praftice of the Ancients') v/as always confin’d 
 within the Compafs of twenty four Hours, 
 and feldom takes up fo much Time. As for 
 the place of it, it was always one, and that 
 not in a larger Senfe (as for Example, a 
 whole City, or two or three feveral Houfes 
 in it) but the Market, or fome other publick 
 Place, common to the Chorus and all the A- 
 ftors. Which eftabliflr’d Law of theirs, I 
 have not an Opportunity to examine in this 
 Place, becaufe I cannot do it without Digref- 
 fion from my Subjed, though it feems too 
 ftrid at the firft Appearance, becaufe it ex- 
 cludes all fecret Intrigues, which are the Beau- 
 ties of the modern Stage : For nothing can be 
 carry’d on with Privacy, when the Chorus is 
 fuppos’d to be always prefent. But to pro- 
 ceed, I muft fay this to the Advantage of 
 Painting, even above Tradegy, that what this 
 lad reprefents in the fpace of many Hours, the 
 former fiiews us in one Moment. The Adion, 
 
 the 
 
xxvn 
 
 PREFACE. 
 
 she Paflion, and the Manners of fo many Per- 
 fons as are contain’d in a Pi5iure, are to be 
 difcern’d at once in the twinkling of an Eye ; 
 at lead they would be fo, if the Sight could 
 travel over fo many different Objefts all at 
 once, or the Mind could digeft them all at 
 the fame Inftant, or Point of Time. Thus 
 in the famous Pidure of Poujfm^ which re- 
 prefents the Injlitution of the blefed Sacramenty 
 you fee our Saviour and his twelve DifcifleSy 
 all concurring in the fame Adtion, after dif- 
 ferent Manners, and in different Poftures : on- 
 ly the Manners of Judas are diftinguifh’d from 
 the reft. Here is but one indivifible point of 
 Time obferv’d : But one Adtion perform’d by 
 fo many Perfons, in one Room, and at the 
 flime Table : yet the Eye cannot comprehend 
 at once the whole Objedt, nor the Mind fol- 
 low it fo faff ; ’tis confider’d at leifure, and feen 
 by Intervals. Such are the Subjedts of noble 
 Pidlures : And fuch are only to be underta- 
 ken by noble Hands. There are other Parts 
 of Nature, which are meaner, and yet are 
 the Subjedls both of Painters and of Poets. 
 
 For, to proceed in the Parallel, as Comedy 
 is a Reprefentation of human Life, in infe- 
 rior Perfons, and low Subjedts, and by that 
 means creeps into the Nature of Poetry, and 
 
 is 
 
xxviii 
 
 P R E PACE. 
 
 is a kind of Juniper^ a Shrub belonging to the 
 Species of Cedar', fo is the Painting of Clowns, 
 the Reprefentation of a Dutch Kermis, the bru- 
 tal Sport of Snick or Snee, and a thoufand o- 
 th®r Things of this mean Invention, a kind of 
 PiSlure, which belongs to Nature, but of the 
 loweft Form. Such is a Lazar in compari- 
 fon to a Venus ; both are drawn in human 
 Figures: they have Faces alike, though not 
 like Faces. There is yet a lower fort of Po- 
 etry and Painting, which is out of Nature. 
 For a Farce is that in Poetry, which Grotefqiie 
 is in a Pihlure. The Perfons, and A6lion of 
 a Farce, are all unnatural, and the Manners 
 falfe, that is, inconfifting with the Charaders 
 of Mankind. Grotefque Painting is the juft 
 Refemblance of this', and Horace begins his 
 Art of Poetry by defcribing fuch a Figure, 
 with a Man’s Head, a Horfe’s Neck, the 
 Wings of a Bird, and a Fifh’s Tail ; Parts 
 of different Species jumbled together, ac- 
 cording to the mad Imagination of the Baw- 
 her ', and the End of all this (as he tells you 
 afterward) is to caufe Laughter. A very Mon- 
 Jter in a Bartholomew-Fair, for the Mob to 
 gape at for their Two-pence. Laughter i« 
 indeed the Propriety of a Man, but juft e- 
 nough to diftinguifh him from his elder Bro- 
 ' I ther 
 
I 
 
 PREFACE. 
 
 ther with four Legs. ’Tis a kind of Baftard- 
 pleafure too, taken in at the Eyes of the vul- 
 gar Gazers, and at the Ears of the beaftly 
 Audience. Church-Painters ufe it, to divert 
 the honeft Countryman at Public Prayers, and 
 keep his Eyes open at a heavy Sermon. And 
 Farce-Scribblers make ufe of the fame noble In* 
 vention, to entertain Citizens.^ Country -Gentle- 
 men., and Covent-Garden Fops. If they are 
 merry, all goes well on the Poed& fide. The 
 better fort go thither too, but in defpair of 
 Senfe, and the juft Images of Nature, which 
 are the adequate Pleafures of the Mind. B3t the 
 Author can give the Stage no better than what 
 was given him by Nature : And the A5iors muft 
 reprefent fuch Things as they are capable to 
 perform, and by which both They and the 
 Scribbler may get their living. After all, ’cis 
 a good thing to laugh at any rate, and if a 
 Straw can tickle a Man, ’tis ah Inftrument of 
 Happinefs. Beafts can weep when they fuf- 
 fer, but they cannot laugh. And, as Sir Wil- 
 liam Davenant oblerves, in his Preface to Gon- 
 dibert, 'tis the Wifdom of a Government to per- 
 mit Plays, (he might have added Farces J as ’tis 
 the Prudence of a Carter to put Bells upon his 
 Horfes, to make them carry their Burthens chear- 
 fully. 
 
 xxix 
 
 1 have 
 
XXX 
 
 PREFACE, 
 
 I have already Ihewn, that one main End 
 of Poetry and Paintings is to Pleafe, and have 
 faid fomething of the kinds of both, and of 
 their Subjeds, in which they bear a great Re- 
 femblance to each other. I muft now confi- 
 der them, as they are great and noble Arts \ 
 and as they are Arts^ they muft have Rules, 
 which may direct them to their common End. 
 
 To all Arts and Sciences, but more particu- 
 larly to thefe may be apply’d what Hippocrates 
 fays of Phyfick, as I find him cited by an e- 
 minent French Critick. “ Medicine has long 
 “ fubjifted in the World. ‘The Principles of it 
 “ are certain, and it has a certain way ; by 
 both which there has been found in the 
 Courfe of many Ages, an infinite Number of 
 “ Things, the Experience of which has confirmed 
 “ its Ufefulnefs and Goodnefs. All that is 
 “ wanting to the Perfeblion of this Art, will 
 “ undoubtedly be found, if able Men, and fuch 
 “ as are infirudled in the ancient Rules, will 
 “ make a farther Enquiry into it, and endea- 
 “ vour to arrive at that which is hitherto un- 
 “ known, by that which is already known. But 
 “ All, who having rejebled the ancient Rules, and 
 “ taken the oppojite Ways, yet boali themfelves 
 “ to be Mafiers of this Art, do but deceive o~ 
 1 thers 
 
r- 
 
 PREFACE. 
 
 “ ibers, and are themf elves deceiv'd ; for that 
 “ is ahfolutely impoffible. 
 
 This is noioriouQy true in thefe two Arts : 
 For the way to pleafe being to imitate Na- 
 ture ; both the Poets and the Painters, in an- 
 cient Times, and in the beft Ages, have Stu- 
 died her : and from the Praftice of both thefe 
 Arts, the Rules have been drawn, by which 
 We are inftrufted how to pleafe, and to com- 
 pafs that End which they obtain’d, by follow- 
 ing their Example. For Nature is (till the 
 fame in all Ages, and can never be contrary to 
 her felf. ThuSj from the Pradice of JEfchy- 
 lus, Sophocles, and Euripides, Ariftotle drew 
 his Rules for "tragedy •, and Philoftratus for 
 Painting. Thus amongft the Moderns, the 
 Italian and French Criticks, by ftudying the 
 Precepts of Ariftotle, and Horace, and having 
 the Example of the Grecian Poets before their 
 Eyes, have given us the Rules of Modern 
 Tragedy', and thus the Criticks of, the fame 
 Countries, in the Art of Painting, have gi- 
 ven the Precepts of perfeding that Art. ’Tis 
 true, that Poetry has one Advantage over 
 Painting in thefe laft Ages, that we have ftill 
 the remaining Examples both of the Greek 
 and Latin Poets : whereas the Painters have 
 nothing left them from Apelles, Protogenes, 
 e Parrhafus, 
 
 xxxi 
 
xxxil 
 
 PREFACE. 
 
 Parrhajlus, Zeuxis^ and the reft, but only 
 the Teftimonies which are given of their in- 
 comparable Works. But inftead of this, they 
 have fome of their beft Statues^ Bajfo-Relievos^ 
 Columns^ Obelifq^ues, &c. which were fav’d 
 out of the common Ruine, and are ftil! pre- 
 ferv’d in Italy : and by well diftinguiftiing 
 what is proper to Sculpture, and what to 
 Painting, and what is common to them hath, 
 they have judicioufly repair’d that Lofs. And 
 the great Genius of Raphael, and others, ha- 
 ving fucceeded to the times of Barbarifm and 
 Ignorance, the Knowledge of Painting is now 
 arriv’d to a fupreme Perfedlion, though the 
 Performance of it is much declin’d in the 
 prefent Age. The greateft Age for Poetry 
 amongft the Romans was certainly that of 
 Augujlus Cafar % and yet we are told, that 
 Painting was then at its loweft Ebb ; and per- 
 haps Sculpture was alfo declining at the fame 
 time. In the Reign of Domitian, and fome 
 who fucceeded him. Poetry was but meanly 
 cultivated ; but Painting eminently flourifli’d. 
 I am not here to give the Hiftory of the two 
 Arts ; how they were both in a manner ex- 
 tinguifh’d, by the Irruption of the barbarous 
 Nations : and both reftor’d about the times 
 of Leo the Tenth, Charles the Fifth, and 
 
 Francis 
 
P R ^ FA C E. 
 
 is the Firft ; though I might obferve, 
 that neither Aricjlo, nor any of his Contempo- 
 rary Poets^ ever arriv’d at the Excellency of 
 Raphael, Pitian, and the rell in Painting. 
 ii But in Revenge, at this time, or lately, in 
 t many Countries, Poetry is better pradis’d than 
 y her Sifter- Art. To what height the Magni- 
 ■i ficence and Encouragment of the prefent 
 i King of France may carry Painting and Sculp- 
 i ture is uncertain ; but by what he has done 
 % before the War in which he is engag’d, we 
 ^ may exped what he will do after the happy 
 < Conclufion of a Peace ; which is the Prayer 
 
 i and Wifh of all thofe who have not an Inte- 
 j reft to prolong the Miferies of Europe. For 
 
 ii *tis moft certain, as our Author amongft o- 
 : thers has obferv’d. That Reward is the Spur 
 
 of Virtue, as well in all good Arts, as in all 
 I laudable Attempts : and Emulation, which is 
 the other Spur, will never be wanting either 
 amongft Poets or Painters, when particular 
 Rewards and Prizes are propos’d to the beft 
 Defervers. But to return from this Digrefli- 
 on, though it was almoft neceflary all the 
 Rules of Painting are methodically, concife- 
 ly, and yet clearly deliver’d in this prefent 
 Freatife which I have tranflated. Boffu has not 
 given more exad Rules for the Epique Poemi 
 c 2 noi* 
 
 I 
 
 xxxlU 
 
XXXIV 
 
 PREFACE. 
 
 nor Dacier for 'Tragedy, in his late excellent 
 Tranjlation of Arifiotle, and his Notes upon 
 him, than our Frefnoy has made for Painting ; 
 with the Parallel of which I muft refume my 
 Difcourle. following my Authofs Text, tho’ 
 with more Brevity than I intended, bccaufe 
 Virgil calls me. The principal and moft im- 
 portant part of Painting, is to know what is 
 tnofi Beautiful in Nature, and moft proper for 
 that Art. That which is the moft Beautiful, 
 is the moft noble Subjeft : fo in Poetry, Tra- 
 gedy is more beautiful than Comedy ; becaufe, 
 as I laid, the Perfons are greater whom the 
 Poet inftrudls ; and confequently the Inftruc- 
 tions of more Benefit to Mankind : the Acti- 
 on is likewife greater, and more noble, and 
 thence is deriv’d the greater, and more noble 
 Pleafure. 
 
 To imitate Nature well in whatfoever Sub- 
 je£t, is the Perfeftion of both Arts ; and that 
 Picture, and that Poem, which comes neateft 
 the Refemblance of Nature is the belt. But 
 it fellows not, that what pleafes moft in ei- 
 ther kind is therefore good ; but what ought 
 to pleafe. Our deprav’d Appetites, and Ig- 
 norance of the Arts, miftead our Judgments, 
 and caufe us often to take that for true Imi- 
 tation of Nature, which has no Refemblance 
 
 of 
 
XXXV 
 
 PREFACE. 
 
 of Nature in it. To inform our Judgments, 
 and to reform our Taftes, Rules were invent- 
 : ed, that by them we might difcern, when 
 
 Nature was imitated, and how nearly. I 
 have been forc’d to recapitulate thefe things, 
 becaufe Mankind is not more liable to Deceit, 
 than it is willing to continue in a pleafing 
 Error, ftrengthen’d by a long Habitude. The 
 Imitation of Nature is therefore juftly con- 
 ftituted as the general, and indeed the only 
 Rule of pleafing, both in Poetry and Painting' 
 Ariftotle tells us, that Imitation pleafes, be- 
 caufe it affords Matter for a Reafoner to en- 
 quire into the Truth or Falfliood of Imitation, 
 by comparing its Likenefs, or Unlikenefs, 
 with the Original. But by this Rule, every 
 Speculation in Nature, whofe Truth falls un- 
 der the Enquiry of a Philofopher, muft pro- 
 duce the fame Delight: which is not true *, I 
 fhould rather affign another Reafon. Truth 
 is the Obje6t of our Underftanding, as Good 
 is of our Will : And the Underftanding can 
 no more be delighted with a Lie, than the 
 Will can choofe an apparent Evil. As Truth 
 is the End of all our Speculations, fo the 
 t-Difcovery of it is the Pleafure of them. And 
 » fince a true Knowledge of Nature gives us 
 - Pleafure, a lively Imitation of if, either in 
 c 3 Poetry 
 
PREFACE. 
 
 Poetry or Painting., mufl: of Neceffity produce 
 a much greater. For both thefe Arts^ as I 
 faid before, are not only true Imitations of 
 Nature., but of the beft Nature'., of that which 
 is wrought up to a nobler pitch. They pre- 
 fent us with Images more perfedt than the 
 Life in any individual ; and we have the Plea- 
 fure to fee all the fcatter’d Beauties of Na- 
 ture united by a happy Chymiftry, without its 
 Deformities or Faults. They are Imitations 
 of the Paffions which always move, and there- 
 fore confequently pleafe : for without Motion 
 there can be no Delight ; which cannot be 
 confider’d, but as an adlive Paffion. When 
 we view thefe elevated Ideas of Nature, the 
 refult of that view is Admiration, which is al- 
 w'ays the caufe of Pleafure. 
 
 This foregoing Remark, which gives the 
 Reafon why Imitation pleafes, was fent me by 
 Mr. Walter Moyle, a moft ingenious young 
 Gentleman, converfant in all the Studies of 
 Humanity, much above his Years. He had 
 alfo furnifh’d me (according to my Requeft) 
 with all the particular Pafiages in Arijlotle and 
 Horace, which are us’d by them, to explain 
 the Art of Poetry by that of Painting : which, 
 if ever I have time to retouch this EJfay, 
 Ihall be inferted in their Places. Having thus 
 
 fhewn 
 
PREFACE. 
 
 fliewn that Imitation pleafes, and why it plea- 
 fes in both ihefe Arts, it follows, that fome 
 Rules of Imitation are neceffary to obtain flie 
 End : for without Rules there can be no Art ; 
 any more than there can be a Houfe, without 
 a Door to condu6t you into it. The principal 
 parts of Fainting and Poetry next follow. 
 
 Invention is the firft part, and abfolutely 
 neceffary to them both : yet no Rule ever was, 
 or ever can be given how to compafs it. A 
 happy Genius is the Gift of Nature : it de- 
 pends on the Influence of the Stars, fay the 
 Ajlrologers ; on the Organs of the Body, fay 
 the Naturalijls *, ’tis the particular Gift of 
 Heaven, fay the Divines, both Chrijiians and 
 Heathens. How to improve it, many Books 
 can teach us ; how to obtain it, none *, that 
 nothing can be done without it, all agree. 
 
 nihil invitd dices faciefve Minerva. 
 
 Without Invention a Painter is but a Copier, 
 and a Poet but a Plagiary of others. Both are 
 allow’d fort\etimes to copy and tranjlate ; but, 
 as our Author tells you, that is not the beft 
 part of their Reputation. Imitators are but 
 a fervile kind of Cattel, fays the Poet ; or at 
 beft, the Keepers of Cattel for other Men ; 
 
 c 4 they 
 
 xxxvli 
 
fxxvlil 
 
 P R E Fy4 C E. 
 
 they have nothing which is properly their 
 own ; that is a fufficient Mortification for me, 
 while I am tranflating Virgil. But to Copy 
 the beft Author is a kind of Praife, if I per- 
 form it as I ought. As a Copy after Raphael 
 is more to be commended, than an Original 
 of any indifferent Painter. 
 
 Under this Head of Invention is plac’d the 
 Pifpojition of the fVork, to- put all things in a 
 beauiitul Order and Harmony, that the whole 
 may be of a piece. The Comfojitions of the 
 Fainter Ihould be conformable to the Hext of 
 ancient Authors., to the Cuftoms, and the 
 Times. And this is exadtly the fame in Poe- 
 try ; Homer, and Virgil, are to be our Guides 
 in the Epique *, Sophocles, and Euripides, iq 
 'Pragedy : in all things we are to imitate the 
 Cuitoms, and the Times of thofe Perfons and 
 Things which we reprefent. Not to make 
 new Rules of the Drama, as Lopez de Vega 
 has attempted unfuccefsfully to do ; but to be 
 content to follow our Mailers, who under- 
 flood Nature better than we. But if the 
 Story which we treat be modern, we are to 
 vary the Cuftoms, according to the Time, and 
 the Country, where the Scene of A£lion lies : 
 for this is ftill to imitate Nature, which is al- 
 ways the fame, though in a different Drefs. 
 
 A§ 
 
As in the Compofition of a Picture, the 
 Painter is to take Care, that nothing enter 
 into it, which is not proper or convenient 
 to the Subjedt ; fo likewife is the Poet to re- 
 jedt all Incidents which are foreign to his 
 Poern^ and are naturally no parts of it : they 
 are Wenns, and other Excrefcences^ which be- 
 long not to the Body, but deform it. No 
 Perfon, no Incident in the Piece, or in the 
 Play, but muft be of ufe to carry on the main 
 T>efign. All things elfe are like fix Fingers to 
 the Fland ; when Nature, which is fuperflu- 
 ous in nothing, can do her Work with five. 
 A Painter muft rejedt all trifling Ornaments ; 
 fo muft a Poet refufe all tedious and unnecef- 
 fary Defcriptions. A Robe which is too hea- 
 vy, is lefs an Ornament than a Burthen. 
 
 In Poetry, Horace calls thefe things, 
 
 Verfus inopes rerum, nug^que canoree. 
 
 Thefe are alfo the lucus C? ara Dianne, which he 
 mentions in the fame Art of Poetry. But fince 
 there muft be Ornaments both in Painting and 
 Poetry, if they are not neceflfary, they muft at 
 leaft be decent : that is, in their due Place, 
 and but moderately us*d. The Painter is not 
 to take fo much Pains about the Drapery, as 
 
 about 
 
xl 
 
 PREFACE. 
 
 about the Face, where the principal Refem- 
 blance lies ; neither is the Poet^ who is work- 
 ing up a Paffion, to make Similes^ which will 
 certainly make it languifh. My Montezuma 
 dies with a fine one in his Mouth : but it is 
 out of Seafon. When there are more Fi- 
 gures in a Picture than are neceflary, or at 
 leaft ornamental, our Author calls them Fi- 
 gures to he lett becaufe the Picture has no 
 Ufe of them. So I have feen in fome modern 
 Plays above twenty Ahlors, when the Aition 
 has not requir’d half the Number. In the 
 principal Figures of a Pitiure^ the Painter is 
 to employ the Sinews of his Art : for in them 
 confifts the principal Beauty of his Work. 
 Our Author faves me the Comparifon with 
 Tragedy, for he fays, that herein he is to imi- 
 tate the Tragick Poet, who employs his ut- 
 mofl: Force in thofe Places, wherein confifts 
 the Height and Beauty of the Acftion. Du 
 Frejhoy, whom I follow, makes Defign, or 
 Drawing, the fecond part of Painting: but 
 the Rules which he gives concerning the Po- 
 Jhire of the Figures, are almoft wholly proper 
 to that Art ; and admit not any Comparifon, 
 that I know, with Poetry. The Pojiure of a 
 Poetick Figure is, as I conceive, the Defcrip- 
 tion of his Heroes in the Performance of fuch 
 
 or 
 
xli 
 
 f 
 
 PREFACE. 
 
 or fuch an Aftion : as of Achilles, juft in the 
 A(ft of killing HeSlor : or of yEneas, who has 
 Turnus under him. Both the Poet and the 
 Painter vary the Pojlures, according to the 
 A(5lion, or Paffion which they reprefent of 
 the fame Perfon. But all muft be great and 
 graceful in them. The fame yEneas muft be 
 drawn a Suppliant to Dido, with Refpedl: in 
 his Geftures, and Humility in his Eyes : but 
 when he is forc’d, in his own Defence, to kill 
 Laufus, the Poet (hews him compafllonate, 
 and tempering the Severity of his Looks with 
 a Reludlance to the Aftion, which he is go- 
 ing to perform. He has Pity on his Beauty, 
 and his Youth ; and is loath to deftroy fuch a 
 Mafterpiece of Nature. He confiders Laufus 
 refcuing his Father, at the Hazard of his own 
 Life, as an Image of himfelf, when he took 
 Anchifes or his Shoulders, and bore him fafe 
 through the Rage of the Fire, and the Op- 
 pofitipn of his Enemies. And therefore in 
 the Pofture of a retiring Man, who avoids 
 the Combat, he ftretches out his Arm in fign 
 of Peace, with his right Foot drawn a little 
 back, and his Breaft bending inward, more 
 like an Orator than a Soldier ; and feems to 
 diffuade the young Man from pulling on his 
 Deftiny, by ^tterppting more than he-was able 
 
 to 
 
PREFACE. 
 
 to perform : Take the PaflTage, as I have thus 
 tranflated it : 
 
 Shouts of Applaufe ran ringing thro' the Fields 
 Fo fee the Son the vanquiJFd Father Jhield : 
 All, fir'd with noble Emulation, firive j 
 And with a Storm of Darts to Difiance drive 
 Fhe Trojan Chief', who held at Bay, from far 
 On his Vulcanian Orb, fuftain'd the War. 
 JEneas thus o'erwhelm'd, on ev'ry fide, D 
 
 Fheir firjl AJJault undaunted did abide *, C 
 And thus to Laufus, loud, with friendlyC 
 threatning cry'd, _) 
 
 Why wilt thou ru(h to certain Death, and rage 
 In rajh Attempts beyond thy tender Age, 
 Betray'd by pious Love ? ; 
 
 And afterwards, 
 
 He griev'd, he wept, the Si^t an Image 
 brought ■ ■ " 
 
 Of his own filial Love', a fadly pleafmg 
 thought. ‘ 
 
 But befide the Out-lInes of the Pofture, the 
 D fign of the Figure comprehends in the next 
 Place the Forms of Faces which are to be 
 different : and fo in a Poem, or a Play, muft 
 the feveral;Ci»«r<?iS?^yj?pliihe Perfons b.e diftin- 
 
 guifh’d 
 
fguidi’d from each other. I knew a Poety 
 whom out of Refpeft I will not name, who 
 being too Witty himfelf, cou’d draw nothing 
 but Wits in a Comedy of his : even his Fools 
 were in infedled with the Difeafe of their Au- 
 thor. They overflow’d with fmart Repartees, 
 and were only diftinguilTi’d from the intend- 
 ed Wits, by being call’d Coxcombs ; though 
 they deferv’d not fo fcandalous a Name. An- 
 other, who had a great Genius for ’Pragedy^ 
 following the Fury of his natural Temper, 
 made every Man and Woman too, in his 
 PlaySy Hark raging mad : there was not a 
 fober Perfon to be had for Love or Money : 
 All was tempeftuous and bluftering ; Heaven 
 and Earth were coming together at every 
 Word ; a mere Hurricane from the beginning 
 to the end *, and every A6tor feem’d to be 
 haflening on the Day of Judgment. 
 
 Let every Member be made for its own Head, 
 fays our Author^ not a wither’d Hand to a 
 young Face, So in the Perfons of a Play^ 
 whatfoever is faid or done by any of them, 
 mult be confident with the Manners which the 
 Poet has given them diftintdly : and even the 
 Habits muft be proper to the Degrees and Hu- 
 mours of the Perfons, as well as in a Picture. 
 He who enter’d in the firft Ad, a young 
 
 Man, 
 
Ixiv 
 
 PREFACE. 
 
 Man, like Pericles Prince of Tyre^ muft not be 
 in Danger, in the fifth Aft, of committing 
 Inceft with his Daughter : nor an Ufurer, 
 without great Probability and Caufes of Re- 
 pentance, be turn’d into a Cutting Moorcraft. 
 
 I am not fatisfy’d, that the Compaiifon 
 betwixt the two Arts in the laft Paragraph is 
 altogether fo juft as it might have been •, but 
 I am fare of this which follows. 
 
 The principal Figure of the SubjeSl., muft ap^ 
 pear in the midft of the Picture., under the prin^ 
 cipal Lights to diftinguijh it from the reft^ which 
 are only its Attendants^ Thus in a Tragedy, or 
 an Epique Poem, the Hero of the Piece muft be 
 advanc’d foremoft to the View of the Reader 
 or Spedlator : He muft outfhine the reft of 
 all the Char alters : Pie muft appear the Prince 
 of them, like the Sun in the Copernican Syjlemf 
 encompafs’d with the lefs noble Planets. Be- 
 caufe the Hero is the Centre of the main Ac- 
 tion, ail the Lines from the Circumference 
 tend to him alone : He is the chief Objeft 
 of Pity in the Drama, and of Admiration in 
 the Epique Poem. 
 
 As in a Pifture, befides the principal Fi- 
 gures which compofe it, and are plac’d in the 
 midft of it, there are lefs Grouppes, or Knots 
 of Figures difpos’d at proper Diftances, which 
 
 I 
 
 arc 
 
xlv 
 
 f 
 
 PREFACE. 
 
 ■ are Parts of the Piece, and feem to carry on 
 the fame Defign in a more inferior manner. 
 So in Epiq^ue Poetry^ there are Epifodes, and 
 a Chorus in Eragedy, which are Members of 
 the A6tion, as growing out of if, not inferr- 
 ed into it. Such, in the ninth Book of the 
 JEneis^ is the Epifode of Nifus and Euryalus : 
 the Adventure belongs to them alone ; they 
 alone are the Objects of Compaffion and Ad- 
 miration ; but their Bufinefs which they car- 
 ry on, is the general Concernment of the 
 ^Trojan Camp, then beleaguer’d by Eurnus and 
 the Latines, as the Chrijlians were lately by 
 the Furks. They were to advertife the chief 
 Hero of the Diftreffes of his Subjedls, occa- 
 fion’d by his Abfence, to crave his Succour, 
 and folicit him to haften his Return. 
 
 The Grecian Tragedy was at firft nothing 
 but a Chorus of Singers : afterwards one Adlor 
 was introduc’d, which was the Poet hirafelf, 
 who entertain’d the People with a Difcourfe 
 in Verfe, betwixt the Paufes of the Singing. 
 This fucceeding with the People, more Adiors 
 were added, to make the Variety the greater ; 
 and in procefs of Time, the Chorus only fung 
 betwixt the Adis ; and the Coryphaus, or Chief 
 of them, fpoke for the reft, as an Adlor con- 
 cern’d in the Bufinefs of the Play. 
 
 Thus 
 
xlvi PREFACE. 
 
 Thus T* ragedy was perfected by degrees, and 
 being arriv’d at that Perfeftion, the Painters 
 might probably take the Hint drom thence, 
 of adding Grouppes to their Pidlures. But 
 as a good Pidiure may be without a Grouppe, 
 fo a good Tragedy may fubfift without a Cho- 
 rus, notwithftanding any Reafons which have 
 been given by Dacier to the contrary. 
 
 Monfieur Racine has indeed us’d it in his 
 EJiher, but not that he found any Neceffity 
 of it, as the French Critick would infinuate. 
 The Chorus at St. Cyr, was only to give the 
 young Ladies an occafion of entertaining the 
 King with vocal Mufick, and of commend- 
 ing their own Voices. The Play it felf was 
 never intended for the publick Stage, nor 
 without any Difparagement to the learned 
 Author, could poflibly have fucceeded there, 
 and much lefs in the Tranflation of it here. 
 Mr. Wycherley, when we read it together, was 
 of my Opinion in this, or rather I of his j 
 for it becomes me fo to fpeak of fo excellent 
 a Poet, and fo great a Judge. But fince I 
 am in this place, as Virgil fays, Spatiis esc- 
 clufus iniquis ; that is, fliorten’d in my Time^ 
 I will give no other Reafon, than that it is 
 impradlicable on our Stage. A new Theatre 
 much more ample, and much deeper, muft 
 I be 
 
PREFACE. 
 
 be made for that purpofe, befides the Coft of 
 fometimes forty or fifty Habits, which is an 
 Expence too large to be fupply’d by a Com- 
 pany of ASlors. ’Tis true, I fliould not be 
 forry to fee a Chorus on a ’Theatri, more than 
 as large and as deep again as ours, built and 
 adorn’d at a King's Charges ; and on that Con- 
 dition, and another, which is, that my Hands 
 were not bound behind me, as now they are, 
 I fhould not defpair of making fuch a Tragedy, 
 as might be both inftruftive and delightful, 
 according to the manner of the Grecians. 
 
 To make a Sketch, or a more perfect Mo- 
 del of a Pidlure, is in the Language of Poets, 
 to draw up the Scenary of a Play, and the 
 Reafon is the fame for both % to guide the 
 Undertaking, and to preferve the Remem- 
 brance of fuch Things, whofe Natures are 
 difficult to retain. 
 
 To avoid Abfurdities and Incongruities, is 
 the fame Law eftabliffi’d for both Arts. The 
 Painter is not to paint a Cloud at the Bottom 
 of a Pidlure, but in the uppermoft Parts : nor 
 the Poet to place what is proper to the End, 
 or Middle, in the Beginning of a Poem. I 
 might enlarge on this, but there are few Poets 
 or Painters, who can be fuppos’d to fin fo 
 grofsly againft the Laws of Nature, and of 
 d Art.. 
 
 3Clvii 
 
xlviil 
 
 PREFACE. 
 
 Art. I remember only one Play., and for once : 
 I will call it by its Name, ‘The Slighted Maid: 
 where there is nothing in the Firji Adi, but 
 what might have been faid, or done in the 
 Fifth i nor any thing in the Midft, which 
 might not have been plac’d as well in the Be- 
 ginning, or the End. To exprefs the Paffions 
 which are feared on the Heart by outward 
 Signs, is one great Precept of the Painters, 
 and very difficult to perform. In Poetry, the 
 fame Paffions and Motions of the Mind are to 
 be exprefs’d ; and in this confifts the principal 
 Difficulty, as well as the Excellency of that 
 Art. This (fays my Author) is the Gift of 
 Jupiter : and to fpeak in the fame Heathen 
 Language, we call it the Gift of our Apollo ; 
 not to be obtain’d by Pains or Study, if we 
 are not born to it. For the Motions which 
 are ftudied, are never fo natural as thofe which 
 break out in the Height of a real Paffion. 
 Mr. Otway poffefs’d this Part as thoroughly as. 
 any of the Ancients or Moderns. I will not 
 defend every thing in his Venice preferv'd, but 
 I mufl: bear this Teftimony to his Memory, 
 That the Paffions are truly touch’d in it, though 
 perhaps there is fomewhat to be defir’d both 
 in the Grounds of them, and in the Height 
 
 and 
 
PREFACE. xhx 
 
 and Elegance of Expreflion *, but Nature is 
 there, which is the greateft Beauty. 
 
 In the Pajfions, fays our Author, we muji 
 have a very great Regard to the ^ality of the 
 Perfons who are aSlually poffefs^d with them. 
 
 The Joy of a Monarch for the News of a 
 Victory, mufl: not be exprefsM like the Ex- 
 tafie of a Harlequin on the Receipt of a Let- 
 ter from his Miftrefs : This is fo much the 
 fame in both the Arts^ that it is no longer a 
 Comparifon. What he fays of Face-Paintings 
 or the Portrait of any one particular Perfon, 
 concerning the Likenefs, is alfo as applicable 
 to Poetry. In the Char abler of an Hero^ as 
 well as in an inferior Figure, there is a better, 
 or worfe Likenefs to be taken : the better is a 
 Panegyricks if it be not talfe •, and the worfe 
 is a Libel. Sophocles (fays Arifotle) always 
 drew Men as they ought to be : that is, bet- 
 ter than they were. Another, whofe Name 
 I have forgotten, drew them worfe than na- 
 turally they were. Euripides alter’d nothing 
 in the Charadler, but made them fuch as they 
 were reprefen ted by Hiftorys Epique Poetry's or 
 tradition. Of the three, the Draught of 
 Sophocles is moft commended by Ariftotle. I 
 have follow’d it in that Part of OEdipuSs 
 which I writ : though perhaps I have made 
 d 2 him 
 
1 
 
 PREFACE. 
 
 him too good a Man. But my Charaders of 
 Anthony and Cleopatra, though they are fa- 
 vourable to them, have nothing of outrageous 
 Panegyrick, their Paflions were their own, and 
 fuch as were given them by Hijlory, only the 
 Deformities of them were caft into Shadows, 
 that they might be Objeds of Compaflion : 
 whereas, if I had chofen a Noon-day Light for 
 them, fomewhat muft have been difeover’d, 
 which would rather have mov’d our Hatred 
 than our Pity. 
 
 The Gothic Manner, and the barbarous Or- 
 naments, which are to be avoided in a Pi£iure, 
 are juft the fame with thofe in an ill order’d 
 Play. For Example, our Englijh Lragi-Cotnedy 
 muft be confefs’d to be wholly Gothic, not- 
 withftanding the Succefs which it has found 
 upon our Lheatre ; and in the Pajlor Fido of 
 Cuarini, even though Corifea and the Satyr 
 contribute fomewhat to the main Adion. 
 Neither can I defend my Spanijh Friar, as 
 fond as otherwife I am of it, from this Impu- 
 tation : for though the comical Parts are di- 
 verting, and the ferious moving, yet they are 
 of an unnatural Mingle. For Mirth and Gra- 
 vity deftroy each other, and are no more to 
 be allow’d for decent, than a gay Widow 
 laughing in a mourning Habit. 
 
 I 
 
Ii 
 
 PREFACE. 
 
 I had almofl: forgotten one confiderable 
 Refemblance. Du Frefno^ tells us, Fhat the 
 Figures of the Groufpes^ tnujl not he all on a 
 Side, that is, with their Face and Bodies all 
 turned the fame way ; hut muft contraft each 
 other hy their feveral Pojitions. Thus in a 
 Play, fome Charafters muft be rais’d to op* 
 pofe others, and to fet them off the better, 
 according td the old Maxim, Contraria juxta 
 fe pojita, magis elucefcunt. Thus in the Scorn- 
 ful Lady, the Ufurer is fet to confront the 
 Prodigal. Thus in my 'Tyrannic Love, the 
 Atheift Maximin is oppos’d to the Charadler 
 of St. Catherine. 
 
 I am now come, though with the Omif- 
 fion of many Likenejfes, to the third Part of 
 Painting, which is call’d the Cromatique or 
 Colouring. Exprejfwn, and all that belongs to 
 Words, is that in a Poem, which Colouring 
 is in a PiSlure. The Colours well chofen, in 
 their proper Places, together with the Lights 
 and Shadows which belong to them, lighten 
 the Defign, and make it pleafing to the Eye. 
 The Words, the Expreflions, the Tropes and 
 Figures, the Verfification, and all the other 
 Elegancies of Sound, as Cadences, Turns of 
 Words upon the Thought, and many other 
 Things, which are all Parts of Expreffion, 
 d 3 perform 
 
lii 
 
 PREFACE. 
 
 perform cxaftly the fame Office both in Dra- 
 tnatique and E-pique Poetry. Our Author calls 
 Colouring, Lena Sororis., in plain Englijh, ’The 
 Bawd of her Sifter, the Dejign or Drawing : 
 Ihe deaths, fhe drefles her up, fhe paints her, 
 ftie makes her appear more lovely than natu- 
 rally fhe is, fhe procures for the Dejign, and 
 makes Lovers for her. For the Dejign of it 
 felf, is only fo many naked Lines. Thus in 
 Poetry, the Exprejfton is that which charms 
 the Reader, and beautifies the Defign, which 
 js only the Out-lines of the Fables. *Tis true, 
 the Dejign muft of it felf be good : if it be 
 vicious or (in one Word) unpleafing, the Coft 
 of Colouring is thrown away upon it. *Tis 
 an ugly Woman in a rich Habit, fet out with 
 Jewels j nothing can become her. But grant- 
 ing the Dejign to be moderately good, ’tis 
 like an excellent Complexion with indiffe- 
 rent Features ; the White and Red well min- 
 gled on the Face, make what was before but 
 paffable, appear beautiful. Operum Colores is 
 the very Word which Horace ufes, to fignify 
 Words and elegant Expreffions, of which he 
 himfelf was fo great Matter in his Odes. A- 
 mongft the Antients, Zeuxis was mofl famous 
 for his Colouring : Amongft the Moderns, Ti- 
 tian and Correggio, Of the two antient Epique 
 
 Poets, 
 
f 
 
 PREFACE. lili 
 
 Poets, who have fo far excel I’d all the Mo- 
 derns, the Invention and Defign were the par- 
 ticular Talents of Homer. Virgil muft yield 
 to him in both ; for the Dejign of the Latin 
 was borrowed from the Grecian. But the Dic- 
 tio Virgiliana, the Expreffion of Wgil, his Co- 
 louring, was incomparably the better ; and in 
 that I have always endeavour’d to copy him. 
 
 Moft of the Pedants (I know) maintain the 
 contrary, and will have Homer excel even in 
 this Part. But of all People, as They are the 
 moft ill-manner’d, fo they are the worft Judges, 
 even of Words, which are their Province ; 
 they feldom know more than the Grammati- 
 cal Conftruftion, unlefs they are born with a 
 Poetical Genius, which is a rare Portion a- 
 mongft them. Yet fome I know may ftand 
 excepted, and fuch I honour. Virgil is fo 
 exa6t in every Word, that none can be chan- 
 ged but for a worfe : nor any one remov’d 
 from its Place, but the Harmony will be al- 
 ter’d. He pretends fometimes to trip, but 
 ’tis only to make you think him in Danger 
 of a Fall, when he is moft fecure. Like a 
 fkilful Dancer on the Ropes (if you will par- 
 don ;;he Meannefs of the Similitude) who flips 
 willingly, and makes a feeming Stumble, that 
 you may think him in great Hazard of break- 
 d 4 ing 
 
liv 
 
 PREFACE. 
 
 ing his Neck, while at the fame time he is 
 only giving you a Proof of his Dexterity. 
 My late Lord Rofcommon was often pleas’d 
 with this Reflexion, and with the Examples 
 of it in this admirable Author, 
 
 I have not I^eifure to run through the 
 whole Comparifon of Lights and Shadows, with 
 Tropes and Figures yet I cannot but take no- 
 tice of Metaphors, which like them have Power 
 to leflen' or greaten any thing. Strong and 
 glowing Colours are the juft Refemblances of 
 hold Metaphors, but both muft be judicioufly 
 apply’d i for there is a difference betwixt Da- 
 ring and Fool-hardinefs. Lucan and Statius 
 often ventur’d them too far j our Virgil ne- 
 ver. But the great Defeat of the Pharfaliu., 
 and the Thehais, was in the Defign : if that 
 had been more perfeft, we might have for- 
 given many of their bold Strokes in the Co-- 
 louring, or at leaft excus’d them : Yet fome 
 of them are fuch as E^mojihenes or Cicero could 
 not have defended. Virgil, if he could have 
 feen the firft Verfes of the S^lva, would have 
 thought Statius mad, in his fuftian Defcrip- 
 tion of the Statue on the brazen Horfe. But 
 that Poet was always in a Foam at his fetting 
 out, even before the Motion of the Race 
 had warm’d him. The Sobernels of Virgil, 
 
 whom 
 
PREFACE. 
 
 he read (it feems to little purpofe) 
 hiight have (hown him the difference betwixt 
 Jrma virumq\ canoy and Magnanimum JEa- 
 cidem, formidatamq-, tonanti Progenim. But 
 Virgil knew how to rife by degrees in his 
 Expreflions : Statius was in his towring 
 Heights at the firft Stretch of his Pinions. 
 The Defcription of his Running-horfe, juft 
 ftarting in the Funeral Games for Archemo^ 
 rusy though the Verfes are wonderfully fine, 
 are the true Image of their Author. 
 
 Stare adeo nefcity pereunt veftigia milk 
 Ante fugam 't alfentemq}» ferit gravis ungula 
 campum. 
 
 Which would coft me an Hour, if I had the 
 Leifure to tranflate them, there is fo much 
 of Beauty in the Original. Virgily as he be-^ 
 ter knew his ColourSy fo he knew better how 
 and where to place them. In as much hafte 
 as I am, I cannot forbear giving one Exam- 
 ple. ’Tis fajd of him, that he read the Se-f 
 condy Fourthy and Sixth Books of his AEneis 
 to Augujtus Cafar. In the Sixthy (which we 
 are fure he read, becaufe we know QSlavia was 
 prefent, who rewarded him fo bountifully for 
 the twenty Verfes which were made in Honour 
 of her deceas’d Son MarceUus) in this Sixth 
 
 Book, 
 
Ivi 
 
 PREFACE. 
 
 Book, I fay, the Poet fpeaking of 
 the Trumpeter, fays, 
 
 ^0 non praflemtior alters 
 
 Are ciere viros, 
 
 and broke off in the Hemijiich, or midft of 
 the Verfe : but in the very reading, feiz’d as 
 it were with a divine Fury, he made up the 
 latter Part of the Hemijiich, with thefe fol- 
 lowing Words, 
 
 — Martemq;, accendere cantu. 
 
 How warm, nay, how glowing a Colouring Is 
 thisl In the Beginning of the Verfe, the 
 Word As, or Brafs, was taken for a Trum- 
 pet, becaufe the Inflrument was made of that 
 Metal, which of itfelf was fine ; but in the 
 latter end, which was made ex tempore, you 
 
 fee three Metaphors, Martemque, accent 
 
 dere, — — cantu. Good Heavens ! how the 
 plain Senfe is rais’d by the Beauty of the 
 Words. But this was Happinefs, the former 
 might be only Judgment. This was the cu^ 
 riofa Felicitas, which Petronius attributes to 
 Horace. *Tis the Pencil thrown luckily full 
 upon the Horfe’s Mouth, to exprefs the Foam, 
 which the Painter, with all his Skill, could 
 not perform without it. Thefe hits of Words 
 
 i tl 
 
PREFACE. 
 
 a true Poet often finds, as I may fay, without 
 feeking : but he knows their Value when he 
 finds them, and is infinitely pleas’d. A bad 
 Poet may fometimes light on them, but he 
 difcerns not a Diamond from a Briftol-ftonCy 
 and would have been of the Cock’s Mind in 
 jEfop, a Grain of Barley would have pleas’d 
 him better than the Jewel. The Lights and 
 Shadows which belong to Colouring., put /Sie 
 in Mind of that Verfe of Horace. 
 
 Hoc amat ohfcurum, vult hoc fub luce videri. 
 
 Some Parts of a Poem require to be amply 
 written, and with all the Force and Elegance 
 of Words : Others muft be call into Sha- 
 dows ; that is, pafs’d over in Silence, or but 
 faintly touch’d. This belongs wholly to the 
 Judgment of the Poet and the Painter. The 
 moft beautiful Parts of the Picture and the 
 Poem muft be the moft finilh’d ; the Colours 
 and Words moft chofen i many things in both, 
 which are not deferving of this Care, muft be 
 Ihifted off, content with vulgar Expreflions, 
 and thofe very fhort, and left, as in a Shadow, 
 to the Imagination of the Reader. 
 
 We have the Proverb, Manum de tabula^ 
 from the Painters j which fignifies, to know 
 when to give over, and to lay by the Pencil. 
 
PREFACE. 
 
 Both Homer and yirgil pradis’d this Precept 
 wonderfully well, but the better of the 
 
 two. Homer knew, that when He5lor was 
 (lain, Troy was as good as already taken ; 
 therefore he concludes his Adtion there. For, 
 what follows in the Funerals of Patroclus^ and 
 the Redemption of HeSforh Body, is not (pro- 
 perly fpeaking) a part of the main Adlion. 
 But Virgil concludes with the Death of Tur~ 
 ms : For after that Difficulty was remov’d, 
 Mneas might marry, and eftabliffi the Tro^ 
 jans when he pleas’d. This Rule I had be- 
 fore my Eyes in the Conclufion of the Spa- 
 niflo Friar^ when the Difcovery was made, 
 that the King was living •, which was the 
 Knot of the Play unty’d : the reft is Ihut up 
 in the Compafs of fome few Lines, becaufe 
 nothing then hinder’d the Happinefs of To- 
 rifmond and Leonora. The Faults of that 
 Drama are in the Kind of it, which is Tragi- 
 comedy. But it was given to the People, 
 and I never writ any Thing for my felf, but 
 Anthony and Cleopatra. 
 
 This Remark^ I muft acknowledge, is not lb 
 proper for the Colouring as the Dejign, but it 
 will hold for both. As the Words, (^c. are 
 evidently ffiewn to be the Cloathing of the 
 Thought, in the fame Senfe as Colours are 
 
 the 
 
Ibc 
 
 PREFACE. 
 
 the Cloathing of the Defign j fo the Painter 
 and the Poet ought to judge exaftly, when 
 the Colouring and ExprefTions are perfefb, and 
 then to think their Work is truly finifhed. 
 felles faid of Protogenes^ lAiat he knew not when 
 to give over. A Work may be over-wrought, 
 as well as under-wrought : Too much Labour 
 often takes away the Spirit, by adding to the 
 polilhing : fo that there remains nothing but 
 a dull Corredlnefs, a Piece without any con- 
 fiderable Faults, but with few Beauties ; for 
 when the Spirits are drawn off, there is no- 
 thing but a capit mortuum. Statius never 
 thought an Expreflion could be bold enough ; 
 and if a bolder could be found, he rejedted 
 the firft. Virgil had Judgment enough to 
 know Daring was neceffary, but he knew the 
 Difference betwixt a glowing Colour and a 
 glaring : As when he compar’d the (hocking 
 of the Fleets at AStium., to the juftling of I- 
 Jlands rent from their Foundations, and meet- 
 ing in the Ocean. He knew the Comparifon 
 was forc’d beyond Nature, and rais’d too high : 
 He therefore foftens tht Metaphor with a Cre- 
 das. You would almoft believe, that Moun- 
 tains or Iflands rufh’d againft each other. 
 
 Credas innare revulfas 
 
 Cycladas j atit montes concurrere montibus aquos. 
 
 But 
 
lx 
 
 PREFACE. 
 
 But here I muft break off without finiflilng 
 the Difcourfe. 
 
 Cynthius aurem vellit^ IS admonuit, ^c, the 
 Things which are behind are of too nice a 
 Confideration for an Ejfay begun and ended 
 in twelve Mornings : and perhaps the Judges 
 of Fainting and Poetry, when I tell them, 
 how fliort a Time it coft me, may make me 
 the fame Anfwer which my late Lord Roche^ 
 fier made to one, who, to commend a tra- 
 gedy, faid it was written in three Weeks : 
 How the Devil could he be fo long about it ? 
 For that Poem was infamoufly bad, and I 
 doubt this Parallel is little better : and then 
 the Shortnefs of the Time is fo far from be- 
 ing a Commendation, that it is fcarcely an 
 Excufe. But if I have really drawn a Por- 
 trait to the Knees, or an Half-length, with 
 a tolerable Likenefs, then I may plead with 
 fome Juftice for my felf, that the reft is left 
 . to the Imagination. Let fome better Artiji 
 provide himfelf of a deeper Canvas ; and ta- 
 king thefe Hints which I have given, fet the 
 Figure on its Legs, and finifh it in the Inven- 
 tion, Deftgn and Colouring. 
 
 1 
 
 THE 
 
THE 
 
 PREFACE 
 
 O F 
 
 Monil de Tiles, 
 
 The French Tranflator, 
 
 MONG all the beautiful and de~ 
 lightful Arts, //6^/ c/" Painting has 
 always found the moft Lovers : 
 the Number of them almojl in- 
 cluaing ail Mankind. • Of whom great Multi- 
 tudes are daily found, who value themfelves on 
 the Knowledge of it ; either becaufe they keep 
 Company wtttj Painters ; or that they have feen 
 good Pieces j or laftly, becaufe their Gufto is 
 
 naturally 
 
Ixli 
 
 PREFACE. 
 
 naturally good. Which notwithjlanding^ that 
 Knowledge of theirs {if we may fo call it) is 
 fo very fuperficial^ andrfoAl grounded., that it 
 is impoffible for them to defcribe in what conjifts 
 the Beauty of thofe Works, which they admire } 
 or the Faults, which are in the greatejl part of 
 thofe which they condemn. And truly 'tis not 
 hard to find, that this proceeds from no other 
 Caufe, than that they are not furniJFd with 
 Rules by which to judge: nor have any folid 
 Foundations, which are as fo many Lights fet 
 up to clear their Underfianding, and lead them 
 to an entire and certain Knowledge. I think it 
 fuperfiuous to prove, that this is neceffary to 
 the Knowledge of Painting. *'Tis fufficient, that 
 Painting be acknowledg’d for an Art *, for that 
 being granted, it follows without Difpute, that 
 no Arts are without their Precepts. I Jhall 
 fatisfy myfelf with telling you, that this little 
 Treatife will furnijh you with infallible Rules 
 of judging truly : fince they are not only founded 
 upon right Reafon, but upon the bejt Pieces of 
 the bejt Mailers, which our Author hath care~ 
 fully examin’d, during the Space of more than 
 thirty Tears j and on which he has made all the 
 Refleblions which are neceffary, to render this 
 Treatife worthy of Pofterity : which though 
 little in Bulk, yet contains mojl judicious Re~ 
 t marks i 
 
PREFACE. 
 
 inarh ; and fuffers nothing to efcape, that is 
 ejfential to the Subject which it handles. If you 
 will pleafe to read it with Attention^ you will 
 find it capable of ginjing the moji nice and deli- 
 cate fort of Knowledge, not only to the Lovers, 
 but even to the Profeffors of that Art. 
 
 It would be too long to tell you the particular 
 Advantages^ which it has above all the Books 
 that have appear'd before it^ in this kind : you 
 need only read it, and that will convince you of 
 this H'ruth. All that I will allow my felf to 
 fay, is only this, That there is not a Word in it, 
 which carries not its weight ; whereas in all 
 others, there are two conftderdble Faults, which 
 lie open to the fight, (viz,) That faying too 
 much, they always lay too little. I afj'ure 
 
 my felf that the Reader will own *tis a Work 
 of general Profit : to the Lovers of Paintingj 
 for their InftruSHon how to judge knowingly, 
 from the Reafon of the thing ; and to the 
 Painters themfelves, by removing their Difficul- 
 ties, that they may work with Pleafure •, becaufe 
 they may be in feme manner certain, that their 
 ProduSHons are good. 'Fis to be ufed like Spi- 
 rits, and precious Liquors : the lefs you drink 
 of it at a time, 'tis with the greater Pleafure. 
 Read it often, and but Utile at once, that you 
 may digeji it better y and dwell particularly on 
 e thofs 
 
Ixlv 
 
 PREFACE. 
 
 thofe Pajfages which you find marJdd with an 
 Afterifm *. For the Obfervations which follow 
 fuch a Note, will give you a clearer Light, on 
 the Matter which is there treated. Tou will 
 find them by the Numbers which are on the fsde 
 of the Tranflation, from five to five Verfes, by 
 fearching for the like Number in the Remarks 
 which are at the end of it, and which are di~ 
 ftinguifbfd from each other by this Note 
 Tou will find in the latter Pages of this Book, 
 the Judgment of the Author on thofe Painters, 
 who have acquir'd the greateft Reputation in 
 the World : amongjl whom, he was not willing 
 to comprehend thofe who are now living. They 
 are undoubtedly his, as being found among his 
 Papers, written in his own Hand. 
 
 As for the Profe Tranflation, which you 
 will find on the other fide of the Latin Poem, 
 1 mujl inform you on what Occajion, and in 
 what manner it was Perform'd. The Love 
 which I had for Painting, and the Pleajure 
 which I found in the Exercife of that noble 
 Art, at my Leifure Hours, gave me the Dejire 
 of being acquainted with the late Monf. du 
 FRESNOY, who was generally reputed to 
 ha'tje a thorough Knowledge of it. Our Ac- 
 quaintance at length proceeded to that Degree of 
 
 Intimacy, that he entrufied me with his Poem, 
 
 which 
 
Ixv 
 
 r 
 
 PREFACE. 
 
 •which he believ'd me capable both of Under- 
 flanding, and Tranflating ; a7id accordingly de- 
 Jired me to Undertake it. 'The Truth is, PFe 
 had convers'd fo often on that Subjeft, and He 
 bad communicated his Thoughts of it fo fully to 
 me, that I had not the leaf remaining Difficulty 
 concerning it. I undertook therefore to Tranflatc 
 it, and employ'd my felf in it zvith Pleafure, 
 Care, and Affiiduity : after which, I put it into 
 his Hands, and he Alter'd in it what he pleas'd ; 
 till at laft, it was wholly to his Mind. And 
 then he gave his Con fen t that it Jhould be Pub- 
 lijh'd: but his Death preventing that Defign, 
 / thought it a Wrong to his Memory, to de- 
 prive Mankind any longer of this Tranflation, 
 which I may fafely affirm to be done according 
 to the true Senfe of the Author, and to his 
 liking : fmce He himfelf has given great Tefti- 
 monies of his Approbation to many of his 
 Friends. And they who were acquainted with 
 him, know his Humour to be fuch, that he 
 would never conftrain himfelf fo far, as to 
 commend what he did not really approve. / 
 thought my felf oblig'd to fay thus much, in 
 Vindication of the Faithfulnefs of my Work, to 
 thofe who underhand not the Latin : for as to 
 thofe who are converfant in both the Tongues, I 
 leave them to make their own Judgment of it. 
 
 e 2 The 
 
Ixvi PREFACE. 
 
 'Fhe Remarks U/hich I have added to his 
 Work, are alfo wholly conformable to his Opi- 
 nions : and I am certain that he would not have 
 difapprov'd them. I have endeavour'd in them 
 to explain fame of the moji obfeure PafTages, 
 and thofe which are moft neceffary to be under- 
 ftoOd : and I have done this according to the 
 manner wherein he us'd to exprefs himfelf in 
 many Converfations which we had together. I 
 have confin'd them alfo to the narreweji Compafs 
 I was able, that I might not tire the Patience 
 of the Reader, and that they might be read by 
 all Perfons. But if it happens, that they are 
 not to the Tafte of forne Readers {as doubtlefs 
 it will fo fall out) I leave them entirely to theix 
 own Diferetion : and Jhall not be difpleas'd that 
 another Hand fhould fucceed better. I fkall 
 only beg this Favour from them, that in reading 
 what 1 have written, they will bring no parti- 
 cular Gufto along with them, or any Preven- 
 tion <?/ Mind ; and that whatfoever Judgment 
 they make, it may be purely their own, whether 
 it be in my Favour, or in my Condemnation. 
 
 A TABLE 
 
A 
 
 TABLE 
 
 OF THE 
 
 PRECEPTS 
 
 Contain’d in this Treatise. 
 
 ^ F ’what is Beautiful. 
 
 Page 7 
 
 ^ Of Theory and PraSlice. 
 
 1 1 
 
 Concerning (he Subje£l. 
 
 ' 13 
 
 Invencion the firfi fart of Paintings 
 
 13 
 
 The Oifpofition of the whole Work. 
 
 i 5 
 
 The Faithfulnefs of the Subject. 
 
 15 
 
 Whatfoever falls the Subjebl^ to be rejeBed. 1 5 
 
 Defign, or Drawing, the fecond fart of Paint- 
 
 ing. 
 
 17 
 
 Variety in the Figures. 
 
 19 
 
 
 The 
 
INDEX. I 
 
 Members ani Drapery of every Figure to he 1 
 fuitable to it, 191 
 
 ^he Actions of Mutes to be imitated. 19 ; 
 
 Of the principal Figure of the Subject, 2 1 
 Grouppes of Figures, 2 1 
 
 The Diverfity of Attitudes in the Grouppes. 2 1 
 Equality of the Piece. 2 1 
 
 Of the Number of Figures. 23 ■ 
 
 Of the Joints,, and Feet. 23 
 
 The Motions of the Hands and Head muft agree, 
 
 23 
 
 What muft be avoided in the Diftribution of the 
 
 Figures. 2 5 
 
 That we muft not tie our felves to Nature, but 
 accommodate her to our Genius. 25 
 
 Ancient Figures the Rules of imitating Nature. 
 
 27 
 
 A fingle Figure, how to be treated. 2 7 
 
 Of the Draperies. 2 7 
 
 What things contribute to adorn the Picture. 3 1 
 Of precious Stones and Pearls for Ornament. 3 r 
 The Model. 31 
 
 The Scene of the Picture, 3 1 
 
 The Graces and the Noblenefs. 3 1 
 
 Eet every thing be fet in its proper Place. 33 
 Of the Pajfwns. 3 3 
 
 Gothique Ornaments to be avoided. 35 
 
 Colouring the third part of Painting. 37 
 
 The 
 
INDEX. 
 
 Conduct of the fints of Light and Sha- 
 dozvs. 29 
 
 Of dark Bodies on light Grounds, 43 
 
 ‘that there muft not be two equal Lights in a 
 Piblure. 43 
 
 Of White and Black. 45 
 
 the Refleblion of Colours. 47 
 
 the Union of Colours. 47 
 
 Of the Interpofition of Air. 49 
 
 the Relation of Diftances. 49 
 
 Of Bodies which are diftanc'd, 49 
 
 Of Bodies which are contiguous, and of thofe 
 which are feparated. 49 
 
 Contrary Extremities to be avoided. 5 1 
 
 Diverfity of tints and Colours. 51 
 
 the Choice of Light. 5 r 
 
 Of certain things relating to the Prabiical part. 
 
 51 
 
 the Field, or Ground of the Piblure. 53 
 
 Of the Vivacity of Colours. 53 
 
 Of Shadows. . 53 
 
 the Piblure to he of one Piece. 55 
 
 the Looking- glafs the PaintePs heft Mafter. 55 
 An half Figure, or a whole one before others. 55 
 A Portrait. 55 
 
 the Place of the PiSfure. 57 
 
 Large Lights. 57 
 
 What Lights are requifite^ 57 
 
 I things 
 
INDEX. 
 
 Ijilngs which are vicious in Fainting to he d- 
 voided. 57 
 
 *Xhe prudential part of a Painter, 59 
 
 The Idea of a beautiful Piece. 59 
 
 Advice to a young Painter. 59 
 
 Art muft he fuhfervient to the Painter. 61 
 Hiverfity and Facility are pleqfing. 6 r 
 
 The Original muft he in the Heady and the Copy 
 on the Cloth. 63 
 
 The Compafs to he in the Eyes. 63 
 
 Pride an Enemy to good Painting. 63 
 
 Know your felf. 65 
 
 Prahlife perpetually. 65 
 
 The Morning moft proper for Work. 67 
 
 Every Hay do fomething. 67 
 
 The Pajfwns which are true and natural. 67 
 Of Table-Books. 67 
 
 The Method of Studies for a young Painter. 73 
 Nature and Experience perfect Art, 77 
 
 THE 
 
THE 
 
 ART 
 
 O F 
 
 PA INTI NG. 
 
2 
 
 D E 
 
 Arte Graphica 
 
 LIBER. 
 
 T PICTURA POESIS ERIT; 
 
 fimilifque Poeji 
 
 Sit Pi5lura-% refert par amula 
 quaque fororem, 
 
 Alternantque vices nomina ; muta Poejis 
 Dicitur bac^ PiSlura loquens folet ilia vohri. 
 
 ^cd fuit auditu gratum cecinere Poeta ; 
 ^od pulchrum afpeSlu Piblores pingere curant : 
 ^ceque Poetarum Numeris indigna fuere^ 
 
 Non eadem PiSlorum Operam Studiumq\ me^ 
 rentur : 
 
 J 
 
 Amha 
 
® A I N T I N G and Poefy are two The Pajfages 
 
 Sifters, which are fo like in 
 all things, that they mutually an Afterifm 
 lend to each other both their * 
 
 Name and Office. One \s plained in the 
 call’d a dumb Poefy, and the other a fpeak-» Remarks. 
 ing Pitfture. The Poets have never faid any ^ 
 thing but what they believ’d woi^’d pleafe the 
 Ears. And it has been the conftant Endeavour 
 of the Painters to give Pleafure to the Eyes* 
 
 In Ihort, thofe things which the Poets have 
 thought unworthy of their Pens, the Painters 
 have judg’d to be unworthy of their Pencils. 
 
 B 2 * For 
 
 
4 
 
 De Arte Graphica. 
 
 Amha quippe facros ad RelUgionis Honores 
 10. Sy der eos fuperant ignes ^ Aulamque 'Tonantis 
 
 JngreJfiO, Divum afpeSlu^ alloquioque fruuntur ; 
 Oraque magna Deum., £3* diSla ohfervata repor- 
 tant, 
 
 Ccelefiemque fuorum operum mortalibus Ignem. 
 
 Inde per hunc Orbem Jludiis coeuntibus errant, 
 j Carpentes qua digna fui, revolutaque lujlrant 
 
 Tempora, parendis confortibus Argumentis. 
 
 Denique quacunq\ in calo, terraque, marique 
 Longius in tempus durare, ut pulchra, merentur. 
 Nobilitate fua, claroque infignia cafu, 
 
 20. Dives ampla manet PiSlores atque Poetas 
 Materies ; inde alta fonant per facula mundo 
 Nomina, magnanimis Heroibus inde fuperjles 
 Gloria, perpetuoque operum Miracula reflant: 
 Tantus ineji divis Honor Artibus atque Patefias. 
 
 Non 
 
5 
 
 The Art of Tainting. 
 
 * For both “ thofe Arts, that they might 
 “ advance the facred Honours of Religion,” 
 have rais’d themfelves to Heaven ; and, ha- lO. 
 ving found a free Admiflion into the Palace of 
 Jove himfelf, have enjoy’d the Sight and Con- 
 verfation of the Gods ; whofe “ awful Maje- 
 “ fty they obferve, and whofe Didlates they 
 “ communicate to Mankind whom at the 
 fame time , they infpire with thofe Coeleftial 
 Flames, which Ihine fo gloriouHy in their 
 Works, From Heaven they take their paf- 
 iage through the World and “ with con- 
 “ curring Studies” colleft whatfoever they 
 find worthy of them. * They dive (as I 15. 
 may fay) into all pad Ages ; and fearch their 
 Hiflories, for Subjefts which are proper for 
 their ufe : with care avoiding to treat of any 
 but thofe, which by their Noblenefs, or by 
 fome remarkable accident, have deferv’d to be 
 confecrated to Eternity ; whether on the Seas, 
 or Earth, or in the Heavens, And by this 20. 
 their Care and Study, it comes to pafs, that 
 the Glory of Heroes is not extinguilh’d with 
 their Lives : and that thofe admirable Works, 
 thofe Prodigies of Skill, which even yet are 
 the Objedls of our Admiration, are dill pre- 
 ferv’d. * So much thefe Divine Arts have 
 been always honour’d : and fuch Authority 
 B 3 they 
 
6 
 
 25 - 
 
 30 . 
 
 35 * 
 
 Primum 
 Praeceptum. 
 De Pulchro. 
 
 De Arte Graphica. 
 
 Non mihi Vieridum chorus hic, nec Apollo 
 vocandus, 
 
 Majus ut Eloquium numeris, aut Gratia fandi 
 Dogmaticis illuftret opus rationibus horrens : 
 Cum nitida- tantum iA facili digejla loquela. 
 Ornari pr^cepta negent, contenta doceri. 
 
 Nec mihi mens animufve fuit confringere nodos 
 Artificum manibus, quos tacitum dirigit Ufus -, 
 Indolis ut Vigor inde potens olftridlus hebefeat. 
 Normarum numero immani, Geniumq-, moretur: 
 Sed rerum ut pollens Ars Cognitione, gradatim 
 Natur c6 fefe infinuet, verique capacem 
 ^ranfeat in Genium, Geniufq-, ufu induat Artem. 
 
 Pracipua imprimis Artifque potiffima pars efl, 
 Nofje quid in rebus Natura credrit ad Artem 
 Pulchrius, idque Modum juxta. Mentemque Ve- 
 tufiam : 
 
The Art of 'Painting, 7 
 
 they preferve amongfl; Mankind. It will not 25. 
 here be neceflliry to implore the fuccour of Afol- 
 lo^ and the Mules, for the Gracefulnefs of the 
 Difcourfe, or for the Cadence of the Verfes ; 
 which containing only Precepts, have not fo 
 much need of Ornament, as of Perfpicuity. 
 
 I pretend not in this Treatife to tye the 30. 
 Hands of Artifts, “ whom Pradlice only di- 
 “ refts Neither would I ftifle the Ge- 
 nius, by a jumbled Heap of Rules: nor extin- 
 guifh the Fire of a Vein which is lively and 
 abundant. But rather to make this my Bufi- 
 nefs, that Art being ftrengthened by the Know- 
 ledge of Things, may at length pafs into 
 Nature by flow Degrees •, and fo in procefs of 25 - 
 Time, may be fublim’d into a pure Genius, 
 which is capable of choofing judicioufly what 
 is truej and of diftinguifhing betwixt the 
 Beauties of Nature, and that which is low 
 and mean in her •, and that this original Genius 
 by long Exercife and Cuftom, may perfedly 
 poflfefs all the Rules and Secrets of that Art. 
 
 * The principal and moll important part of Precept I. 
 Painting, is to find out, and thoroughly to 
 underlland what Nature has made moft Beau- 
 tiful, and moft proper to this Art; * and 
 that a Choice of it may be made according to 
 the Tafte and Manner of the Ancients : 
 
 B 4 * Without 
 

 De Arte Graphica. 
 
 40. Barbaries cteca 6? temeraria Pulchrum 
 
 Negligity infultans ignotce audacior Arti, 
 
 Ut curare nequity qua non modo noverit ejfe ; 
 lUud apud Veteres fuit unde notabile diblumy 
 Nil Pidtore male fecuriys atque Poeta. 
 
 45 * Cognita amaSy isd amata cupis y fequerifq •, cupita j 
 
 Pajfibus ajfequeris tandem qua fervidus urges : 
 Illa tamen qua pulchra decent ; non omnia cafus 
 §^aliacumque dabunt y etiamve fimillima veris : 
 Nam quamcumque modo fervili haud fufficit ipfam 
 50. Naturam exprimere ad vivum ; fed ut Arbiter 
 
 ArtiSy 
 
 Seliget ex illa tantum pulcherrima Piblor. 
 ^odque minus pulchrum, aut mendofum, corriget 
 ipfe 
 
 Marte fuo. Forma Veneres captando fugaces. 
 
 Utque 
 
^he Art of Tainting. 9 
 
 ^ * Without which all is nothing but a blind 40. 
 
 ■ vand rafli Barbarity ; which rejc.fts what is 
 moft Beautiful, and feems with an audacious 
 Infolence to defpife an Art, of which it is whol- 
 ly ignorant; which has occafion’d thefe words 
 of the Ancients : That no man is fo hold^ fo 
 rajh^ and fo overweening of his own Works., as 
 an ill Painter, and a had Poet, who are not 
 confcious to themfelves of their own Ignorance. 
 
 * We love what we underhand ; we defire 45 * 
 what we love ; we purfue the Enjoyment of 
 thofe things which we defire ; and arrive at 
 laft to the Pofleffion of what we have purfu’d, 
 if we warmly perfift in our Defign. In the 
 mean time, we ought not to expedt, that 
 blind Fortune fhou’d infallibly throw into our 
 Elands thofe Beauties: For though we may 
 light by Chance on fome which are true and 
 natural, yet they may prove either not to be 
 decent, or not to be ornamental. Becaufe it 
 is not fufficient to imitate Nature in every Cir- 50. 
 cumftance, dully, and as it were literally, and 
 minutely ; but it becomes a Painter to take 
 what is moft beautiful, * as being the Sove- 
 reign Judge of his own Art ; “ what is lefs 
 “ beautiful or is faulty, he fhall freely corredt 
 “ by the Dint of his own Genius,” * and per- 
 mit no tranfient Beauties to efcape his Obfer- 
 vation. * In 
 
IO 
 
 II. 
 
 De Specu- 
 latione & 
 Praxi. 
 
 55 - 
 
 6o. 
 
 & 5 . 
 
 De Arte Graphica. 
 
 : 
 
 Utque Manus grandi nil Nomine pradlica 
 dignum 
 
 Ajjequitur^ furum arcan<£ qiiam deficit Artis 
 Lumen., IA in praceps abitura ut c<eca vagatur ; ; 
 Sic nihil Ars opera Manuum privata fupremum i 
 Exequitur, fed languet iners uti vinbla lacertos ; 
 Dijpofttumque typum non lingua pinxit Apelles, 
 
 Ergo licet tota normam haud pojfimus in Arte 
 Ponere {cum nequeant qua fiunt pulcherrima dici) 
 Nilimtir hac paucis, ficrutati fiumma magifira 
 Ttogmata Natura, Artifique Exemplaria prima 
 Altius intuiti •, fic Mens, hahilifique fiacultas 
 Indolis excolitur. Geniumque Scientia complet ; 
 ■JLuxurianfique in Monfira Furor compeficitur Arte: 
 Eft Modus in rebus, funt certi denique Fines, 
 Quos ultra citraque nequit confiftere Redum. 
 
 His 
 
r 
 
 T’he Art of Tainting. 1 1 
 
 * In the lame manner, that bare Praftice, II. 
 deftitute of the Lights of Arr, is always fub- YndTrlalce. 
 je6t to fall into a Precipice, like a blind Tra- , 
 
 veller, without being able to produce any 
 thing which contributes to a folid Reputati- 
 on ; So the Speculative part of Painting, with- 
 out the affiftance of manual operation, can 
 never attain to that Perfedlion which is its 
 Object : but fioathfully languifhes as in a Pri- 
 fon : for it was not with his Tongue that A- 
 pelles perform’d his Noble Works. Therefore 6o. 
 though there are many Things in Painting, 
 of which no precife Rules are to be given 
 (* becaufe the greateft Beauties cannot always 
 be exprefs’d, for want of Terms) yet I fhall 
 not omit to give fome Precepts, which I have 
 feleded from among the mofl: confiderablc 
 which we have receiv’d from Nature, that 
 exadl School-miftrefs, after having examin’d 
 her moft ftcret Recefles, as well as * thofe 
 Mafter-pieces of Antiquity, which were the 
 chief Examples of this Art ; and, ’tis by this 
 means that the Mind, and the natural Difpo- 55, 
 fition are to be cultivated, and that Science . 
 
 perfects Genius ; * and -alfo moderates that 
 Fury of the Fancy which cannot contain it felf 
 within the Bounds of Reafon ; but often car- 
 ries a Man into dangerous Extremes. For there 
 
 ■ \v • 
 
 ts 
 
12 
 
 De Arte Graphica. 
 
 ;|i 
 
 |i 
 
 III. 
 
 De Argu* 
 mento. 
 
 70. 
 
 75 « 
 
 Invemtio 
 prima Pic- 
 tura pars. 
 
 //w pofttiSi erit optandum T^hema nohile, pul~ 
 chrum, 
 
 ^odque V mujiatum circa Formam atque Colorem 
 Sponte capax^ amplam emeritae mox prabeat Arti 
 Materiam^ retegens aliquid Salis ^ Documenti. 
 
 'Tandem opus aggredior \ primoq\ occurrit in 
 Albo 
 
 Difponenda Typi, concepta potente Minerva, 
 Machina, qu<e nojlris Inventio dicitur oris. 
 
 Illa quidem prius ingenuis inJlruSla Sororum 
 Artibus Aonidum, 6? Phoebi fublimior ajlu. 
 
 ^ceren- 
 
r 
 
 The Art of 'Painting. 13 
 
 is a Mean in all things ; and certain Limits or 
 Bounds wherein the Good and the Beautiful con- 
 Jift ; and out of which they never can depart. 
 
 This beinff premis’d, the next thins is to ^ 
 
 or ^ o Loncermng 
 
 make choice of ^ a Subjedl beautirul and no- the Subje&. 
 ble ; which being of it felf capable of all the 
 Charms and Graces, that Colours, and the 
 Elegance of Defign can poflibly give, fhall af- 
 terwards afibrd, to a perfeft and confummate 
 Art, an ample Field of matter wherein to ex- 
 patiate it felf ; to exert all its Power, and to 
 produce fomewhat to the Sight, which is ex- 
 cellent, judicious, * and ingenious ; and at 
 the fame time proper to inftruft, and to en- 
 lighten the Underftanding. 
 
 “ At length I come to the Work itfelf, 
 
 “ and at firft find only a bare drain’d Canvas, 
 
 “ on which the Sketch is to be difpofed 
 ** by the Strength of a happy Imagination 
 * which is what we properly call Inven- 
 tion. 75. 
 
 * INVENTION is a kind of Mufe, Invention 
 which being poffefs’d of the other Advantages ft/e firft Part 
 
 u o n. j u • >j ®/ 
 
 common to her Sifters, and being warm d 
 by the Fire of Apollo, is rais’d higher than the 
 reft, and Ihines with a more glorious, and 
 brighter Flame. 
 
 * ’Tis 
 
H 
 
 IV. 
 
 Difpofitio, 
 five operis 
 totius Oe- 
 conomia. 
 
 8o. 
 
 V. 
 
 Fidelitas 
 
 Argumenti. 
 
 VI. 
 
 Inane reji- 
 ciendum. 
 
 85. 
 
 90. 
 
 Da Arte Graphica. I 
 
 ^£rendafque inter Pojituras, luminis., umlra, 1 ' 
 Atque futurorum jam pr^sfentire colorum - 
 
 Par erit Harmoniam, captando ab utrifque ve- U 
 nufium.' 
 
 v'J 
 
 Sit 'Thematis genuina ac viva eupreffio, juxta ^ 
 Textum Antiquorum, propriis cum tempore formis. 
 
 Nec quod inane, nihil facit ad rem, five videtur 
 Improprium, minimeque urgens, potiora tenebit 
 Ornamenta operis ; Tragicce fed lege Sororis, 
 Summa ubi res agitur, vis ftmma requiritur Artis- 
 
 IJta Labore gravi. Studio Monitifque Magiftri 
 Ardua pars nequit addifei rariffima : namque. 
 
 Ni prius athereo rapuit quod ab Axe Prometheu^ 
 Sit Jubar infufum menti cum flamine Vita, 
 Mortali haud cuivis divina h<ec Munera dantur % 
 Non uti Dsedaleam licet omnibus ire Corin- 
 thum. 
 
 Mgypto informis quondain PiSlura reperta, 
 Gr acorum ftudiis, ^ mentis acumine crevit : 
 
 Egregiis 
 
 2 
 
‘The Art of Tainting. 
 
 «5 
 
 *’Tis theBufinefs of a Painter, in his Choice ^ f 
 
 of Attitudes, to forefee the Effeft and thn. or Oeco- 
 
 tioriy or Oeco- 
 
 mony of the Lights and Shadows, with the nomy of the 
 
 , . Ill ‘whole Work, 
 
 Colours which are to enter into the whole; 
 
 8o. 
 
 V. 
 
 85. 
 
 taking from each of them, that which will 
 moft conduce to the Produdlion of a beautiful 
 EfPeft. 
 
 * Let “ there be a genuine and lively Ex- 
 “ prelTion of the Subjeft” conformable to 
 
 Text of ancient Authors, to Cuftoms, and to Subjea. 
 Times. 
 
 “ Whatever is trivial, foreign, or impro- VL 
 “ per, ought by no means to take up the^^f^^^^_ 
 “ principal Part of the Pidlure.” But here- jea to be re- 
 in imitate the Sifter of Painting, Tragedy 
 which employs the whole Forces of her Art 
 in the main Aftion. 
 
 * This part of Painting, fo rarely met with, 
 is neither to be acquir’d by Pains or Study, 
 nor by the Precepts or Didates of any Mafter. 
 
 For they alone who have been infpir’d at their 
 Birth with fome Portion of that heavenly Fire 
 * which was ftollen by PrometheuSy are capa- 
 ble of receiving lb divine a Prefent. 
 
 Painting in Egypt was at firft rude and im- 
 perfed, till being brought into Greece^ and 
 being cultivated by the Study, and fublime 
 Genius of that Nation, * it arriv’d at length 
 
 90. 
 
 95. 
 
i6 
 
 95. 
 
 De Arte Graphica. 
 
 Egregiis tandem illujlrata^ isd adulta Magijirist\ 
 Naturam vifa ejl miro fuperare labore. 
 
 I 100. 
 
 I 
 
 VII. 
 
 Graphis, 
 feu Pofitu- 
 ra. Secun- 
 da Piftur» 
 pars. 
 
 105. 
 
 ^os inter., Graphidos Gymnafia prima fuere] 
 Portus Athenarum, Sicyon, Rhodos, atque Co- '• 
 rinthus, 
 
 Eifparia inter fe, modicum Ratione Laboris \ | 
 
 Ut patet ex veterum Statuis, formiS atque decoris 
 Archetypis-, queis pofterior nil protulit ARtas 
 Condignum, ^ non inferius longe. Arte, Mo- 
 
 lior um igitur vera ad normamPcAxtxsxz. legetur-. 
 Grandia, inaequalis, formofaque Partibus amplis 
 Anteriora dabit membra, in contraria motu 
 Diverfo variata, fuo librataque centro. 
 
 Membrorumque Sinus ignis flammantis ad 
 inftar. 
 
 Serpenti undantes flexu fed lavia, plana, 
 Magnaque figna, quaft fine tubere fubdita ia£lu. 
 Ex longo dedubla fluant, non febla minutim. 
 Infertifque toris fmt nota Ligamina, juxta 
 Compagem Anatomes, ^ Membrificatio Graco 
 2 Defor- 
 
 iio. 
 
The Art of Tainting. 17 
 
 to that Height of Perfedlion, that it feemed 
 to furpafs even original Nature. 
 
 Amongft the Academies, which were com- 
 pos'd by the rare Genius of thofe great Men, 
 thefe four are reckon’d as the principal : name- 
 ly, the Athenian School, that of Sicyon, that 
 of Rhodes, and that of Corinth. Thefe were 
 little different from each otherj only in the 
 manner of their Work 5 as it may be feen by 100. 
 the Ancient Statues, which are the Rule of 
 Beauty, and Gracefulnefs \ and to which fuc- 
 ceeding Ages have produc’d nothing that is 
 equal : “ Or indeed that is not very much 
 “ inferior, both in Science, and in the mati- 
 “ ner of its Execution. 
 
 * An Attitude therefore muft be chofen 
 according to their Tafte : * The Parts of it fecond Part 
 muft be great * and large, * “ contrafied by »f Painting. 
 “ contrary Motions, the rhoft noble Parts 
 
 foremoft in fight, and each Figure carefully 
 poifed on its own Centre. 
 
 * “ The Parts muft be drawn with flow- 
 ing gliding Outlines, large and fmooth, 
 
 “ rifing gradually, not fwelling fuddenly, but 
 “ which may be juft felt in the Statues, or 
 “ caufe a little Relievo in Painting. Let the 
 “ Mufcles have their Origin and Infertion *ac- 
 cording to the Rules of Anatomy *, let them 
 C not 
 
i8 
 
 115. 
 
 120. 
 
 viir. 
 
 Varietas in 
 Figuris. 
 125. 
 
 IX. 
 
 Figura fit 
 una cum 
 Membris Sc 
 Vellibus. 
 
 X. 
 
 Mutorum 
 aftiones i- 
 mitandsr. 
 
 De Arte Graphica. 
 
 Deformata Modo, paucifque exprejfa lacertis^ 
 ^alis apud F iteres ; totoque Eurythmia partes 
 Componat', genitumque fuo generante fequenti 
 Sii minus, pundlo videantur cundla fub uno. 
 
 Regula certa licet nequeat Profpedtica dici. 
 Aut Complementum Graphidos 5 fed in Arte Ju- 
 vamen, 
 
 Et Modus accelerans operandi : at corpora falfo 
 Sub vifu in mullis referens, mendofa labafcit : 
 Nam Geometralem nunquam funt corpora juxta 
 Menfuram depidia oculis, fed qualia vifa. 
 
 Non eadem Forma fpecies, non omnibus Mtas 
 Aqualis, Jimilifque Color, Crinefque Figuris : 
 Nam variis velut orta Plagis Gens difpare 
 Vultu ejl. 
 
 Singula Membra, fuo Capiti conformia, fiant 
 Unum idemque fimul Corpus cum vejlibus ipfis : 
 Mutorumque filens Pofitura imitabitur Adlus. 
 
 Prima 
 
V^he Art of Painting. 
 
 not be fubdivided into fmall Seflions, but 
 “ kept as entire as poffible, * in Imitarion of 
 “ the Greek Forms, and expreffing only the 
 “ principal Mulcles.” In fine, * let there be 
 a perfeil Relation betwixt the parts and the 
 whole, that they may be entirely of a piece. 
 Let the Part which produces another Part, 
 be more ftrong than that which it produces ; 
 and let the whole be feen by one point of Sight. 
 * Tho’ Perfpedlive cannot be call’d a perfedl 
 Rule “ for defigning,” yet it is a great Suc- 
 cour to Art, and facilitates the “ Difpatch of 
 the Work tho’ frequently falling into 
 Error, it makes us behold things under a falfe 
 Afpedl ; for Bodies are not always reprefcnted 
 according to the Geometrical Plane, but fuch 
 as they appear to the Sight. 
 
 Neither the Shape of Faces, nor the Age^ 
 nor the Colour, ought to be alike in all Fi- 
 gures, any more than the Hair : becaufe Men 
 are as different from each other, as the Regl- 
 ons in which they are born, are different. 
 
 * Let every Member be made for its own 
 Head, and agree with it. And let all together 
 compofe but one Body, with the Draperies 
 which are proper and fuitable to it. And above 
 all, * let the Figures to which Art cannot give 
 a Voice, imitate the Mutes in their Adions, 
 C 2 * Let 
 
 19 
 
 115. 
 
 120, 
 
 viir. 
 
 Variety in 
 the FigureU 
 
 125. 
 
 IX. 
 
 Fhe Members 
 and Drapery 
 of 6'very Fi- 
 gure to be fuit- 
 able to it* 
 
 X. 
 
 Fhe Actions of 
 Mutes to be 
 imitated* 
 
20 
 
 XL 
 
 Figura 
 
 Princeps. 
 
 130. 
 
 XIL 
 
 Figurarum 
 Globi, fcu 
 Cumuli. 
 
 135 - 
 
 XIII. 
 
 Politurarum 
 Diverfitas ii 
 Cumulis. 
 
 140. 
 
 145 - 
 
 XIV. 
 
 Tabulae Li- 
 bramentum. 
 
 De Arte Graphici. 
 
 Prima Figurarum^ feu Princeps DramatiSy 
 ultro 
 
 Profiliat media in l"ahula, fub lumine primo 
 Pulchrior ante aliasy reliquis nec operta Figuris. 
 
 Agglomerata fimul finl Membra, ipfaque FF 
 gur<e 
 
 Stipentur, circumque Globos Locus ufque vacabit’. 
 Ne, male difperfts dum Vifus ubique Figuris 
 Dividitur, cunblifque Operis fervente Fumultu 
 Partibus implicitis, crepitans Confufio Jurgat. 
 
 Inque Figurarum Cumulis non omnibus idem 
 Corporis Inflexus, Motufque ; vel Artubus omnes 
 Converfls pariter non connitantur eodem ; . 
 
 Sed quadam in diverfa trahant contrariaMembra, 
 L’ranfverfeque aliis pugnent, catena frangant. 
 
 Pluribus adverfis averfam oppone Figuram, 
 PeSloribufque humeros, dextera membra fl- 
 niflris. 
 
 Seu multis conflabit Opus, paucifve Figuris. 
 
 Altera Pars tabula vacuo ne frigida Campo, 
 Aut deferta flet, dum pluribus altera Formis 
 Fervida Mole fua fupremam exurgit ad oram. 
 Sed tibi fic pofitis refpondeat utraque rebus. 
 
 Ut fl aliquid furfum fe parte attollat in una. 
 
 Sic 
 
21 
 
 7he Art of Tainting. 
 
 * Let the principal Figure of the Subject 130 . ; 
 
 appear in the middle of the Piece, under the | 
 
 ftrongeft Light, that it may have fomewhat dpai Figure 
 to make it more remarkable than the reft *, 
 
 and that the Figures which accompany it,"^ * j 
 
 may not fteal it from our Sight. il 
 
 * Let the “ Parts be brought together, ^ , ji 
 
 , ) (jrouppes oj 
 
 “ and the Figures difpos’d in Grouppes Figures. 
 
 And let thofe Grouppes be feparated by a ** 
 
 void fpace, to avoid a confused heap j which 
 proceeding from Parts that are dispers’d with- 135* 
 out any Regularity, and entangled one within ^ 
 
 another, divides the Sight into many Rays, 
 and caufes a difagreeable Confufion. 
 
 * The Figures in the Grouppes, ought not_, 
 
 to “ have the fame Inflections of the Body, ^ Attitudes in 
 “ nor the fame Motions ; nor fhould they lean Grouppes-. 
 
 “ all one way, but break the Symmetry, by 140 . 
 
 “ proper Oppofitions and Contraftes. 
 
 “To feveral Figures feen in Front oppofe 
 “ others with the Back toward the Speftator, 
 
 “ that is, the Shouldi^rs of fome oppos’d to the 
 “ Breafts of others, and right Limbs to left, 
 
 “ whether the Piece confifts of many Figures 
 “ or but of few, 
 
 * One fide of the Pi<51:ure muft not be void, 145 - 
 while the other is fill’d to the Borders ; but 
 
 1 ^ Equality of 
 
 let Matters be fo well difposM, that it ‘‘ any the Piece. 
 
 c 3 
 
 “ thing 
 
22 
 
 150 . 
 
 XV. 
 
 Numerus Fi- 
 gurarum. 
 
 155 - 
 
 iSo. 
 
 XVI. 
 
 Internodia 
 & Pedes ex- 
 hibendi. 
 
 XVII. 
 Motus ma- 
 nuum motui 
 capitis jun- 
 gendis. 
 
 165. 
 
 De Arte Graphica. 
 
 Sic aliquid parte ex alia confurgat, anibas 
 ^quiparety geminas cumulando a qualiter oras. 
 
 Pluribus implicitum Perfonis Drama fupremo 
 In genere ut rarum ejl ; multis ita denfa Figuris 
 Rarior eJl Pabula excellens j vel adhuc fere nulla 
 Praflitit in multis y quod vix bene pr(eftat in und : 
 ^ippe folet rerum nimio difperfa PumultUy 
 Majeftate carere graviy Requieque decora ; 
 
 JSlec fpeciofa nitet vacuo nifi libera Campo. 
 
 Sed fi Opere in magno, plures Phema grande 
 requirat 
 
 Ejfe Figurarum CumuloSy fpeblabitur und, 
 Machina tota rei 5 non fingula quaque feorfim^ 
 
 Pracipua extremis raro Internodia membris 
 
 Abdita fmt: fed fumMa Pe^um vejHgia nunquam. 
 
 \ 
 
 Gratia nulla manety Motufquey Vigorque Fi- 
 guras 
 
 Retro aliis fvhter majori ex parte latentes, 
 
 Fli Capitis motum Manibus comitentur agendo. 
 
23 
 
 i5P> 
 
 *The Art of Painting. 
 
 “ thing rifes high on one fide of the Piece, 
 
 “ you may raife fomething to anfwer it on 
 “ the other,” fo that they fhall appear in fome 
 fort «qual, 
 
 * As a Play is feldom very good, in which Qj-f 
 there arc too many Adtors ; fo ’cis very feldom her of Fi- 
 feen, and almoft impoffible to perform, that^*^^^- 
 a Pidfure fhould be perfedl, in which there 
 are too great a Number of Figures. How 
 “ fhould they excel in putting feveral Figures 
 “ together, who can fcarce excel in a fingle 
 
 (C 
 
 one 
 
 i6o. 
 
 “ Many difpers’d Objedfs breed Confu- 
 “ fion, and take away from the Pidlure that 
 “ folemn Majefty, and agreeable Repofe, 
 
 “ which give Beauty to the Piece, and Satif- 
 faction to the Sight. But if you are con- 
 flrained by the fubjedt to admit of many 
 “ Figures, you muft then make the whole 
 “ to be feen together, and the effedt of the 
 V Work at one view ; and not every thing 
 ‘‘ feparately and in particular. 
 
 * The extremities of the Joints muft: be 
 feldom hidden ; and ,the extremities or end 
 the Feet never. 
 
 * The Figures which are behind others, have <[he Motions J 
 neither Grace nor Vigour, unlefs the Motions Hands 
 of the Hands accompany thofe of the Head. 
 
 ' i C 4 Avoid 165. 
 
 xvr. 
 
24 
 
 De Arte Graphica. 
 
 One. 
 
 170 
 
 xviir, 
 
 'c^a in^Di- DifficUss fugito affeSius^ contra5laque vifu 
 Ijllributione & Membra jub ingrato, motufque, ablufq-, coaSios ; 
 Compofiti- refert Jignis, re£tos quodammodo tractus. 
 
 Sive Parallelos plures Jimul, & vel acutas. 
 
 Vel Geometrales {ut ^mdra, ’Triangula) Formas s 
 Ingratamque fari Signorum ex ordine quandam 
 Symmetriam : fed friocipua in contraria femper 
 Signa volunt duci tranfverfa, ut diximus ante. 
 Summa igitur ratio Signorum habeatur in omni 
 Compojito i dat enim reliquis pretium, atq\ w- 
 gorem. 
 
 17 S' 
 
 XIX. 
 
 Natura Ge- 
 nio accom- 
 modanda. 
 
 180. 
 
 Non ita Natura afianti Jis cuique revinSluSt 
 Hanc prater nihil ut Genio Studioque relinquas 5 
 Nec fine tefte rei Natura, Artifque Magijlra, 
 ^idlibet Ingenio, memor ut tantummodo rerum. 
 Pingere pojfe putes j Errorum efi plurima fylva, 
 Multiplicefque Via, bene agendi Terminus unus y 
 Linea rella velut fola efi, id mille recurva. 
 
Art of Tainting, 25 
 
 Avoid “ all odd Afpefts or Pofitions, and XVIII. 
 all ungraceful or forced Adions and Mo- “"A 
 tions.” Show no parts which are un- Dipihuthn 
 pleafing to the Sight, as all Fore-fhortnings 
 ' ufually are. 
 
 * Avoid all thofe Lines and Outlines which 
 ! are equal : which make Parallels, or other 
 
 ' (harp-pointed and Geometrical Figures ; fuch j 70. 
 
 as are Squares and Triangles: all which by 
 being too exa6t, give to the Eye a certain 
 dilpleafing Synimetry, which produces no 
 good effed. But as I have already told 
 you, the principal Lines ought to contraft 
 each other : For which reafon, in thefe 
 Out-lines, you ought to have a fpecial re- 
 gard to the whole together : for ’tis from 
 thence that the Beauty and Force of the parts 1 75. 
 proceed. 
 
 * Be not fo 
 you allow nothing to Study, and the bent 
 
 your own Genius. But on the other fide, iV«- 
 
 believe not that your Genius alone, and the f'"* 
 
 . ' ^ ^ commodate her 
 
 Remembrance or thofe things which youto our Genius. 
 have feen, can afford you wherewithal! to 
 furnifli out a beautiful Piece, without the 
 Succour of that incomparable School-miftrefs, 
 
 Nature 'i * whom you muff: have always pre- 
 fent as a Witnefs to the Truth. “ Errors jgo. 
 
 ftriftly ty’d to Nature, that 
 
26 
 
 De Arte Graphica^ 
 
 185. 
 
 XX. 
 
 Signa Anti- 
 qua Naturae 
 piodum con- 
 jlituunt. 
 
 J90. 
 
 XXT. 
 
 Sola Figura 
 
 quomodo 
 
 tradanda. 
 
 195- 
 
 XXII. 
 Quid in 
 Pannis ob- 
 ifirvanduni. 
 
 jf. 
 
 Sed jmtd Antiquos Naturam imitahere ful- 
 chram, 
 
 ^alem Forma rei propria^ OhjeBumque requirit. 
 Non te igitur lateant antiqua Numifinata^ 
 Gemm<£, 
 
 Vafa, “itypi. Statuae., calat aque Marmora Signis^ 
 ^odq\ refert fpeck Veterum poft facula Mentem i 
 Splendidior quippe ex illis ajfurgit Imago, 
 Magnaque fe rerum Facies aperit meditanti j 
 Fune noftri tenuem facli miferehere fortem. 
 
 Cum fpes nulla fiet reditura aqualis in avum. 
 
 Exquifita fiet Forma, dum fola Figura 
 Fingitur j ^ multis variata Coloribus efio, . 
 
 Lati, ampliq’, finus Pannorum, nobilis Ordo 
 Membra fequens, fubter latiiantia. Lumine ^ 
 Umbra 
 
 ExprF 
 
27 
 
 iC 
 
 185. 
 
 XX. 
 Ancient Fi^ 
 
 t 
 
 ^he Art of Tainting, 
 
 are infinite, and amongft many ways which 
 miflead a Traveller, there is but one true one, 
 which condufts him furely to his Journey’s 
 end ; as alfo there are many feveral forts of 
 crooked lines j but there is one only which 
 is ftraight. 
 
 Our bufinefs is to imitate the Beauties of 
 Nature, as the Ancients have done before 
 us, and as the Obje<5t and Nature of the 
 thing require from us. And for this reafoii 
 we muft be careful in the Search of And- gures the 
 ent Medals, Statues, Gems, Vafes, Paint- 
 ings, and Bajfo Relievo's : * And of all o- 
 ther things which difcover to us the Thoughts 
 and Inventions of the Cr,£cians ■, becaufe they 
 furnifh us with great Ideas, and make our 
 Produftions wholly beautiful. And in truth, 
 after having well examin’d them, we lhall 
 therein find fo many Charms, that we fhall 
 pity the Deftiny of our prefent Age, without 
 hope of ever arriving at fo high a point of 
 Perfeftion. 
 
 * If you have but one fingle Figure to work 
 
 upon, you ought to make it perfectly finifh’d, J * 
 
 and diverfify’d with many Colours. be treated. 
 
 * Let the Draperies be nobly fpread upon XXII. 
 the Body •, let the Folds be large, * and let 
 
 them follow the order of the Parts, that they 
 
 * 95 ‘ 
 
 may 
 
 190, 
 
 XXI, 
 
fa 
 
 200 . 
 
 205. 
 
 210 . 
 
 ' ■ 
 
 De Arte Graphica. 
 
 Exprimet ; ille licet tranfverfus fcepe feratur y ■ 
 
 Et circumfufos Pannorum porrigat extra 
 Membra Jinus ; non conliguoSy ipjifque Figurae 
 Partibus imprefos, q^uaji Pannus adhaereat illis ; 
 
 Sed modice exprejjos cum Eumine fervet tif Um- 
 bris : * 
 
 ^^que intermiffis pajfim funt diffita vanisy 
 Copulety indubiis fubtervCy fuperve lacernis. 
 
 Et Membra, ut magnis, paucifque exprejfa la- 
 certis, \ 
 
 Majejlate aliis praftant. Forma, atque Decore : 
 Haud fecus in Pannis, quos fupra optavimus 
 amplos. 
 
 Perpaucos ftnuum flexus, rugafque, firiafque. 
 Membra fuper, verfu faciles, inducere praflat, 
 Haturaque rei proprius fit Pannus, abundans 
 Patriciis ; fuccinSlus erit, crajjicfque Bubulcis, 
 Mancipiifque ; levis teneris, gracilifque Puellis. 
 
 Inque cavis maculifque Umbrarum aliquando tu- 
 mefiet. 
 
 Lumen ut excipiens, operis qua Maffa requirit, 
 
 Latius 
 
7he Art of Painti7tg. 29 
 
 may be feen underneath, by means of the 
 Lights and Shadows ; notwithftanding that 
 the Parts fhould be often travers’d (or crofs’d) 
 by the flowing of the Folds, which loofely 
 incompafs them, * without fitting too ftraight 
 upon them; but let them mark the Parts which 200. 
 are under them, fo as in fome manner to di- 
 ftinguiflt them, by the judicious ordering of 
 the Lights and Shadows. * And if the Parts 
 be too much diftant from each other, fo that 
 there be void fpaces, which are deeply fha- 
 dow’d, we are then to take occafion to place 
 in thofe voids fome Fold to make a joining of 
 the Parts. “ * And as thofe Limbs and Meni- 
 “ bers which are expreft by few and large 
 “ Mufcles, excell in Majefty and Beauty, 
 in the fame manner the Beauty of the Dra- 205. 
 peries, confifts not in the multitude of the 
 folds, but in their natural order, and plain 
 Simplicity. The Quality of the Perfons is alfo 
 to be confider’d in the Drapery. * As fuppo- 
 fing them to be Magiftrates, their Draperies 
 ought to be large and ample : If Country 
 Clowns or Slaves, they ought to be coarfe and 
 fhort : * If Ladies or Damfels, light and fofr. 2 ro. 
 *Tis fometimes requifite to draw out, as it were 
 from the hollows and deep fhadows, fome 
 Fold, and give it a Swelling, that fo receiving 
 
 the 
 
30 D= Arte Graphica." 
 
 Latius extendat^ fuUatifque aggreget umhrls, 
 
 215. 
 
 XXIII. 
 
 Quid mul- 
 tum conferat ^alia Mufarum^ Belli Cultufque Deorum. 
 ad Tabulas 
 Ornamen- 
 
 
 Nobilia Arma juvant Virtutum, ornqnt<ius \ 
 Figuras, 
 
 
 tum. 
 
 XXIV. Nec fit Opus nimium Gemmis Auroqs refertum ; , ! 
 
 Ornamen- Rara etenim marno in Pretio, fed Plurima 
 tum Auri & 
 
 Gemmarum. :■ 
 
 XXV. 
 Prototypus. 
 2 20 . 
 
 deinde ex Vero nequeant pr^efente videri, 
 Prototypum prius illorum formare juvabit. 
 
 XXVT. Conveniat locus, atque habitus ; ritufq\ decufqut 
 Convenientia . $it Nobilitas, ChariUmque Venujtas, 
 
 Scena (Rarum homini munus, Coelo, non Arte peten- 
 
 XXVII. dum.) 
 
 Charites & 
 
 Nobilitas. 
 
 Nature 
 
T°he Art of Painting. 
 
 the Light, it may contribute to extend the 
 Clearnefs to thofe places where the Body re- 
 quires it ; and by this means we fhall dilbur- 
 then the Piece of thole hard Shadowings 
 which are always ungraceful. 
 
 * The Marks or Enfigns of Virtues contri- 
 bute not little by their noblenefs to the Orna- 
 
 
 XXIV. 
 
 the work be too much enrich’d with Gold or Of predout 
 
 Jewels, “ for the abundance of them makes 
 
 them look cheap, their Value arifing from Ornaments. 
 
 XXV. 
 
 ^he Modeh 
 
 220 . 
 
 XXVII. 
 
 ble through all your work. But to confefs 
 the Truth, this is a moft difficult Underta- llene/s. 
 king ; and a very rare Prefent, which the Ar- 
 I till 
 
 215. 
 
 xxiir. 
 
 ment of the Figures. Such, for example as contrihuu”to 
 are the Decorations belonging to the Liberal 
 Arts^ to War^ or Sacrifices. * But let not 
 
 g 
 
 “ the Scarcity. , 
 
 * ’Tis very expedient to make a Model 
 of thofe things, which we have not in our 
 Sight, and whofe Nature is difficult to be re- 
 tain’d in the Memory. 
 
 * We are to confider the Places, where XXVI. 
 we lay the Scene of the Pifture ; the Coun- ^thl^iaurf 
 tries where they were born, whom we repre- 
 
 fent-, the manner of their Adrions, their Laws 
 and Cuftoms ; and all that is properly belong- 
 ing to them. 
 
 * Let a Noblenels and Grace be remarka- 
 
3a 
 
 225. 
 XXVIII. 
 Res quaeque 
 locum fuum 
 teneat. 
 
 De Arte Graphical 
 
 ; 
 
 ■i 
 
 Nature fit uhique tenor., ratioque fequendui 
 Non vicina pedum tabulata excelfa Tonantis.^ 
 Aflra domus depibla gerent, Nubefque Notofque j 
 Nec Mare deprejfum Laquearia fumma, vel Or- 
 cum i 
 
 Marmoreamque feret cannis vaga pergula molenti 
 Congrua fed propria femper ftatione locentur. 
 
 230. 
 
 XXIX. 
 
 Afteftus. 
 
 235 ‘ 
 
 Hac prceter, motus Animorum, corde repoftos 
 Exprimere AffeSlus, paucifque coloribus ipfam 
 Pingere pojje Animam, atque oculis prabere vi- 
 dendam. 
 
 Hoc opus, hic labor eft. Pauci, quos aequus 
 amavit 
 
 Juppiter, aut ardens evexit ad aethera virtus, 
 DiS /miles, potuere manu miracula tanta. 
 
 Hos ego Rhetoribus traSIandos defero ; tantum 
 Egregii antiquum memorabo fophifma Magiftri, 
 Verius aflfcdtus animi Vigor exprimit ardens. 
 Solliciti nimium quam fedula cura Laboris. 
 
 1 
 
 Denique 
 
' ‘The Art of Pamtmg. 33 
 
 I tifl: receives rather from the hand of Heaven, 
 than from his own Induftry and Studies. 
 
 In all thines you are to follow the order of ^ 
 
 ^ Let e^very 
 
 Nature ; for which Reafon you mufl; beware thing be fet 
 of drawing or painting Clouds, Winds and proper 
 Thunder towards the Bottom of your Piece, 22 r» 
 and Hell, and Waters, in the uppermoft Parts 
 of it : You are not to place a Stone Column, 
 on a foundation of Reeds ; but let every thing 
 be fet in its proper Place. 
 
 Befides all this, you are to exprefs the Mo- 230. 
 
 ^ ^ VYTV* 
 
 tions of the Spirits, and the Afieftions or 
 Paffions whofe Centre is the Heart : In a word,//m. 
 to make the Soul vifible, by the means of fome 
 few Colours *, * this is that, in which the 
 greateft Difficulty confifts. Few there are, 
 whom Jupiter regards with a favourable Eye 
 in this Undertaking. So that it appertains 
 only to thofe few, who participate fomewhat 
 of Divinity it felf, to work thefe mighty 235.' 
 Wonders. ’Tis the bufinefs of Rhetoricians^ 
 to treat the Charadters of the Paffions : and I 
 fhall content my felf, with repeating what an 
 excellent Mafter has formerly faid on this Sub- 
 jeft, 'that a “ true and lively ExpreJJion of the 
 “ Paffions, is rather the Work of Genius than 
 ‘‘ of Labour and Study. 
 
 D 
 
 We 
 
34 
 
 De Arte Graphica. 
 
 240. 
 
 XXX. 
 
 Gothorum 
 
 Ornamenta 
 
 fugienda. 
 
 245. 
 
 Denique nil fapiat Gothorum barbara trito 
 Ornamenta modo^ faclorum £5? monjlra malorum : 
 Slueis ubi bella, famem, £if pejlem, Difcordia, 
 Luxus, 
 
 Et Romanorum Res grandior intulit Orbi, 
 Ingenua periere Artes, periere fuperba 
 Artificum moles ; fua tunc Miracula vidit 
 Ignibus abfumi RiSlura 5 latere coalia 
 Fornicibus, fortem & reliquam confidere Cryptis', 
 Marmorihufque diu Sculptura jacere fepultis. 
 
 Imperium interea, fcelerum gravitate fatifcens,- 
 i 50. Horrida nox totum invafit, dotioque fuperni 
 Luminis indignum, errorum caligine merfit, 
 Impiaque ignaris damnavit facia tenebris. 
 
 Unde 
 
Art of Painting. 35 
 
 We are to have no manner of Relifh for 24O. 
 Gothique Ornaments, as being in effe6l fo 
 many Monfters, which barbarous Ages have Orna?nents 
 produc’d 1 during which, when Difcord and ** 
 
 Ambition, caus d by the too large extent 
 of the Rommi Empire , had produc’d Wars, 
 
 Plagues and Famine through the World, 
 then I fay, the {lately Buildings and ColofTea 
 fell to Ruin, and the Noblenefs of all beautiful 
 Arts was totally extinguilh’d. Then it was 2454 
 that the admirable, and almoft fupernatural 
 Works of Painting were made Fuel for the 
 Fire : But that this wonderful Art might not 
 wholly perifh, * fome Reliques of it took 
 Sanftuary under Ground, “ in Sepulchres 
 “ and Catacombs,” and thereby efcap’d the 
 common D-fliny. And in the fame profane 
 Age, Sculpture was for a long Time buried 
 under the fame Ruins, with all its beautiful 
 Produ6tions and admirable Statues. The 
 Empire, in the mean time, under the Weight 
 of its proper Crimes, and undeferving to en- 25O4 
 joy the Day, was invelop’d with a hideous 
 Night, which plung’d it into an Abyfs of 
 Errors, and cover’d with a thick Darknefs 
 of Ignorance thofe unhappy Ages, in juft 
 Revenge of their Impieties. From hence it 
 cornes to pafs, that the Works of thofe great 
 ' D 2 Gracians 
 
De Arte Graphica.' 
 
 2 55 - 
 
 Chroma- 
 
 tice 
 
 Tertia Pars 
 Pifturae. 
 
 260. 
 
 Unde Coloratum Gratis huc ufque Magijlris 
 Nil fupereji tantorum Hominum^ quod Mentt 
 Modoque 
 
 Nojlrates juvet Artifices, doceatque Laborem ; 
 Nec qui Chromatices nobis, hoc tempore, partes 
 ReJUtuat, quales Zeuxis traSlaverat olim. 
 Hujus quando maga velut Arte aquavit Apellem 
 Fidiorum Archigraphum, meruitque Coloribus 
 altam 
 
 Nominis aterni famam, toto orbe fonanlem. 
 
 Hac quidem ut in 'Tabulis fallax, fed grata Ve» 
 mijias. 
 
 Et complementum Graphidos {mirabile vifu) 
 Pulchra vocabatur, fed fubdola. Lena Sororis : 
 Non tamen hoc lenocinium, fucufque, dolufque 
 Dedecori fuit unquam ; illi fed femper honori. 
 Laudibus meritis j hanc ergo nojfe juvabit. 
 
*The Art of Fainting. 37 
 
 Crecians are wanting to us j nothing of their 
 
 Painting and Colouring now remains to aflift 
 
 our modern Artifts, either in the Invention, 255. 
 
 or the manner of thofe Ancients. Neither is 
 
 there any Man who is able to reftore * the Colouring the 
 
 _ ^ f-. third Part of 
 
 Chromatique part, or Colouring, 
 
 or to renew it to that point of Excellency to 
 which it had been carry’d by Zemis : who 
 by this Part, which is fo charming, fo magi- 
 cal, and which fo admirably deceives the 
 Sight, made himfelf equal to the great Apelles^ 260. 
 that Prince of Painters ; and deferv’d that 
 height of Reputation, which he ftill poffefles 
 in the World. 
 
 And as this p.art, which we may call the 
 utmoft Perfedlion of Painting, is a deceiving 
 Beauty, but withal Toothing and pleafing % fo 
 fhe has been accus’d of procuring Lovers 
 for * her Sifter, and artfully ingaging us to 
 admire her. But fo little have this Profti- 
 tution, thefe falfe Colours, and this Deceit, 265. 
 difhonour’d Painting, that on the contrary, 
 they have only ferv’d to fet forth her Praife, 
 and to make her Merit farther known ; and 
 therefore it will be profitable to us, to have 
 a more clear Underftanding of what we call 
 Colouring. 
 
38 
 
 De Arte Graphica. 
 
 Lux varium^ vivumque dahit, nullum Umbra^ 
 Colorem. 
 
 §^o magis adverfum ejl Corpus.^ Lucique propin- 
 quum, 
 
 Clarius ejl Lumen j nam debilitatur eundo. 
 
 270. ^0 magis ejl Corpus direblum, oculifque pro- 
 
 pinquum, 
 
 Confpicitur melius j nam vifus hebefcit eundo. 
 
 I XXXI. Ergo in corporibus, qua vifa adverfa, rotundis, 
 ^Luminum Integra Jint, extrema abfcedant perdita ftgnis 
 
 & Umbra- Confujis, non pracipiti labentur in Umbram 
 rum ratio. Clara gradu, nec adumbrata in clara alta re- 
 ^ ^ pente 
 
 Prorumpant ; jed erit fenfim hinc atque inde 
 meatus 
 
 Lucis £sf Umbrarum *, Capitifque unius ad injlar, 
 L‘otum opus, ex multis quamquam Jit partibus, unus 
 Luminis Umbrarumque Globus tantummodo Jiet, 
 280, Sive duas, vel tres ad fummum, ubi grandius ejjet 
 Divijum Pegma in partes datione remotas. 
 
 Sintque 
 
39 
 
 270. 
 
 XXXI. 
 
 Art of Painting. 
 
 * The Light produces all kinds of Colours, 
 and the Shadow gives us none. The more 
 a Body is nearer to the Eyes, and the more 
 direftly it is oppos’d to them, the more it 
 is enlighten’d; becaufe the Light languiflies 
 and leflens, the farther it removes from its 
 proper Source. 
 
 The nearer the Objedt is to the Eyes, and 
 the more direfUy it is oppos’d to them, the 
 better it is feen ; becaufe the Sight is wea- 
 ken’d by diftance. 
 
 ’Tis therefore neceflary, “ that thofe Parts 
 “ of round Bodies which are feen direftly of the Taints 
 “ oppofite to the Speflator, fhould have the 
 “ Light entire and that the Extremities 
 turn, in lofing themfelves infenfibly and con- 
 fufedly, without precipitating the Light all on 
 the fudden into the Shadow ; or the Shadow 
 into the Light. But the Paflage of one into 
 the other muft be common and impercepti- 
 ble, that is, by Degrees of Lights into Sha- 
 dows, and of Shadows into Lights. And it 
 is in conformity to thefe Principles, that you 
 ought to treat a whole Grouppe of Figures, 
 though it be compos’d of feveral Parts, in the 
 fame manner as you would do a fingle Head : 
 
 “ Or if the Widenefs of the Space or Large- 
 
 nefs of the Compofition requires that you 
 D 4 fltould 
 
 I 
 
 275- 
 
 280. 
 
De Arte Graphica. 
 
 Sint(^ue ita difcreti inter fe, ratione colorum., 
 Luminis, umbrarumque, antrorfum ut (or'porn 
 clara 
 
 Obfcura umbrarum requies fpeblanda relinquat ; 
 Claroque exiliant umbrata atque afpera Cam'po. 
 
 Ac ’veluti in fpeculis convexis, eminet ante 
 Afperior reipfd Vigor, ^ Vis aupla colorum 
 Lartibus adverfis ; magis Fuga rupta retrorfum 
 Illorum ejl (ut vifa minus vergentibus oris) 
 Corporibus dabimus Formas hoc more rotundas. 
 
 Flante Modoque igitur Plaftes, (sd Pibfor, eodem 
 Ltfpojitum tr altabit opus ; qu^e Sculptor in orbem 
 Atterit, h<ec rupto procul abfcedente colore 
 yljjequitur PiStor, fugientiaque illa retrorfum 
 Jam ftgnata minus confufa colgribus aufert : 
 Anteriora quidem direble adverfa, colore 
 Integra vivaci, fummo cum Lumine Umbra 
 Antrorfum difiinbta refert, velut afpera vifu. 
 Sieque fuper planum inducit Leucoma Colores, 
 Hos velut ex ipfd Natura immotus eodem 
 Intuitu circum Statuas daret inde rotundas, 
 
 Lenfa 
 
’The Art of Tainting. 41 
 
 “ fliould have two Grouppes or three ( * which 
 “ (hould be the mod) let the Lights and 
 “ Shadows be fo difcreetly manag’d, * that 
 “ light Bodies may have a fufficient Mals or 
 “ Breaddi of Shadow to fuftain ’em, and that 
 “ dark Bodies may have a hidden Light be- 285. 
 “ hind to detach them from the Ground, 
 
 “ * As in a Convex Mirrour the colledled 
 “ Rays ftrike ftronger and brighter in the 
 “ rt'iid lie than upon the natural Objeft, and 
 “ the Vivacity of the Colours is increas’d in 
 “ the Parts full in your Sight ; * while the 
 “ goings off are more and more broken and 
 “ faint as they approach to the Extremities, 290. 
 “ in the fame manner Bodies are to be rais’d 
 “ and rounded. 
 
 Thus the Painter and the Sculptor, are to 
 work with one and the fame Intention, and 
 with one and the fame Conduct. For what 
 the Sculptor ftrikes off, and makes round with 
 his Tool, the Painter performs with his Pen- 
 cil j cafting behind that which he makes lefs 
 vifible, by the Diminution, and Breaking of 295. 
 his Colours : “ That which is foremoft and 
 “ neareft to the Eye muft be fo diftindtly 
 “ exprefs’d, as to be fliarp or almofl cutting 
 “ to the Sight. Thus fliall the Colours be 
 
 difpofed upon a Plane, which from a pro- 300^ 
 
42 
 
 De Arte Graphica, 
 
 XXXII. 
 Corpora 
 denfa & o- 
 paca cura 
 tranllucenti- 
 bus. 
 
 305- 
 
 310. 
 
 Denfa Figurarum foUdis queg Corpora Formis 
 Subdita funt tablu, non tranjlucent^ fed opaca 
 In tranjlucendi fpatio ut fuper Aera^ Nubes, 
 
 Lympida Jlagna Undarum, & inania catera 
 debent 
 
 Afperiora illis prope circumflantibus effe ; 
 
 Ut diflinbla magis firmo cum Lumine d£? Umbra^ 
 Et gravioribus ut fuflenta coloribus, inter 
 Aerias fpecies fubflftant femper opaca : 
 
 Sed contra, procul abfcedant perlucida, denfls 
 Corporibus leviora 5 uti Nubes, Aer, £5? Und<e. 
 
 XXXIII. Non poterunt diverfa locis duo Lumina eadem 
 Calo^^Lumb Fabuld paria admitti, aut aq^ualia pingi : 
 na in Tabu- Majus at in mediam Lumen cadet ufiue Fabellam 
 lam jequalia. infufum, primis qua fumma Figuris 
 
 Res agitur, circumque oras minuetur eundo : 
 Utque in pj'ogrejfu Jubar attenuatur ab ortu 
 Solis, ad occafum paulatim, IA cejfat eundo ; 
 
 Sic Fabulis Lumen, tota in compage Colorum, 
 220. Primo d Fonte, minus fenfm declinat eundo. 
 
 Majus 
 
43 
 
 The Art of Painting. 
 
 “ per Place and Diftance will feem fo natural 
 “ and round, as to make the Figures appear 
 “ fo many Statues. 
 
 “ Solid Bodies fubjeft to the Touch, are 305. 
 
 tranfparent ; and even XXXII. 
 t , r Of dark Bo- 
 
 are placed upon tranfpa- 
 “ rent Grounds, as upon Clouds, Waters, Air, Grounds. 
 
 “ and the like vacuities, they mull be pie- 
 “ ferv’d * opaque, that their Solidity be not 
 “ deftroyed among thofe light, aerial, tranf- 
 “ parent Species ; and muft therefore be ex- 
 “ prefs’d lharper and rougher than what is 
 “ next to them, more diftindl by a firm Light 3 10. 
 
 “ and Shadow, and with more folid and fub- 
 “ ftantial Colours : That on the contrary the 
 “ fmoother and more tranfparent may be 
 
 thrown off to a farther Diftance. 
 
 XXXIII 
 
 We are never to admit two equal Lights 
 in the fame Pidure, but the greater Light muft not he 
 muft ftrike forcibly on the middle ; and there ^ 
 
 extend its greateft Clearnefs on thofe places of Piaure. 
 the Pidure, where the principal Figures of it 31^. 
 are, and where the ftrength of the Adion is 
 perform’d ; ciiminifhing by degrees as it comes 
 
 * The Trench Tranftator here, as nssell as Mr. Dryden, 
 is unintelligible } vshich hafperdd by their miftaking the 
 Meaning oj the W trd Opaca, •which is not put for ^rk ; 
 but Opaque, in Oppofition to tranfparent ; for a white 
 Garment may be Opaque, Ifc, 
 
 “ not to be painted 
 “ when fuch Bodies 
 
 nearer 
 
44 Art® Graphica. 
 
 Majus ut in Statuis^ per Compita Jlantihus Urhis^ 
 Ijumen habent Partes fupera^ minus inferiores ; 
 Idem erit in Habulis : majorque nec Umbra, vel 
 ater 
 
 Membra Figurarum intrabit Color, atque fee abit: 
 
 325. Corpora fed circum Umbra cavis latitabit ober- 
 rans : 
 
 Atque ita quaretur Lux opportuna Figuris, 
 
 Ut late infufum Lumen lata Umbra fequatur. 
 Unde, nec immerito, fertur Titianus ubique 
 Lucis lA Umbrarum Normam appelldjfe Race- 
 mum. 
 
 Purum Album ejfe potejl propiufque magifque 
 XXXIV. remotum : 
 
 Cum Nigro antevenit propius \ fugit abfq-, re- 
 mtum 4. 
 
 Purum 
 

 T^’he Art of Painting. 
 
 ■ nearer and nearer to the Borders; and after the 
 lame manner that the Light of the Sun lan- 
 i guiflies infenfibly, in its fpreading from the 
 j Eaft, from whence it begins, towards the 
 I Weft, where it decays and vanifhes ; fo the 
 Light of the Pidure being diftributed over 
 all the Colours, will become lefs fenfible, the 
 farther it is remov’d from its Original. 
 
 Tire experience of this is evident in thofc 
 Statues which we fee fet up in the midft of 
 Publick Places, whofe upper parts are more 
 enlighten’d than the lower ; and therefore you 
 are to imitate them, in the diftribution of 
 your Lights. 
 
 Avoid ftrong Shadows on the middle of the 
 Limbs ; left the great quantity of black which 
 compofes thofe Shadows, fliould feem to enter 
 into them and to cut them : Rather take care 
 to place thofe fhadowings round about them, 
 thereby to heighten the parts ; and take fuch 
 advantageous Lights, that after great Lights 
 great Shadows may fucceed. And therefore 
 Titian faid, with reafon, that he knew no 
 better Rule for the diftribution of the Lights 
 and Shadows, than his Obfervations drawn 
 from a * Bunch of Grapes. 
 
 * Pure, or unmix’d White either draws an 
 Objed: nearer, or carrier it off to farther di- 
 2 fiance ; 
 
 325« 
 
 
 330- 
 
 XXXIV. 
 Of Whitt and 
 Black. 
 
46 
 
 335 - 
 
 XXXV. 
 Colorum re 
 fledtio. 
 
 XXXVI. 
 Unio Colo- 
 rum. 
 
 S40- 
 
 345 - 
 
 De Arte Graphica. 
 
 Turum autem Nigrum antrorfum venit ufque 
 propinquum. 
 
 Lux fucata fuo tingit^ mifcetque Colore 
 Corpora, ficqiie fuo, per quem Lux funditur. Aer. 
 
 Corpora jundfa fimul, circumfufofque Colores 
 Excipiunt, propriumque aliis radiofa reflectunt. 
 
 Pluribus in Solidis liquida fub luce propinquis. 
 Participes, mixtofque fimul decet ejfe Colores. 
 Hanc Normam Veneti Pictores rite jequuti, 
 
 ( frit Antiquis Corruptio diCta Colorum ) 
 Cum plures opere in magno pofuere Figuras *, 
 
 Ne conjunCta fimul variorum inimica Colorum 
 Congeries Formam implicitam, iA concifa minutis 
 Membra daret Pannis, totam unamquamque Fi- 
 guram 
 
 Affini, aut uno tantum veftire Colore, 
 
 Sunt foliti *, variando F onis iunicamq\ togamq\ 
 Carbafeofque Sinus, vel amicum in Lumine (A 
 Umbra 
 
 Contiguis circum rebus fodando Colorem, 
 
 I 
 
T’he Art of Painthig. 47 
 
 ftance : It draws it nearer with Black, and 
 throws it backward without it. * But as for 
 pure Black, there is nothing which brings the 
 Object nearer to the Sight. 
 
 The Light being alter’d by fome Colour, 
 never fails to communicate fomewhat of that 
 Colour to the Bodies on which it ftrikes ; and 
 the fame effedl is perform’d by the Medium of 
 Air, through which it pafles. 
 
 The Bodies which are clofe together, re- 335. 
 ceive from each other that Colour which is o., 
 
 ^he refieciion 
 
 oppofite to them *, and reflect on each other, of Colours. 
 that which is naturally and properly their own. 
 
 ’Tis alfo confonant to reafon, that the great- XXXVI. 
 eft part of thofe Bodies which are under 
 Light, v/hich is extended, and diftributed e- 
 qually through all, fhould participate of each 
 others Colours. The Venetian School having 
 a great regard for that Maxim (which the An- 
 cients call’d the Breaking of Colours) in the 240.' 
 quantity of Figures with which they fill their , , 
 
 •Piftures, have always endeavour’d the. Union 
 of Colours ; for fear, that being too different, 
 they fhould come to incumber the Sight, 
 
 “ therefore they painted each Figure with 345. 
 
 one Colour or* with Colours of near Affinity, 
 
 “ though the Flabit were of different Kinds, 
 
 ‘‘ diftinguiftiing the upper Garment from the 
 - “ under 
 
48 
 
 De Arte Graphica* 
 
 XXXVII. 
 Acr Interpo- 
 litus. 
 
 350. 
 
 XXXVIII. 
 
 Diftantiarum 
 
 Relatio. 
 
 355 - 
 
 XXXIX. 
 Corpora prO' 
 cu] diilantia. 
 
 XL. 
 
 Contigua & 
 DilTita. 
 
 360. 
 
 'A 
 
 minus ejl fpadi aerei, aut qua purior Aer^ 
 CunSla magis diftinSla patent, fpeciefq\ refervants 
 ^dque magis denfus nebulis, aut plurimus Aer 
 Amplum inter fuerit fpatium porredlus, in Auras 
 Confundet rerum fpecies, Cf? perdet inanes. 
 
 Anteriora magis femper finita, remotis 
 Incertis dominentur (A abfcedentibus, idque 
 More relativo, ut majora minoribus extent. 
 
 Cunila minuta procul Majfam denfantur in 
 unam ; 
 
 Ut folia arboribus Sy harum, lA in Aequore fiullus. 
 
 Contigua inter fe coeant, fed diffita dijlent, 
 Dijlabuntque tamen grato, $5? difcrimine parvo. 
 
 Extrema 
 
49 
 
 Art of Painting. 
 
 “ under, or from the loofe and flowing Man- 
 “ tie, by the Tints, or Degrees, harmonizing 
 “ and uniting the Colours, with whatever 
 “ was next to them. 
 
 The lefs aereal fpace which there is betwixt 
 us and the Objedt, and the more pure the Air 
 is, by fo much the more the Species are pre- 
 ferv’d and diftinguifh’d ; and on the contrary, 
 the more fpace of Air there is, and the lefs 
 pure it is, fo much the more the Objedl is 
 confus’d and embroil’d. 
 
 Thofe Objefts which are plac’d foremoft to 
 the view, ought always to be more finifh’d, 
 than thofe which are call behind ; and ought 
 to have Dominion over thofe things which 
 are confus’d and tranfient. * But let this be 
 done relatively, (viz.) ont thing greater and 
 ftronger, calling the lefs behind, and rendring 
 it lefs fenfible by its Oppofition. 
 
 Thofe Things which are remov’d to a di- 
 ftant view, tho’ they are many, yet ought to 
 make but one Mals *, as for example, the Leaves 
 on the Trees, and the Billows in the Sea. 
 
 Let not the Objedls which ought to be 
 contiguous be feparated ; and let thofe which 
 ought to be feparated, be apparently fo to us : 
 but let this be done by a fmall and pleafing 
 difference. 
 
 E * Let 
 
 350- 
 
 xxxvrr. 
 
 Of the Inter^ 
 pofetion of 
 Air^ 
 
 xxxvriL 
 
 Relation 
 of Dif antes* 
 
 355 - 
 
 XXXIX. 
 
 Of Bodies 
 nsjhich are 
 diftunced* 
 
 360. 
 
 XL. 
 
 Of B odies 
 fwhich are con-- 
 tiguous and of 
 thofe ^hich 
 are fe^arated^ 
 
5^ De Arte Graphica. 
 
 XLL Extrema extremis contraria jungere noli } 
 
 fextrema fu- medio fini ufque Gradu facial a Coloris. 
 gienda. 
 
 XLII. 
 j Tonus & 
 
 ! Color varii. 
 
 Corporum erit ‘Tonus atque Color variatus ubique } 
 Sfiicrat Amicitiam retro ; ferus emicet ante. 
 
 365- 
 
 XLIII. 
 
 Luminis 
 
 dele^lus. 
 
 370- 
 
 Supremum in ‘Tabulis Lumen captare Diei, 
 Infanus Labor Artificum *, cum attingere tantum 
 Non Pigmenta queant : auream fed vefpere Lu~ 
 cem 
 
 Seu modicum mane albentem ; five Mtheris abi am 
 Pofi Hyemem nimbis transfufo Sole caducam j 
 Seu Nebulis fultam accipient. Tonitruque ru- 
 bentem. 
 
 XLIV. Devia quee lucent, veluti Cryfalla, Metalla, 
 ^£praxim ^ Lapides •, Villofa, ut Vellera, 
 
 Pelles, 
 
 Barba, aqueique Oculi, Crines, Holoferica, 
 Pluma ; 
 
 Et Liquida, ut ftagnans Aqua, reflexxque fub 
 Undis 
 
 Cor- 
 
The Art o f Painting. 5 * 
 
 * Let two contrary Extremities never touch ^ 
 
 each other, either in Colour or in Light : but to k 
 
 let there always be a Medium partaking both a’uoided. 
 of the one and of the other. 
 
 XLII 
 
 Let the Bodies every where be of different Di^^^jity of 
 Tints and Colours ; that thofe which are be- Tints and Co- 
 hind may be ty’d in Friendfhip together *, and 
 that thofe which are foremoft may be ftrong 
 and lively. 
 
 * ’Tis Labour In vain to paint a High- 3 ^ 5 * 
 
 noon, or Mid-day Light in your Piduret be- choke of 
 
 caufe we have no Colours which can fufRci- Light. 
 ently exprefs it‘, but it is better Counfel, to 
 
 choofe a weaker Light % fuch as is that of the 
 Evening with which the Fields are gilded by 
 the Sun *, or a Morning Light, whofe white- 
 nefs is allay’d j or that which appears after 
 a Shower of Rain, which the Sun gives us 
 through the breaking of a Cloud ; or during gjro* 
 Thunder, when the Clouds hide him from our 
 View, and make the Light of a fiery Colour. 
 
 Smooth Bodies, fuch as Chryftals, polifh’d XLIV. 
 Metals, Wood, Bones, and Stones ; thofe ^ (ettain 
 which are cover’d with Hair, as Skins, thev^^^//J ^7 
 Beard, or the Hair of the Head as alfo Fea- faBkal 
 thers. Silks, and the Eyes, which are of 
 watery Nature j and thofe which are liquid, as 
 Waters, and thofe corporeal Species, which 375. 
 
 E 2 we 
 
52 
 
 375 - 
 
 XLV. 
 
 Campus Ta- 
 bulae. 
 
 380. 
 
 XLVI. 
 Color vivi- 
 dus, non ta- 
 men pallidus, 
 
 3 ^ 5 * 
 
 XLVir, 
 
 Umbra. 
 
 De Arte Graphica. 
 
 Corporea; Species, Aquis contermina cunSfa, 
 Suhter ad extremum liquide Jint pidla, fuperque 
 Luminibus percujj'a fuis, Signifque repojlis. 
 
 ] 
 
 Area, vel Campus Labula vagus ejio, levifque 
 Ahfcedat latus, Uquideque bene unSlus Amifis 
 Lota ex Mole Coloribus, und five Patella ; 
 Sluisque cadunt retro in Campum, confinia Campo. 
 Vividus efio Color, nimio non pallidus Albo •, 
 Adverfifque Locis ingefius plurimus ardens : 
 
 Sed leviter parceque datus vergentibus oris. 
 
 CunSla Labore Jhnul coeant, velut Umbra in 
 eadem. 
 
53 
 
 Tfje Art of Painting. 
 
 we fee reflefted by them ; and in fine, all that 
 which touches them, or is near them, ought 
 to be “ carefully painted flat, in flowing Co- 
 “ lours ; then toucht up with fpritely Lights, 
 
 “ and the true Lines of the Drawing reftor’d, 
 
 “ which were loft, or confus’d, in working 
 “ the Colours together.” 
 
 * Let the Field, or Ground of the Pifture 
 
 1 1 r r r 1-1 I 
 
 be pleafant, free, tranfient, light, and well Ground of th 
 united with Colours, which are of a friendly 
 Nature to each other-, and of Inch a mixture, 380. ■ 
 
 as there may be fomething in it of every Co- 
 lour that compofes your work, as it were the 
 Contents of your Palette. “ And let thofe 
 “ Bodies that are back in the Ground be pain- 
 “ ted with Colours allied to thofe of the 
 “ Ground itfelf. 
 
 * Let your Colours be lively, and yet not XLVr. , 
 look (according to the Painters Proverb) as 
 
 if they had been rubb’d or fprinkled with 
 Meal : that is to fay, let them not be pale. ' 
 
 * Let the Parts which are nearefb to us, and 
 mofl: rais’d, be ftrongly colour’d, and as it 
 were fparkling ; and let thofe Parts which are 
 more remote from Sight, and towards the 
 
 Borders, be more faintly touch’d. , 
 
 * Let there be fo much Harmony, or Con- 385. 
 fenr, in the Maffes of the Pidure, that all the 
 
 E 3 Sha- 
 
 r 
 
54 
 
 Da Arte Graphica. 
 
 XLVIII. 
 Ex una Pa- 
 Itella iit Ta- 
 bula. 
 
 XLIX. 
 Speculum 
 ; Pi£lorum 
 iMagifter. 
 
 L. 
 
 , Dimidia Fi- 
 gura, vel in- 
 ii tegra ante 
 i alias. 
 
 ' 39P' 
 
 LI. 
 
 Effigies. 
 
 395 - 
 
 Tota Jiet Tabula ex und depibla Patella. 
 
 Multa ex Naturd Speculum praclara docebit ; 
 ^^eque procul Sero /patiis fpediantur in amplis. 
 
 Dimidia Effigies., qu^e folq, vel integra plures 
 Ante alias pojita dd Lucem, ft at proxima ‘vifu, 
 Et latis fpeblanda Locis, Oculifque remota. 
 Luminis Umbrarumque Gradu fu pidla fupremo-. 
 
 Partibus in minimis Imitatio jufta juvabit 
 Effigiem, alternas referendo tempore eodem * 
 Conjimiles Partes ; cum Luminis atque Coloris 
 Compofitis, juftifque Tonis *, tunc parta Labore 
 Si facili ^ vegeto micat ardens, viva videtur. 
 
 Vifa 
 
55 
 
 ^he Art of Talnthig. 
 
 Shadov/Ings may appear as if they were but 
 one, 
 
 “ Let the whole Pidture be of one Piece, 
 
 “ as if it were painted from one Palette. be of one Piec 
 
 * The Looking-glafs will inftrudt you in XLix. 
 
 . ^ T be Lookings 
 
 many Beauties, which you may oblerve from 
 
 Nature ; fo will alfo thofe Objefts which are Painter's heji 
 
 feen in an Evening in a large Profpedt. Mafter. 
 
 If there be a half Figure, or a whole one, ^ ffv' 
 to be fet before the other Figures, and plac’d J 
 
 nearer to the View, and next the Light : Or nvhole one be- 
 if it is to be painted in a great Place, thouglv^^^*^^*^^^^’ 
 at a Diftance from the Eye *, be fure on thefe 
 occafions not to be fparing of great Lights, 
 the moft lively Colours, nor the ftrongeft 
 Shadows. 
 
 * As for a Portrait, or Pictures by the Life, LI. 
 you are to work precifely after Nature, and ^ 
 
 to exprefs what fhe fhows you, working at 
 the fame time on thofe Parts which are re- 
 fembling to each other : As for example, the 
 Eyes, the Cheeks, the Noftrils, and the Lips ; 
 fo that you are to touch the one, as foon as 
 you have given a ftroke of the Pencil to the 
 other, left the interruption of time caufe you 
 to lofe the Idea of one Part, which Nature 
 has produc’d to refemble the other : and thus ' 
 imitating Feature for Feature, with a juft and 
 E 4 harmonious 
 
5 ^ 
 
 De Arte Graphica. 
 
 I LII. 
 
 ■ Locus Ta- 
 h bulae, 
 
 y 
 
 St' 
 
 I 400, 
 
 ! 
 
 i LIIT. 
 
 ! Lumina lata. 
 
 LIV. 
 
 ; Quantitas 
 ; Luminis 
 I Loci in quo 
 [Tabula eft 
 I exponenda. 
 405. 
 
 Vifa "Loco angufto tenere -pingantur^ amico 
 
 JunSla Color e y Graduque \ procul qua pidlUy 
 feroci 
 
 Sint £s? inaquali variata Colore, 'tonoque. 
 
 Grandia Signa volunt fpatia ampla, ferofqm 
 Colores. 
 
 Lumina lata, un£las fimul undique copulet Um- 
 bras 
 
 Extremus Labor. In 'Tabulas demijja fenejlris 
 
 Si fuerit Lux parva. Color clarijftmus efto : 
 
 Vividus at contra, obfcurufque, in Lumine a- 
 perto. 
 
 LV. vacuis divifa cavis, vitare' memento ; 
 
 Vkk Pi^ minuta, fimul qua non ftipata dehifcunt ; 
 
 XX. Barbara, cruda Oculis, rugis fucata Colorum, 
 
 Luminis Umbrarumque Tonis aqualia cunbta ; 
 410. Fceda, cruenta, cruces, obfccena, ingrata, chi- 
 meras, . . j , 
 
 Sordidaque 13 mifera, vel acuta, vel afp^ta 
 
 ta£lu\ 
 
The Art of Painting. 
 
 harmonious Compofition of the Lights and 
 Shadows, and of the Colours *, and giving to 
 the Pidture that Livelinefs, which the Freedom 
 and Force of the Pencil make appear, it may 
 feem the living Hand of Nature, 
 
 The Works which are painted to be feen 
 near, in little or narrow Places, muft be very 
 tender and well united with Tints and Colours ; 
 “ let thofe which are to be feen at a Diftance, 
 “ be varied with fiercer Colours and ftronger 
 “ Tints. , 
 
 “ Very large Figures muft have Room e- 
 nough, and ftrong, or rather fierce colouring. 
 * You are to “ take the utmoft Care, that 
 “ broad Lights may be join’d to a like Breadth 
 “ of Shadows. 
 
 If the Pidbure be fet in a Place which re- 
 ceives but little Light, the Colours muft be 
 very clear; as on the contrary very brown, 
 if the Place be ftrongly enlighten’d, or in the 
 open Air. . ) . ’ ’ 
 
 Remember to avoid Objedts which are full 
 of hollows, broken in Pieces, little, and which 
 are feparated, or in Parcels : Ihun alfo thofe 
 things which are barbarous, fhocking to the 
 Eye, and party-colour’d, and which are all of 
 an equal Force of Light and ftiadow ; as alfb 
 all things which are obfeene, impudent, fil- 
 thy 
 
 57 
 
 LII. 
 
 The Place of 
 the Figure. 
 
 400. 
 
 LIIL 
 
 Large Lightsl 
 
 LIV. 
 
 JVhat Lights 
 are requijite^ 
 
 405- 
 
 Things nxjhtch 
 are ‘vicious in 
 Painting to 
 be a^voided. 
 
 410. 
 
5 * 
 
 ‘ De Arte Graphica.' 
 
 ^aque dabunt Forma^ temere congefia^ Ruinam^ 
 Implicitas aliis confundent mixtaque Partes. 
 
 1 
 
 LVI. 
 
 Prudentia m Fumque funs vttiofa^ cave tn contraria laht 
 Pidlore. rr- ■ ■ r ■ 
 
 Vamna Mali ; Vitium extremis nam femper 
 
 415* 
 
 inhtgret. 
 
 Pulchra Gradu fummo^ Graphidos ftabilita 
 
 LVII. 
 
 laS. , Vemft. 
 larum. Nobilibus Signis, funt Grandia, Fiffita, Pura, 
 Terfa, velut minime confufa. Labore ligata. 
 Partibus ex magnis paucifque effibla. Colorum 
 420. Corporibus diJlinSla feris, fed femper amicis. 
 
 LVIII. §lui bene ccepit, uti falli jam fertur habere^ 
 Pidtor Tyro. Fimidium ; Pibluram ita nil, fub limine primo 
 Ingredient, Puer, offendit damnofius Arti, 
 Fbudmvaria ErrorumGenera, ignoranteMagiJlro, 
 Bx pravis libare Typis, Mentemque Veneno 
 
 Inficere in. toto quod non abfiergitur avo. 
 
 ot: 
 
 : , . -,o •(/ - 
 
 ! I' , ..i io ;;'>IO-I lx':j 
 
 Noe 
 
 
'The Art of Tainting. 
 
 thy, unfeemly, cruel, fantaftical, poor and 410, 
 wretched •, and ihofe things which are Iharp 
 to the Feeling ; In fhort, all things which 
 corrupt their natural Forms, by aConfufion of 
 their Parts which are entangled in each other : 
 
 For the Eyes have a Horrour for thofe things, 
 which the Hands will not condefcend to touch. 
 
 But while you endeavour to avoid one vice, The prudenti- 
 
 be cautious, left you fall into another: {qx of <* 
 _ , . . Painter. 
 
 “ Extreams are always VICIOUS. 
 
 Thofe things which are beautiful in the LVII. 
 utmoft Degree of PerfefUon, according to 
 the Axiom of ancient Painters, * ought to piece. 
 have fomewhat of Greatnefs in them ; and 
 their Out-lines to be noble : they muft be dif- 
 intangled, pure, and without Alteration, clean, 
 and knit together ; compos’d of great Parts, 
 yet thofe but few in number. In fine, di- - 
 ftinguifti’d by bold Colours ; but of fuch as 420.’ 
 are related and friendly to each other: And 
 as it is a common faying, that He who has LVIir. 
 begun well, has already perform’d half his work ty^/IgPgi^er 
 * fo there is nothing more pernicious to a 
 Youth who is yet in the Elements of Painting, 
 than to engage himfelf under the Difeipline of 
 an ignorant Mafter ; who depraves his Tafte, 
 by an infinite number of Miftakes, of which 
 his wretched Works are full, and thereby 
 
 makes 
 

 De Arte Graphica. 
 
 430. 
 
 Nec Graphidos rudis Artis adhuc cito qtialia- 
 cun^ue 
 
 Corpora viva fuper. Studium meditabitur^ ante 
 Illorum quam Symmetriam^ Intornodia^ Formam 
 Noverit, infpeSlis, dodlo evolvente Magijlro, 
 Archetypis ; dulcefque Dolos prc^fenferit Artis. 
 Plufque Manu ante Oculos quam Voce docebitur 
 Ufus. 
 
 LIX. 
 
 Ars debet 
 lervire Pic- 
 tori nan Pic- 
 tor Arti. 
 
 455 - 
 
 LX. 
 
 Oculos re- 
 creant diver- 
 £tas & Ope- 
 ris facilitas, 
 qu2e fpecia- 
 dm Ars dici- 
 
 ^^re Artem quacunque juvant •, fuge qua- 
 que repugnant. 
 
 Corpora diverfe natura junSia placebunt ; 
 Sic ea qua facili cent empta labore videntur : 
 AEthereus quippe Ignis ineft iA Spiritus illis ; 
 Mente diu verfata, manu celeranda repenti. 
 Arfque Laborque Operis grata fic fraude latebit : 
 Maxima deinde erit Ars, nihil Artis inejfe videri. 
 
The Art of 'Painting. 6i 
 
 makes him drink the Poifon, which infe<51:s 
 him through all his future Life. 
 
 Let him, who is yet but a Beginner, not 
 make fo much hafte to ftudy after Nature, 
 every thing which he intends to imitate j as 
 not in the mean time to learn Proportions, 
 the Connexion of the Joints, and their Out- 
 lines: And let him firft have well examin’d 430 , 
 the excellent Originals, and have thoroughly 
 ftudied all the pleafing Deceptions of his Art j 
 which he muft be rather taught by a knowing 
 Mafter, than by Praftice ; and by feeing him 
 perform, without being contented only to 
 hear him fpeak. 
 
 * Search whatfoever is aiding to your Art, ^ 
 
 and convenient : and avoid thofe things which fohfer^t^nt tt 
 are repugnant to it. tbePairaa-. 
 
 * Bodies of divers Natures which are ag- 
 groupp’d (or combin’d) together, are agreeable FadUtj 
 and pleafant to the Sight ; * as alfo thofe things 
 which feem to be (lightly touch’d, and per- “^35* 
 form’d with Eafe ; becaufe they are ever full of 
 Spirit, and appear to be animated with a kind 
 
 of Coeleftial Fire. But we are not able to com- 
 pafs thefe things with Facility, till we have for 
 a long time weigh’d them in our Judgment, and 
 thoroughly confider’d them: By this means 
 the Painter (hall be enabled to conceal the 
 a Pains 
 
62 
 
 Da Arte Graphica^ 
 
 1 
 
 440, Nec prius inducas Tahula Pigmenta Colorum^ 
 LXr. Expenji quam figna Typi ftabilita nitefcant, 
 in ment^ A- menti pr^fens Operis fn Pegma futuri. 
 
 pogrkphuin 
 in tela. 
 
 LXII. Praevaleat fenfus rationi., qua officit Arti 
 
 Confpicua inque oculis tantummodo Circinus efto. 
 
 445 - 
 
 LXIII. 
 
 Utere Dodtorum Monitis, nec fperne fuperbus 
 Difcere, qua de te fuerit Sententia Vulgi. 
 piftori nocet nam quifque fuis in rebus, tif expers 
 
 plurimum. Judicii, Prolemque fuam miratur amatque. • 
 ' AJi ubi Confilium deerit Sapientis Amici, 
 
 Id tempus dabit, atque mora intermiffa labori. 
 Non facilis tamen ad Nutus, fi? inania Vulgi 
 Didia, levis mutabis Opus, Geniumque relinques : 
 Num qui parte fua fperat bene pojfe mereri 
 Multivaga de Plebe, nocet fibi, nec placet ulli. 
 
 450- 
 
 Cum 
 
 1 
 
Art of Painting. 63 
 
 Pains and Study which his Art and Work have 
 coft him, under a pleafing fort of Deceit : 
 
 For the greateft Secret which belongs to Art, 
 is to hide it from the Difcovery of Speftators. 
 
 Never give the lead touch with your Pen- 44 ®* 
 cil, till you have well examin’d your Defign, 
 and have fettled your Out-lines : * nor till mvft be in the 
 you have prefent in your Mind a perfeft Idea 
 of your Work. ckth. 
 
 * Let the Eye be fatisfy’d in the firft Place, lxii. 
 even againft, and above all other Reafons, Compafs to 
 which beget Difficulties in your Art, which gf 
 
 it felf fuffers none ; and let the Compafs be 
 rather in your Eyes, than in your Hands. 
 
 * Profit your felf by the Counfels of the 445. 
 Knowing : And do not arrogantly difdain to 
 
 y learn the Opinion of every Man concerning nsmy to good 
 youf Work. All Men are blind as to their t'emting. 
 own Produftions ; and no Man is capable of 
 judging in his own Caufe. * But if you have 
 no knowing Friend, to affift you with his 
 Advice ; yet length of Time will never fail ; 
 
 ’tis but letting fome Weeks pafs over your 
 Head, or at lead fome Days, without looking 
 on your Work : and that Intermiffion will 
 faithfully difcover to you the Faults, and Beau- 
 ties. Yet differ not your felf to be carried a- 
 way by the Opinions of the Vulgar, who of- 
 I ten 
 
 450. 
 
64 
 
 
 De Arte Graphica,? 
 
 t' 
 
 :t . ; . n 
 
 455 - 
 
 LXIV. 
 
 yvu^l (TBCivloV 
 
 Cumq', Open in proprio foleat fe pingere Tic- 
 tor^ 
 
 {Prolem adeo Jibi ferre parem Natetra fuevit) 
 Proderit hnprimis PiSlori <rsat/Iw, 
 
 Ut data qua genio colat., abjlineatque negatis. 
 
 Frudlihus utque fuus nunquam ejl fapor, atque 
 venuftas 
 
 Floribus, infueto in fundo, pracoce fub anni 
 Fempore, quos cultus ’violentus ignis adegit : 
 Sic nunquam, nimio qua funt extorta labore. 
 
 Et pibla invito Genio, nunquam illa placebunt. 
 
 LXV. Vera fuper meditando. Manus Labor improbus 
 Quod Mente adfit. 
 
 Manu^com obtundat Genium, mentifq-, vigorem. 
 
 proba. 
 
 465. 
 
 Optima 
 
Tlje Art of Painting, 65 
 
 ten fpeak without Knowledge ; neither give 
 Up your felf altogether to them, and abandon 
 wholly your own Genius, fo as lightly to 
 change that which you have made : For he 
 who has a windy Head, and flatters himfelf 
 with the empty Hope of deferving the Praife 
 of the common People, (whofe Opinions are 
 inconfiderate, and changeable) does but in- 
 jure himfelf,' and pleafes no Man. 
 
 Since every Painter paints himfelf in his 455. 
 own Works (fo much is Nature accuftom’d to 
 
 ' T •! \ • 1 Kno'w youf 
 
 produce her own Likenefs) tis advantageous 
 
 to him, to know himfelf : * to the end that 
 he may cultivate thofe Talents which make 
 his Genius, and not unprofitably lofe his Time, 
 in endeavouring to gain that, which fhe has 
 refus’d him. As neither Fruits have the Tafte, 460, 
 nor Flowers the Beauty which is natural to 
 them, when they are tranfplanted into an un- 
 kindly or foreign Soil, and are forced to beat 
 before their Seafon, by an artificial Heat : fo 
 ’tis in vain for the Painter to fweat over his 
 
 Works, in fpighc of Nature and of Genius ; 
 for without them ’tis impofllble for him to 
 fucceed. 
 
 * While you meditate on thefe Truths, and 
 obferve them diligently, by making neceffary pZaifi, Ld 
 Reflexions on them > let the Labour of the 
 
 F ' T T i you havt ton- 
 
 Hand-;,^V. 
 
66 
 
 De Arte Graphica. 
 
 LXVI. 
 Matutinum 
 tempus la- 
 bori aptum. 
 
 LXVII. 
 Singulis die- 
 bus aliquid 
 faciendum. 
 
 470. 
 
 LXVIII. 
 Affeftus in- 
 obfervati & 
 naturales. 
 
 LXJX, 
 Non delint 
 Pugillares. 
 
 475 - 
 
 480. 
 
 optima noftrorum Pars matutina dierum. 
 Difficili hanc igitur potiorem impende Labori. 
 
 Nulla Dies abeat, quin linea duSla fuperjit. 
 
 Perq\ Vias, Vultus Hominum, Motufq-, notabis 
 Libertate fua proprios, pojitafque Figuras 
 Ex fefe faciles, ut inobfervatus, habebis. 
 
 Mox quodcumque Mari, Ferris, Cs? in Aere 
 pulchrum 
 
 Contigerit, Chartis propera mandare paratis. 
 Dum pro'fens animo /pedes tibi fervet hianti. 
 
 Non epulis nimis indulget Pidura, meroque 
 Par;cit : Amicorum nifi cum fermone benigno 
 Exhaujlam reparet Mentem recreata *, Jed inde 
 Litibus, Curis, in Ccelibe libera vita, 
 Seceffus procul d turba, firepituque remotos. 
 Villarum, Rurifque beata fikntia quarit. 
 Namque recolle^Oy tota incumbente Minervd, 
 
 Inge- 
 
hf 
 
 ^he Art of 'Painting. 
 
 Hand accompany the Study of the Brain •, let 
 the former fecond and fupport the latter ; yet 
 without blunting the Sharpnefs of your Ge- 4 %* 
 nius, and abating of its Vigour, by too much 
 Affiduity. ' 
 
 * The Morning is the beft, and moft pro- 5-^^ Morning 
 per part of the Day for your Bufinefs ; em- 
 
 ploy it therefore in the Study and Exercife of'^L^yjj^ 
 
 Be ready to put into your Table-book LXIX. 
 , , . , , , yO/ T^abk- 
 
 (which you mult always carry about you)^^^^^ 
 
 whatfoever you judge worthy of it ; whether 
 it be upon the Earth, or in the Air, or upon 
 the Waters, while the Species of them is yet 
 frelh in your Imagination. 
 
 ■* Wine and good Cheer are no great Friends 
 to Painting : they ferve only to recreate the 
 Mind, when ’tis oppreft and fpent with La- 
 bour ; then indeed ’tis proper to renew your 
 Vigour by the Converfation of your Friends. 
 Neither is a true Painter naturally pleas’d with 
 the Fatigue of Bufinefs ; and particularly of the 
 ■i • F 2 Law j 
 
 475 * 
 
 
 thofe things which require the greatefl Pains Ewry Day 
 
 , . . do fomethinff^ 
 
 and Application. LXVIII. 
 
 * Let no Day pafs over you, without a Line, ^he Pajjions 
 Obferve as you walk the Streets, the Airs 
 
 ^ true and na* 
 
 of Heads j the natural Poftures and Exprefli- turaL 
 ons ; which are always the moft free, the lefs 47.0* 
 they feem to be obferv’d. 
 
68 
 
 Dc Arte Graphical 
 
 Ingenio^ rerum fpecies prafentior extat ; 
 Commodiufque Operis compagem ampleSHtur otn- 
 nem. 
 
 Infami tibi non potior Jit avara pecuU 
 485 « Curuy Aurique Fames y modicd quam Sorte heatOy 
 ^ ominis aterniy 13 Laudis pruritus habenda. 
 
 Condigna pulchrorum Operum Mercedis in avum. 
 
 490. 
 
 Judicium, docile Ingenium, Ccr nobile, Senfus 
 Sublimes, firmum Corpus, fiorenfque Juventa, 
 Commoda Res, Labor, Artis Amor, dcSlufqut 
 Magifter 5 
 
 Et 
 
7he Art of "Painting, 
 
 Law ; * but delights in the Liberty which 
 belongs to the Batchelor’s Eftate. * Painting 
 naturally withdraws from Noife and Tumult, 
 and pleafes it felf in the Enjoyment of a 
 Country Retirement ; becaufe Silence and So- 
 litude fet an edge upon the Genius, and caufe 
 a greater Application to Work and Study : 
 and alfo ferve to produce the Ideas, which fo 
 conceiv’d, will be always prefent in the Mind, 
 even to the finilhing of the Work ; the whole 
 Compafs of which, the Painter can at that 
 time more commodioufly form to himfelf, 
 than at any other. 
 
 * Let not the covetous Defign of growing 
 rich, induce you to ruin your Reputation *, but 
 rather fatisfy your felf with a moderate For- 
 tune : and let your Thoughts be wholly taken 
 up with acquiring to your felf a glorious 
 Name, which can never periflb, but with the 
 World ; and make that the Recompence of 
 your worthy Labours. 
 
 * The Qualities requifite to form an ex- 
 cellent Painter, are, a true difcerning Judg- 
 ment, a Mind which is docible, a noble 
 Heart, a fublime Senfe of things, and Fer- 
 vour of Soul i after which follow. Health of 
 Body, a convenient Share of Fortune, the 
 Flower of Youth, Diligence, an Affe^lion for 
 
 F 3 the 
 
De Arte Graphica. 
 
 Et quamcumque voles Occafio porrigat Anfam, 
 Ni Genius quidam adfuerit^ Sydufque benignum, 
 T>otibus his tmtis, nec 'adhuc Ars tanta paratur. 
 
 Dijlat ah Ingenio longe Manus. Optma DoSlis 
 Cenfentur, quce prava minus ; latet omnibus 
 Error ; 
 
 Vitaque tam longae brevior non fufficit Arti. 
 Definimus nam pojfe Senes, ciim fcire periti 
 Incipimus, doblamque Manum gravat <egra Se- 
 ne Aus ; 
 
 - Nec gelidis fervet juvenilis in Artubus ardor. 
 
 ^tars 
 
^he Art of 'Painting. yx 
 
 the Art, and to be bred under the Difcipline 
 of a knowing Maftcr. 
 
 And remember, that whatfoever your Sub- 
 jed be, whether of your own Choice, or 
 what Chance or good Fortune fhall put into 
 your Hand, if you have not that Genius, or 
 natural Inclination, which your Art requires, 
 you ihall never arrive to Perfeftion in it, even 
 with all thole great Advantages which I have 
 mention’d. For the Wit and the manual 
 Operation are things vaftly diftant from each 
 other, ’Tis the Influence of your Stars, and 
 the Happinefs of your Genius, to which you 
 muft be oblig’d for the greatell Beauties of 
 your Art. 
 
 Nay, even your Excellencies fometimes 495- 
 will not pafs for fuch in the Opinion of the 
 learned, but only as things which have lefs of 
 Error in them : for no man fees his own fail- 
 ings ; * and Life is fo fliort, that it is not 
 fufficient for fo long an Art. Our Strength 
 fails us in our old Age, when we begin to 
 know fomewhat : Age oppreflTes us by the 
 fame Degrees that it inftrudts us; and permits 
 not, that our mortal Members which are 
 frozen with our Years, fhould retain the Vi- 
 gour and Spirits of our Youth. 
 
 F 4 
 
 * Take 
 
72 
 
 500. 
 
 505 - 
 
 LXX. 
 Ordo Studi- 
 orum. 
 
 510. 
 
 De Arte Graphica^ 
 
 ^are agite^ Q Juvenes^ placido quos Sydere 
 natos 
 
 pacifera Studia allegant tranquilla Minerva ; 
 ^ofque fuo fovet igne, fibique optavit Alumnos ! 
 EJa agite, atque Animis ingentem ingentibus 
 Artem 
 
 Exercete alacres, dum Jlrenua corda Juventus 
 Viribus extimulat vegetis, patienfque laborum ejl.^ 
 Dum vacua Errorum, nulloque imbuta Sapore 
 Pura nitet Mens, rerum Jitibunda novarum, 
 frafentes haurit fpecies, atque humida fervat. 
 
 In Geometrali prius Arte parumper adulti. 
 Signa Antiqua fuper Graiorum addifciteFormamy 
 Nec Mora, nec Requies, noUuque diuque labori. 
 Illorum Menti atque Modo, vos donec agendi 
 Praxis ab ajfiduo faciles ajfueverit ufu. 
 
 Mox, 
 
^he Art of Painting. 73 
 
 * Take Courage therefore, O ye Nolle 500, 
 Touths! you legitimate Off-fpring of Minerva^ 
 who are born under the Influence of a happy 
 Planet^ and warm’d with a Celeftial Fire, 
 which attrafls you to the Love of Science! 
 
 Exercife, while you are young, your whole 
 Forces, and employ them with Delight in an 
 Art, which requires a whole Painter. Exer- i 
 
 cife them, I fay, while your boyling Youth j 
 
 fupplies you with Strength, and furniflies you 505. j 
 with Quicknefs, and with Vigour j while j 
 
 your Mind, yet pure, and void of Error, has j 
 
 not taken any ill habitude to Vice \ while yet ! 
 
 your Spirits are inflam’d with the Third of 
 Novelties, and your Mind is fill’d with the 
 firfl: Species of Things which prefent them^ 
 felves to a young Imagination, which it gives 
 in keeping to your Memory 5 and which your 
 Memory retains for length of time, by reafon 
 of the moifture wherewith at that Age the 
 Brain abounds. * You will do well * to begin ^ 
 
 . t 1 r t • ^ r ^he Method of 
 
 With Geometry^ and arter having made Studies for a 
 Progrefs in it, * fet your felf on defigning young Painter. 
 ter the Ancient Greeks : * and ceafe not Day or 510. 
 Night from Labour, till by your continual 
 Pradice you have gain’d an eafy habitude of 
 imitating them in their Invention, and in their 
 Manner. * And when afterwards your Judg» 
 
 mens 
 
74 
 
 De Arte Graphica. 
 
 5 * 5 * 
 
 520. 
 
 525- 
 
 ik&x, ubi Judicium emenjis adoleverit Annis, 
 Singula qua celebrant prima Exemplaria Clajfis, 
 Romani, Veneti, Parmenfes, atque Bononi, 
 Partibus in cunbHs pedetentim, atque ordine reSlo, 
 Ut monitum fupra eft, vos expendijje juvabit. 
 
 Hos apud invenit Raphael miracula fummo 
 Dubia modo, Venerefque habuit quas nemo de- 
 inceps. 
 
 ^idquid erat forma fcivit Bonarota potenter. 
 
 Julius a Puero Mufarum edublus in Antris, 
 Aonias referavit Opes, Graphicdque Poefi 
 ^ia non vifa prius, fed tantum audita Poetis, 
 Ante oculos fpeblanda dedit Sacraria Phoebi : 
 ^aque coronatis complevit Bella 'Triumphis 
 Heroum Fortuna potens, Cafufque decoros. 
 Nobilius reipfd antiqua pinxiffe videtur. 
 
 Clarior 
 
75 
 
 The Art of Painting. 
 
 ment fhall grow ftronger, and come to its matu- 
 rity with Years, it will be very neceflary to fee 
 and examine one after the other, and Part by 
 Parc, thofe Works which have given fo great a 
 Reputation to the Mafters of the firft Form in 
 Purfuit of that Method, which we have taught 
 you here above, and according to the Rules 
 which we have given you ; fuch are the Ro~ 
 mans., the Venetians., the Parmefans, and the 
 Bokgnefes. Amongft thofe excellent Perfons, 
 Raphael had the Talent of Invention for his 
 Share, by which he made as many Miracles 
 as he made Pidures. In which is obferv’d * a 
 certain Grace which was wholly natural and 
 peculiar to him, and which none fince him 
 have been able to appropriate to themfelves. 
 Michael Angelo poffefs’d powerfully the Part 
 of Pefign.) above all others. * Julio Romano 
 (educated from his Childhood among the Mu~ 
 fes) has open’d to us the Treafures of Parnaf- 
 Jus : and in the Poetry of Painting has difco- 
 ver’d to our Eyes the mofl facred Myfleries 
 of Apollo., and all the rarefl Ornaments which 
 that God is capable of communicating to thofe 
 Works that he infpires ; which we knew not 
 before, but only by the Recital that the Po- 
 ets made of them. He feems to have painted 
 thofe famous Wars “ in which Fortune has 
 2 “ crowned 
 
 515- 
 
 520. 
 
 525* 
 
76 
 
 De Arte Graphical 
 
 530 - 
 
 535 - 
 
 LXXI. 
 Natura Sc 
 Experientia 
 Artem perfi- 
 ciunt. 
 
 540 . 
 
 Clarior ante alios Corregius extitity afnpta 
 Luce fuperfufay circum coeuntibus XJmbriSy 
 Fingendique Modo grandiy fi? traLlando Colore 
 Corpora. AmicitiamquCy gradufquCy dolofque 
 Colorum, 
 
 Compagemque ita difpofuit Titianus, ut inde 
 Divus appellatuSy magnis fu honoribus aulius. 
 Fortunaque bonis : ^os fedulus Hannibal omnes 
 Jn propriam Mentem^ atque Modum mira Arti 
 coegit. 
 
 Plurimus inde Labor Tabulas imitando 
 vabit 
 
 Egregias y Operumque Typos j fed plura docebit 
 Natura ante oculos prafens j nam firmat (jf 
 auget 
 
 Vim Geniiy ex illdque Artem Experientia complet. 
 
 Multa 
 
Art of Painting. 77 
 
 ” crowned her triumphant Heroes *, and thofe 
 other glorious Events which fhe has caus’d 
 in all Ages, even with more Magnificence 
 and Noblenefs, than when they were afted in 
 the World. 
 
 “ The fhining Eminence ot Corregio con- 53®* 
 
 “ fills in his laying on ample broad Lights 
 “ encompafs’d with friendly Shadows, and in 
 “ a grand Style of Painting, with a Delicacy 
 “ in the management of Colours.” And ‘Ti- 
 tian underftood fo well the Union of the Maf- 
 fes, and the Bodies of Colours, the Harmony 
 of the Tints, and the Difpofition of the whole 
 together, that he has deferv’d thofe Honours 
 and that Wealth which were heap’d upon 
 him, together with that Attribute of being 
 furnam’d the Divine Painter. The laborious 
 and diligent Annihal Caracciy has taken from 535* 
 all thofe great Perfons already mention’d 
 whatfoever Excellencies he found in them, 
 and, as it were, converted their Nourilhment 
 into his own Subflance. 
 
 *Tis a great means of profiting your felf, LXXI. 
 to copy diligently thofe excellent Pieces, 
 thofe beautiful Defigns; but which hferfeSArt. 
 
 pretent before your Eyes, is yet a better Mi- 
 Jirefs : tor fhe augments the Force and Vi- 
 gour of the Genius, and Ihe it is, from whom 
 I Art 
 
78 
 
 De Arte Graphica. 
 
 Multa fuperfiko qua Commentaria dicent, * 
 
 545 - 
 
 550 - 
 
 Hac ego, dum memoror fubitura volubilis avi 
 CunSla vices, variifque olim peritura ruinis, ■> 
 Pauca Sophifmata fum Graphica immortalibus 
 aufus 
 
 Credere Pieriis, Romae: meditatus : ad Alpes, 
 Dum fuper infanas Moles, inimicaque cafira 
 Borbonidum Decus fc? Vindex Lodoicus Avo- 
 rum. 
 
 Fulminat ardenti dextra. Patriaque refurgens 
 Gallicus Alcides premit Hifpani ora Leonis. 
 
 FINIS. 
 
^he Art of Painting. 79 
 
 Art derives her ultimate Perfeftion, by the 
 means of fare Experience *, * I pafs in Silence 
 many things which will be more amply treat- 
 ed in the enfuing Commentary. 
 
 And now confidering that all things are 
 fubjedt to the viciflltude of Time, and that 
 they are liable to Deftrudtion by feveral ways, 
 
 I thought I might reafonably take the bold- 
 nefs * to intruft to the Mufes (thofejovely 
 and immortal Sifters of Painting) thefe few 
 Precepts, which I have here made and col- 
 ledled of that Art. 
 
 I employ’d my time in the Study of this 
 Work at Rome^ while the Glory of the Bour- 
 bon Family, and the juft Avenger of his in- 
 jur’d Anceftors, the Vidlorious Eocois XIII. 
 was darting his Thunder on the Alpes^ and 
 caufing his Enemies to feel the Force of his 
 unconquerable Arms ; while he, like another 
 Gallique Hercules^ born for the Benefit and 
 Honour of his Country, was griping the Spa- 
 nijh Geryon by the Throat, and at the Point 
 of ftrangling him. 
 
 FINIS. 
 
iio i. 
 
 
 I'- 
 
OBSERVATIONS 
 
 O N T H E 
 
 Arc of Painting 
 
 O F 
 
 Charles jilphonfe du Frefrioji 
 
 Minting and Poefy are two Sifters, ^ 
 
 &c. ’Tis a receiv'd truth, that 
 the Arts have a certain Relation of e^ery Ob- 
 to each other. “ 'There is 
 
 ... • 1 ^ 7f • 1 • to find 
 
 “ Art (laid Tertulkan in his the Text 
 Treatife of Idolatry) which is not either the P‘^’'tkular 
 “ Father, or the near Relation of another. tTe 
 And Cicero, in his Oration for Archias the Po- Obfiernjatkn 
 et, liiys, “ That the Arts which have refpeSl to 
 
 G 
 
 human 
 
8i 
 
 Ohfervatlom on the 
 
 “ human Life, have a kind of Alliance amongji 
 “ ihemfelves, and hold each other {as we may 
 “ fay) by the Hand.” But thofe Arts which 
 are the neareft related, and claim the moft 
 ancient Kindred with each other, are Paint- 
 ing and Poetry ; and whofoever fliall through- 
 ly examine them, will find them fb much re- 
 fembling one another, that he cannot take 
 them for lefs than Sifters. 
 
 They both iollow the fame bent, and fuffer 
 themfelves to be rather carryM away, than 
 led by their fecret Inclinations, which are fo 
 many Seeds of the Divinity. “ There is a 
 “ God within us (fays Ovid in the beginning 
 of his Sixth Book de Faftis, there fpeaking of 
 the Poets) “ who by his Agitation warms us. 
 And Suidas fays, “ Fhat the famous Sculptor 
 “ Phidias, and Zeuxis that incomparable Pain^ 
 “ ter, were both of them tranfported by the 
 “ fame Enthufiafm, which gave Life to all 
 “ their Works.” They both of them aim 
 at the fame End, which is Imitation. Both 
 of them excite our Paffions *, and we fuffer 
 our felves willingly to be deceiv’d, both by 
 the one, and by the other ; our Eyes and 
 Souls are fo fixt to them, that we -are ready 
 to perfuade our felves, that the painted Bodies 
 breathe, and that the Fidions are Truths. 
 
 Both 
 
Art of Vaulting. 8 
 
 Both of them are fet on fire by the great Ac- 
 tions of Heroes ; and both endeavour to eter- 
 nize them. Both of them in fhort, are fup- , 
 ported by the Strength of their Imagination, 
 and avail themfdves of thofe Licences, which 
 JpoUo has equally beftow’d on them, and with 
 which their Genius has infpir’d them. 
 
 — — Pi5iorihus atque Poetis 
 ^idlihet audendi, fempcr fuit aqua Potejlas. 
 
 Painters and Poets free from fervile Plwe, 
 
 May treat their Subjects, and their Objcdls draw,. 
 
 As Horace tells us, in his Art of Poetry. 
 
 The Advantage which Painting poflefles 
 above Poefy, is this ; that amongft fo great a 
 Diverfity of Languages, fhe makes her felf 
 underftocd by all the Nations of the World ; 
 and that Ihe is neceffary to all other Arts, 
 becaufe of the need which they have of de- 
 monftrative Figures, which often give more 
 Light to the Underftanding, than the clearefl: 
 Difcourfes we can make. 
 
 Segnius irritant animos demiffa per aurem, 
 
 ^am qua funt oculis commifj’a fidelibus. 
 
 Hearing excites the Mind by fiow Degrees ; . 
 l!he Man is warm'd at once by what he fees. 
 
 Horace in the fame Art of Poetry. 
 
 G 2 For 
 
 
84 
 
 H 9- 
 
 H 24- 
 
 ■* 
 
 Obfervatiom on the 
 
 For both ihofe Arts that they might advance^ 
 hcQ. Poetry by its Hymns and Anthems^ and 
 Painting by its Statues, Altar-pieces, and by 
 all thole Decorations which infpir? Refpedl 
 and Reverence for our Sacred Myfieries, have 
 been ferviceable to Religion. Gregory of Nice, 
 alter having made a long and beautiful De- 
 scription of Abraham facrificing his Son Jfaac, 
 iiys thefe Words, “ I have often cajl my Eyes 
 upon a PiSiure, which reprefents this moving 
 “ ObjeSi ', and could never withdraw them 
 “ without F ^.ars. So well did the Pidiure re- 
 “ prefent the thing it felf, even as if the Adiion 
 “ were then pajfng before fry Sight. 
 
 So much thefe Divine Arts have been always 
 honouPd, &c. Fhe greateji Fords, whole Cities 
 and their Magiflrates of old (fays Pliny, lib. 35.) 
 took it for an Honour, to obtain a Pidlure from 
 the Hands of thofe great Ancient Painters. But 
 this Honour is much fallen of late amongft 
 the French Nobility : and if you will under- 
 fland the caufe of it, Vitruvius will tell you, 
 that it comes from their Ignorance of the 
 charming Arts. Propter Ignorantiam Artis, 
 Virtutes obfcurantur: (in the Preface to his 
 fifth Book.) Nay more, we flrould fee this ad- 
 mirable Art fall into the lad Degree of Con- 
 tempt 
 
 I 
 
 i 
 
 t 
 
85 
 
 Art cf Painting.- 
 
 tempt, if our mighty Monarch, who yields 
 in nothing to the Magnanimity of Alexander 
 the Great, had not fliown as much Love for 
 Painting, as for Valour in the Wars : we dai- 
 ly fee him encouraging this noble Art, by the 
 confiderablc Prefents which he makes to his 
 * chief Painter. And he has alfo founded an * Mr. Le 
 Academy for the Progrefs and Perfeftionating 
 of Painting, which his * firfl: Minifter ho- * Vr. Col- 
 nours with his Protedtion, his Care, and fre- 
 quent Vifits : infomuch that we might fliortly 
 fee the Age of Apelles reviving in our Coun- 
 try, together with all the beauteous Arts, if 
 our generous Nobility, who follow our in- 
 comparable King with fo much Ardour and 
 Courage in thofe Dangers, to v.'hich he ex- 
 pofes his Sacred Perfon, for the Greatneft 
 and Glory of his Kingdom, would imitate 
 him in that wonderful Affedlion, which he 
 bears to all who are excellent in this kind. 
 
 Thofe Perfons who were the moft confide- 
 rable in ancient Greece, either for Birth or 
 Merit, took a moft particular Care, for ma- 
 ny Ages, to be inftruded in the Art of Paint- 
 ing : following that laudable and profitable 
 cuftom, begun and eftablifh’d by the Great 
 Alexander, which was, to learn how to Pe- 
 Jign. And Pliny who gives Teftimony to 
 
 G 3 this 
 
86 
 
 Ohfervatiom on the 
 
 this, in the tenth Chapter of his 35th Book, 
 tells us farther (fpeaking of Pamphilus, the 
 Mafter of Apelles') ‘That it was by the Authority 
 «j/' Alexander, that firfi at Sicyon, and after- 
 wards through all Greece, the young Gentlemen 
 learned before all other things to defign upon Ta- 
 blets of boxen Wood ; and that the firfl Place 
 among all the liberal Arts was given to Paint- 
 ing. And that which makes it evident, that 
 they w'ere very knowing in this Art, is the 
 Love and Efteem which they had for Painters. 
 Demetrius gave high Teftimonies of this, 
 when he btfieg’d the City of Rhodes : for he 
 was pleas’d to employ fome part of that time, 
 which he ow’d to the Care of his Arms, in 
 vifiting Protogenes, who was then drawing the 
 Pifture of lalyfus. This lalyfus (fays Pliny) 
 hinder’d King Demetrius from taking Rhodes, 
 cut of fear, lefi he fhould burn the PiPiures-, and 
 not being able to fire the Town on any other fJe, 
 he was pleas’d rather to fpare the Painting, than 
 to take the ViPtory, which was already in his 
 Hands. Protogenes, at that time had his Pahit- 
 ing Pworn in a Garden out of the Town, and 
 very near the Camp of the Enemies, where 
 he was daily finiflring thofe Pieces which he 
 had already begun ; the Noife of Soldiers not 
 being capable of interrupting his Studies. 
 
 But 
 
Art of Painting. 
 
 But Demetrius caufing him to be brought into 
 his Prefence, and afking him, what made him 
 fo bold, as to work in the midft of Enemies : 
 He anfwer’d the King, That he underftood the 
 War which he made, zvas againft the Rhodians, 
 and not againft the Arts. This oblig’d Deme- 
 trius to appoint him Guards, for his Security ; 
 being infinitely pleas’d, that he could prcferve 
 that Hand, which by this means he fav’d 
 from the Barbarity and Infolence of Soldiers. 
 Alexander had no greater Pleafure, than when 
 he w'as in the Painting Room of Apelles, where 
 he commonly was found. And that Painter 
 once receiv’d from him a fenfible Teftimony 
 of Love and Efteem, which that Monarch 
 had for him : for having caus’d him to paint 
 naked (by reafon of her admirable Beauty) one 
 of his Concubines, call’d Campafpe, v/ho had the 
 greateft Share in his Affedlions ; and perceiving, 
 that Apelles was v/ounded with the fame fatal 
 dart of Beauty, he made a prefent of her to 
 him. In that Age, fo great a Deference was 
 pay’d to Painting, that they who had any Ma- 
 ftery in that Art, never painted on any thing 
 but what was portable from one Place to ano- 
 ther, and what could be fecur’d from burning. 
 They took a particular Care, (fays Pliny in the 
 place above cited) not to paint 'any thing a- 
 G 4 gainft 
 
SB Olfeovatlons on ihe 
 
 gainfl a Wall, which could only belong to one 
 Mailer, and mull always remain in the fame 
 place ; and for that Reafon, could not be re- 
 mov’d in cafe of an accidental Fire. Men 
 were not fuffer’d to keep a Pidlure, as it were 
 in Prifon, on the Walls : It dwelt in common 
 in all Cities, and the Painter himfelf was re- 
 Ipefted, as a common Good to all the World. 
 See this excellent Author., and you flrall find, 
 that the loth Chapter of his 35th Book is fill’d 
 with the Praifes of this Art, and with the Ho- 
 nours which were aferiPd to it. You will there 
 find, that it was not permitted to any but thofe 
 of noble Blood, to profefs it. Francis the Firfl, 
 (as Vafari tells us) w'as in love with Painting 
 to that degree, that he allur’d out of Italy all 
 the befl Matters, that this Art might flourifh 
 in his own Kingdom : And amongft others 
 Leonardo da Vinci who after having conti- 
 nued for fome time in France, died at Fontain- 
 lleau, in the Arms of that great Ring, who 
 could not behold his Death, without fhedding 
 Tears over him. Charles the Fifth, has ad- 
 orn’d Spain, with the nobleft Pidures which 
 are now remaining in the World. Ridolphi, 
 in his Lafe of Lilian, fays, Lhat Emperor one 
 Hay took up a Pencil, which fell from the Hand 
 pf that Artijl, who was then drawing his Pic- 
 ture 5 
 
Art of Pahiting. 89 
 
 hire ; and upon the Complement which Titian 
 made him on this Occafion, he faid thefe Words, 
 
 I'ician has defcrv'd to be ferd'd by Casfar. And 
 in the fame Life ’tis remarkable, ‘That the Em- 
 peror valued hmfelf, not fo much in fubjebling 
 Kingdoms a-nd Provinces, as that he had been 
 thrice made Immortal by the Hand cf Titian. 
 
 Jf you will but take the Pains to read this fa- 
 rnoys Life in Ridolphi, you will there fee the 
 Relation of all thofe Honours, which he re- 
 ceiv’d from Charles the Fifth. It would take 
 up too much Time here to recount all the 
 Particulars : I will only obferve, that the 
 greateft Lords who compos’d the Court of 
 that Emperor, not being able to refrain from 
 fome Marks of Jealoufy, upon the Preference 
 which he made of the Perfon, and Converfa- 
 tion of Titian, to that of all his other Cour- 
 tiers ; he freely told them, Phat he could ne- 
 ver want a Court, or Courtiers \ but he could not 
 have Titian always with him. Accordingly, 
 he heap’d Riches on him, and whenfoever he 
 fent him Money, which, ordinarily fpeaking, 
 was a great Sum, he always did it with this 
 obliging Teflimony, Phat his Defgn was not 
 to pay him the Value of his Piblures, becaufe 
 they were above any Price. After the Example 
 pf the Worthies of Antiquity, who bought 
 
 the 
 
Ohfervatiom on the 
 
 the rareft Piftures with Bufhels of Gold, with- p 
 out counting the Weight, or the Number of | « 
 the Pieces, In nummo aureo, menfurd accepit^ ■ i 
 non numero ffays Pliny, fpeaking of Apelles.) 
 Sluintilian infers from hence, that there is no- 
 thing mere noble than the Art of Painting ; be- 
 caufe other things for the moft part are Mer- 
 chandife, and bought at certain Rates : Moft 
 things for this very reafon, fays he, are vile, 
 becaufe they have a Price. Pleraque hoc ipfo 
 pojjunt videri vilia, quod pretium habent. See 
 the 34th, 35th, and 36th Books of Pliny. ! 
 Many great Perfons have lov’d it with an ex- ' 
 treme Paffion, and have exercis’d themfelves 
 in it with Delight, Amongft others, Labius 
 Fabius, one of thofe famous Romans, who, 
 
 (as Cicero relates) after he had tafted Painting, 
 and had praftis’d it, would be call’d Fabius 
 P idler : As alfo T’urpilius, a Reman Knight ; 
 Labeo, Prater lA Conful, ^antus Pedius ; the 
 Poets Ennius and Pacuvius *, Socrates, Plato, 
 Metrodorus, Pyrrho, Commodus, Nero, Vefpa- 
 fian, Alexander Severus, Antoninus, and many 
 other Kings and Emperors, who thought it 
 not below their Majefty, to employ fome 
 part of their Time in this honourable Art, 
 
 Lhe principal and moft important part of 
 Painting, is to find- out, and throughly to under- 
 
Art of Tahiting. 91 
 
 Jiand, ‘wbat l<!ature hath made mofi beautiful^ 
 and moft prefer to this Art^ See. Obferve here 
 the Rock on which the greateft part of the 
 Flemifl) Painters have fplit : Moll of that Na- 
 tion know how to imitate Nature, at lead as 
 well as the Painters of other Countries ; but 
 they make a bad Choice in Nature it felf ; 
 whether it be, that they have not feen the 
 ancient Pieces, to find thofe Beauties •, or that 
 a happy Genius, and the beautiful Nature, is 
 not of the Growth of their Country. And 
 to confefs the Truth, that which is naturally 
 beautiful is fo very rare, that it is difeover’d by 
 few Perfons ; ’tis difficult to make a Choice 
 of it, and to form to our felves fuch an Idea 
 of it, as may ferve us for a Model. 
 
 And that a Choice of it may be made accord.- ^ 39. 
 ing to the Gufi and Manner of the Antients^ &c. 
 
 That is to fty, according to the Statues^ the 
 Bajjo Relievo's, and the other Ancient Pieces, 
 as well of the Graecians, as of the Romans, 
 
 Ancient (or Antique) is that which has been 
 made from the Time of Alexander the Great, 
 till that of Phocas ; during whofe Empire 
 the x^rts were ruin’d by War. Thefe ancient 
 IVorks from their Beginning have been the 
 Rule of Beauty : and in effedl, the Authors of 
 them have been fo careful to give them that 
 
 Per- 
 
Ohfervailom on the 
 
 PeiTeclion, which is ftill to be obferv’d in 
 them, that they made ule not only of one 
 fingle Body, whereby they form’d them, but 
 of many, from which they took the mod re^ 
 gular Parts to compofe from them a beautiful 
 Whole. “ ‘The Sculptors (fays Maximus Tyri- 
 “ us, in his yth Differtation) with admirable 
 “ Artifice, chofe out of many Bodies thofie Parts 
 which appear'd to ther/t the mojl beautiful j 
 “ and out of that Diverfity made but one Sta- 
 Hie : But this Mixture is made with fo much. 
 “ Prudence, and Propriety, that they feem to 
 “ have taken but one only -perfedi Beauty, And 
 “ let us not imagine that we can ever find one 
 “ natural Beauty, which can difpute with Sta- 
 “ tues that Art, which has always fomewhat 
 more perfedi than Nature." ’Tis alfo to be 
 prefum’d, that in the Choice which they made 
 of thofe Parts, they follow’d the Opinion of 
 the Phyficians, who at that time were very 
 capable of in(lfu£ling them in the Rules of 
 Beauty : Since Beauty and Health ordinarily 
 follow each other. “ For Beauty (fays Galen) 
 “ is nothing elfe but a juft Accord, and mu- 
 “ tual Harmony of the Members, animated by 
 “ a healthful Conftitution," And Men (fays 
 the fame Author) “ commend a certain Statue 
 ** of Polycletus, which they call the Rule, and 
 
 “ which 
 
Art of Pahiivjg. 
 
 ‘‘ ivhich deferves that Name, for having fo 
 “ perfe^ an Agreement in all its Parts, and a 
 “ Proportion fo exatl, that it is not pojfble to 
 “ find a Fault in itP From what I have quo- 
 ted, we may conclude, that the ancient Pieces 
 are truly beautiful, bccaufe they refemble the 
 Beauties of Nature ; and That Nature will 
 ever be beautiful which refembles thofe Beau- 
 ties of Antiquity. ’Tis now evident, upon 
 what Account none have prefum’d to contefl: 
 the Proportion of thofe ancient Pieces ; and 
 that on the contrary, they have always been 
 quoted as Models of the mod perfect Beauty. 
 Ovid, in the 1 2 th Book of his Metamorphofes, 
 where he defcribes Cyllarus, the mod beauti- 
 ful of all the Centaurs, fays, ‘That he had fo 
 great a Vivacity in his Countenance, his Neck, 
 his Shoulders, his Hands, and Stomach were fo 
 fair, that it is certain the manly part of him 
 was as beautiful, as the mojl celebrated Statues, 
 And Philojlratus, in his Heroicks, (fpeaking of 
 Protefilaus) and praifing the Beauty of his 
 Face, lays, “ That the Form of his Nofe was 
 “ fquare, as if it had been of a Statue : And 
 in another Place, fpeaking of Euphorbus, he 
 fays, “ That his Beauty had gain'd the Af- 
 “ fedlions of all the Greeks, atrd that it refem~ 
 ‘‘ bled fo nearly the Beauty of a Statue, that 
 
94 
 
 Obfervatlom on the 
 
 “ one might have taken him for Apollo.” Af- 
 terwards alfo (fpeaking of the Beauty of Necp~ 
 tclemnSy and of his likencfs to his Father A- 
 chilles) he fays, “ Ahat in Beauty his Father^ 
 “ had the fame advantage over him^ as Statues 
 “ have over the Beauty of living Men. 
 
 This ought to be underftood of the faireji 
 Statues^ for amongft the multitude of Sculp- 
 tors which were in Greece and Ital}\ kis im- 
 pofllble but fome of them mull have been bad 
 Workmen, or rather lefs good : for though 
 their Works were much inferior to the Artifts 
 of the firft Form, yet fomewhat of Great- 
 nefs is to be feen in them, and fomewhat of 
 harmonious in the Diftribution of their Parts, 
 which makes it evident, that at that time they 
 wrought on common Principles, and that 
 every one of them avail’d himfelf of thofe 
 Principles, according to his Capacity and Ge- 
 nius. Thofe Statues were the greateft Or- 
 naments of Greece ; we need only open the 
 Book of Paufanias, to find the prodigious 
 Quantity of them, whether within, or without 
 their Temples, or in the croffing of Streets, 
 or in the Squares, and publique Places, or 
 even the Fields, or on the Tombs. Statues 
 were ereifted to the Mufes^ to the Nymphs^ 
 to Heroes^ to great Captains., to Magiftrates., 
 2 Pbilo- 
 
 \ 
 
 I 
 
 
Art of Paird'wg. 
 
 Philofophers, and Poets: In fliort, they were 
 fet up to all thofe who had made themfelves 
 eminent, either in Defence of their Country, 
 or for any noble Adlion, which deferv’d a 
 Recompence ; for it was the moft ordinary 
 and moft authentique Way, both amongft the 
 Creeks and Romans^ thus to teftify their Grati- 
 tude. The Romans^ when they had conquer’d 
 Gr^eciay tranfported from thence not only 
 their moft admirable Statues, but alfo brought 
 along with them the moft excellent of their 
 Sculptors, who inftrufted others in their Art, 
 and have left to Pofterity the immortal Ex- 
 amples of their Knowledge, which we fee 
 confirm’d by thofe curious Statues^ thofe Va~ 
 fes, thofe Bafjo Relievo’s^ and thofe beautiful 
 Columns, call’d by the Names of Trajan and 
 Antonine. Thefe are thofe Beauties which 
 our Author propofes to us for our Models, 
 and the true Fountains of Science ; out of 
 which both Painters and Statuaries are bound 
 to draw for their own ufe, without amufing 
 themfelves with dipping in Streams which are 
 often muddy, at leaft troubled ; I mean the 
 Manner of their Mafters, after w'hom they 
 creep, and from whom they are unwilling to 
 depart, either through Negligence, or through 
 the Meanncfs of their Genius. ” It helongs 
 
06 
 
 f 40. 
 
 Ohfervattom on the 
 
 “ only to heavy Minds ^ ( fays Cicero) to fpend J 1 
 “ their time on Streams^ without fe arching for | 
 
 “ the Springs from whence their Materials flow 
 “ in all manner of abundance. 
 
 Without which all is nothing hut a blind and 
 rafh Barbarity^ &c. All that has nothing of 
 the ancient Gufto, is call’d a barbarous of 
 Gothique Manner, which is not conduced 
 by any Rule, but bnly follows a wretched 
 Fancy, which has nothing in it that is noble. 
 
 "We are here to obferve, that Painters are not 
 oblig’d to follow the Antique as exadly as the 
 Sculptors: for then the Pidture would favour | 
 too ftrongly of the Statue^ and would feeril to 
 be without Motion. Many Painters, and fome 
 of the ableft amongft them, believing they do I 
 well, and taking that Precept in too literal a 
 Senle, have fallen thereby into great Incon- 
 veniencies j it therefore becomes the Painters 
 to make ufe of thofe Ancients Patterns with 
 difcretion, and to accommodate the Nature 
 to them in fuch a manner, that their Figures, 
 which muft feem to live, may rather appear 
 to be Models for the Antique., than the Antique 
 a Model for their Figures. 
 
 It appears, that Raphael made a perfedb 
 ufe of this Condudt ; and that the Lombard 
 School have not precifely fearch’d into this 
 2 Pre- 
 
 
Art of Painting. 
 
 Preceptj any farther than to learn from thence 
 how to make a good Choice of the Nature, 
 and to give a certain Grace and Noblenefs to 
 all their Works, by the general and confus’d 
 Idea, which they had of what is beautiful. 
 As for the reft, they are fufficiently licentious, 
 excepting only Titian^ who, of all the Loni- 
 hardsy has preferv’d the greateft Purity in his 
 Works. This barbarous Manner, of which 
 I fpoke, has been in great Vogue from the 
 Year 6ii to 1450. They who have reflor’d 
 Painting in Germany^ (not having feen any of 
 thofe fair Relicks of Antiquity) have retain’d 
 much of that barbarous Manner. Amongft 
 others, Lucas van Leyden, a very laborious 
 Man, who with his Scholars has infeded al- 
 mofl: all Europe with his Defigns for Lapejlry, 
 which by the Ignorant are call’d Ancient Hang- 
 ings, (a greater Honour than they deferve :) 
 Thefe, I fay, are efleem’d beautiful by the 
 greateft part of the World. I muft acknow- 
 ledge, that I am amaz’d at fo grofs a Stupidi- 
 ty, and that we of the French Nation fhould 
 have fo barbarous a Tafte, as to take for 
 beautiful thofe flat, childilh, and infipid Ta- 
 peltries. Albert Durer, that famous German, 
 who was Contemporary to that Lucas, has 
 had the like Misfontune to fall into that ab- 
 
 H furd 
 
gS Ohjervatiom on the 
 
 furd Manner, becaufe he had never feen any 
 thing that was beautiful. Obferve what Va~ 
 fari tells us, in the Life of Marc Antonio^ 
 {Raphael^ Graver) having firfl commended 
 Albert for his Skill in Graving, and his other 
 Talents: “ And in "^ruth (fays he) if this, fo 
 “ excellent, fo exadl, and fo univerfal a Man, 
 “ bad been born in Tufcany, as he %vas in Ger- 
 “ many, and had formed his Studies according 
 “ to thofe beautiful Pieces which are feen at 
 “ Rome, as the reft of us have done, he had 
 “ proved the beft Painter of all Italy, as be 
 “ was the greateft Genius, and the moft accom~ 
 “ plifPd which Germany ever bore. 
 
 ^ 45. IVe love what we underftand. See. This 
 Period informs us, that though our Inven-* 
 tions are never fo good, though we are fur- 
 niflr’d by Nature with a noble Genius, and 
 though we follow the Impulfe of it, yet this 
 is not enough, if we learn not to underftand 
 what is perfeft and beautiful in Nature ; to 
 the end that having found it, we may be able 
 to imitate it, and by this Inftrudtion we may 
 be capacitated to obferve thofe Errors which 
 fhe her felf has made, and to avoid them, fo 
 as not to copy her in all forts of Subjeds, 
 fuch as Ihe appears to us, without Choice or 
 Diftindion. 
 
 As 
 
Art of Painting. 99 
 
 //j being the Sovereign Judge of his own <([ 50. 
 Arty &c. This Word, Sovereign Judgty or 
 Arbiter of his own Arty preruppofes a Pain- 
 ter to be fully inftru 61 :ed in all the Parts of 
 Painting ; fo that being fet as ic were above 
 his Art, he may be the Mafter and Sovereign 
 of it : which is no eafy Matter. Thofe of 
 that Profeflion are fo fcldom endow'd with 
 that fupreme Capacity, that few of them ar- 
 rive to be good Judges of Painting : And I 
 fhould many times make more account of their 
 Judgment, who are Men of Senfe, and yet 
 have never touch'd a Pencil, than of the Opi- 
 nion which is given by the greatefl: part of 
 Painters. All Painters therefore may be call- 
 ed Arbiters of their own Arty but to be Sove- 
 reign Arbiters belongs only to knowing Pain- 
 ters. 
 
 And permit no tranfent Beauties to efcape If 5 ^* 
 his Obfervationy See. Thofe fugitive or tran- 
 fient Beauties are no other than fuch as we 
 obferve in Nature, with a fhort and tranfienc 
 View, and which remain not long in their 
 Subjefts. Such are the Paffions of the Soul. 
 
 There are of this fort of Beauties which laft 
 but for a Moment *, as the different Airs of an 
 Aflembiy, upon the Sight of an unexpedled 
 and uncommon Object ; fome Particularity of 
 H 2 a vio- 
 
100 Obfervatiom oft the 
 
 a violent Paffion ; fome graceful Aftion j a 
 Smile, a Glance of an Eye, a difdainful Look, 
 a I.ook of Gravity, and a thoufand other fuch 
 like I’hings •, we may alfo place in the Cata- 
 logue of thefe flying Beauties, fine Clouds, 
 fuch as ordinarily follow Thunder, or a Show- 
 er of Rain. 
 
 f 54. In the fame manner that hare PraSlice de- 
 fiitute of the Lights of Art, &c. We find in 
 t^inhtilian, that Pythagoras faid, “ The The- 
 “ cry is nothing without the Prallice. And 
 “ what means (fays the younger Pliny) have 
 “ we to retain what has been taught us, if we 
 “ put it not in Pradiice?’* We would not al- 
 low that Man to be an Orator, who had the 
 bell Thoughts imaginable, and who knew all 
 the Rules of Rhetorick, if he had not ac- 
 quir’d by Exercife the Art of ufing them, and 
 of compofing an excellent Difeourfe. Paint- 
 ing is a long Pilgrimage *, what avails it to 
 make all the neceflary Preparatives for our 
 Voyage, or to inform our felves of all the 
 Difficulties in the Road If we do not a£lu- 
 ally begin the Journey, and travel at a round 
 Rate, we fhall never arrive at the End of it. 
 And as it would be ridiculous to grow old in 
 the Study of every necefTary thing, in an Art, 
 which comprehends fo many feveral Parts ; 
 
 2 fo 
 
lOI 
 
 \Art of Tainting. 
 
 fo on the other Hand, to begin the Praftice 
 without knowing the Rules, or at lead with 
 a light Tinfture of them, is to cxpofe our 
 fclves to the Scorn of thofe who can judge of 
 Painting, and to make it apparent to the 
 World that we have no Care of our Repu- 
 tation. Many are of Opinion, that we need 
 only work, and mind the praftical part, to 
 become fkilful and able Painters •, and that 
 the Theory only incumbers the Mind, and 
 ties the Hand. Such Men do juft like the 
 Squirrel^ who is perpetually turning the 
 Wheel in her Cage ; fhe runs apace, and 
 wearies herfelf with her continual Motion, 
 and yet gets no Ground. Mis not enough for 
 doing well to walk apace, (fays ^intilian) but 
 it is enough for walking apace to do well. ’Tis 
 a bad Excufe to fry, I was but a little while 
 about it. That graceful Eafinefs, that cele- 
 ftial Fire which animates the Work, proceeds 
 not fo much from having often done the 
 like, as from having well underftood what we 
 have done. See what I Ihall farther fay, on 
 the 6oth Rule, which concerns Eafmefs. 
 Others there are, who believe Precepts and 
 Speculation, to be of abfolute NecefTuy ; 
 but as they were ill inftrufted, and what they 
 knew, rather entangled, than clear’d their 
 H 3 Under- 
 
102 
 
 Obfervatiom on the 
 
 Underftanding, fo they oftentimes turn fhort j 
 and if they perform a Work, ’tis not without 
 Anxiety and Pain. And in truth, they are 
 fo much the more worthy of CompaQion, be- 
 Gaufe their Intentions are right ; and if they 
 advance not in Knowledge as far as others, 
 and are fometimes call behind, yet they are 
 grounded upon fome fort of Reafon ; for ’tis 
 belonging to good Senfe, not to go over faff, 
 when we apprehend our felves to be out of 
 the way, or even where we doubt which 
 way we ought to take. Others, on the con- 
 trary, being well inftru 61 :ed in good Maxims, 
 and in the Rules of Art, after having done 
 fine Things, yet fpoil them all, by endeavour- 
 ing to make them better ; which is a kind of 
 overdoing; and they are fo intoxicated with 
 their Work, and with an earned Defire of 
 being above all others, that they fuffer them- 
 felves to be deceivkl with the Appearance of 
 Pliny 35. 10. an imaginary Good. Apelles, one Day ad-> 
 wiring the prodigious Labour which he jaw in a 
 Pidlure of Protogenes, and knowing hozv much 
 Sweat it muji have, coji him,, faid, 'That Pro- 
 togenes and himfelf were of equal Strength 
 nojy that he yielded to him, in fome Parts of 
 Painting ; hut in this he furpafs'd him, that 
 Protosenes never, knew when he had done well, 
 I and: 
 
Art of Painting. 103 
 
 and could never hold his Hand. He alfo added., 
 in the Nature of a Precept, that he ivif/d all 
 Painters would imprint this Lejfon deeply in their 
 Memory, that with over-ftraining and earnejl- 
 nefs of finijking their Pieces, they often did them 
 more harm than good. 'Phere are fome (fays ‘o- 3- 
 ^intiliati) who never fatisfy themfelves, ne- 
 ver are contented with their firjl Notions and 
 Exprejfwns, but are continually changing all, 
 till nothing remains of their firji Ideas, Others 
 there are (continues he) who dare never trujl 
 themfelves, nor refolve on any thing *, and who 
 being, as it were, intangl'd in their oivn Genius, 
 imagine it to be a laudable Correblnefs, when 
 they form Difficulties to themfelves in their own 
 Work. And to fpeak the Truth, 'tis hard to 
 difcern, whether of the two is in the greatejl 
 Error ; he, who is enamouPd of all he does j 
 or he, whom nothing of his own can pleafe. 
 
 For it has happen'd to young Men, and often 
 even to thofe of the greateft Wit, to wafte their 
 Spirits, and to con fume themfelves with Anxiety 
 and Pain of their own giving, fo far as even to 
 doze upon their Work with .too much Eagernefs 
 of doing well. I will now tell you, how a rea- 
 fonable Man ought to carry himfelf on this Oc- 
 cajion. 'Tis certain, that we ought to ufe our 
 Ffi Endeavour to give the lajl perfe^ion to our 
 H 4 Works', 
 
104 
 
 C' 
 
 % 6i 
 
 pedam. i 
 
 Qhfervations on the 
 
 Works ; yet it is always to he underftood^ that 
 we attempt no more than what is in the Ccmpafs 
 of our Genius^ and according to our Vein. For., 
 to make a true Progrefs, 1 grant that Diligence 
 and Study are both requijite •, but this Study 
 ought to have no Mixture, either of Self-opinion, 
 Obfiinacy, or Anxiety ; for which Reafon, if it 
 blows a happy Gale, we muft fet up all cur Sails, 
 though in fo doing it fometimes happens, that we 
 follow thofe Motions 'where our natural Heat is 
 more powerful, than our Care and our CorreSl- 
 nefs, provided we abufe not this Licence, and 
 fuffer not our felves to be deceiv'd by it ; for all 
 our Produdlions cannot fail to pleafe us at the 
 Moment of their Birth, as being new to us. 
 
 Becaufe the greatejl Beauties cannot always 
 be exprefs'd for want of Ferms, &c, I have 
 learn’d from the Mouth of Monfieur du Fref- 
 noy, that he had oftentimes heard Guido fay, 
 Fhat no Man could give a Rule of the greatejl 
 Beauties ; and that the Knowledge of them was 
 fo abftrufc, that there was no manner of fpeak- 
 ing which could exprefs them. This comes juft 
 to what F^intilian fays, Fhat Things incredible 
 wanted Words to exprefs them : For fome of 
 them are too great, and too much elevated, to 
 be comprehended by human Difcourfe. From 
 hence it proceeds, that the beft Judges, when 
 
 they 
 
 ■ i 
 
Art of Vaint'mg. 105 
 
 they admire a noble Pidure, feem to be fa- ^ 
 
 ften’d to it ; and when they come to them- 
 fdves, you would fay they had loft the Ufe of 
 Speech. 
 
 Paufiacd torpes, infane, 'Pabelld, fiys * Ho- 
 race : and f Symmachus fays, that the Great- Lib. to. 
 nefs of Aftonifhment hinders Men from giving a ^'-P- 22. 
 juft Jpplaufe. The Italians fay. Opera da 
 ftupire, when a thing is wonderfully good. 
 
 fhofe Mafter -pieces of Antiquity, which were <[[ 63. 
 the chief Examples of this Art, &c. He means 
 the moft knowing and beft Painters of Anti- 
 quity, that is to fay, from the laft two Ages 
 to our Times. 
 
 And alfo moderates that Fury of the Fancy, ^6. 
 &c. There is in the Latin Text, which pro- 
 duces only Monfters, that is to fay. Things out 
 of all probable Refemblance. Such Things 
 as are often found in the Works of Pietro Fe- 
 fta. It often happens (fays Dionyfius Longinus, 
 a grave Author,) Fhat fame Men, imagining 
 themfelves to he pojjefs’d with a divine Fury ; 
 far from being carry' d into the Rage Baccha- 
 nalians, often fall into F ys and Frifles which 
 are only Puerilities. 
 
 A Subjell beautiful and noble, &c. Paint- 
 ing is not only pleafing and divcrtifing, but 
 allb a kind of Memorial of thofe Things 
 
 which 
 
ip6 Obfervations on the 
 
 which Antiquity has had the mod beautiful 
 and noble in their Kinds, re-placing the Hi- 
 ftory before our Eyes •, as if the thing were 
 at this very time effeftually in Adion ; even 
 fo far, that beholding the Pidures wherein 
 thofe noble Deeds are reprefented, we find 
 our lelves dung with a Defire of endeavouring 
 fomewhat, which is like that Adion, there 
 exprefs’d, as if we were reading it in the Hi- 
 ftory. The Beauty of the Subjed infpires us 
 with Love and Admiration for the Pidurcs, 
 as the fair Mixture caufes us to enter into the 
 Subjed which it imitates, and imprints it the 
 more deeply into our Imagination, and our 
 Memory. Thefe are two Chains which arc 
 interlink’d, which contain, and are at the 
 fame time contain’d, and whofe Matter is 
 equally precious and edimable. 
 
 ^72. And ingenious.^ &c. Aliquid falis ^ fome- 
 what that is well feafon’d, fine and picquant, 
 extraordinary, of a high Relilh, proper to in- 
 ftrud, and to clear the Underdanding. The 
 'Painters ought to do like the Orators (fays 
 Ds Opt. Cicero.) Let them inflrud, let them diverr 
 Gen. Oral, 1^^ them move us ; this is what is 
 
 properly meant by the Word Salt. 
 f 74. On which the Sketch (as it may be called) 
 of the Picture is to be difpos*d 6fc. *Tis 
 
 not 
 
'Art of Painting. 107 
 
 not without Reafon, nor by Chance, that 
 pur Author ufes the Word Machina. A Ma- 
 chine is a juft affembling or Combination of 
 many Pieces, to produce one and the famp 
 EfFeift. And the Difpojilion in a PiSlure is 
 nothing elfe but an aflembling of many Parts, 
 of which we are to forefee the Agreement 
 with each other, and the Juftnefs to produce 
 a beautiful Effedt, as you fliall fee in the 4th 
 Precept, which is concerning the Oeconowy. 
 
 This is alfo called the Comfojition., by whicl^ 
 is meant the Diftribution and orderly placing 
 pf Things, both in general, and in parti- 
 cular. 
 
 IVhich is what we properly call Invention., % 7 5’. 
 ^c. Our Author eftablifhes three Parts of 
 Painting, the Invention, the Design, or 
 Drawing-, and the Colouring, which 
 in fome Places he alfo calls the Crom atick, 
 
 Many Authors who have written of Painting, 
 rnultiply the Parts according to their Plea- 
 ' fure ; and without giving you, or my felf the 
 trouble of difcufling this Matter, I will only 
 tell you, that all the Parts of Painting which 
 others have nam’d, are reducible into thefe 
 three which are mention’d by our Author. 
 
 For which Reafon, I efteem this Divifiott 
 to be the jufteft : And as thefe three Parts 
 
 are 
 
Obfervations on the 
 
 are ejjential to Fainting, fo no Man can be 
 truly call’d a Painter, who does not poffefs 
 them all together : In the fame manner that 
 we cannot give the Name of Man to any 
 Creature which is not compos’d of Body, Soul 
 and Reafon, which are the three Parts necef- 
 farily conftituent of a Man. How therefore 
 can they pretend to the Quality of Painters, 
 who can only copy and purloin the Works 
 of others ; who therein employ their whole 
 Induftry j and with that only Talent would 
 pals for able Painters ? And, do not tell me, 
 that many great Artifts have done this •, for I 
 can eafily anfwer you, that it had been their 
 better Courfe to have abflain’d from fo do- 
 ing ; that they have not thereby done them- 
 felves much Honour, and that Copying was 
 not the beft Part of their Reputation. Let 
 us then conclude, that all Painters ought to 
 acquire this Part of Excellence ; not to do it, 
 is to want Courage, and not dare to fhew 
 themfelves. ’Tis to creep and grovel on the 
 Ground, *tis to deferve this juft Reproach •, O 
 imitatores fervum pecus / ’Tis with Painters, 
 in reference to their Produftions, as it is with 
 Orators : A good Beginning is always coftly 
 to both : Much Sweat and Labour is requir’d, 
 but *tis better to expofe our Works, and leave 
 
 them 
 
‘Art of Painting. IC 9 
 
 tliem liable to Cenfure for fifteen Years, than 
 to bluih for them at the End of fifty. On 
 this account, ’cis neceflary for a Painter to 
 begin early to do fomewhat of his own, and 
 to accuftom himfelf to it by continual Ex- 
 ercife ; for fo long as endeavouring to raife 
 himfelf, he fears falling, he (hall be always 
 on the Ground. See the following Obferva- 
 tion. 
 
 Invention is a kind of Mufe^ which being H 7^* 
 pojjefs^d of the other Advantages common to her 
 Sifters, &c. The Attributes of the Mufes arc 
 often taken for the Mufes themfelves ; and it 
 is in this Senfe, that Invention is here call’d a 
 Mufe. Authors afcribe to each of them in 
 particular, the Sciences which they have (fay 
 they) invented ; and in general the Belles Let- 
 ires, becaufe they contain almoft all the others. 
 
 Thefe Sciences are thofe Advantages of which 
 our Author fpeaks, and with which he would 
 have a Painter furnifh himfelf fufficiently : 
 and in truth, there is no Man, though his Un- 
 derftanding be very mean, who knows not, 
 and who finds not of himfelf, how much 
 Learning is neceflary to animate his Genius, 
 and to complete it. And the Reafon of this 
 is, that they who have ffudied, have not only 
 feen, and karn’d many excellent Things, 
 
 in 
 
Obfervations on the 
 
 in their Courfe of Studies ; bat alfo they have 
 acquir’d by that Exercife a great Facility of ^ 
 
 profiting themfelvesi by reading good Au- ^ 
 
 thors. They who will make Profeffion of ^ 
 Painting, muft heap up Treafurcs out of their ’ 
 Reading : And there they will find many ' 
 wonderful Means of raifing themfelves above 
 others, who can only creep upon the Ground, 
 or if they elevate themfelves, ’tis only to fall 
 from a higher Place, becaufe they ferve them- 
 felves of other Mens Wings, neither under- 
 ftanding their Ufe, nor their Virtue. ’Tis 
 true, that it is not the prefcnt Mode for a 
 Painter to be fo knowing : And if any of 
 them in thefe Times be found to have either 
 a great Wit, or much Learning, the Multi- 
 tude would not fail to fay, that it was great 
 Pity i and that the Youth might have come 
 to fomewhat in the pradical Part of the Law, 
 or it may be in the Treafury, or in the Fami- 
 lies of fome Noblemen. So wretched is the 
 Deftiny of Painting in thefe latter Ages. By 
 Learning, *tis not fo much the Knowledge of 
 the Greek and Latin Tongue, which is here 
 to be underflood ; as the reading of good 
 Authors^ and underftanding thofe Things of 
 which they treat : For Lranfiations being made 
 of the beji Authors^ there is not any Painter 
 
 who 
 
Art of Painting. lit 
 
 ■who is not capable, in fome fort, of under- 
 ftanding thole Books of Humanity, which 
 are comprehended under the Name of the 
 Belles Leltres. In my Opinion, the Books 
 which are of the moft Advantage to thofe of 
 the Profeflion, are thefe which follow. 
 
 The Bible. 
 
 The Hiftory of Jofephus. 
 
 The Roman Hiftory of Co^eteau^ for thofe 
 who underftand the French : and that of Fiius 
 Livius., in iMtin, 
 
 Homer, whom Pliny calls the Fountain-head 
 of Invention and noble Thoughts. 
 
 Virgil, and in him, particularly his Mnm. 
 
 The Ecclefiaftical Hiftory of Godeau^ or 
 the Abridgment of Baronius. 
 
 Ovid’s Metamorphofes. 
 
 * The Piftures of Philojlratus. • Tableaux. 
 
 Plutarch’s Lives. 
 
 Paufanias, who is wonderful for giving of 
 great Ideas*, and chiefly, for fuch as are to 
 be plac’d at a diftance, (or caft behind) and 
 for the combining of Figures. This Author^ 
 in Conjundtion with Homer, makes a good 
 Mingle of what is pleafing, and what is per- 
 fect. 
 
 The Religion of the Ancient Romans, by Z)« 
 
 Choul : 
 
Obfervatiom on Use 
 
 Ghoul : and in Englljh, Godwin’s Roman Anti^- 
 quities. 
 
 'Erajar’s Pillar, with the Difcourfe which 
 explains the Figures on it, and inftru6ts a 
 Painter in thofe Things with which he is in- 
 difpenfably to be acquainted. This is one of the 
 moft principal and moft learned Books, which 
 we have for the Modes, the Cuftoms, the Arms, 
 and the Religion of the Romans. "Julio Romano 
 made his chief Studies on the Marble it felf. 
 
 The Books of Medals. 
 
 The Bafs Reliefs of Perrier, and others, with 
 their Explanations at the Bottom of the Pages, 
 which give a perfed Underftanding of them. 
 
 Horace’s Art of Poetry, becaufe of the Re- 
 lation which there is betwixt the Rules of 
 Poetry, and thole of Painting. 
 
 And other Books of the like Nature, the 
 reading of which are profitable to warm the 
 Imagination : Such as in Englijh, are Spencer’s 
 Fairy ^een ; the Paradife Loft, of Milton ; 
 "Tajfo, tranflated by Fairfax ; and the Hiftory 
 of Polybius, by Sir Henry Shere. 
 
 Some Romances alfo are very capable of en- 
 tertaining the Genius, and of ftrengthening if, 
 by the noble Ideas which they give of things : 
 but there is this Danger in them, that they 
 almoft always corrupt the Truth of Hiftory. 
 
 There 
 
Art cf Painting. 
 
 There are alfo other Books which a Painter 
 may ufe upon fome particular occafions, and 
 only when he wants them ; Such are. 
 
 The Mythology of the Gods. 
 
 The Images of the Gods. 
 
 The Icvnolcg)\ 
 
 The Tables of Hyginus. 
 
 The pradtical Perfpedlive. 
 
 And fome others not here mentioned. 
 
 Thus it is neceflary, that they who are de- 
 firous of a Name in Painting, fhould read at 
 leifure times thefe Books with Diligence and 
 Kiake their Obfervations of fuch things as 
 they find for their Purpofe in them, and of 
 which they believe they may fometime or 
 other have occafion. Let the Imagination be 
 employ’d in this reading, and let them make 
 Sketches, and light Touches of thofe Ideas 
 which that reading forms in their Imagination. 
 PluinSHlian., Pacitus, or whoever was the Ati* 
 thor of that Dialogue, which is call’d in Latin 
 I De Caujis corruptee Eloquenti fays. That 
 I Painting refemhles Fire., which is fed by the 
 \ Fuel, inflam'd by Motion, and gathers Strength 
 ■ by burning : For the Power of the Genius is only 
 i augmented by the Abundance of Matter to fupply 
 j it •, and 'tis impofflble to make a great and mag- 
 nificent Work, if that Matter be wanting, or 
 \ .1 not 
 
Ii4 Ohfervations ofi the 
 
 not difpoi*d rightly. And therefore a Painter, 
 who has a Genius, gets nothing, by long 
 thinking, and taking all imaginable Care to 
 make a noble Compofition, if he be not af- 
 fifted by thofe Studies which I have mention^ 
 ed. All that he can gain by it is only to 
 v/eary his Imagination, and to travel over 
 many vaft Countries, without dwelling on any 
 one thing, which can give him fatisfaftion. 
 
 All the Books which I have nam’d may 
 be ferviceable to all forts of Perfons, as well as 
 to Painters. As for thofe Books which were 
 of particular ufe to them, they were unfor- 
 tunately loft in thofe Ages which were before 
 the Invention of Printing. The Copyers neg- 
 lefting (probably out of Ignorance) to tran- 
 fcribe them, as not finding themfelves capable 
 * nat is to of making the * demonftrative Figures. In 
 th Eye, by mean times, ’tis evidently known, by the 
 W relation of Authors, that we have loft fifty 
 
 Volumes of them at the leaft. See Pliny in 
 his 35th Book ; and Franc. Junius in his 3d 
 Chapter of the 2d Book of the Painting of the 
 Ancients. Many Moderns have written of it 
 with fmall Succefs, taking a large compafs, with- 
 out coming directly to the Point ; and talking 
 much, without faying any thing : yet fome of 
 them have acquitted themfelves fuccefsfully 
 2 enough. 
 
Art of 'Painting. i 1 5 
 
 enough. Amongfl: others, Leonardo da ViHci 
 (though without method) ; Paulo Lomazzo^ 
 whofe Book is good for the greateft Parr, but 
 whofe Difcourfe is too diffufive and very tire- 
 fome : John Baptift rlrmenini, Francifcus Ju- 
 nius, and Monfieur de Cambray, to whofe Pre- 
 face I rather inVite you, than to his Book. 
 
 We are not to forget what Monfieur Felebien 
 has written of the Hiftorical Piece of Alex- 
 ander, by the Hand of Monfieur Le Brun : 
 
 Befides that the Work it felf is very eloquent, 
 the Foundations which he eftablilhes for the 
 making of a good Pidure, are wonderfully 
 folid. Thus 1 have given you very near the 
 Library of a Painter, and a Catalogue of fuch 
 Books as he ought either to read himfelf, or 
 have read to him at lead if he will not fa- 
 tisfie himfelf with poffefling Painting as the 
 mod drdid of all Trades, and not as the 
 nobled of all Arts. 
 
 ’Tis the Bujinefs of a Painter in his Choice ^ 77* 
 of Attitudes, &c. See here the mojt impor- 
 tant Precept of all thofe which relate to Paint- 
 ing. It belongs properly to a Painter alone, 
 and all the red are borrow’d either from 
 learning, or from Phyftck, or from the Ma- 
 thematicks', or in fliort, from other Arts i for it 
 is fufficient to have a natural Wit and Learn- 
 
 I 2 ing 
 
ii6 Ohfervatlom on the 
 
 ing to make that which we call in Painting, 
 a good Invention : For the Defign, we muft 
 have fome Infight into Anatomy : To make 
 Buildings, and other things in Perfpe£Hve, we 
 muft have Knowledge in the Mathematicks : 
 And other Arts will bring in their ^lota^s, to 
 furnifh out the matter of a good Pidure. But 
 for the Oeconomy^ or ordering of the Whole- 
 together, none but only the Painter can un- 
 derftand it : becaufe the End of the Artift is 
 pleafingly to deceive the Eyes ; which he can 
 . . never accomplifh, if this Part be wanting to 
 
 him. A Pidure may have an ill Effed, 
 though the Invention of it be truly underftood, 
 the T>ejign of it corred, and the Colours of it 
 the moft beautiful and fine that can be em- 
 ploy’d in it. And on the contrary, we may 
 behold other Pidures ill invented, ill defign’d^ 
 and painted with the moft common Colours, 
 which fhall have a very good effed, and which 
 In Oecono- fhall more pleafingly deceive ; Nothing pleafes 
 a Man fo much as Order (fays Xenophon) •, and 
 Horace^ in his Art of Poetry^ lays it down as 
 a Rule. 
 
 Singula quaque locum teneant fortita decenter. 
 
 Set all things in their own peculiar Place : 
 
 And knoWi that Order is the greatejl Grace. 
 
 This 
 
Art of Painting. 1 1 7 
 
 This Precept is properly the Ufe and Ap- 
 plication of all the reft; for which reafon it 
 requires much Judgment. You are therefore 
 in fuch manner to forefee things, that your 
 Pidlure may be painted in your Head, before 
 it comes upon the Canvas. When Menander 
 (fays a celebrated Author) had order'd the Comm, ve- 
 Scenes of his Comedy., he held it to he., in a man- 
 ner., already made ; though he had not begun the 
 firjl Verfe of it. ’Tis an undoubted truth, 
 that they who are endu’d with this Fore- 
 fight, work with incredible Pleafure and Fa- 
 cility •, others on the contrary are perpetually 
 changing, and rechanging their work, which 
 when it is ended, leaves them but Anxiety for 
 all their Pains. It feems to me, that thefc 
 forts of Pidtures remind us of thofe old Go- 
 thique CafUes, made at feveral times ; and 
 which hold together, only as it were by Rags 
 and Patches. 
 
 It may be infen’d from that which I have 
 laid, that the Invention and the Difgojition are 
 two feveral and diftindl Parts. In effedr, 
 though the laft of them depends upon the 
 firft, and is commonly comprehended under 
 it ; yet we are to take great Care that we do 
 not confound them. The Invention fimply 
 finds out the Subjedts, and makes a Choice 
 I 3 of 
 
1 1 8 Ohfrrvatlom on the 
 
 of them fuitable to the Hiflory which v/e 
 treat ; and the Difpojiiion diftributes thofe 
 things which are thus found, each to its pro- 
 per Place, and accomodates the Figures and 
 the Grouppes in particular, and the 'Tout En- 
 femble (or Whole-together) of the Pidure in 
 general : fo that this Oeconomy produces the 
 fame cfred in relation to the ^yes, as a Confort 
 of Mxifick to the Ears. 
 
 There is one thing of great confequence 
 to be obferv’d in the Oeconotvy of the whole 
 work, which is, that at the firft Sight we 
 niay be given to uqderftand the Quality of 
 the Subjed : and that the Pidure at the firfl 
 Glance of the Eye, may infpire us with the 
 principal PalTion of it : for Example., if the j 
 Subjed which you have undertaken to treat be 
 of Joy, dis neceflary that every thing which 
 
 enters into your Pidure fltould contribute to i 
 ^ . i 
 
 that Pafiion ; fo that the Beholders fhall im- \\ 
 
 mediately be mov’d with it. If the Subjed 
 
 be mournful, let every thing in it have a 
 
 ftroke of Sadnefs ; and fo of the other Pafllons 
 
 and Qualities of the Subjeds, 
 
 Let there he a genuine and lively Exprejfion. 
 
 ^ of the Subjedl, conformable to the Text of 
 
 Ancient Authors, &c. Take care that the ,| 
 
 Licences of Painters be rather to adorn the i| 
 
 F|iflory^ 
 
Art of Tainting. 1 1 9 ; 
 
 Hiftory, than to corrupt it. And though i; 
 
 Horace gives Permillion to Painters and Poets Art of Poetry' 
 to dare every thing, yet he encourages neither 
 of them to make things out of Nature or 
 Verifimility ; for he adds immediately after, ; 
 
 But let the Bounds of Licences . he fix'd j 
 Not Things of difagreeing Natures mix'd : 
 
 (join'd i 
 
 Not Sweet with Sour, nor Birds with Serpents 
 Nor the fierce Lyon with the fearful Hind. 
 
 The Thoughts of a Man endued with good 
 Senfe, are not of Kin to vifionary Madnefs ; 
 
 Men in Fevers are only capable of fuch 
 Preams. Treat then the Subjedts of your 
 Pidlures with all poflible Faithfulnels, and ufe 
 your Licences with a becoming Boldnefs; pro- 
 vided they be ingenious, and not immoderate 
 and extravagant. 
 
 Take care that whatfoever makes nothing to 83. 
 your SubjeSl, &c. Nothing deadens fo much 
 the Compofition of a Pidture, as Figures 
 which are not appertaining to the Subjedt ; 
 
 We may call them pleafanrly enough, Figures 
 to be let. 
 
 This Part of Painting fo rarely met with, <^87. 
 ^cc. That is to fay. Invention. 
 
 I 4 
 
 Which 
 
120 
 
 « «a- 
 
 If 92- 
 
 * Pro lege 
 
 G'Jervathm on the 
 
 Which was ficllen by Prometheus, i£c. The 
 Poets feign, that Prometheus form’d out of 
 Clay, fo fair a Statue, that Minerva one Day 
 having long admir’d it, faid to the Workman, 
 That if he thought there was any thing in 
 Heaven, which could add to its Perfediion, 
 he might aflc it of her ; but he being igno- 
 rant of what might be mod: beautiful in the 
 Habitation of the Gods, defir’d Leave that he 
 might be carry’d thither, and being there, to 
 make his Choice. The Goddefs bore him 
 thither upon her Shield, and fo foon as he had 
 perceiv’d, that all Celeftial Things were ani- 
 mated with P'ire, he ftole a Parcel of it, which 
 he carry’d down to Earth, and applying it to 
 the Stomach of his Statue, enliven’d the whole 
 Body. 
 
 ’Phat it happens not to every one to fee Co- 
 rinth, Cfc. This is an ancient Proverb, which 
 f’gnifies, that every Man has not the Genius, 
 nor the Difpofition, that is necefiary for the 
 Sciences ; neither yet a Capacity fit for the 
 Undertaking of Things which are great and 
 difHcuIt. Corinth was heretofore the Centre 
 of all Arts, and the Place whither they fent 
 all thofe whom they would render capable of 
 any thing. * Cicero calls it the Light of all 
 
 It 
 
 2 
 
1 
 
 Art of Tainting. 
 
 It arriv’d at length to that Height of Per- 9 
 feSlion^ &c. This was in the Time of Alex- 
 ander the Greaty and lafted even to Auguftut \ 
 under whofe Reign Painting fell to great 
 Decay. But under the Emperors, Bomitian, 
 Nerva, and Trajan, it appear’d in its primi- 
 tive Luftre; which lafted to the Time of Pho- 
 cas the Emperor; when Vices prevailing over 
 the Arts, and War being kindled through all 
 Europe, and efpecially in Lombardy, (occafi- 
 on’d by the Irruption of the Huns,) Painting 
 was totally extinguiflftd. And if fome few, 
 in the fucceeding Ages, ftrain’d themfelves to 
 revive it, it v.'as rather in finding out the moft 
 glaring, gav/dy, and coftly Colours ; than in 
 imitating the harmonious Simplicity of thofe 
 illuftrious Painters, who preceded them. At 
 length, in the fourteenth Century, fome there 
 were, who began to fet it again on foot. 
 
 And it may truly be faid, that about the End 
 of the fifteenth Age, and the Beginning of 
 our fixteenth, it appear’d in much Splendot*;, 
 by means of many knowing Men in all Parts 
 of Italy, who were in perfedl .PofiTeflion of it. 
 Since thofe happy Times, which were fo 
 fruitful of the noble Arts, we have alfo had 
 fome knowing Painters, but very few in Num- 
 ber, becaufe of the little Inclination which 
 
 Sove- 
 
J2Z 
 
 H 103* 
 
 f 104. 
 
 f 104- 
 
 Ohfervations on the 
 
 Sovereign Princes have had for Painting : but 
 Thanks to the Zeal of our great Monarch, 
 and to the Care of his firft Minitfer, Mon- 
 fieur Colbert^ we may fhortly behold it more 
 flour iihing than ever. 
 
 An Attitude therefore mujl he chofen ac^ 
 cording to their I'afie., &c. This is the fecond 
 Part of Painting, which is call’d Dejtgn, or 
 "Drawing. As the Ancients have fought as 
 much as poflible whatfoever contributes to the 
 making of a perfect Body ; fo they have di- 
 ligently examin’d in what confifts the Beauty 
 of good Attitudes, as their Works fufflciently 
 inform us. 
 
 ‘the Parts of it tmifi be great., &c. Yet not 
 fo great as to exceed a juft Proportion. But 
 he means, that in a noble Attitude, the great- 
 eft Patts of the Body ought to appear fore- 
 moft, rather than the lefs ; for which reafon, 
 in another Paflage, he vehemently forbids the 
 Forefliortnings, becaufe they make the Parts 
 appear little, though of themfelves they are 
 great. 
 
 And large., &c. To avoid the dry Man- 
 ner, fuch as is moft commonly the Nature 
 which Lucas van Leyden^ and Albert Durer^ 
 have imitated. 
 
 Contrajled, 
 
Art of Painting. 
 
 Contrafted hy contrary Motions, the mott no- 
 ble Parts foremojt in Sight, and each Figure care- 
 fully pois'd on its own Centre, &c. The Motions 
 are never natural, when the Members are not 
 equally balanc’d on their Centre : And thcfe 
 Members cannot be balanc’d on their Centre 
 in an Equality of Weight, but they mull; 
 contraft each other. A Man who dances on 
 the Rope, makes a manifeft Demonftration of 
 this Truth. The Body is a Weight balanc’d 
 on its Feet, as upon two Pivots. And though 
 one of the Feet moft commonly bears the 
 Weight, yet W'e fee that the whole Weight 
 refts centrally upon it. Infomuch, that if (for 
 Example) one Arm is ftretched out, it mud 
 of Neceffity be either, that the other Arm, 
 or the Leg be cafl backw'ard, or the Body 
 fomewhat bow’d on the oppofite Side, fo as 
 to make an ^Equilibrium, and be in aSituatioa 
 which is unforc’d. It may be, though feL 
 dom (if it be not in old Men) that the Feet 
 bear equally j and for that time half the 
 Weight is equally diftributed on each Foot. 
 You ought to make ufe of the fame Prudence, 
 if one Foot bears three Parts in four of the 
 Burthen, and that the other Foot bears the 
 remaining parr. This in general is what may 
 
 be 
 
 i2i 
 n 105, 
 
124 . Ohfervations on the 
 
 be faid of the Balance, and the Libration of 
 the Body. In particular, there may many 
 things be laid which are very ufeful and cu- 
 rious, of which you may fatisfy your felves in 
 Leonardo da Vinci. He has done wonderfully 
 well on that Subjeft : and one may truly fay, 
 that the Ponderation, is the bell and foundeft 
 Part of all his Book of Painting. It begins at 
 the 181ft Chapter, and concludes at the 
 273d. I would alfo advife you to read Paulo 
 Lomazzo., in his 6th Book, Chapter 4th, Del 
 moto del Corpo Humano., that is, the Motion of 
 a Human Body. You will there find many 
 things of great Profit, for what concerns the 
 Contraft. I will only fay in general, that 
 nothing gives fo much Grace and Life to Fi- 
 gures. See the 13 th Precept, and what I fay 
 upon it in the Remarks. 
 
 ^ 107. Lhe Parts muft be drawn with flowing, gli-, 
 ding Out-lines, &c. The Reafon of this proT 
 ceeds from the A6tion of the Mufcles, which 
 are as fo many Well-Buckets : when one of 
 them a6ts and draws, ’tis necclTary that the 
 other muft obey ; fo that the Mufcles which 
 adt, drawing always towards their Principal, 
 and thofe which obey ftretching in length, 
 
 and cn the fide of their Infection \ it muft 
 
 needs 
 
Art of Painting. 12 
 
 reeos follow, that the Parts mufi: be defign’d 
 in W aves : But beware, left in giving this 
 Form to the Parts, you do not break the 
 Bones which fuftain them, and which always 
 muft make them appear firm. 
 
 This Maxim is not altogether fo general, 
 but that, Adions may be found, where the 
 Mafles of the Mufcles are fiiuate one over a- 
 gainft another: but that is not very common. 
 
 The Out-lines, which are in Waves, give 
 not only a Grace to the Parts, but alfo to the 
 whole Body, when it is only fupported on one 
 Leg. As we fee in the Figures of Antinous^ 
 Meleager., the Venus of Medices, that of the 
 Vatican, the two others of Borghefe, and that 
 of Flora, of the Goddefs Vefta, the two Bac^ 
 
 (bus's of Borghefe, and that of Ludovifio, and 
 in fine, of the greateft Number of the An- 
 cient Figures, which are ftanding, and which 
 always reft more upon one Foot than the 
 other. Befides, that the Figures and their 
 Parts, ought almoft always to have a ferpen- 
 tine and flaming Form naturally ; thefe Sorts 
 of Out-lines have, I know not what of Life 
 and feeming Motion in them, which very 
 much refembles the Adivi ty of the Flame, 
 and of the Serpent. 
 
 According 
 
 
126’* Obf erva f ions on the 
 
 ^ i 12. According to the Rules of Anatomy, See. This 
 Parc is nothing known at prefent amongft 
 our modern Painters. 1 have fhewn the Profifj 
 and even the Neceffity of it in the Preface of 
 a little Epitome which I have made, and 
 which Monfieur Torrebat has publifh’d. I 
 know there arc fome, who think this Science 
 a kind of Monfter, and believe it to be of no 
 Advantage, either becaufe they are mean fpi- 
 rited, or that they have not confider’d the 
 want which they have of it ; nor reflected, as 
 they ought, on its Importance : contenting 
 themfelves with a certain Track, to which 
 they have been us’d. But certain it isj that 
 whoever is capable of fuch a Thought, will 
 never be capable of becoming a great De- 
 figner. 
 
 «[[■ 113. In Imitation of the Greek Forms, &Cj 
 That is to fay, according to the Ancient 
 Statues, which for the moft part come from 
 Greece. 
 
 ^ Let there he a ferfcSl Relation betwixt the 
 
 Parts and the Whole, S>cc. or let them agree 
 well together, which is the fame thing. His 
 Meaning in this Place, is, to fpeak of the 
 Juftnefs of Proportions, and of the Harmony 
 which they make with one another. Many 
 
 famous 
 
jirt of Painting. " 127 
 
 ' famous Authors have thoroughly treated this 
 I1' matter. Amongft others Paulo Lomazzo, 
 whofe firft Book fpeaks of nothing elfe : But 
 there are fo many Sub-divifions, that a Rea- 
 der mull have a good Brain, not to be turn’d 
 •with them. See thofe which our Author has 
 remark’d in general, on the moft beautiful 
 Statues of the Ancients. I believe them to be 
 fo much the better, as they are more confor- 
 mable to thofe, which Vitruvius gives us, in 
 the firjl Chapter of his third Book : And which 
 he tells us, that he learn’d from the Artifts 
 themfelves t becaufe in the Preface to his fe^ 
 venth Book, he makes his boaft to have had 
 them from others, and particularly from yfr- 
 (hiteSfs and Painters. 
 
 ‘Phe Meafures of a Human Body, 
 
 The Ancients have commonly allow’d eight 
 Heads to their Figures ; though fome of them 
 have but feven. But we ordinarily divide the 
 Figures into * ten Faces : that is to fay, from * dihU depends 
 the Crown of the Head, to the Sole of the 
 Foot; in the following manner. of thePerfins. 
 
 From the Crown of the Head to the Fore- ‘^^dYmn^of 
 head, is the third Part of a Face. Medices have 
 
 The Face begins at the Root of the low- 
 
128 
 
 '■ 7he Apollo 
 as a Nofe 
 ore. 
 
 The Apollo 
 as half a 
 Jofe more : 
 'td the upper 
 alf of the 
 ^enns de 
 /ledices is 
 to the loojuer 
 part of the 
 Belly f and 
 not to the 
 Priojy Parts, 
 
 Chfervations on the 
 
 efl Hairs, which are upon the Forehcadj and 
 ends at the Bottom of the Chin. 
 
 The Face is divided into three proportion-^ 
 able Parts ; the firft contains the Forehead, 
 the fccond the Nofe, and the third the Mouth 
 and the Chin. 
 
 From the Chin, to the Pit betwixt the 
 Collar-bones, are two lengths of a Nofe. 
 
 From the Pit betwixt the Collar-bones, to 
 the Bottom of the Breait, one Face. 
 
 * f>om the Bottom of the Breads, to the 
 Navel, one Face. 
 
 * From the Navel to the Genitories, one„ 
 
 Face. « 
 
 From the Genitories to the upper Part of 
 the Knee, two F'aces. 
 
 The Knee contains half a Face. 
 
 From the lower Part of the Knee to the 
 Ankle, two Faces. 
 
 From the Ankle to the Sole of the Foot, 
 half a Face. 
 
 A Man when his Arms are dretch’d out, 
 is, from the longed Finger of his right Hand 
 to the longed of his left, as broad as he is 
 long. 
 
 From one Side of the Breads to the other, 
 two Faces. 
 
 The Bone of the Arm, call’d Humerus^ is the 
 
 Length 
 
Art of Fainting. 
 
 Length of two Faces, from the Shoulder to 
 the Elbow. 
 
 From the End of the Elbow to the Root 
 of the little Finger, the Bone call’d 
 tuSy with Part of the Hand, contains two 
 Faces. 
 
 From the Box of the Shoulder-blade, to 
 the Pit betwixt the Collar-bones, one Face, 
 
 If you would be fatisfy’d in the Meafures 
 of Breadth, from the Extremity of one Fin- 
 ger to the other *, fo that this Breadth fliou’J 
 be equal to the Length of the Body, you mull 
 obferve, that the Boxes of the Elbows with 
 the HumeruSy and of the Humerus w'ith the 
 Shoulder-blade, bear the Proportion of half a 
 Face, when the Arms are ftretch’d our. 
 
 The Sole of the Foot is the fixth Part of 
 the Figure. 
 
 The Hand is the Length of a Face. 
 
 The Thumb contains a Nofe. 
 
 The Infide of the Arm, from the Place 
 where the Mufcle dilappears, which makes 
 the Breaft, (call’d the Peftoral Mufcle) to the 
 Middle of the Arm, four Nofes. 
 
 From the Middle of the Arm to the Be- 
 ginning of the Hand, five Nofes. 
 
 The longeft Toe, is a Nofe long. 
 
 The two utnioft Parts of the Teats, and 
 K the 
 
Ohjervatiom on the 
 
 the Pit betwixt the Collar-bones of a Wo« 
 man, make an equilateral Triangle. 
 
 For the Breadth of the Limbs, no precife 
 Meafures can be given ; becaufe the Meafurea | 
 themfelves are changeable, according to the 
 Quality of the Perfons, and according to the 
 Movement of the Mufcles. 
 
 If you wou’d know the Proportions more 
 particularly, you may fee them in Paulo Lo- 
 mazzo : ’tis good to read them, once at lead:, 
 and to make Remarks on them ; every Man 
 according to his own Judgment, and ac- 
 cording to the Occafion which he has for 
 them. 
 
 ”7* Phough PerfpeSHve cannot he call'd a perfect 
 Ruky &c. That is to fay, purely of it felf, 
 without Prudence, and Difcretion. The 
 greatefl: Part of thofe who underhand it, de- 
 firing to praftife it too regularly, often make 
 fuch things as diock the Sight, though they 
 are within the Rules. If all thofe great Pain- 
 ters, who have left us fjch fair Platforms, 
 had rigoroufly obferv’d it in their Figures, 
 they had not wholly found their Account in 
 it. They had indeed made things more regu- 
 larly true, but withal very unpleafing. There 
 is great Appearance that the ArchiteSis and 
 Statuaries of former times, have not found it 
 
 to 
 
Art of 'Painting. 
 
 to their Purpofe always ; nor have follow’d the 
 Geometrical Part fo exadly as Perfpedive or- 
 dains. For he w'ho w'ou’d imitate the FrontiC- 
 piece of the Rotunda according to Perfpedive» 
 wou’d be grofly deceiv’d •, fince the Columns 
 which are ac the Extremities have more Dia- 
 meter than thofe which are in the Middle. 
 The Cornifli of the Palazzo Farmfe, which 
 makes fo beautiful an Elfed belov/, when 
 view’d more nearly, will be found not to hav'C 
 its juft Meafures. In the Pillar of Prajan., we 
 fee that the higheft Eigures are greater than 
 thofe below ; and make an Effed quite con- 
 trary to Perfpedive, increafing according to 
 the Meafure of their Diftance. I know there 
 is a Rule which teaches a Way of making 
 them in that Manner % and which, though. 
 *tis to be found in fome Books of Perfpedive, 
 yet notwithftanding is no Rule of PerfpetUve, 
 Becaule ’tis never made Ufe of, but only 
 when we find it for our Purpofe ; for if (for 
 Example) the Figures which are at the Top 
 of Prajan^s Pillar^ were but as great as thofe 
 which are at the Bottom, they wou’d not be 
 for all that againft Perlpedive : and thus we 
 may fay, with more Reafon, that it is a Rule 
 of Pecorum in Perfpedive, to eafe the Sight, 
 and to render Objeds more agreeable. ’Tis 
 
 K 2 on 
 
,132 Ohfervations on the 
 
 on this general Obfervation, that we may 
 eftablifn in Perfpedive, the Rules of Decorum 
 (or Convenience) whenfoever Occafion fhall 
 offer. We may alfo fee another Example in 
 the Bafe of the Farnefian Hercules \ which is 
 not upon the Level, but on an eafy Declivity 
 on the advanc’d Part, that the Feet of the 
 Figure may not be hidden from the Sight, 
 to the End that it may appear more pleafing : 
 which the noble Authors of thefe Things 
 have done, not in Contempt of Geometry 
 and Perfpedfive, but for the Satisfadlion of 
 the Eyes, which was the End they propos’d 
 to themfelves in all their Works. 
 
 We muft therefore underftand Perfpe£Hve.y 
 as a Science which is abfolutely iiecefTary ; 
 and which a Painter muft not want : Yet 
 without fubjefting our felves fo wholly to ir, 
 as to become Slaves of it. We are to follow 
 it, when it leads us in a pleafing Way, and 
 Ihews us pleafing Things j but for fome time 
 to forfake ir, if it leads us through Mire, or 
 to a Precipice. Endeavour after that which 
 is aiding to your Art, and convenient, but 
 avoid whatfoever is repugnant to it } as the 
 59 th Rule teaches. 
 
 ^126. Let every Member be made for its own Heady 
 &c. That is to fay, you ought not to fet 
 
 the 
 
\/^rt of Tainting. J 
 
 tlie Head oF a young Man on the Body of an 
 old one ; nor make a white Hand for a wi- 
 ther’d Body. Not to habit a Hercules in Taf- 
 fata ; nor an Apollo in coarfe Stuff. Queens, 
 and Perfons of the firft Quality, whom you 
 would make appear Majeftical, are not to be 
 too negligently drefs’d, or en dijhabillee^ no 
 more than old Men : The Nymphs are not 
 to be overcharg’d with Drapery. In fine, 
 let all that which accompanies your Figures, 
 make them known for what effectively they 
 are. 
 
 Let the Figures to which Art cannot give a If i ^ 8. 
 Voice^ imitate the Mutes in their Ablions, See. 
 
 Mutes having no other way of fpeaking, or 
 expreffing their Thoughts, but only by their 
 Geftures, and their Actions, ’tis certain, that 
 they do it in a manner more expreffive, than 
 thofe who have the Ufe of Speech ; for which 
 Reafon, the Picture which is mute, ought to 
 imitate them, fo as to make it felf under-^ 
 flood. 
 
 Let the principal Figure of the SubjeSl, Sec. ^129. 
 ’Tis one of the greatefl Blemifhes of a Pic- 
 ture, not to give Knowledge, at the firft 
 Sight, of the Subjedl which it reprefents. 
 
 And truly nothing is more perplexing, than 
 to exunguifh, as it were, the principal Fw 
 K 3 gure, 
 
 to 
 
Ohfervatlom on the 
 
 gnre, by the Oppofition of fome otheFS, 
 which prefent themfelves to us at the firft 
 View, and which carry a greater Luftre. An 
 Orator, who had undertaken to make a Pa- 
 iiegyrick on Alexander the Great, and who had 
 employ’d the ftrongeft Figures of his Rhe~ 
 torick in the Praife of Bueephalus, would do 
 quite the contrary to that which was expell- 
 ed from him j becaufe it would be believ’d, 
 that he rather took the Horfe for his Subject, 
 than the Mailer. A Painter is like an Orator 
 in this. He mutl difpofe his Matter in fuch 
 fort, that all Things may give place to his 
 principal Subjefl. And if the other Figures, 
 which accompany it, and are only as Accef- 
 faries there, take up the chiei place, and make 
 themfelves moil remarkable, either by the 
 Beauty of their Colours, or by the Splendor 
 of the Light, which ilrikes upon them, they 
 will catch the Sight, they v/ill flop it ihorc, and 
 not fuffer it to go farther than themfelves, till 
 after fome confiderable Space of time, to find 
 out that which was not difcern’d at firft. The 
 principal Figure in a Pidlure, is like a King a- 
 mong his Courtiers, whom we ought to know 
 at the firfl Glance, and v/ho ought to dim the 
 Luilre of all his Attendants. Thofe Painters 
 who proceed otherwife, do juft like thofe, 
 
 who 
 
Art of 'Painting. 1-3J 
 
 who in the Relation of a Story, engage them- 
 felves fo foolifhly in long DigrelBons, that 
 they are forc’d to conclude quite another way 
 than they began, 
 
 het the Parts be brought together , and the ^132. 
 Figures difpos*d in Grouppes, &c. I cannot 
 better compare a Grouppe of Figures^ than to 
 a Confort of Voices, which fupporting them- 
 felves all together by their different Parts, 
 make a Harmony, which pleafingly fills the 
 Ears, and flatters them ; but if you come to 
 feparate them, and that all the Parts are equal- 
 ly heard, as loud as one another, they will 
 flun you to that degree, that you would fan- 
 cy your Ears were torn in pieces. ’Tis the 
 fame of Figures ; if you fo affemble them, 
 that fome of them fuftain the others, and 
 make them appear ; and that all together 
 they make but one entire Whole, then your 
 Eyes will be fully fatisfied : But, if on the 
 contrary, you divide them, your Eyes will 
 fuffer by feeing them all together difpers’d, or 
 each of them in particular. All together, 
 becaufe the vifual Rays are multiply’d by the 
 Multiplicity of Objedts. Each of them in 
 particular *, becaufe, if you fix your Sight on 
 one, thofe which are about it will ftrike you, 
 and attradl your Eyes to them, which ex- 
 K 4 trernely 
 
1^6 Ohfervatiom on ihe 
 
 ti'emely pains them in tliis fort of Separation, 
 and Diyerfity of Objeds. The Eye, for Ex- 
 ample, is fatisfied with the Sight of one Tin- 
 gle Grape *, and is diftraded, if it carries it 
 felf at one view, to look upon many feveral 
 Grapes, which lie fcatter’d on a Table. We 
 muft have the lame regard for the Members ; 
 they aggrouppe, and contraft each other in the 
 fame manner as the Figures do. Few Painters 
 have obferv’d this Precept as they ought ; 
 which is a moft folid Foundation for the Har- 
 mony of a Pidure. 
 
 <1’ 137. The Figures in the Gr cuppes ought not to. 
 have the fam^ Inflehlions of the Body, &c. Take 
 heed in this Contraft to do nothing that is 
 extravagant ; and let your Poftures be always 
 natural. The Draperies, and all things that 
 accompany the Figures, may enter into the 
 Contraft with the Members, and with the 
 Figures themfelvcs: And this is what our 
 Poet means in thefe Words of his Verfes, 
 Cietera frangant. 
 
 Ij[ 145. One fide of the Pidure mujl not he void, while 
 
 the other is fill’d, &c. This fort of Symrne- 
 try, when it appears not affeded, fills the 
 Pidure pleafingly ; keeps it in a kind of Ba- 
 lance, and infinitely delights the Eyes, which 
 thereby contemplate the Wprk with mote 
 Kepofs. As 
 
ri . 
 
 \^rt of 'Painting. 
 
 As a Play is feldom goody in which there are 
 too many AdlorSy &c. Annibal Caracci did not 
 believe that a Pifture cou’d be good, in which 
 there were above twelve Figures. It was AU 
 hano who told our Author this ; and from his 
 Mouth I had it. The Reafons which he gave 
 were, firft. That he believ’d there ought not 
 to be above three great Grouppes of Figures in 
 any Pidure : And fecondly, That Silence and 
 Majefly were of Neceffity to be there, to 
 render it beautiful j and neither the one nor 
 the other cou’d poffibly be in a Multitude 
 and Crowd of Figures. But never thelefs, if 
 you are conftrain’d by the Subjed ; (as for 
 example, if you painted the Day of Judg- 
 menty the Majfacre of the Innocents, a Battle^ 
 &c.) On fuch Occafions you are to difpofe 
 Things by great Malles of Lights and Sha- 
 dows, and Union of Colours, without trou- 
 bling your felf to finilh every thing in par- 
 ticular, independently one of the other, as is 
 ufual with Painters of a little Genius ; and 
 whofe Souls are uncapable of embracing a 
 great Defign, or a great Compofuion. 
 
 ^milium circa ludum, Faber imus (A ungues 
 Exprimet, fif molks imitabitur are capillos ; 
 
 Infelix 
 
 137 
 
 % 152. 
 
Ohfervations on the 
 
 Infelix Operis Summa : quia ponere totmn 
 'Ilefciet. 
 
 ^e meaneft Sculptor in the jEmilian Square^ 
 Can imitate in Brafs, the Nails - and Hair i 
 Expert in Trifles, and a cunning Fool, 
 
 Able P exprefs the Parts, but not difpofe the 
 Whole, 
 
 Says Horace in his Art of Poetry. 
 
 The Extremities of the Joints tnuft he feldom 
 hidden, and the Extremities or End of the Feet 
 never, &c. Thefe Extremities of the Joints 
 are as it were the Hafts, or Handles of the 
 Members. For example, the Shoulders, the 
 Elbows, the Thighs, and the Knees. And if 
 a Drapery fhould be found on thefe Ends of 
 the Joints, ’tis the Duty of Science, and of 
 Decorum, to mark them by folds, but with 
 great Diferetion ; for what concerns the Feet, 
 though they fliould be hidden by fome pare 
 of the Drapery; neverthelels, if they are 
 mark’d by Folds, and their Shape be diftin-^ 
 guifh’d, they are fuppos’d to be feen. The 
 Word never, is not here to be taken in the 
 ftridleft Senfe j he means but this, fo rarely^ 
 that it may feem we fliould avoid all Occa- 
 fions of difpenfing with the Rule. 
 
 Tht 
 
Art of Tainting. t^g 
 
 The Figures which are behind others-, have ^ 164, 
 neither Grace nor Figour, &c. Raphael and 
 'Julio Romano., have perfedtiy obferv’d this 
 Maxim : and Raphael efpecially in his laft 
 Works. 
 
 Avoid alfo thofe Lines and Out-lines which ^ 16 f 
 are equal, which make Parallels, &c. He 
 means principally to fpeak of the Poftures fo 
 order’d, that they make together thofe Geo- 
 metrical Figures which he condemns. 
 
 Be not fo ftriBly tied to Nature, &c. This ^ 17^1 
 Precept is againtl two Sorts of Painters ; firlf, 
 againft thofe who are fo fcrupuloufly tied to 
 Nature, that they can do nothing without 
 her ; who copy her, juft as they believe they 
 fee her, without adding, or retrenching any 
 thing, though never fo little, either^ for the 
 Nudities, or for the Draperies. And fecond- 
 ly, againft thofe who paint every thing by 
 Practice, without being able to fubjedt theni- 
 felves to retouch any thing, or to examine 
 by the Nature. Thefe laft, properly fpeak- 
 ing, are the Libertines of Painting •, as there ^ 
 are Libertines of Religion, who have no other 
 Law but the Vehemence of their Inclina- 
 tions, which, they are refolv’d not to over-^ 
 come : And -in the fame Manner the Liber- 
 tines of Painting, have no other Model but a 
 
 Rhodo- 
 
y4Q Ohfervatlom on the 
 
 Rhcdomontado Genius^ and very irregular, 
 which violently hurries them away, Tho* 
 thefe two Sorts of Painters, are both of them 
 in ’vicious Extremes ; yet neverthelefs, the 
 former Sort feems to be the more fupporta^ 
 ble ; becaufe though they do not imitate Na- 
 ture, as (he is accompanied by all her Beau- 
 ties, and her Graces ; yet at lead they imi- 
 tate that Nature, which wc know, and daily 
 fee. Inftead of which, the others fhew us a 
 wild or favage Nature, which is not of our 
 Acquaintance, and which feems to be of a 
 quite new Creation. 
 
 ^ 178. Whom you muft have always frefent^ as a 
 Witnefs to the 'Truths &c. This PalTage feems 
 to be wonderfully well faid. The nearer a 
 Pifture approaches to the Truth, the better 
 it is ; and though the Painter, who is its Au- 
 thor, be the firft Judge of the Beauties w'hich 
 are in ir, he is neverthelefs oblig’d not to 
 pronounce it, till he has firft confulted Na- 
 ture, who is an irreproachable Evidence, and 
 who will frankly, but withal truly, tell you 
 its Defe£ls and Beauties, if you compare it 
 with her Work. 
 
 ^ 1 8 8t ^hl other Things which difcover to us 
 
 the Thoughts and Inventions of the Graecians, 
 &c. As good tlooks, fuch as are Homer and 
 
 Fau-> 
 
Art cf Paint big. 
 
 Paufanias. The Prints which we fee of the 
 Antiquities, may alfo extremely contribute to 
 form our Genius, and to give us great Ideas > 
 in the fame manner as the Writings of good 
 Authors, are capable of forming a good Style, 
 in thofe who are defirous of writing well. 
 
 If you have but one Jingle Figure to work up- ^ 193* 
 C», &c. The Reafon of this is. That there 
 being nothing to attract the Sight but this 
 only Figure, the vifual Rays will not be too 
 much divided by the Diverlity of Colours and 
 Draperies ; but only take heed to put in no- 
 thing, which fliall appear too fharp or too 
 hard ; and be mindful of the 41ft Precept, 
 which fays, that two Extremities are never 
 to touch each other, either in Colour, or in 
 Light ; but that there mult be a Mean, par- 
 taking of the one and of the other. 
 
 Let the Draperies be nobly fpread upon the 4 | 155, 
 Body ; let the Folds be large^ &c. As Raphael 
 practis’d, after he had forfaken the Manner of 
 Pietro Perugino, and principally in his latter 
 Works. 
 
 And let them follow the Order of the Parts^ ^ * 9 ^?- 
 &c. As the faireft Pieces of Antiquity will 
 Ihew us. And take heed, that the Folds do 
 not only follow the Order of the Parts, but 
 that they alfo mark the moft confiderable 
 
 Mufclesj- 
 
i,42 
 
 200 . 
 
 Ohfervat'ions on the 
 
 Mufcles ; becaufe that thofe Figures, Where i * 
 the Drapery and the Naked Part are feen both k ' 
 
 together, are much more graceful than the * 
 
 other. 
 
 Without fitting too freight upon them, &c. 
 Painters ought not to imitate the Ancients in 
 this Circumftance. The ancient Statuaries, 
 made their Draperies of wet Linen, on pur- 
 pofe to make them fit clofe and {freight to 
 the Parts of their Figures ; for doing which 
 they had great Reafon ; and in following { 
 which the Painters would be much in the | 
 Wrong: and you fliall fee upon what Grounds. j 
 Thofe great Genius’s of Antiquity, finding 
 that it was impoflible to imitate with Marble ' 
 the Finenefs of Stuffs or Garments, which is 
 not to be difeern’d but by the Colours, the 
 Reflexes, and more efpecially by the Idghts j 
 and Shadows ; finding it (I fay) out of their 
 Power to difpofe of thofe things, thought * 
 they could not do better, nor more prudenti- 
 ally, than to make ufe of fuch Draperies, as 
 hinder’d not from feeing through their Folds, 
 the Delicacy of the Flelh, and the Purity of 
 the Out-lines ; things, which truly {peaking, 
 they pofTeff: in the laft Perfe6lion, and which 
 in all Appearance were the Subject of their 
 chief Study. But Painters, on the contrary, 
 
 2 who 
 
Art of 'Painting, 
 
 ^vho are to deceive the Sight, quite other- 
 wife than Statuaries, are bound to imitate the 
 different Sorts of Garments, fuch as they na- 
 turally feem •, and fuch as Colours, Reffexes, 
 Lights and Shadows (of all which they are 
 Mafters) can make them appear. Thus we 
 fee that thofe who have made the neareft; I- 
 mitations of Nature, have made Ufe of fuch 
 Stuff's (or Garments) which are familiar to 
 our Sight *, and thefe they have imitated with 
 fo much Art, that in beholding them we are 
 pleas’d that they deceive us ; fuch v/ere Titian, 
 Paul Veronefe, Tintoret, Rubens, Van Dyck, 
 and the reft of the good Colourifts, who 
 have come neareft to the Truth of Nature. 
 Inftead of which, others who have ferupu» 
 Joufly tied themfelves to the Practice of the 
 Ancients, in their Draperies, have made their 
 Works crude and dry *, and by this means 
 have found out the lamentable Secret, how 
 to make their Figures harder than even the 
 Marble it felf j as Andrea Mantegna, and P/- 
 etro Perugino have done j and Raphael alfo 
 had much of that Way in his firft Works, in 
 which we behold many fmall Foldings often 
 repleated, which look like fo many Whip- 
 cords. *Tis true thefe Repetitions are feen in 
 the Ancient Statues., and they are very proper 
 
 there : 
 
Ohfervations on the 
 
 thefe : Becaufe they who made Ufe of vsrfct 
 Linen, and clofe Draperies, to make their 
 Figures look more tender, reafonably forefaw, 
 that the Members would be too naked, if 
 they left not more than two or three Folds, 
 fuch as thofe Sorts of Draperies afford them, 
 and therefore have us’d thofe Repetitions of 
 many Folds ; yet in fuch a Manner, that the 
 Figures are always foft and tender, and there- 
 by feem oppofite to the Hardnefs of Marble. 
 Add to this, that in Sculpture^ ’tis almoft im- 
 poflible, that a Figure cloath’d with coarfe 
 Draperies, can make a good Efledl on all the 
 Sides; and that in Painting, the Draperies, 
 of what Kind foever they be, are of great 
 Advantage, either to unite the Colours and 
 the Grouppes, or to give fuch a Ground, as one 
 would wifh to unite, or to feparate ; or farther 
 to produce fuch Refledions as fet off ; or for 
 filling void Spaces ; or in fhort, for many other 
 Advantages, which help to deceive the Sight, 
 and which are no ways neceffary to Sculptors.^ 
 fince their Work is always of Relievo. 
 
 Three things may be inferr’d from what I 
 have faid, concerning the Rule of Draperies. 
 Firft, that the Ancient Sculptors had reafon to 
 cloath their Figures as we fee them. Second- 
 ly, that Painters ought to imitate them in the 
 9 Order 
 
Art of Painting. 145 
 
 Order of their Folds, but not in their Qualityj| 
 nor in their Number. Thirdly, that Sculptors^ 
 are oblig’d to follow them as much as they 
 can, without defiring to imitate unprofitably,’ 
 or improperly the Manner of the Painters, 
 by making many ample Folds, which are ih- 
 fufferable HardnelTes, and look more like ^ 
 
 Rock, than a natural Garmeht. 
 
 See the 2 1 ith Remark about the Middle of it. 
 
 And if the Parts be too much diftant from ^ 202* 
 each other^ &c, ’Tis with Intent to hinder 
 (as We have faid in the Rule of Grouppes) 
 the vifual Rays from being too much divided i 
 and that the Eyes may not fuffer, by looking 
 on fo many Objefts, which are feparated. 
 tjuido was Very exafl in this Obfervation. See 
 in the Text the End of the RuUy which re- 
 lates to Draperies. 
 
 And as thofe Limbs and Members which ^ 204. 
 are exprejl by few and large Mufctes, See. 
 
 Raphael in the Beginning of his Painting, 
 has fomewhat too much multiply’d the Folds i 
 becaufe being with Reafon charm’d with the 
 Graces of the Ancients, he imitated their 
 Beauties fomewhat too regularly *, but having 
 afterwards found, that this Quantity of Folds 
 glitter’d too much upon the Limbs, and took 
 off that Repofe and Silence, which-ifl'Paint- 
 
 L ing 
 
1^6 Ohfern^atiom on the 
 
 ing are fo friendly to the Eyes ; he made 
 Ufe of a contrary Condu6l, in the Works 
 which he painted afterwards; which was at 
 that time, when he began to underftand the 
 Effedt of Lights, of Grouppes, and the Op- 
 pofitions of the Lights and Shadows ; fo that 
 he wholly chang’d his Manner^ (this was 
 about eight Years before his Death) and 
 though he always gave a Grace to whatfoever 
 he painted, yet he made appear in his latter 
 Works, a Greatnefs, a Majefty, and a Har- 
 mony, quite other than what we fee in his 
 firft Manner: And this he did by leffening the 
 Number of his Folds, making them more 
 large, and more oppofing them, and by ma- 
 king the Mafles of the Lights and Shadows 
 greater, and more difentangled. Take the 
 Pains to examine thefe his different Manners 
 in the Prints which we fee of that Great Man. 
 
 ^210. fuppofing them to be Magiftrates, their 
 
 Draperies ought to be largOy &c. Yet make 
 not your Draperies fo large, that they may 
 be big enough to cloath four or five Figures, 
 as fome there are who follow that Method. 
 And take heed, that the Foldings be natural, 
 and fo difpos’d, that the Eye may be diredled 
 to difcover the Folds, from the Beginning of 
 them to the End. By Magiftrates he means 
 
 all 
 
Art of Painting. 147 
 
 all great and grave Perfons, and (lich as are 
 advanc’d in Age. 
 
 If Ladies or Damfels, light and fcft. See. ^ 2ii. 
 By this Name of Ladies, Maids or Damfels, 
 he means all young Perfons, flender, finely 
 fhap’d, airy and delicate. Such as are Nymphs 
 and Naiades, and Fountains. Angels are alfo 
 comprehended under this Head, whofe Dra- 
 pery fhould be of pleafing Colours, and re- 
 fembling thofe which are feen in the Hea- 
 vens, and chiefly when they are fufpended in 
 the Air. They are only fuch Sorts of light 
 Habits as are fubjedt to be ruffl’d by the Winds, 
 which can bear many Folds j yet fo that they 
 may be freed from any HardneflTes. *Tis eafy 
 for every one to judge, that betwixt the Dra- 
 peries of Magijlrates, and thofe oi young Maids, 
 there mull be fome Mediocrity ol Folds, iuch 
 as are mofl; commonly feen and obferv’d •, as 
 in the Draperies of a Chrift, of a Madonna, of 
 a King, a ^een, or a Dutchefs, and of other 
 Perfons of Confideration and Majefty ; and 
 thofe alfo who are of a middle Age j with this 
 Diftindfion, that the Habits muft be made 
 more or lefs rich, according to the Dignity 
 of the Perfons ; and that Cloth Garments may 
 be diftinguifli’d from thofe of Silk, Sattin 
 from Velvets, Brocard from Embroidery, and 
 
 L 2 that 
 
148 Ohfervations on the 
 
 that in one Word, the Eye may be deceiv’d 
 bv the Truth, and tho Difference of the 
 Stuff's. Take Notice, if you pleafe, that the 
 light and tender Draperies having been only 
 given to the Female Sex, the Ancient Sculp- 
 tors have avoided, as much as they could, to 
 i cloath the Figures of Men, becaufe they 
 
 ' thought (as we have formerly faid) that in 
 
 Sculpture Garments could not be well imita- 
 ted, and that great Folds made a very bad 
 Eft'ed. There are almoft as many Examples 
 of this Truth, as amongft the Ancients there 
 are Statues of naked Men. I will name only 
 that of Laocoon^ which according to all Pro- 
 bability ought to have been cioath’d : And in 
 Effefl:, what Likelihood can there be, that 
 the Son of a King, and the Prieft of Apollo 
 fhoirld appear naked in the adfual Ceremony 
 of Sacrifice ? For the Serpents pafs’d from 
 the Ifle of SCenedos to the Trojan Shore, and 
 furpriz’d Laocoon, and his Sons, while they 
 were facrificing to Neptune on the Sea Shore, 
 
 ; as Virgil witnefles in the fecond of his A£neids. 
 
 I * Polydorus, JsJotwithftanding which, the Sculptors, 
 
 1 rus,WAge- who were Authors or this noble Work, had 
 : fander, alt confider’d, that they could not give 
 
 Rhodian?. fuitable to the Quality of the Per- 
 
 sons reprefented, without making as it were 
 
 a Heap 
 
\Art of Painting. 149 
 
 a Heap of Stones, whofe Mafs would rather 
 be like a Rock, than thofe three admirable 
 Figures, which will ever be the Admiration 
 of all Ages. And for this Reafon, of two In- 
 conveniencies, they judg’d that of Draperies 
 to be greater than that which was againft the 
 Truth it felf. 
 
 This Obfervation well confirms what I have 
 laid in the 200th Remark, It feema to me, 
 that it deferves you (hould make fome Re- 
 flexion on it ; and to eflablifh it the better 
 in your Mind, I will tell you, that Michael 
 Angelo,, following this Maxim, has given the 
 Prophets which he painted in the Chapel of 
 the Pope, fuch Draperies whofe Folds are 
 large, and whofe Garments are coarfe : in- 
 ftead of which the Mofes, which he has made 
 in Sculpture, is habited with a Drapery much 
 more clofe to the Parts, and holding more of 
 the Ancients. Neverthelefs he is a Prophet, as 
 well as thofe in the Chapel, a Man of the 
 fame Quality, arid to whom Michael Angelo 
 ought to have given the fame Draperies, if 
 he had not been hinder’d by thofe very Rea- 
 fons, which have been given you. 
 
 'The Marks or Enjigns of Virtues, &c. ^215. 
 That is to fay of the Sciences and Arts. The 
 Italians call a Man a Vertuofo, who loves the 
 L 3 noble 
 
^50 
 
 IF 217- 
 
 Lib. 2 . Pae- 
 dag. cap. 1 2 
 
 Plutarch. 
 
 f 
 
 i 
 
 Ohfervatiom on the | 
 
 noble Arts, and is a Critick in them. And 
 amongft our French Painters, the Word Ver- 
 tueux^ is underftood in the fame Signification, 
 
 But let not the Work he too much enridfd 
 with Gold cr Jewels^ &c. Clemens Alexandri- 
 nus relates. That Apelles having feen a Helena 
 which a young Scholar of his had made^ and 
 adorn'd with a great ^antity of Golden Orna- 
 ments and Jewels, faid to him. My good Friend, 
 though thou couldjl not make her Beautiful, at 
 leaf thou haft made her Rich. Befides that 
 thefe glittering things in Painting, as precious 
 Stones prodigally ftrew’d over the Plabits, 
 are deftruftive to each other, becaufe they 
 draw the Sight to feveral Places at the fame 
 time, and hinder round Bodies from turning, 
 and making their due eflfedt •, *tis the very 
 Quantity which often makes us judge that 
 they are falfe. And befides, it is to be pre- 
 fum’d, that precious things are always rare, j 
 Corinna, that learned Theban Lady, reproach’d 
 Pindar, whom fhe had five times overcome , 
 
 in Poetry, that he fcatter’d through- all his i 
 
 Works the Flowers of ParnaJJus too prodir 
 gaily •, faying to him. That Men fow'd with 
 the Hand, and not with the Sack : for which 
 Reafon a Painter ought to adorn his Veft- 
 ments with great Difcretion, And pecious ^ 
 
 Stones 
 
Art of Tainting. 15 1 
 
 Stones look exceedingly well, when they are 
 fet in thofe Places which we would make to 
 come out of the Piflure ; as for Example, on 
 a Shoulder, or an Arm, to tie fome Drapery 
 which of it felf is of no ftrong colouring. 
 
 They do alfo perfedly well with white, and 
 other light Colours, which are us’d in bring- 
 ing the Parts or Bodies forward ; becaufe 
 Jewels make a Show, and glitter through the 
 Oppofition of the great Lights in the deep 
 Brown, which meet together. 
 
 *-tis very expedient to make a Model of thofe H 220. 
 things which we have not in our Sight, and i 
 
 whofe Nature is difficult to be retain'd in the i 
 
 Memory, &c. As for Example, the Grouppes | 
 
 of many Figures, the Poftures difficult to be 
 long kept, the Figures in the Air, in Ciel- 
 ings, or much rais’d above the Sight ; and 
 even of Animals, which are not eafily to be 
 difpos’d. 
 
 By this Rule we plainly fee, how neceflary 
 it is for a Painter to know how to Model, and j 
 
 to have many Models of loft Wax. Paul Ve^- 
 ronefe had fo good a Store of them, with lb 
 great a Quantity of different Sorts, that he 
 would paint a whole Hiftorical Compojition on 
 a Perfpedlive Plan, how great and how di- 
 verfified foever it were, fintoret practis’d the 
 
 L 4 fame 
 
I 
 
 i- bits. 
 
 152 Ohfervations 011 the 
 
 fame 5 and Michael Angelo (as Giovan, Sa^f, 
 Armenini relates) made ufe of it, for all the 
 Figures of his I)ay of judgment. ’Tis not 
 that I would advife any one who would make 
 any very confidcrable Work, to finifh after 
 i thefe Sorts of Models ; but they will be of 
 
 I yaft Ufe and Advantage to fee the Mafies of 
 
 ,j great Lights, and great Shadows, and the 
 
 I;'* A Figure EfFedt of the Whole-together. For what re^- 
 
 : nade of Wood . i =» r ' i n_ 
 
 „■ Cork, turn- you are to have a * Layman almolt as 
 
 fng upon big as the Life, for evgry Figure in particu- 
 lar, befides the natural Figure before you, on 
 which you mufl alfo look, and call it for a 
 Witnefs, which muft firft confirm the thing 
 to you, and afterwards to the Spedlators as it 
 is in Realit}^ 
 
 You may make Ufe of thefe Models with 
 Pslight, if you fet them on a PerfpeSHve Plan^ 
 which will be in the Manner of a Table made 
 on Purpofe. You may either raife, or let it 
 down, according to your Convenience *, and 
 if you look on your Figures, through a Hole^ 
 fo contriv’d, that it may be mov’d up and 
 down, it will ferve you for a Point of Sighr, 
 and a Point of Diftance, when you have once 
 fix’d it. 
 
 The fame Hole will farther ferve you, to 
 fet your Figures in the Cieling, and difpos’d 
 
 upon 
 
Art of Painting. 
 
 upon a Grate of Irotirwire, or fupported in 
 the Air, by little Strings rais’d at Difcretion ; 
 or by both Ways together. 
 
 You may join to your Figures what you 
 fee fitting, provided, that the whole be pro* 
 portion’d to them j and in fhort, what you 
 your felf may judge to be of no greater Big- 
 nefs than theirs. Thus, in whatfoever you 
 do, there will be more of Truth feen, your 
 Work it felf will give you infinite Delight, 
 and you will avoid many Doubts and Diffi- 
 culties, which often hinder you ; and chiefly 
 for what relates to lineal Perfpetlive., which 
 you will there infallibly find, provided that 
 you remember to proportion all things to the 
 Greatnefs of your Figures, and efpecially the 
 Points of Sight and of Diftance ; but for 
 what belongs to aerial PerfpeSiive^ that not 
 being found, the Judgment muft fupply it. 
 %intoret (as Ridolphi tells us in his Life) had 
 made Chambers of Board and Paftboard, pro- 
 portion’d to his Models, with Doors and 
 Windows, through which he diflrributed on 
 his Figures artificial Lights, as much as he 
 thought reafonable, and often pafs’d fome Part 
 of the Night, to confider and obferve the Ef- 
 fed of his Compofitions. His Models were 
 two Foot high. 
 

 154 Ohfervations on the 
 
 ^221. TVe are to cofifider the Places where we lay 
 the Scene of the Pidture^ See. This is what 
 Monfieur de Chambray caIJs, to do things ac- 
 cording to Decorum. See what he fays of if, 
 in the Interpretation of that Word, in his Book 
 of the PerfedHon of Painting. ’Tis not fuffi- 
 cient, that in the Piefture there be nothing 
 found which is contrary to the Place, where 
 the Action which is reprefented, pafles ; but 
 we ought befides, to mark out the Place, and 
 make it known to the Speftator by fome par- 
 ticular Addrefs, that his Mind may not be put 
 to the Pains of difeovering it ; as whether it 
 be Italy., or Spain, or Greece, or France ; whe- 
 ther it be near the Sea-lhore, or the Banks of 
 fome River *, whether it be the Rhine, or the 
 X/iyre j the Po, or the Tyber ; and fo of other 
 things, if they are eflential to the Hiftory, 
 *■* Nealces, a Man of Wit, and an ingenious 
 l,ib. 25. 12. « Painter, {as Pliny tells us) being to -paint 
 ** a Naval Fight betwixt the Egyptians and 
 the Perfians, and being willing to make it 
 known, that the Battle was given upon the 
 Nile, whofe Waters are of the fame Colour 
 “ with the Sea, drevo an Jfs drinking on the 
 “ Banks of the River, and a Crocodile endea- 
 vouring to furprize him. 
 
 Let 
 
Art of 'Painting. i 
 
 ' "Let a Nohlenefs and Grace, &c. It Is diffi- ^222. 
 cult enough to fay what this Grace of Paint- 
 ing is } ’tis to be conceiv’d and underftood, 
 much more eafily than to be explain’d by 
 Words. It proceeds from the Illuminations 
 of an excellent Mind (not to be acquir’d) by 
 which we give a certain Turn to Things, 
 which makes them pleafing. A Figure may 
 be defign’d with all its Proportions, and have 
 all its Parts regular: which, notwithftanding 
 all this, fhall not be pleafing, if all thofe Parts 
 are not put together in a certain manner, 
 which attrafts the Eye to them, and holds it 
 fix’d upon them : For which reafon, there is 
 a Difference to be made betwixt Grace and 
 Beauty, And it feems that Ovid had a mind 
 to diftinguifh them, when he faid (fpeaking 
 pf Venus) 
 
 MuUafue cum forma gratia mijia fuit. 
 
 A matchlefs Grace was with her 'Beauty mix'd. 
 
 And Suetonius fpeaking of 'l^ero, fays, he 
 was rather Beautiful than Graceful. Vultii 
 -pulchro, magis quam venufto. How many fair 
 Women do we fee, who pleafe, us much lefs 
 than others, who have not fuch beautiful Fea- 
 tures J 
 
11 
 
 
 f 233. 
 
 Obfervations on the 
 
 tijres? ’Tis by this Grace that Raphael has 
 made himfelf the mod renown’d of ail the \ , 
 Italians, as Apelles by the fame means carry’d 
 it above all the Greeks, 
 
 I’his is that in which the greatejl Difficulty 
 conjijls, &c. For two Reafons; ift, becaufe 
 great Study is to be made, as well upon the 
 ancient Beauties, and noble Piidures, as upon 
 Nature it felf : and 2dly, becaufe that Part 
 depends entirely on the Genius, and feems to 
 be purely the Gift of Heaven, which we have 
 receiv’d at our Birth ; upon which Account 
 our Author adds. Undoubtedly we fee but few, 
 whom in this particular, Jupiter has regarded 
 with a gracious Eye ; fo that it belongs only to 
 thofe elevated Souls, who partake fomewhat 
 cf Divinity, to work fuch mighty Wonders. 
 Tho’ they who have not altogether receiv’d 
 from Heaven this precious Gift, cannot ac- 
 quire it without great Labour; neverthelels 
 ’tis needful, in my Opinion, that both the 
 one and the other fliould perfedly learn the 
 Qiara<der of every Palhon, 
 
 All the Adtions of the fenjitive Appetite sxo. 
 in Painting call’d Paffions, becaufe the Soul 
 ts agitated by them, and becaufe the Body 
 fuffers through them, and is fenfibly alter’d. 
 They are thole divers Agitations and different 
 ^ Motions 
 
 
of Painting. 
 
 Motions of the Body in general, and of every 
 one of its Parts in particular, that our excel- 
 lent Painter ought to underftand ; on which 
 he ought to make his Study ; and to form to 
 himfelf a perfedl Idea of them. But it will 
 be proper for us to know in the firft Place» 
 that the Philofophers admit eleven, Love^ 
 Hatred, Dejire, Shunning, Joy, Sadnefs, Hope, 
 Defpair, Boldnefs, Fear and Anger. The 
 Painters have multiply’d them not only by 
 their different Degrees, but alfo by their diffe- 
 rent Species *, for they will make, for Exam- 
 ple, fix Perfons in the fame Degree of Fear, 
 who fliall exprefs that Paflion all of them 
 differently. And ’cis that Diverfity of Species 
 which d iff ingui flies thofe Painters who are 
 able Artifis, from thofe whom we may call 
 Mannerifis, and who repeat five or fix times 
 over in the fame Pidture the fame Airs of a 
 Head. There are a vaft Number of other 
 Paffions, which are as the Branches of thofe 
 which we have nam’d : we might, for Exam- 
 ple, under the Notion of Love, comprehend 
 Grace, Gentlenefs, Civility, Carejfes, Em 
 braces, Kijfes, Franqiiillity, Svoeetnefs, &c. 
 and without examining whether all thefc 
 things which Painters comprize under the 
 Name of Pajfwns, can be reduc’d to thofe of 
 
 the 
 
158 Ohfef'vatwns on the 
 
 the Philofophers, I am of Opinion, that every 
 one may ufe them at his Pleafure ; and that 
 he may ftudy them after his own manner j 
 the Name makes nothing. One may even 
 make Paffions of Majejly^ Fiercenefs, Dijfa- 
 tisfaoHon^ Care^ Avarice, Slothfulnefs, Envy, 
 and many other things like thefe. Thefe Paf^ 
 Jions (as I have faid) ought to be learnt from 
 the Life it fclf, or to be ftudied on the Anci~ 
 ent Statues, and excellent PiSlures : we ought 
 to fee, for Example, all things which belong 
 to Sadnefs, or ferve to exprefs it ; to defign 
 them carefully, and to imprint them in out 
 Memories after fuch a Manner, as we may 
 diftindly underftand feven or eight kinds of 
 them more or lefs, and immediately after; 
 draw them upon Paper, without any other 
 Original, than the Image which we have con- 
 ceiv’d of them. We muft be perfed Mafters 
 of them, but above all, we muft make fure 
 of pofleffing them throughly. We are to 
 know, that it is fuch or fuch a Stroke, or 
 fuch a Shadow, ftronger or weaker, which 
 make fuch or fuch a Paffion, in this or that 
 Degree. And thus if any one ftiould a(k you 
 what makes in Painting the Majejly of a King, 
 the Gravity of a Hero, the Love of a Chrift, 
 the Grief of a Madonna, the Hope of the 
 I good 
 
Art of Fainting. 
 
 good ^hief, the Defpair of the had one, the 
 Grace and Beauty ot a Venus, and in fine, the 
 Charahler of any Fajjion v/hatfoever, you 
 may anfwer pofitivcly, on the Spot, and with 
 Alfurance, that it is fuch a Pojiure, or fuch 
 Lines in the Parts of the Face, form’d of fuch 
 or fuch a Fajhion, or even the one and the 
 other both together : for the Parts of the 
 Body feparately, make known the Faffions 
 of the Soul, or elfe conjointly one with the 
 other. But of all the Parts, the Head is that 
 which gives the molt of Life, and the moft 
 of Grace to the Paffon, and which alone con- 
 tributes more to it, than all the reft together. 
 The others feparately can only exprefs fome 
 certain Pajfions, but the Head exprefies all of 
 them •, neverthelels there are fome which are 
 more particular to it ; as, for Example, Hu~ 
 mility, which it exprefies by the Stooping or 
 bending of the Head. Arrogance, when it 
 is lifted, or as we fay, tols’d up. Languifh- 
 ment, when we hang it on one Side, or lean 
 it upon one Shoulder. Obfiinacy (or as the 
 French call it Opimdtrete,) with a certain 
 ftubborn, unruly, barbarous Humour, when 
 ’tis held upright, ftiff and pois’d betwixt the 
 Shoulders. And of the reft, there are ma- 
 ny Marks, more eafily conceiv’d, than they 
 
l6o Oofervaticns on the 
 
 can be cxprels’d ; as Bafrjfulnefs, Admiration^ 
 Indignation^ and Doubt. 'Tis by the Head 
 that we make known more vifibly our Sup- 
 plications.^ our P'hreatnings., our Mildnefs, our 
 Haugbtinefs, our Love, otir Hatred, our Joy, 
 our Sadnefs, our Humility ; in fine, ’tis e- 
 nough to fee the Face and to underlland the 
 Mind at half a Word. Blujhing and Palenefs 
 fpeak to us, as allb the Mixture of them 
 both. 
 
 The Parts of the Face do all bf them con- 
 tribute to expofe the Thoughts of our Hearts ; 
 but above the reft, the Eyes, which are as it 
 w'ere the two Windows, through which the 
 Soul looks out and fhows it felf. The Paf- 
 fions which they more particularly expreft* 
 are Pleafure, Languijhment, Difdain, Severity^ 
 Sweetnefs, Admiration and Anger. Joy and 
 Sadnefs may bear their Parts, if they did not 
 more efpecially proceed from the Eye-brows 
 and the Mouth. And the two Parts laft 
 nam’d agree more particularly in the Expref- 
 fion of thofe two Pajftons ; nevertheless if you 
 joyn the Eyes as a third, you will have the 
 Produft of a wonderful Harmony for all the 
 Pajfions of the Soul. 
 
 The Nofe has no Paflion which is particulaf 
 to it, it only lends its Aftlftance to the other 
 
 before 
 
 2 
 
^Art of 'Painting. 
 
 bsfore nam’d, by the ftretching of t\\tNoJtrils, 
 v/hicli is as much mark’d in as it is in5<?i- 
 nefs. And yet it feems, that Scorn makes us 
 v/rinkle up the Nofe., and ftretch the Nojlrils 
 alfo, at the fame time drawing up the upper 
 Lip to the Place which is near the Corners of 
 the Mouth. The Ancients made the PAofe the 
 Seat of Derijion ; eum fuhdol^e irrifwni dica- 
 verunt, fays Pliny that is, they dedicated 
 the Nofe to a cunning fort of Mockery. We 
 read in the 3 d Satyr of Perfms, 
 
 Difce, fed ira cadat Nafo, rugofaque fanna. 
 
 Learn, but let your Anger fall from your 
 Nofe, and the fneering Wrinkles be difmount- 
 ed. And Pbiloftratus in the Picture of Pan, 
 v/hom the Nymphs had bound, and fcornfully 
 inful ted over, fays of that God •, “ that before 
 “ this, he was accuftom'd to Jleep with a peace- 
 “ able Nofe, foftning in his Slumbers the IVrin- 
 
 kies of it, and the Anger which commonly 
 “ mounted to that Part *, but now his Nojlrils 
 “ were widen'd to the laji Degree of Fury. 
 For my own Parr, I fhould rather believe that 
 the Nofe was the Seat of Wrath in Beads, 
 than in Mankind ; and that it was unbecoming; 
 of any God but only Pan, who had very much 
 of the Bead in him, to wrinkle up his Nofe in 
 M Anger^ 
 
i 62 Ohjet'^atiom on the 
 
 Anger^ like other Animals. The moving oF 
 the Lips ought to be but moderate, if it be 
 in ConverfatioHy becaufc we fpeak much more 
 by the Longue than by the Lips : And if you 
 make the. Mouth very open, ’tis only when 
 you are to exprefs the Violence of Pajpion^ 
 and more properly of Anger. 
 
 For what concerns the Hands, they are 
 the Servants of the Head, they are his Wea- 
 pons and his Auxiliaries j without them the 
 Adlion is weak, languifhing, and half dead. 
 Their Motions, which are almofl; infinite, 
 make innumerable Expreflions. It is not by 
 them, that we defire, that we hope, that we 
 promife, that we call towards us, and that we 
 rejedl? Befides, they are the Inftruments of 
 our Lhreats, of our Petitions, of the Horror 
 which we fliovv for things, and of the Praifes 
 which we give them. By them we fear, we 
 ask ^ejlions, we approve, and we refufe, we 
 fltow our Joy, and our Sadnefs, our Doubts, 
 and our Lamentations, our Concernments of 
 Pity, and our Admirations. In fhorr, it may 
 be faid, that they are the Language of the 
 Dumb, that they contribute not a little to the 
 Ipeaking of the univerfal Longue common to 
 all the World, which is that of Painting. 
 
 Now 
 
Art of Painting. 
 
 Now to tell you how thefe Parts are to be 
 difpos*d, i'o as to exprefs the different PajfionSy 
 is impolTible ; no precife Kules can be given 
 of it, both becaufe the Talk it felf is infi- 
 nite, and alfo becaufe every one is left to the 
 Conduft of his own Genius^ and to the Fruit 
 of his former Studies ; only remember to be 
 careful, that all tfie Actions of your Figures 
 muft be natural, “ It feems to me (fays ^in- 
 “ tiUatiy fpeaking of the Pafllons) ‘That this 
 “ Part., which is fo noble, aud fo great, is not 
 “ altogether unacceffible ; and that an eajy way 
 “ may be found to it ; ’tis to confider Natures 
 “ and to copy her •, for the Spell at or s are fatif- 
 “ fed, when in artificial things they can difcern 
 
 that Nature, which they are accuftom*d to be~ 
 “ hold.” This Paflage of ^intilian is per- 
 fectly explain’d by the Words of an excellent 
 Mafler, which our Author propofes to us for 
 a Rule ; they are thefe which follow. Phat 
 the fiudied Motions of the Soul are never fo 
 natural, as thofe which we fee in the Tranfport 
 of a true Paffion. Thefe Motions will better 
 be exprefs’d, and be much more natural, if 
 w'e enter into the fame Thoughts, become of 
 the fame Piece, and imagine our felves to be in 
 the fame Circumftances with thofe v/hom we 
 w'ould reprefent. “ For Nature (fays Horac^ 
 M 2 in 
 
164 
 
 Ohfervdtlons on the 
 
 “ in his Art of Poetry) difpofes the Inftde of 
 “ Mankind to all forts of Fortunes-, fome times 
 ‘‘ Jhe makes us contented, fometimes Jhe drives 
 us into Choler, and fometimes Jhe fo oppreffes 
 “ us with Grief, that Jhe feems to tread us down, 
 “ and plunge us into mortal Anxieties ; ajtd on 
 “ all thefe Occafions, jhe drives outwards the 
 “ Motions of the Heart by t^e Fongue, which is 
 her Interpreter F Now inftead of the Fongue, 
 let the Painter fry by the Aftions, which are 
 her Interpreters. “ What means have we, 
 (fays Fbuintilian) to give a Colour to a thing 
 “ if we have not the fa-me Colour ? *tis necef- 
 “ fary that we our felves Jhould firft be touch'd 
 “ with a Pafion before we endeavour to moose 
 “ others with it. And how (continues he) can 
 “ we be touch'd, fmce the Pajfions are not in 
 “ cur Power? Fhis is the way in my Opinion 
 “ We muft form to cur felves the Vijions and 
 “ Images of abfcnt things, as if they were in 
 “ geality before our Eyes -, and he who conceives 
 “ thefe Images with the great eft Strength of 
 “ Imagination, fhall pojfefs that Part of the 
 “ Paffons with the moft Advantage, and the 
 “ greateft Eafe," But we muft take care (as 
 I have already faid) that in thefe Vifions, the 
 Motions may be natural •, for there are fome 
 who iraagiue, they have given abundance of 
 
 Light 
 
j!^rl of Piiinting. 165 
 
 Light to their Figures, when they have made 
 them do violmit and extravagant Anions ; 
 which we may more reafonably call the Con- 
 vulfions^ or Contortions of the Body, than the 
 PaJfojts of the Mind •, and by this means they 
 often put themfelves to much Pains, to find 
 a ftrong Paffion, where no Pafiion is requir’d. 
 
 Add to all that I have faid, concerning the 
 Paffions, that we are to have a very ferious re- 
 gard to the Quality of the Perfons who are to 
 be exprefs’d in Paffions. The Joy of a King 
 ought not to refemble that of a Serving-man ; 
 
 And the Fiercenefs of a private Soldier muft 
 not be like that of an Officer. In thefe Dif- 
 ferences confifts all the Finenefs and Delicacy 
 of the Paffions. Paulo Lomazxo has written 
 at large on every Paffon in particular, in his 
 fecond Book •, but beware you dwell not too 
 long upon it, and endeavour not to force your 
 Genius. 
 
 Some Reliques of it took Sandluary under ^ 247. 
 Ground^ See. All the ancient Painting that 
 was in Italy perifh’d in the Invafion of the 
 Hunns and Goths^ excepting thofe Works 
 which were hidden under Ground, or there 
 painted ; which, by reafon they had not been 
 much expos’d to view, were preferv’d from 
 the Infolence of thofe Barbarians. 
 
 M 3 Thtt 
 
i66 
 f 256. 
 
 Ohfervatlom on the 
 
 'the Cromatique Part, cr Colouring, See. 
 The third and laft Part of Painting, is call’d 
 the Cromatique, or Colouring. Its Object is 
 Colour : for which Reafon, Lights and Sha- 
 dows are therein alfo comprehended, which 
 are nothing elfe but fFhite and Brown, (or 
 Dark,) and by Confequence have their Place 
 among the Colours. Philojlratus fays, in his 
 L,ife of Apollonius, “ that '■That may be truly 
 “ calTd Painting, zvhich is made only with two 
 “ Colours, provided the Lights and Shadows 
 “ be obferv^d in it : for there we behold the true 
 “ Refemblance of things with their Beauties ; 
 “ we alfo fee the Pajfons, though without other 
 “ Colours: fo much of Life may be alfo exprefs^d 
 “ in it, that we may perceive even the very 
 “ Blood : the Colour of the Hair, and of the 
 “ Beard, are likewife to be difeern'd, and we 
 “ can diftinguifh (without Confufwn ) the fair 
 from the black, and the young from the old, 
 “ the Differences betwixt the white and the 
 “ flaxen Hair ; we diftinguifh with Eafe be- 
 “ twixi the Moors and the Indians ; not only 
 “ by the Camus Nofes of the Blacks, their wool- 
 ly Hair, and their high Jaws, but alfo by 
 “ that black Colour which is natural to themP 
 We may add to what Philojlratus has faid, 
 that with two Colours only, (the Light and 
 
 th.Q 
 
Ari of Fainting. 167 
 
 the Dark) there is no Sort of Stuff" or Habit 
 but may be imitated. We fay then, that the 
 Colouring makes its Obfervations on the Maf- 
 fes or Bodies of the Colours, accomp’any’d 
 with laghts and Shadows, more or lefs evi- 
 dent by Degrees of Diminution, according to 
 the Accidents. Firft, of a luminous Body ; as 
 for Example, the Sun or a Forch. Secondly, 
 of a diaphanous or tranfparent Body, which is 
 betwixt us and the Objeft, as the Air, either 
 pure or thick, or a red Glafs, Thirdly, 
 
 of a folid Body illuminated, as a Statue of 
 white Marble, a green Tree, a black Horfe^ 
 
 See. Fourthly, from his Part, who regards 
 the Body illuminated, as beholding it either 
 near, or at a Diftance, direflly in a right An- 
 gle, or afide in an obtufe Angle, from the 
 top to the bottom, or from the bottom to the 
 top. This Part, in the Knowledge which it 
 has of the Virtue of Colours, and the Friend- 
 fliip which they have v/ith each other, and alfo 
 their Antipathies, comprehends the Strength, 
 the Relievo, the Brifltnefs, an'd the Delicacy 
 which are obferv’d in good Pidures. The 
 Management of Colours, and the Labpur dcr 
 pends alfo on this laft Part. 
 
 Her Sifter, &c. That is to fay, the Tie- 1 [ 253. 
 fign or Drawing, which is the fecond Part of 
 
 M 4 Painting 
 
1 68 O'fcrvations on the 
 
 Tainllng \ which confiding only of Lines^ tc 
 
 ftands altogether in need of the Colouring to 1 1 
 
 appear. ’Tis for this Reafon, that our Au- 
 thor calls this Part her Sifter’s Procurer^ that 
 is, the Colouring fhows us the D^fign, and 
 makes us fall in Love with it. 
 
 ^ 267, iphs Light produces all kinds of Colours^ &c, * 
 
 Plere are three Theorems fucceftively follow- V 
 
 ing, which our Author propofes to us, that i; 
 
 from thence we may draw fome Conclufions. j 
 
 You may likewife find other?, which are in 
 
 the Nature of fo many Prcpofitions^ to which ■ 
 
 we ought to agree, that from thence we may ' ! 
 
 draw the Precepts contain’d in the following j| 
 
 Part of this Treatife j they are all founded on | 
 
 the Senfe of Seein?. i 
 
 ^ { 
 
 2£o. Which fhould he the mofi^ &c. See thq 
 
 Remark of Niimher 152. 
 
 H 283. That light Bodies may have a fufficient MafSy 
 or Breadth of Shadow^ to fuftain 'em^ &c- 
 That is properly to fry, that after the \ 
 
 great Lights, there mull be great Shadows, | 
 
 which we call Repofes : becaufe in Reality | 
 
 the Sight would be tired, if it were attracted 'I 
 
 by a Continuity of glittering Objefts. The ^ 
 
 Lights may ferve for a Repofe to the Darks, 
 and the Darks to the Lights. I have faid in 
 another Place, that a Qrouppe of Figures ought - 
 
 to i 
 
 I 
 
169 
 
 j^rt of 'Paint mg ^ 
 
 to be confidei’d as a Choir of Muficky in which 
 the Bafes fupport the trebles, and make them 
 to be heard with greater Pleafure. Thefe 
 Repofes are made two feveral Ways, one of 
 which is Natural, the other Artificial. The 
 Natural is made by an Extent of Lights or of 
 Shadpws, which naturally and neceflarily fol- 
 low folid Bodies ; or the Mafles of folid Bo- 
 dies aggroupp’d, when the Light flrikes upon 
 them. And the Artificial confifts in the Bo- 
 dies of Colours, which the Painter gives to 
 certain things, fuch as pleafes him ; and com- 
 pofes them in fuch a Manner, that they do 
 no Injury to the Objects which are near them, 
 A Drapery (for Example) which is miade yel- 
 low, or red, on fome certain Place, in ano- 
 ther Place may be brown, and wall be more 
 fuitable to it, to produce the EfFeft requir’d. 
 We are to take Occafion, as much as pofll- 
 bly we can, to make Ufe of the firft Manner, 
 and to find the Repofe of which we Ipeak, 
 by the Light and by the Shadow, which na- 
 turally accom.pany folid Bodies. But fince the 
 Siibje^s on which we work are not always 
 favourable to difpofe the Bodies as w'e defire, 
 ^ Painter in fuch a Cafe may take his Advan- 
 tage by the Bodies of Colours, and put into 
 fuch Places as ought to be darken’d, Drape- 
 ries 
 
170 Ohfervatlom on the 
 
 ties, or other things, which we may fuppofe 
 to be naturally brown and fully’d, which will 
 produce the fame Effeft, and give him the 
 fame Repofes as the Shadows would do, which 
 could not be caus’d by the Difpofition of the 
 Objedls. 
 
 Thus an underftanding Painter will make 
 his Advantages both of the one Manner and 
 the other. And if he makes a Defign to be 
 grav’d, he is ’to remember, that the Gravers 
 difpofe not their Colours as the Painters do ; 
 and that by confequence he muft take Occa- 
 lion to find the Reafon of his 'Defign^ in the 
 natural Shadows of the Figures, which he 
 has difpos’d to caufe the Effect. Rubens has 
 given us a full Information of this in thofe 
 Prints of his, which he caus’d to be engrav’d ; 
 and I believe that nothing v/as ever feen more 
 beautiful in that kind ; the whole Know- 
 ledge of Grouppes, of the Lights and Sha- 
 dows, and of thofe MaflTes, which 1 ’itian calls 
 fi Bunch of Grapes i is there expos’d fo clearly 
 to the Sight, that the View of thofe PrintSy 
 and the careful Obfervation of them, might 
 very much contribute to the forming of an 
 able Painter. The beft and faireft of them are 
 graven by Voflermany Pontius, and Bolfverty 
 »U of them admirable Gravers, whofe Works 
 
 Rubens 
 
Art of Fainting, 17 1 
 
 Rubens himfeif took Care to overfee ; and 
 which without doubt you will find to be ex- 
 cellent, if you examine them. But expe< 5 l 
 not there the Elegance of Defgn, nor the Cor- 
 rebinefs of the Out-lines, 
 
 ’Tis not but the Gravers can, and ought 
 to imitate the Bodies of the Colours by the 
 Degrees of the Lights and Shadows, as much 
 as they fhall judge that this Imitation may 
 produce a good Efteft. On the contrary, 
 
 ’tis impofilble, in ray Opinion, to give much 
 Strength to what they grave, after the Works 
 of the School of Venice (and of all thofe who 
 have had the Knowledge of Colours, and of 
 the Contraft of the Lights and Shadows) 
 without imitating in fome fort the Colour of 
 the Objedts, according to the Relation which 
 they have to the Degrees of White and Black, 
 
 We fee certain Prints of good Gravers diL 
 ferent in their Kinds, where thefe things 
 are obferv’d, and which have a wonderful 
 Strength. And there appears in publick, of 
 late Years, a Gallery of Arch-duke Leopold^ 
 which though very ill graven, yet fliows fome 
 Part of the Beauty of its Originals,, becaufe 
 the Gravers v/ho have executed it (though o- 
 therwife they were fufficiently ignorant) have 
 obferv’d in almoit the greateft Parts of their 
 
 Prints, 
 
172 Ohfei'vatlons on the 
 
 Prints, the Bodies of Colours, in the Relation 
 which they have to the Degrees of the Lights 
 and Shadows. I could wifli the Gravers 
 would make fome Refledlion upon this vehole 
 Remark ; his of wonderful confequence to 
 them ; for when they have attain’d to the 
 Knowledge of thefe Repofes, they will eafily 
 refoive thofe Difficulties which many times 
 perplex them ; and then chiefly, when they 
 are to engrave after a Picture, where neither 
 the Lights and Shadows, nor the Bodies of 
 the Colours are Ikilfully obferv’d, though in 
 its other Parts the Pidure may be well petr 
 form’d, 
 
 286. ^ Convex Mirror the. colle 5 led Rays 
 
 fir ike fironger^ See. A Convex Mirror alters 
 the Objects which are in the middle, fo that 
 it feems to make them come out from the 
 Superficies. The Painter muff do in the fame 
 manner, in refped of the Lights and Shadows 
 of. his Figures, to give them more Relievo, 
 and more Strength, 
 
 250, While the Goings off are more and more 
 broken and faint, as they approach to the Extre- 
 mities, &c. ’Tis the Duty of a Painter, even in 
 this alfo, to imitate the Convex Mirror, and to 
 place nothing which glares either in Colour 
 or in Light, at the Borders of his Pidure ; for 
 
 which 
 
Art of Tainting, 173 
 
 which there are two Reafons : the firfl: is, 
 that the Eye at the firfl: View direfts it felf to 
 the midft of the Objeft, which is prefented to 
 it, and by confequence, muft there necefTari- 
 ]y find the principal Objeifl, in order to its 
 Satisfiidion, And the other Reafon is, that 
 the Sides or Borders being overcharg’d with a 
 ftrong and glittering Work, attract the Eyes 
 thither, which are in a kind of Pain, not to 
 behold a Continuity of that Work, which is 
 on the Sudden interrupted, by the Borders of 
 the Pidure ; inftead of which the Borders 
 being lighten’d, and eas’d of fo much Work, 
 the Eye continues fixt on the Center of the 
 Pidure, and beholds it with greater Pleafure. 
 
 *Tis for the fame Reafon, that in a great Com- 
 pofition of Figures, thofe, which coming molt 
 forward, are cut off by the Bottom of the 
 Pidure, will always make an ill Effed. 
 
 A Bunch of Grapes, See. ’Tis fufficiently f 329 
 manifclf, that Titiaji by this judicious and fa- 
 miliar Comparifon, means, that a Painter ought 
 to colled the Objeds, and to difpofe them in 
 fuch a manner, as to compofe one Whole *, the 
 feveral contiguous Parts of which may be 
 enlighten’d, many fhadow’d, and others of 
 broken Colours to be in the Ttirnings ; as on 
 a Bunch of Grapes, many Grapes, which are 
 
 th.e 
 
m 
 
 f 330* 
 
 Obfervations on the 
 
 the Parts of ir, are in the Light, many in the 
 Shadow, and the reft faintly colour’d to make 
 them go farther back. Tinan once told Tinio- 
 ret^ That in his greateft Works, a Bunch of 
 Grapes had been his principal Rule, and his 
 furejl Guide. 
 
 Pure, or unmix*d White, either draws an Oh- 
 jehi nearer, or carries it off to farther diftance^ 
 It dratvs it nearer with Black, and throws it 
 backward without it, &c. All agree, that 
 White can fubfift on the fore-ground of the 
 Pidlure, and there be us’d without mixture ; 
 the Queftion therefore is to know, if it can e- 
 qually fubfift and be plac’d in the fame man- 
 ner, upon that which is backward, the Light 
 being univerfal, and the Figures fuppos’d in a 
 Campaign and open Field. 
 
 Our Author concludes affirmatively ; and 
 the Reafon on which he eftablilhes his Rule 
 is this •, That there being nothing which par- 
 takes more of the Light than Whitenefs, and 
 the Light being capable of fubfifting well in 
 Remotenefs (or at a long diftance, as we 
 daily fee in the rifing and fetting of the Sun) 
 it follows, that White may fubfift in the fame 
 manner. In Painting, the Light and a white 
 Colour are but one and the fame thing. Add 
 to this, that we have no Colour, which more 
 2 rcfembles 
 
Art of Painting. 
 
 refembles' the Air than White, and by con- 
 fequence no Colour which is lighter ; from 
 whence it comes, that we commonly fay, the 
 Air is heavy, when we fee the Heavens co- 
 ver’d with black Clouds, or when a thick 
 Fog takes from us that Clearnefs, which 
 makes the Lightncfs or Serenity of the Air. 
 'Pitian-, Tintoret., Paul Veronsfe^ and all thofe 
 who beft underftood Lights, have obferv’d id 
 in this manner, and no Man can go againfl: 
 this Precept, at lead without renouncing any 
 Skill in Landfcape, which is an undoubted 
 Confirmation of this Truth. And we fee that 
 all the great Mqlters of Landfcape have fol- 
 low’d 'Titian in this, who has always employ’d 
 brown and earthly Colours upon the fore- 
 part, and has refer v’d his greateft Lights 
 for Remoteneffes, and the back Parts of his 
 Landfcapes. 
 
 It may be objeftcd againfl, this Opinion, 
 that White cannot maintain it felf in Remote- 
 nefles, becaufe it is ordinarily us’d to bring the 
 Objedls nearer, on the advanc’d Part. ’Tis 
 true, that fo it is us’d, and that to very good 
 purpofe, to render the Objects more fenfible, 
 by the oppofition of the Dark, which mufl: 
 accompany it j and which retains it, as it were 
 by force j whether the Dark ferves it for a 
 
 Ground, 
 
Ohfervatiom on the 
 
 Ground, or whether it be combin’d to If. 
 For example. If you wou’d make a tvhite H'orfi 
 on the fore-ground of your Picture, ’tis of ab- 
 folute Necefllty, that the Ground muft be of 
 a mlxt brown, and large enough, or that the 
 Furniture muft be of very fenfible Colours % 
 or laftly, that fome Figure muft be fet upon 
 if, whofe Shadow's and the Colour may bring 
 it forward. 
 
 But it feems (fay you) that Blue is the 
 moft flying or tranfient Colour, becaufe the 
 Heavens and Mountains, which are at the 
 greateft Diftance, are of that Colour. ’Tis 
 very true that blue is one of the lighteft and 
 fweeteft Colours : But it is alfo true, that it 
 poflTefles thefe Qualities fo much the more, be- 
 caufe the white is mingled in it, as the Exam- 
 ple of the Diftances demonftrate to us. But 
 if the Light of your Piclure be not univerfal, 
 and that you fuppofe your Figures in a Cham- 
 ber, then recall to your Memory that T’heo-‘ 
 rm, which tells yon, that the nearer a Body 
 is to the Light, and the more diredfly ’cis op- 
 pos’d to us, fo much the more it is enlighten’d, 
 becaufe the Light grows languifliing, the far- 
 ther it removes from its Original. 
 
 You may alfo extinguifh your White, if 
 you fuppofe the Air to be fomewhat thicker, 
 2 and 
 
177 
 
 Jlrt of Paintifig. 
 
 and if you forefee that this Suppofition will 
 make a good EfFeft in the Oeconomy of the 
 whole Work ; but let not this proceed fo far, 
 as to make your Figures fo brown, that they 
 may feem as it were in a filthy Fog, or that 
 they may appear to be Part ‘of the Ground. 
 
 See the following Remark. 
 
 But as for pure Blacky there is nothing that ^ 33^* 
 brings the Obje^ nearer to the Sights &c. Be- 
 caufe Black is the'heavieft of all Colours, 'the 
 ■moft earthy, and theimoft fenfible. This is 
 ■clearly underftood by the Qualities of White, 
 which is oppos’d to ’it, and which is (as we 
 have faid) the lighteft'of all Colours. There 
 are few who are not of this Opinion ; and yet 
 I have known fome, who have told me, that 
 ' the Black being on the advanc’d Part makes 
 nothing but Holes. To this there is little elfe 
 to be anfwer’d, but‘ that Black always makes 
 a good Ef¥e 6 l, being fet forward, provided 
 it be plac’d there with Prudence. .«You arc 
 therefore fo to difpofe the Bodies f of your 
 Pictures which you intend to be on the fore- 
 ground, that thofe forts of Holes may not be 
 perceiv’d, and that the Blacks may be there 
 by MaflTes, and infenfibly confus’d. See the 
 47 th Rule. 
 
 N 
 
 That 
 
17 ^ Ohfervatiom on the 
 
 That which gives the Relievo to a Bowk 
 (may fome fay to me) is the quick Light, of 
 the White, which appears to be on the Side 
 which is neareft to us, and the Black by con- 
 fcquence diftances the Objeft. We are here 
 to beware, not to confound the Turnings with 
 the Diftances : the Queftion is only in Re- 
 fpeft of Bodies, which are feparated by Ibme' 
 Diftance of a backward Pofition, and not of 
 round Bodies, which are of the fame Con- 
 tinuity : the Brown which is mingled in the 
 turnings of the Bowk makes them go off, 
 rather in confounding them (as we may fay) 
 than in blackning them. And do you not 
 fee, that the Refletfts are an Artifice of the 
 Fainter^ to make the Turnings feem more 
 Light, and that by this means the greateft 
 Blacknefs remains towards the middle of the 
 Bowk to fuftain the White, and make it de- 
 ceive us with more Pleafure ? 
 
 This Rule of White and Black is of fo great 
 confequence, that unlefs it be exadly praftis’d, 
 ’tis impoftible for a Pidure to make any great 
 Effect, that the MaflTes can be difentangled, 
 and the different Diftances may be obferv’d 
 at the firft Glance of the Eye, without trou- 
 ble. 
 
 It 
 
179 
 
 Art of Fainting. 
 
 it may be inferred from this Precept, that 
 the Maffes of other Colours will be fo much 
 the more fenfible, and approach fo much the 
 nearer to the Sight, the more Brown they 
 bear ; provided this be amongft other Colours 
 which are of the fame Species. For Example, 
 A yellow Brown lhall draw nearer to the 
 Sight, than another which is lefs yellow. I 
 faid, provided it be amongft other Colours* 
 which are of the fame Species *, becaufe there 
 are fimple Colours, which naturally are ftrong 
 and fenfible, though they are clear ; as VermF 
 lion : there are others alfo, which notwith- 
 ftanding that they are brown, yet ceafe not to 
 be foft and faint *, as the blue of Ultramarine. 
 The Effecft of a Picture comes not only there- 
 fore from the Lights and Shadows, but alfo 
 from the Nature of the Colours. I thought 
 it was not from the Purpofe in this Place to 
 give you the Qualities of thofe Colours which 
 are moft in ufe, and which are call’d Capital, 
 becaufe they ferve to make the Compofition 
 of all the reft, whofe Number is almoft infi- 
 nite. 
 
 Red Oker is one of the moft heavy Colours. 
 
 Fellow Oker is not fo heavy, becaufe ’tis 
 clearer. 
 
 N 2 
 
 And 
 
f 
 
 180 Obfervatio 7 is on the 
 
 And the Mafticot is very light, becaufe it is 
 a very clear yellow, and very near to white. 
 
 Ultramariney or AzurCy is very light and a 
 very fweet Colour. 
 
 Vermilion is wholly oppofite to Ultrama- 
 rine. 
 
 Lake is a middle Colour betwixt Ultrama- 
 rine and Vermilion, yet it is rather more 
 Aveet than harlh. 
 
 Brown-Red is one of the moft earthy and 
 moft fenfible Colours. 
 
 Pink is in its Nature an indifferent Colour, 
 (that is) very fufceptible of the other Colours 
 by the mixture : if you mix Brown-Red with 
 ir, you will make it a very earthy Colour; 
 but on the contrary, if you join it with 
 White or Blue, you fliall have one of the moft 
 faint and tender Colours. 
 
 L’erre Verte, (or green Earth) is light ; *tis 
 a mean betwixt Yellow Oker and Ultramarine. 
 
 Umhre is very fenfible and earthy ; there is 
 nothing but pure Black which can difpiue 
 with it. 
 
 Of all Blacks, that is the moft earthy, 
 which is moft -remote from Blue. According 
 to the Principle which we have eftablilh’d ol 
 White and Black, you will make every one 
 of thefe Colours before nam’d more earthy 
 
 and 
 
Art of Painting. 1 8 1 
 
 and more heavy, the more Black you mingle 
 with them ; and they will be lighter, the 
 more White you join with them. 
 
 For what concerns broken or compound Co~ ^ 
 lours, we are to make a Judgment of their 
 Strength by the Force of thofe Colours which 
 compofe them. All who have thoroughly 
 underftood the Agreement of Colours, have 
 not employ’d them wholly pure and fimple in 
 their Draperies, unlefs in fome Figure upon 
 the fore-ground of the Pidlure ; but they have 
 us’d broken and compound Colours, of which 
 they made a Harmony for the Eyes, by mix- 
 ing thofe which have fome kind of Sympathy 
 with each other, to make a Whole, which has 
 an Union with the Colours which are neigh- 
 bouring to it. The Painter who perfedlly 
 underftands the Force and Power of his Co- 
 lours, will ufe them molt fuitably to his pre- 
 fent Purpofe, and according to his own Dif- 
 cretion. 
 
 But let this be done relatively, &c. One ^ 
 Body muft make another Body fly off in fuch 
 a manner, that it felf may be chas’d by thofe 
 Bodies which are advanc’d before it. “ We 
 “ are to take care, and ufe great Attention (fays 
 “ §luintilian) not only of one feparate thing, 
 
 “ but of many which follow each other, and by 
 
 N 3 
 
 a 
 
i 82 Ohfervatiom on the 
 
 “ a certain Relation which they have with each 
 “ other., are as it were continued. In the fame 
 “ manner, as if in a ftraight Street, we caft 
 “ our Eyes from one End of it to the other, we 
 “ difcover at once thofe different things which 
 “ are prefented to the Sight, fo that we not only 
 “ fee the loft, hut whatfoever is relating to the 
 lafi. 
 
 Ijf 361, Let two contrary Extremities never touch each 
 ether, &c. The Senfe of feeing has this in 
 common with all the reft of the Senfes, that 
 it abhors the contrary Extremities. And in 
 the fame manner as our Hands, when they are 
 very cold, feel a grievous Pain, when on the 
 fudden we hold them near the Fire j fo the 
 Eyes which find an extreme White, next to 
 an extreme Black, or a fair cool Azure next 
 to a hot Vermilion, cannot behold thefe Ex- 
 tremities without Pain, though they are al- 
 ways attrafted by the Glaring of two con- 
 traries. 
 
 This Rule obliges us to know thofe Co- 
 lours which have a Friendfliip with each 
 other, and thofe which are incompatible 
 which we may eafily difcover in mixing toge- 
 ther thofe Colours of which we would make 
 trial. 
 
 And 
 
Art of Fainting. 183 
 
 And if by this Mixture, they make a graci- 
 ous and fweet Colour, which is pleafing to 
 the Sight, *tis a Sign that there is an Union 
 and a Sympathy betwixt them : but if on the 
 contrary, that Colour which is produc’d by 
 the mixture of the two, be harlh to the Sight, 
 we are to conclude, that there is a Contrarie- 
 ty and Antipathy betwixt thefe two Colours. 
 
 Green (for Example) is a pleafing Colour, 
 which may come from a Blue and a Tellow 
 mix’d together 5 and by confequence Blue and 
 fellow are two Colours which fympathize : and 
 on the contrary, the Mixture of Blue with 
 Vermilion^ produces a lharp, harfh, and un- 
 pleafant Colour ; conclude then that Blue and 
 Vermilion are of a contrary Nature. And the 
 fame may be faid of other Colours, of which 
 you may make the Experiment, and clear 
 that Matter once for all. (See the Conclufioii 
 of the 3 3 2d Remark^ where I have taken 
 Occafion to fpeak of the Force and Quality 
 of every Capital Colour.) Yet you may neg- 
 ledl this Precept, when your Piece confifts 
 but of one or two Figures, and when amongft 
 a great Number you would make fome one 
 Figure more remarkable than the reft. One^ 
 
 I fay, which is one of the moft confiderable 
 of the Subject, and which otherwife you can- 
 N 4 not 
 
1^4 Ohfervati'ons on the 
 
 not diftinguifh from the reft. Titian^ in his 
 Triumph; of Bacchus^ having plac’d Ariadne 
 on one ot the Borders of the Pidure, and 
 not being able (for that; Reafon) to make her 
 remarkable by the Brightnefs of Light, which 
 he was to keep in the middle of his Pidure, 
 gave her a Scarf of a Vermilion Colour, upon 
 a blue Drapery, as well to lopfen her from his 
 Ground, which was a blu^ Sea^ as becaufe fhe 
 is one of the principal Figures of his Subjed, 
 upon which he defir’d to attrad the Eye. 
 Paul Veronefe, in his Marriage of Cana^ be- 
 caufe Qhrijly who is. the principal Figure of 
 the Subjed, is carry’d fomewhat into the 
 Depth of the Pidure, and that he cou’d not 
 make him diftinguifhable by the Strength of 
 the Lights and Shadows, has cloath’d him 
 ■with Vermilion and Blue, thereby to condud 
 the Sight to that Figure. 
 
 The hojlile Colours may be fo much tke 
 more ally’d to each other, the more you mix 
 them with other Colours, which mutually 
 fympathizc ; and which agree with thofe Co- 
 lours, which you defire to reconcile, 
 f 365- ’ 37 j labour in vain to paint a High-noon, &c. 
 
 Lie faid in another Place, endeavour after that 
 which aids your Art, and is fuitablc to it, and 
 fhun whatfoever is repugnant: ’tis the 59th 
 
 Precept, 
 
Art of Painting. 185 
 
 Precept. If the Painter would arrive to the 
 end he has propos’d, which is to deceive the 
 Sight, he mud make choice of fuch a Nature, 
 as agrees with the Weaknefs of his Colours ; 
 becaufe his Colours cannot accommodate 
 themfelves to every fort of Nature. This 
 Rule is particularly to be obferv’d, and well 
 confider’d, by thofe who paint Landfcapes. 
 
 Let the Field or Ground of the PiSiure, &c. ^378. 
 The reafon of it is, that we are to avoid the 
 meeting of thofe Colours, which have an /fn- 
 tipathy to each other, becaufe they offend the 
 Sight ; fo that this Rule is prov’d fufficiently - 
 by the 41ft, which tells us, that two contrary 
 Extremities are never to touch each other, 
 whether it be in Colour, or in Light ; but 
 that there ought to be a mean betwixt them, 
 which partakes of both. 
 
 Let your Colours he lively., and yet not look 1 [ 3^2, 
 {according to the Painters Proverb) as if they 
 had been rubb'd, or fprinkled with Meal, &c. 
 
 Donner dans la farine, is a Phrafe amongft 
 Painters, which perfeftly expreffes what it 
 means *, which is to paint with clear or bright 
 Colours, and dull Colours together ; for being 
 fo mingled, they give no more Life to the 
 Figures, than if they had been rubb’d with 
 Meal. They who make their flelh Colours 
 
Ohfervaftons on the 
 
 very white, and their Shadows grey, or in- 
 clining to green, fiill into this Inconvenience. | 
 Red Colours in the Shadows of the moft de- 
 licate or fineft P'lelh, contribute wonderfully 
 to make them lively, fhining, and natural ; 
 but they are to be us’d with the fame Dif- 
 cretion, that Titian, Paul Veronefe, Rubens, 
 and Van Dyck have taught us, by their Ex- 
 ample. 
 
 To preferve the Colours frelh, we mull 
 paint by putting in more Colours, and not by 
 rubbing them in, after they are once laid ; and 
 if it could be done) they lliould be laid juft 
 in their proper Places, and not be any more 
 touch’d, when they are once fo plac’d ; be- 
 caufe the Freflinefs of the Colours is tarnifli’d 
 and loft, by vexing them with the continual 
 Drudgery of Daubing. 
 
 All they who have colour’d well, have had 
 yet another Maxim to maintain their Colours 
 frefh and flourifking, which’ was to make ufe 
 of white Grounds, upon which they painted, 
 and oftentimes at the firft Stroke, without 
 retouching any thing, and without employ- 
 ing new Colours. Rubens always us’d this 
 way ; and I have feen Pidlures from the Hand 
 of that great Perfon, painted up at once, 
 which were of a wonderful Vivacity. 
 
 The 
 
187 
 
 Art of Tainting, 
 
 The reafon why they made ufe of thofe 
 kinds of Grounds, is, becaufe White as well 
 preferves a Brightnefs, under the Tranfparen- 
 cy of Colours, which hinders the Air from 
 altering the whitenefs of the Ground, as that 
 it likewife repairs the Injuries which they re- 
 ceive from the Air, fo that the Ground and 
 the Colours alTift and preferve each other. 
 'Tis for this reafon that glaz’d Colours have a 
 Vivacity which can never be imitated by the 
 moft lively and moft briilant Colours ; becaufe 
 according to the common way, the different 
 Tints are Amply laid on, each in its Place, one 
 after another. So true it is, that White with 
 other ftrong Colours, with which we paint 
 at once that which we intend to glaze, are, 
 as it were, the Life, the Spirit, and the Lu- 
 ftre of it. The Ancients moft certainly have 
 found, that white Grounds were much the 
 beft, becaufe, notwithftanding that Inconve- 
 nience, which their Eyes receiv’d from that 
 Colour, yet they did not forbear the Ufe of 
 it ; as Galen teftifies, in his tenth Book of the 
 Ufe of the Parts. “ Painters (fays he) when 
 they work upon their white Grounds., place 
 “ before them dark Colours., and others mixl 
 with Blue and Green, to recreate their Eyes ; 
 becaufe White is a glaring Colour, which 
 
 “ wearies 
 
i88 
 
 H 383- 
 
 % 385- 
 
 Ohfcrvations on the 1 
 
 “ wearies and fains the Sight more than any 
 “ other I know not the rcafon why the 
 Ufe of it is left 08' at prefent, if it be not that . 
 in our Days there are few Painters who are 
 curious in their Colouring, or that the firfl: 
 Strokes which are begun upon White, are 
 not feen foon enough, and that a more than 
 French Patience is requir’d to wait till it be 
 accomplifh’d ; and the Ground, which by its 
 whitenefs tarnilhes the Luftre of the other 
 Colours, mufl: be entirely cover’d, to make 
 the whole Work appear plealingly. 
 
 Let the Parts which are nearefi to us and 
 moft rais’d^ &c. The reafon of this is, that 
 upon a flat Superficies, and as much united as 
 a Cloth can be, when it is ftrain’d, the leaft 
 Body is very appearing, and gives a height- 
 ning to the Place which it poflefles j do not 
 therefore load thofe Places with Colours, which 
 you would make to turn j but let thofe be 
 well loaded, which you would have come out 
 of the Canvafs. 
 
 • Let there be fo much Harmony^ or Confent in 
 the Majfes of the Pidlure, that all the Shadow- 
 ings may appear as if they were but one^ &c. 
 
 I ie has laid in another Place, that after great 
 Lights, great Shadows are neceflary, which 
 he calls Repofes, What he means by the pre- 
 fent 
 
 
Art of 'Pahting. 189 
 
 fcnt Rule^ is this, That whatfoever is found in 
 thofe great Shadows, fhould partake of the 
 Colours of one another, fo that the diltcrent 
 Colours which qre well diftinguilh’d in the 
 Lights, feem tp be but one in the Shadows, 
 by their great Union. ^ 
 
 Let the whole Picture he of one^ Piece, 8rc. If 
 That is to fay, of one and the fame Con- 
 tinuity of Work, and as if the Pidlure had 
 been painted up all at once ; the Latin fays, 
 all of one Pallet. 
 
 Lhe Looking'Glafs will inftnif you, &c. If 
 The Painter muft have a principal Refpeft to 
 the Mafles, and to, the EfFeft of the Whole- 
 together. The Looking-Glafs diffances the 
 Objedfs, and by conlequence gives us only to 
 fee the MalTes, in which all the little Parts 
 are confounded. The Evening, when the 
 Night approaches, will make you better un- 
 derftand this Obfervation ; but not fo coni- 
 modioufly, for the proper time to, make, ft, 
 lads but a quarter of an p](our, and the Lcck- 
 ing-Glafs may be ufeful all the Day. 
 
 Since the Mirror is the I^iile anti iTader of 
 all Painters, as fiiowing them their Faults by 
 diftancing the Objedls, \ve may conclude that 
 the Pidture which makes not a good Effedt: at 
 a diflance, cannot be well done ; and a‘ Pain- 
 ter 
 
 ro 
 
ipo 
 
 f 393 - 
 
 Ohfervatiom on the 
 
 ter muft never finifh his PifturCj before he 
 has examin’d it at fome reafonable diftance, or | 
 with a Looking-Glafs^ whether the Maffes of ‘ 
 the Lights and Shadows, and the Bodies of 
 the Colours be well diftributed. Giorgione 
 and Correggio have made ufe of this Method. 
 
 As for a Portrait^ or Piblure by the Life., 
 
 &c. The End of Portraits is not fo precifely, 
 as fome have imagin’d, to give a fmiling and i 
 pleafing Air, together with the refemblance ; 
 this is indeed fomewhat, but not enough. It 
 confifts in expreffing the true Temper of thofe 
 Perfons which it reprefen ts, and to make 
 known their Phyfiognomy. If the Perfon 
 whom you draw {for Example) be naturally 
 Sad, you are to beware of giving him any 
 Gayety, which would always be a thing 
 which is foreign to his Countenance. If he, 
 or flic be Merry, you are to make that good 
 Humour appear, by the exprefling of thofe 
 Parts where it ai5ts, and where it fliows it felf. 
 
 If the Perfon be Grave and Majeflical, the 
 Smiles, or Laughing, which is too fenfible, 
 will take off" from that Majefty, and make it 
 look childifh and undecent. In fliorr, the 
 Painter, who has a good Genius^ mufl: make a 
 true Difcernment of all thefe things, and if he 
 underflands Phyfiognomy^ it 'will be more eafie 
 I to 
 
Art of Painting. igi 
 
 to him, and he will fucceed better than ano- 
 ther. Pliny tells us, “ That Apelles made his 
 “ Pidlures fo very like., that a certain Phyfiog- 
 “ nomifi and Fortune-teller, (as it is related 
 “ by j^ppion the Grammarian) foretold, by 
 “ looking on them, the very time of their Deaths, 
 
 “ whom thofe Pictures reprefented ; or at what 
 “ time their Death happened, if fuch Perfons 
 “ were already dead.” 
 
 Toil are to take the utmoft Care, that broad ^403. 
 Lights may he join'd, &c. This muft be done 
 tenderly : yet not fo as to make your Colours 
 die, by force of tormenting them ; but that 
 you fliould mix them as haftily as you can, 
 and not retouch the fame Place, if conveni- 
 ently you can avoid it. 
 
 Broad Lights, &c. ’Tis in vain to take pains 403. 
 if you cannot preferve large Lights: becaufe 
 without them, your Work will never make a 
 good Effeft at a diftance •, and alfo becaufe lit- 
 tle Lights are confus’d and effac’d, proportion- 
 ably as you are at a diftance from the Pidure. 
 
 This was the perpetual Maxim of Correggio. 
 
 Ought to have fomewhat of Greatnefs in them, ^417. 
 and their Out-lines to be noble, &c. As the 
 Pieces of Antiquity will evidently fhow us. 
 
 There is nothing more pernicious to a Touth, «H" 422. 
 &c. *Tis common to place our felves under 
 
 the 
 
192 Ohfervattom on the 
 
 the Difcipline of a Majler^ of whom we have 
 a good Opinion, -and whofe Manner we are 
 apt to embrace with eafe : which takes root 
 more deeply in us, and augments, the more 
 we fee him work, and the more we copy af- 
 ter him. This happens oftentimes to that de- 
 gree, and makes fo great an Imprefiion in the 
 Mind of the Scholar^ that he cannot give his 
 Approbation to any oi\\tx Manner whatfo- 
 ever, and believes there is no Man under the 
 Cope of Heaven, who is fo knowing as his 
 Mafter. 
 
 But what is molt remarkable in this point, 
 is, that Nature appears to us always like that 
 which we love, and in which we have 
 been taught ; which is juft like a Glafs through 
 which we behold Objefts, and which com- 
 municates its Colour to them, without our 
 perceiving it. After I have faid this, you 
 may fee of what Confequence is the choice of 
 a good and' of following in'bur be- 
 
 ginning the Manner of thofe who have come 
 neareft to Nature. And how much injury do 
 you think have the ill Manners which have 
 been in France^ done to the Painters of that 
 Nation, and what hindrance have they been 
 to the knowledge of what is well done, or of 
 arriving to what is fo, when once we know it ? 
 I The 
 
of 'P'aintinf^, 193 
 
 The Iialian$ fay to thofe whom they fee in- 
 fedlc'd with an ill Manner, which they are not 
 able to forfake, “ If you knew juft nothing, 
 
 “ you would foon learn fomething. 
 
 Search whatfoev&r is aiding to your Art, and 433* 
 convenient : and avoid thofe things which are 
 repugnant to it, &c. This is an admirable 
 Rule-, a Painter ought to have it perpetually 
 prefent in his Mind and Memory. It refolves 
 thofe Difficulties which the Rules beget ; it 
 loofens his Hands, and affifts his Undcrftand- 
 ing. In ffiort, this is the Rule which fets the 
 Painter at Liberty ; becaufe it teaches him, 
 that he ought not to fubjeft himfelf fervilely, 
 and be bound like an Apprentice to the Rules 
 of his Art ; but that the Rules of his Art 
 ought to be fubjeft to him, and not hinder 
 him from following the Didates of his Ge- 
 nius, which is fuperior to them. 
 
 Bodies of diverfe Natures which are ag- ^ 4 ;^ 4 , 
 groupp\d (or combin'd together) are agreeable 
 and pleafant to the Sight, &c. As Flowers, 
 
 Fruits, Animals, Skins, Satiins, Velvets, beau- 
 tiful Flejh, Works of Silver, Armours, Inftru- 
 ments of Muftek, Ornaments of Ancient Sacri- 
 fices, and many other pleafing Diverfities 
 w’hich may prefent themfelves to the Painter’s 
 Imagination. ’Tis moft certain, that the Di- 
 • O verfity 
 
^94 Ohfer’vatlom on (hi! 
 
 't^erfity of Objects recreates the Sight, when 
 they are without Confnfion 5 and when they 
 diminifli nothing of the Subjedl on which we 
 Work. Experience teaches us, that the Eye 
 grows weary with poring perpetually on the 
 fame thing ; not only on Pidtures, but even 
 on Nature it felf. For who is he, who would 
 not be tir’d in the Walks of a long Foreft, or 
 with beholding a large plain which is naked 
 of Trees, or in the Sight of a Ridge of 
 Mountains, which inftead of Pleafure, give 
 ns only the View of Heights and Bottoms ? 
 Thus to content and fill the Eye of the Un- 
 derftanding, the belt Authors have had the 
 Addrefs to fprinkle their Works with pleafing 
 Digreflions, with which they recreate the 
 Minds of Readers. Difcretion in this, as in 
 all other things, is the furefl: Guide ; and as 
 tedious Digreffions, which wander from their 
 Subjedf, are impertinent ; fo the Painter, who 
 under Pretence of div'erting the Eyes, would 
 fill his Pidlure with fuch Varieties as alter the 
 Truth of the Hijiory^ would make a ridicu- 
 lous Piece of Painting, and a mere Gallimau- 
 fry of his Work. 
 
 ^ 435, As alfo thofe things which feem to he Jlightly 
 touched., and perform' d withEafe^ See. This Eafe 
 attrads our Eyes and Spirits fo much the more 
 
 becaufc 
 
Art of Painting. 
 
 •becaufe it is to be prefurii’<i, that a noble Work, 
 which appears lb eafie to us, is ihe Producl; of 
 a fliilful Hand which is Mafler of its Art. It 
 was in this Part, that Afellcs found himfelf 
 fuperior to Protogenes, when he blam’d him 
 for not knowing when to lay down his Pen- 
 cil (and as 1 may almoft fay) to make an end 
 of finifhing his Piece. And it was on this 
 Account he plainly faid, “ That nothing was 
 ‘‘ more prejudicial to Painters, than too much 
 exadtnefs ; and that the greateji Part of them^ 
 knew not when they had done enough’’* : as 
 we have likewife a Proverb, which fays. An 
 Englijhman never knows when he is well. ’Tis 
 true, that the Word enough is very difficult 
 to underftand. What you have to do^ is to 
 confider your Subjedt thoroughly, and in 
 what manner you intend to treat it, according 
 to your Rules, and the Force of your Genius \ 
 after this you are to work with all the Eafe, 
 and all the Speed you can, without breaking 
 your Plead fo very much, and being fo very 
 induftrious in ftarting Scruples to your felf, 
 and creating Difficulties in your Work. But 
 *tis impoffible to have this Facility without 
 poffeffing perfedlly all the Precepts of the Art, 
 and to have made it habitual to you. Pbr 
 Eafe confifls in making precifely that Work 
 O 2 which 
 
Ohfervations on the 
 
 which you ought td make, and to fet every 
 thing in its proper Place, with Speed and 
 Readinefs, which cannot be done without the 
 Rules, for they are the aflur’d means of con- 
 ducing you to the end that you defign, with 
 Pleafure, ’Tis then moft certain, (though a- 
 gainft the Opinion of many,) that the Rules 
 give Facility, Quiet of Mind, and Readinels 
 of Hand to the floweft Genius j and that the 
 fame Rules increafe, and guide that Eafe in 
 thofe who have already receiv’d it at their 
 Birth, from the happy Influence of their Stars. 
 
 From whence it follows, that w'e may con- 
 fider Facility two feveral Ways ; either Am- 
 ply, as Diligence and a Readinefs of Mindy and 
 cf the Hand j or as a Difpofttion in the Mindy 
 to remove readily all thofe Difficulties which 
 can arife in the Work. The Hr ft proceeds 
 from ah aCive Temper, full of Fire ; and the 
 fecond from a true Knowledge and full Pof- 
 feflion of infallible Rules : the firft is pleaflng, 
 but it is not always without Anxiety, becaufe 
 it often leads us aftray : and on the contrary, 
 the laft makes us a£t with a Repofe of Mind, 
 and wonderful Tranquillity i becaufe it after- 
 tains us of the Goodnefs of our Work. *Tis 
 a great Advantage to poITefs the flrft ; but 
 *tis the Height of PerfeCion to have both in 
 
 that 
 
197 
 
 of Fainting. 
 
 that manner which Rubens and Van Dyck 
 pofleflTed them, excepting the Part of Defign 
 or Drawing, which both of them too much 
 neglefted. 
 
 Thofe who lay, that the Rules are fo far 
 from giving us this Facility, that on the con- 
 trary they puzzle and perplex the Mind, and 
 tie the Hand, are generally fuch People who 
 have pafs’d half their Lives in an ill Praftice 
 of Painting, the Habit of which is grown fo 
 inveterate in them, that to change it by the 
 Rules, is to take (as it were) their Pencils out 
 of their Hands, and to put them out of Con- 
 dition of doing any thing ; in the fame man- 
 ner as we make a Countryman dumb, whom 
 we will not allow to fpeak, but by the Rules 
 of Grammar. 
 
 Obferve, if you pleafe, that the Facility and 
 Diligence of which I fpoke, confifts not in 
 that which we call bold Strokes, and a free 
 handling of the Pencil, if it makes not a great 
 ElFe£l at a diftance. That fort of Freedom 
 belongs rather to a Writing-Mafter, than a 
 Painter. I fay yet farther, that *tis almofl: 
 impoflible that things which are painted, 
 Ihould appear true and natural, where we ob- 
 ferve thefe forts of bold Strokes. And all 
 thofe who have come neareft to Nature, have 
 
 O 3 never 
 
198 
 
 % 442 . 
 
 «I 443- 
 
 Ohfervatlons en the 
 
 never us’d thzi Manner of Painting. Thofe ten^ 
 der Hairs, and thofe hatching Strokes of the 
 Pencil, which make a kind of minced Meat 
 in Painting, are very fine I mufl; confefs *, but 
 they are never able to deceive the Sight. 
 
 Nor till you have prefent in your Mind a 
 perfect Idea of your Work, Se:c. If you will 
 have Pleafure in Painting, you ought to have 
 fo well confidei’d the OEconomy of your 
 Work, that it may be entirely made and dif- 
 pos’d in your Head, before it be begun upon 
 the Cloth. You muft, I fay, forefee the 
 Effe<5t of the Grouppes, the Ground, and the 
 I-ights and Shadows of every thing, the Har- 
 mony of the Colours, and the Intelligence of 
 all the Subjefi;, in fuch a manner, that vvhat- 
 foever you fliall put upon the Cloth, may be 
 only a Copy of what is in your Mind. If you 
 make ufe of this Condudl:, you will not be 
 put to the trouble of fo often changing, and 
 rechanging. 
 
 Let the Lye he fatisfied in the firft place, 
 even againft and above all other Reafons, &c. 
 This paffage has a refpedl to fome particular 
 Licences which a Painter ought to take : 
 And as I defpair not to treat this matter more 
 at large ; I adjourn the Reader to the firft 
 Opportunity which I can get, for his farther 
 
 Satis- 
 
Art of Painting. 199 ' 
 
 SatisfaiStion on this Point, to the befl; of my 
 Ability. But in general he may hold for cer- 
 tain, that thofe Licences are good, which 
 contribute to deceive the Sight, without cor- 
 rupting the truth of the Subjed, on which 
 the Painter is to work. 
 
 Profit yourfelf by the CoMifels of the Knowing, ^ 445 * 
 &c. Parrhafius and Cliton thought themfdves 
 much oblig’d to Socrates, for the Knowledge 
 which he gave them of the Pajfions. See 
 their Dialogue in Xenophon, towards the End §• 20. 
 of the third Book of Memoirs. 'Phey who the 
 “ mojl willingly bear reproof (fays Pliny the 
 Younger) are the very Men in whom we find 
 “ more to commend, than in other People.^' Ly- 
 ftppus was extremely pleas’d when Apelles told 
 him his Opinion ; and Apelles as much, when 
 Pfippus told him his. That which Praxiteles 5. 8, 
 laid of Nicias, in Pliny, flievvs the Soul of an 
 accompli fil’d, and an humble Man. “ Prax- 
 iteles being ask’d which of all his Works he 
 “ valued fnofi : Thofe, fays be, which Nicias 
 “ has retouch’d”. So much account he made 
 of his Criticifms and his Opinions. You 
 know the common Praftice of Apelles •, when 
 he had finifh’d any Work, he expos’d it to 
 the Sight of all Paflengers, and conceal’d him- 
 fclf, to hear the Cenfure of his Faults, with 
 
 O 4 the 
 
200 
 
 Obfervatiom on the 
 
 Tufcul. lib. 
 
 S* 
 
 Georg. 3. 
 hb. s. 
 
 the Profpedl of making his Advantage of the 
 Informations, which unknowingly they gave 
 him : Being fenfible, that the People would 
 examine his V/orks more rigoroufly than him- 
 felf, and v/ould not forgive the lead; Miftake. 
 
 The Opinions and Counfcls of many to- 
 gether are always preferable to the Advice of 
 one fingle Perfon. And Cicero wonders that 
 any are befotted on their own Produftions, 
 and fay to one another, Very good, if your 
 Works pleafe you, mine are not mpleafing to me. 
 In effe(5l', there are many who through Pre- 
 fumption, or out of Shame to be reprehended, 
 never let their Works be feen. But there 
 is nothing can be of worfe confequence ; for 
 the Difeafe is nouriff d and increafes (fays Vir- 
 gil) 'while it is conceald. There are none but 
 Fools (fays Horace) who out of Shamefac’d's- 
 nefs hide their Ulcers, which if fhewn might 
 eafily be heal’d. 
 
 Ep. 1(5. 
 
 ^'.ultorum incurata malus pudor ulcera celat. 
 
 There are others who have not altogether fb 
 much of this foolifh Ealhfulnefs, and who alk 
 every one’s Opinion with Prayers and Earneft- 
 pefs-, but if you freely and ingenuoufly give 
 ^hem notice of their Faults, they neyer fail tp 
 
 make 
 
Art of Painting.' 2qI: 
 
 make fome pitiful Excufe for them ; or (which 
 is worfe) they take in ill part the Service which 
 you thought you did them, which they but 
 feemingly defir’d of you, and out of an efta- 
 blifh’d Cuflom amongft the greateft part of 
 Painters. If you defire to get your felf any 
 Honour, and acquire a Reputation by your 
 Works, there is no furer way than to fhew 
 them to Perfons of good Senfe •, and chiefly to 
 thofe who are Criticks in the Art ; and to i 
 
 take their Counfel, with the fame Mildnels, 
 and the fame Sincerity, as you defir’d them to 
 give it you. You mull; alfo be induflrious to 
 difcover the Opinion of your Enemies, which 
 is commnnly the truefl; ; for you may be af- 
 fur’d, that they will give you no Quarter, and 
 allow nothing to Complaifince. 
 
 But if you have no knowing Friend, &c. f 449. 
 ^intilian gives the Reafon of this, when he 
 fays, “ Fhat the bejl means to correSi our Faults, 
 
 “ is doubtlefs this, to remove our Dejigns out of 
 “ Sight, for fome fpape of time, and not to look 
 “ upon our Pictures : to the end, that after this 
 “ interval, we may look on them as it were with 
 “ other Eyes, and as a new Work, which was 
 “ of another Hand, and not our ownP Our 
 pwn Produdfions do but too much flatter us j 
 |hey are always too pleafing, and *tis impofla- 
 
 ble 
 
,?02 
 
 f 45S. 
 
 I oc 
 
 Obfervations on the 
 
 ble not to be fond of them at the moment of 
 their Conception. They are Children of a 
 tender Age, which are not capable of draw-, 
 ing our Hatred on them. ’Tis faid, that 
 Apes, as foon as they have brought their 
 Young into the World, keep their Eyes coiir 
 tinually faften’d on them, and are never weary 
 of admiring their Beauty : fo amorous is Na- 
 ture of whatfoever fhe produces. 
 
 'To the end that he may cultivate ihofe 'Talents 
 which make his Genius, §rc. 
 
 Qui fua metitur pondera, ferre poteft. 
 
 “ That we may undertake nothing beyond our- 
 “ Forces, we muft endeavour to know them. 
 On this Prudence our Reputation depends, 
 Cicero calls it a good Grace, becaufe it makes 
 a Man feen in his greateft Luftre. “ *Tis, 
 “ (fays lie) a becoming Grace, which we Jhall 
 “ eajlly make appear, if we are careful to culti- 
 “ vate that which Nature has given us in pror 
 “ priety, and made cur own ; provided it be no 
 “ Vice, or Imperfebiion. We ought to undertake 
 “ nothing which is repugnant to Nature in gcr 
 “ ncral 5 and when we have paid her this Hu- 
 “ ty, we are bound fo religioujly to follow our 
 “ own Nature, that though many things which 
 
 “ an 
 
Art of Painting. 2oj 
 
 “ are more fcrious and mere important., prefent 
 “ themfelves to us., yet •xc a.re aruecys to conform 
 “ our Studies and our Exercifss to cur natural 
 “ Inclinations. It avails nothing to difpute a- 
 “ gainft nature, atid think to obtain what Jhe 
 “ refufes •, for then we eternally follow what we 
 “ can never reach-, for (as the Proverb fays) 
 
 “ there is nothing can pleafe, nothing can he 
 S’- graceful, which vje enlerp>rize in fpight of 
 Minerva *, that is to fay, in fpight of Na- 
 “ ture. When we have confidefd all ihefe 
 things attentively, it will then he neceffary 
 “ that every Man fhciild regard Phat in parti- 
 “ cular, which Nature has made his Portion, 
 
 ‘ ‘ and that he fnould cultivate it with care. ^Tis 
 “ not his Bufinefs to give himfelf the trouble of 
 “ trying whether it will become him to put on 
 “ the Nature of another Man -, or as one would 
 “ fay, to ahl the Perfon of another : there is 
 “ nothing which can more become us, than what 
 S’ is properly the Gift of Nature. Lei every 
 one therefore endeavour to underjiand his own 
 ” 'Palent, and without flattering himfelf, let 
 S’ him make a true judgment of bis own Vir- 
 ” -tues, and his own Defedls and Vices ; that he 
 ” pay not appear to have lefs Judgment than the 
 ‘‘ Comedians, who do not always chufe the beft 
 .'f- Plays, but pbofe which are befl for them: 
 
 ” that 
 
204 
 
 f 4^4. 
 
 Ohfervations on the 
 
 “ that is, thofe which are mojl in the compafs 
 of their aEling. Thus we are to fix on thofe 
 things for which we have the ftrongejl Incli- 
 “ nation. And if it fometimes happens, that we 
 “ are forc’d by Neceffity to apply our felves to 
 “ fuch other things, to which we are no ways 
 “ inclin'd we muji bring it fo about, by our 
 “ Care and Induftry, that if we perform them 
 “ not very well, at leajl we may not do them fo 
 “ very ill, as to be fleam’ d by them : we are not 
 “ fo much to Jlrain our felves, to make thofe 
 “ Virtues appear in us, which really we have 
 “ not, as to avoid thofe Imperfediions which may 
 “ dijhonour us.” Thefe are the Thoughts, and 
 the Words of Cicero, which I have tranflated, 
 retrenching only fuch things as were of no 
 concernment to my Subjed ; I was not of 
 opinion to add any thing, and the Reader, I 
 doubt nor, will find his Satisfadion in them. 
 
 While you meditate on thefe Truths, and oh- 
 ferve them diligently, 3cc. There is a great 
 Connedion betwixt this Precept and that other, 
 which tells you, that you are to. pafs no Dcrp 
 without a Line. ’Tis impofllble to become 
 an able Artifl:, without making your Art 
 habitual to you: and *tis impofllble to gain 
 an exad Habitude, without an infinite num- 
 ber of Ads, and without perpetual Pradice. 
 
 In 
 
^Art of 'PalnUng. 
 
 *ln all Arts the Rules of them are learn’d in 
 little time •, but the Perfedlion is not acquir’d 
 without a long Praflice, and a fevere Dili- 
 gence. We never faw, that Lazinefs f reduc'd 
 my thing which was excellent, lays Maximus Diff 
 Syrius : and ^intilian tells us, that the Arts 
 draw their Beginning from Nature ; the want 
 we often have of them caufes us to fearch the 
 means of becoming able in them, and Exer- 
 cife makes us entirely Mailers of them. 
 
 ^he Morning is the bejl, and mojl proper part ^ 
 of the Day, &c. Becaufe then the Imagination 
 is not clouded with the Vapours of Meat, nor '' 
 diftra6led by Vifits, which are not ufually 
 -made in the Morning. And the Mind by 
 the Sleep of the foregoing Night, is refrefli’d 
 and recreated from the Toils of former Stu- 
 dies. Malherbe fays well to this purpofe, 
 
 Le plus beau de nos jours, eji dans leur matinee, 
 
 7he fprightly Morn is the beft part of Day. 
 
 Let no Day pafs over you, without a Line, ^ 
 &c. That is to fay, without working, with- 
 out giving fome Strokes of the Pencil or the 
 Crayon. This was the Precept of Apelles j 
 and ’cis of fo much the more necefllty, be- 
 caufe Painting is an Art pf much Length and 
 
 Time, 
 
20.6 
 
 f 473 - 
 
 f 475 « 
 
 3$. lo, 
 
 Ohfervaticm on the 
 
 Time, and is not to be learn’d without gretft 
 Practice, Michael Angelo at the Age of four- 
 fcore Years, faid, That ke learnA fomething 
 every Day. 
 
 Be ready to put into your 1'ahh-hook, See. | 
 As it was the Cuftom of 'Titian and the Car- 
 raches. There are yet remaining in the Hands | 
 of fome who are curious in Painting, many | 
 Thouglits and Obfervations, which thofe 
 great Men have made on Paper, and in their 
 Table-books, which they carry’d continually 
 about them. 
 
 PFine and good Cheer are no great Friends to 
 Painting : they ferve only to recreate the Mind^ 
 when it is opprefi and fpent with Labour, &Ci 
 “ During the time (fays Pliny) that Protoge- | 
 “ nes was drawing the PiSture of Jalyfus, which i 
 “ was the heft of all his PVorks, he took no other 
 “ Nour if ement than Lupines, mix'd with a little 
 “ Water, which ferv'd him both for Meat and 
 “ Drink, for fear of clogging his Imagination 
 “ hy the Luxury of his Food." Michael Angelo^ 
 while he was drawing his Day of Judgment, ’ 
 fed only on Bread and Wine at Dinner. And 
 Vafari obferves in his Life, that he was fo 
 fober, that he flept but little, and that he of- 
 ten rofe in the Night to work, as being not 
 difturb’d by the Vapours of his thift Repafts. 
 
 2 But 
 
Art of Vcilntlng. 207 
 
 • But delights in the Liberty which belongs to ^ 478. 
 the Batchelors Eft ate ^ See. We never fee large, 
 beautiful, and well-tafted Fruits proceeding 
 from a Tree which is incompafs’d round, and 
 choak’d with Thorns and Briars. Marriage 
 draws a world of Bufinefs on our Hands, fub- 
 jedls us to Law-fuits, and loads us with mul- 
 titudes of domeftick Cares, which are as fo 
 many Thorns that encompafs a Painter, and 
 hinder him from producing his Works in that 
 PerfetSlion of which otherwife he is capable. 
 
 Raphael., Michael Angelo, and Hannibal Car^ 
 rach, were never marry’d : and amongfl: the 
 ancient Painters we find none recorded for 
 being marry’d, but only Apelles, to whom 
 Alexander the Great made a Prefent of his 
 own Miftrefs Campafpe ; which yet I would 
 have underftood, without ofience to the In- 
 ftitution of Marriage ; for that calls down 
 many Bleffings upon Families, by the Care- 
 fulnefs of a virtuous Wife. If Marriage be 
 in general a Remedy againft Concupifcence, 
 
 *tis doubly fo in refpedl of Painters, who are 
 more frequently under the Occafions of Sin, 
 than other Men, becaufe they are under a 
 frequent Neceflity of feeing Nature bare-fac’d. 
 liCt every one examine his own Strength 
 upon this Point : but let him prefer the In- 
 
 tereft 
 
2o8 
 f 4S0. 
 
 U 484* 
 
 Petron, Ar- 
 biter. 
 
 Ohfirvations on the 
 
 tereO: of his Soul, to that of his Art, and of 
 his Fortune. 
 
 Painting naturally withdrazvs from Noifi 
 and Fimiilt, &c. I have faid at the end of 
 the firft Remark, that both. Poet7y and Paint- 
 ing were upheld by the Strength of Imagina- 
 tion, Now there is nothing which warms it 
 more than Rcpofe and Solitude t Becaufe, in 
 that Eftate, the Mind being freed from all 
 Sorts of Bufinefs, and in a Kind of Sandtuary, 
 undifturb’d by vexatious Vifits, is more capa- 
 ble of forming noble Thoughts, and of Ap- 
 plication to its Studies. 
 
 Carmina fecejfum fcrihentis, 6? otia quccrmtt. 
 
 Good Verfe Recefs and Solitude requires : 
 
 And Eafe from Cares, and undiftmb’d Dejires, 
 
 We may properly fay the fame of Painting, 
 by reafon of its Conformity with Poetry, as I 
 have fhewn in the firft Remark. 
 
 Let not the covetous Dejign of growing rich. 
 See. We read in Pliny, that Nicias refus’d 
 fixty Talents from King Attalus, and rather 
 chofe to make a free Gift of his Pidlure to 
 his Country. “ I enquir'd of a prudent man, 
 “ (fays a grave Author) in what times thofe 
 1 noble 
 
Art of Tainting. 5:09 
 
 nolle "Pictures “Were tnade^ which now we fee ; 
 
 “ and defiPd him to explain to me fame of their 
 “ Subjedls, which I did not well underftand. I 
 “ ask'd him likewife the reafon of that great 
 “ Negligence, which is now vifible among ji 
 “ Painters : And from whence it proceeded^ 
 
 “ that the mojl beautiful Arts were now burfd 
 “ in Oblivion ; and principally Painting, a faint 
 “ Shadow of which is at prefent remaining to 
 “ us. To which he thus reply' d. That the im- 
 ^ moderate Dejire of Riches had produc'd this 
 “ Change : For of old, when naked Virtue bad 
 “ her Charms, the noble Arts then flour ijh'd in 
 “ their Vigour : and if there was any Contefi 
 “ among ft Men, it was only who Jhould be the 
 flrft Difcoverer of what might be of Advan- 
 “ tage to Pofterity. Lyfippus and Myron, 
 
 “ thofe renown' d Sculptors, who could give a 
 “ Soul to Brafs, left no Heirs, no Inheritance 
 “ behind them ; becaufe they were more care~ 
 
 “ ful of acquiring Fame, than Riches. But 
 as for us, of this prefent Age, it feems by the 
 manner of our Conduit, that we upbraid An~ 
 tiquiiy for being as covetous of Virtue, as we 
 “ are of Vice: wonder not fo much therefore, 
 
 “ if Painting has loft its Strength and Vigour', 
 
 “ becaufe many are now of Opinion, that a 
 “ Heap of Gold is much more beautiful than all 
 ’ P « the 
 
Ohfervattom on the 
 
 “ the Pictures and Statues Apelles and Phi-* 
 “ dias, and all the noble Performances of 
 “ Greece. 
 
 I would not exadt fo great an A 61 ; of Ab- 
 flinence from our modern Painters ; for I am 
 not ignorant, that the Hope of Gain is a 
 wonderful Oiarp Spur in Arts, and that it 
 gives Induftry to the Artift ; from whence it 
 was, that Juvenal faid even of the Greeks 
 ihemfelves, who v/ere the Inventors of Paint- 
 ing, and who firfl underftood all the Graces 
 of it, and its whole Perfedion, 
 
 Graeculus efuriens^ in Caelum^ juJJ'eris, ibit, 
 
 A hungry Greeks if bidden, fcales the Skiesi 
 
 But I could heartily wifti, that the fame Hope 
 which flatters them, did not alfo corrupt 
 them : and did not fnatch out of their Hands 
 a lame imperfed Piece, rudely daub’d ever 
 with too little Refledion, and too much hafte. 
 
 Ilf 487. ^alities requifite to form an excellent 
 
 Painter, &c. ’Tis to be confefs’d, that very 
 few Painters have thofe Qualities which are 
 requir’d by our Author, becaufe there are 
 very few, who are able Painters. There was 
 a time, when only They who were of noble 
 
 Blood 
 
Art of Famting. 211 
 
 Blood, were psermitted to exercife this Art i 
 becaufe it is to be prefum’d, that all thefe In- 
 gredients of a good Painter, are not ordinari^ 
 ly found in Men of vulgar Birth. And in all 
 appearance, we may hope, that though there 
 be no Edi^ in France^ which takes away the 
 Liberty of Painting, from thofe to whom Na- 
 ture has refus’d the Honour of being born 
 Gentlemen, yet at lead:, that the Royal Aca- 
 demy will admit henceforward only fuch, who 
 being endu’d with all the good Qualities, and. 
 the Talents which are requir’d for Paintings 
 thofe Endowments may be to them, inftead 
 of an honourable Birth. ’Tis certain. That 
 which debafes Painting, and makes it defeend 
 to the vileft and mod: defpicable kind of 
 Trade, is the great multitude of Painters, 
 who have neither noble Souls, nor any Ta- 
 lent for the Art, nor even fo much as com- 
 mon Senfe. The Origin of this great Evil, 
 is, that there have always been admitted into 
 the Schools of Painting all forts of Children 
 promifeuoufly, without Examination of them^ 
 and without obferving (for fome convenient 
 fpace of time) if they were condufted to this 
 Art, by their inward Difpofition, and all ne- 
 ceflary Talents, rather than by a foolifh In- 
 clination of their own, or by the Avarice of 
 P 2 their 
 
212 
 
 Obfervations on the 
 
 their Relations, who put them to Painting, 
 as a Trade, which they believe to be fome- 
 what more gainful than another. The Quali- 
 ties properly requir’d, are thefe following. 
 
 A good Judgment, that they may do no- 
 thing againft Reafon, and Verifimility. 
 
 A docible Mind, that they may profit by 
 Inftrudlions, and receive, without Arrogance, 
 the Opinion of every one, and principally of 
 knowing Men. 
 
 A noble Heart, that they may propofe 
 Glory to themfelves, and Reputation, rather 
 than Riches.- 
 
 A Sublimity, and Reach of 'Thought, to 
 conceive readily, to produce beautiful Ideas, 
 and to work on their Subjefts nobly, and af- 
 ter a lofty manner, wherein we may obferve 
 fomewhat that is delicate, ingenious, and un- 
 common. 
 
 A warm, and vigorous Fancy, To arrive at 
 leaft to fome Degree of Perfeftion, without 
 being tir’d with the Pains and Study, which 
 are requir’d in Painting. 
 
 Health, to refift the Difiipation of Spirits, 
 which are apt to be confum’d by Pains-taking. 
 
 Touth, becaufe Painting requires a great 
 Experience, and a long Praftice. 
 
 Beauty^ 
 
213 
 
 'Art of Painting, 
 
 Beauty,, or Handfomenefs,, Becaufe a Painter 
 paints himfelf in all his Pictures ; and Nature 
 loves to produce her own Likenefs. 
 
 A convenient Fortune,, That Ke may give 
 his whole time to ftudy, and may work chear- 
 fully, without being haunted with the dread- 
 ful Image of Poverty, ever prefent to his 
 Mind. 
 
 Labour, Becaufe the Speculation is nothing 
 without the Practice. 
 
 A Love for his Art, We fuffer nothing in 
 the Labour which is pleafing to us : pr if it 
 happen that we fuffer, we are pleas’d with 
 the Pain. 
 
 And to he under the Difeipline of a knowing 
 Mafter, &c. Becaufe all depends on the Be- 
 ginnings i and becaufe commonly they take 
 the Manner of their Mafter, and are form’d 
 according to his Gufto : See Verfe 422, and 
 the Remark upon it. All thefe good Qualities 
 are infignificant, and unprofitable to the Pain- 
 ter, if fome outward Difpofitions are wanting 
 to him. By which I mean favourable times, 
 fuch as are times of Peace, which is the Nurfe 
 of all noble Arts j there muft alfo fome fair 
 occafion offer to make their Skill manifeft, 
 by the Performance of fome confiderable 
 Work within their Power : and a Proteftor, 
 P 3 who 
 
214 Obfervations on the 
 
 who muft be a Perfon of Authority ; one who 
 takes upon himfdf the Care of their Fortune, 
 at lead in fome meafure ; and knows how to 
 fpeak well of them, in Time and Place con- 
 v'enient. .’Tis of much Importance (lays the 
 younger Pliny) in what times Virtue appears. 
 And there is no Wit, howfocver excellent it may 
 he, which can make it felf immediately known. 
 Time and Opportunity are necejfary to it, and a 
 Perfon who can affifl us with his favour, and be 
 a Mjecenas to us. 
 
 ^ 496. And Life is fo floor t, that it is not fufficient 
 for fo long an Art, &cc. Not only Painting, 
 but all other Arts, confider’d in themfelves, 
 require almofb an infinite time to poffefs them 
 perfetSUy. ’Tis in this Senfe that Hippocrates 
 begins his Aphorifms with this Saying, That 
 Art is long, aytd Life is fhort. But if we con- 
 fider Arts, as they are in us, and according to 
 a certain degree of Perfeftion, fufficient e- 
 nough, to make it known, that we poflefs 
 them above the common fort, and are com- 
 paratively better than moft others, we fhall 
 not find that Life is too fhort on that ac- 
 count ; provided our time be well employ’d* 
 ^Tis true, that Painting is an Art which is 
 difficult, and a great Undertaking. But they 
 yvho are endued with the Qualities that are 
 
 necelTary 
 
Art of ’Painting. 2 ’f^ 
 
 necefliiry to it, have no reafon to be difcou- 
 rag’d by that Apprehenfion. Labour always Veget, de 
 appears difficult before 'tis irfd. The Paflages 
 by Sea, and the Knowledge of the Stars, have 
 been thought impoffible, which notwith- 
 ftanding have been found and compafs’d, and 
 that with eafe, by thofe who endeavour’d af- 
 ter them, 'Lis a Jhameful thing., fays Cicero, Lib. i . de 
 to be weary of Enquiry, when what we fearch 
 is excellent. That which caufes us to lofe 
 mod of our time, is the repugnance which 
 we naturally have to Labour, and the Igno- 
 rance, the Malice, and the Negligence of 
 our Mafters : We wafte much of our time in 
 walking, and talking to no manner of purpofe j 
 in making and receiving idle Vifits *, in Play, 
 and other Pleafures which we indulge ; with- 
 out reckoning thofe Hours which we lofe in 
 the too great care of our Bodies ; and in Sleep, 
 which we often lengthen out, till the Day is 
 far advanc’d : and thus wc pafs that Life which 
 we reckon to be fhort, becaufe we count by 
 the Years which we have liv’d, rather than by 
 thofe which we have employ’d in Study. ’Tis 
 evident, that they who liv’d before us, have 
 pafs’d through all thofe Difficulties, to arrive 
 at that Perfedlion which we difcover in their 
 Works i though they wanted fome of the Ad- 
 P 4 vantages 
 
2i6 
 
 
 1 500. 
 
 Ohfervatiom on the 
 
 vantages which we poflefs \ and none had 
 labour’d for them, as they have done for us. 
 For, ’tis certain, that thofe ancient Matters, 
 and thofe of the Jaft preceding Ages, have 
 left fuch beautiful Patterns to us, that a bet- 
 ter, and more happy Age can never be than 
 ours ; and chiefly under the Reign of our 
 prefent King, who encourages all the noble 
 Arts, and fpares nothing, to give them the 
 Share of that Felicity, of which he is fo boun- 
 tiful to his Kingdom : and to condudl them 
 with all manner of Advantages to that fupreme 
 Degree of Excellence, which may be worthy 
 of fuch a Matter, and of that fovereign Love 
 which he has for them. Let us therefore 
 put our Hands to the Work, without being 
 difcourag’d by the length of time, which is 
 requifite for our Studies \ but let us ferioufly 
 contrive how to proceed with the beft Order, 
 and to follow a ready, diligent, and well un- 
 derftood Method. 
 
 'Take Courage therefore^ O ye noUe Youths ! 
 you legitimate Offspring of Minerva, who are 
 horn under the Influence of a happy Planet, &c. 
 Our Author intends not here to fow in a bar- 
 ren, ungrateful Ground, where his Precepts 
 can bear no Fruit : He fpeaks to young Pain- 
 ters, but to fuch only who are born under 
 
2'7 
 
 Art of Tainting. 
 
 the Influence of a happy Star •, that is to fay, 
 thofe who have receiv’d from Nature the ne- 
 ceffary Difpofitions of becoming great in the 
 Art of Painting : And not to thofe who fol- 
 low that Study through Caprice, or by a fot- 
 tifli Inclination, or for Lucre, who are either 
 incapable of receiving the Precepts, or will^ 
 make a bad Ufe of them, when receiv’d. 
 
 Tou will do well, &c. Our Author fpeaks 
 not here of the firft Rudiments of Defign ; as 
 for Example, the Management of the Pencil, 
 the juft Relation which the Copy ought to 
 have to the Original, He fuppofes, that 
 before He begins his Studies, one ought to 
 have a Facility of Hand, to imitate the beft 
 Defigns, and the nobleft Pidlures and Statues ; 
 that (in few Words) he fhould have made 
 himfelf a Key, wherewith to open the Clofet 
 of Minerva, and to enter into that facred 
 Place, where thofe fair Treafures are to be 
 found in all abundance, and even offer them- 
 felves to us, to make our Advantage of them, 
 by our Care and Genius. 
 
 Ido begin with Geometry, See. Becaufe that 
 is the Ground of PerfpedHve, without which 
 nothing is to be done in Painting. Be- 
 fides. Geometry is of great Ufe in Architedlure, 
 and in all things which are of its Depen- 
 dence i 
 
 % 509- 
 
 ^ 509- 
 
£i8 
 
 Obfervations on the ’’i 
 
 dence ; ’tis particularly neceffary for Sculp- M' 
 tors. 1 ‘ 
 
 ^510. Set your felf on defigning after the ancient X 
 Greeks, &c. Becaufe they are the Rule of 1 
 Beauty, and give us a good Gufto : For which n 
 reafon ’tis very proper to tie our felves to them, 1 
 I mean generally fpeaking ; but the particular 
 Fruit which we gather from them, is what 1 
 follows. To learn by heart four feveral Airs I 
 of Heads : Of a Man, a Woman, a Child, I' 
 and an old Man. I mean thofe which have ■ 
 the moft general Approbation ; for Example, 1! 
 thofe of the Apollo, of the Venus de Medicis, 
 of the little Nero, (that is, when he was a | 
 Child,) and of the God 7 iber. It would be 1 | 
 a good means of learning them, if when you 1 ; 
 have defign’d one after the Statue it felf, you ■ 
 defign it immediately after from your own I- 1 
 magination, without feeing it j and afterwards \ 
 examine, if your own Work be conformable ; ^ 
 to the firfl Defign : Thus exercifing your | 
 felf on the fame Head, and turning it on ten || 
 or twelve Sides. You muft do the fame to || 
 the Feet, to the Hands, to the whole Figure, f 
 But to underhand the Beauty of thefe Figures, h.. 
 and the Juftnefs of their Out-lines, it will be 
 neceffary to learn Anatomy. When I fpeak of 
 four Heads, and four Figures, I pretend not y 
 z to 1 
 
Art of Fainting. '2.K) 
 
 to hinder any one from defigning many others, 
 after this firfi; Study : but my meaning is, on- 
 ly to fliow by this, that a great Variety of 
 things undertaken at the fame time, dilTipates 
 the Imagination, and hinders all the Profit ; 
 in the fame manner as too many forts of Meat 
 are not eafily digefted, but corrupt in the 
 Stomach, inflead of nourifliing the Parts. 
 
 And ceafe not Day or Night from Labour., ^ 511, 
 till by your continual Prablice., Src. In the firft 
 Principles, the Students have not fo much 
 need of Precepts, as of Pradlice : And the an- 
 tique Statues being the Rule of Beauty, you 
 may exercife your felves in imitating them, 
 without apprehending any confequence of ill 
 Habits, and bad Ideas, which can be form’d 
 in the Soul of a young Beginner. ’Tis not, 
 as in the School of a Matter, whofe Manner 
 and whofe Gufto are ill, and under whofe 
 Difeipline the Scholar fpoils himfelf the more 
 he cxercifes. 
 
 And when afterwards your Judgment fhall ^ 514. 
 grow fironger., &c. ’Tis necettary to have the 
 Soul well form’d, and to have a right Judg- 
 ment to make the Application of his Rules 
 upon good Pidlures, and to take nothing but 
 the good. For, there are fornc who imagine, 
 that whatfoever they find in the Pidure of a 
 
 Matter^ 
 
220 
 
 f 520. 
 
 Obfervatlom on the 
 
 Matter, who has acquir’d Reputation, mutt: 
 of neceflity be excellent ; and thefe kind of 
 People never fail, when they copy, to follow 
 the bad, as well as the good things ; and to 
 obferve them fo much the more, becaufe they 
 feem to be extraordinary, and out of the 
 common Road of others : fo that at lafl; they 
 come to make a Law and Precept of them. 
 You ought not alfo to imitate what is truly 
 good in a crude and grofs manner, fo that it 
 may be found out in your Works, that what- 
 foever Beauties there are in them, come from 
 fuch or fuch a Matter. But in this imitate 
 the Bees, who pick from every Flower that 
 which they find moft proper in it to. make 
 Honey. In the fame manner, a young Painter 
 Ihould colleit from many Pidures what he 
 finds to be the moft beautiful, and from his 
 feveral Colledions form that Manner which 
 thereby he makes his own. 
 
 A certain Grace •which "was wholly natural 
 and peculiar to him, &c. Raphael in this may 
 be compar’d to Apelles, who in praifing the 
 Works of other Painters, faid, "That Graceful- 
 nefs was wanting to them ; and that without 
 Vanity he might fay, it was his own peculiar 
 Portion. See the Remark on the 2 1 %th Verfe. 
 
 Julio 
 
221 
 
 Art of Painting. 
 
 Julio Romano, {educated from his Childhood ^ 522, 
 in the Country of the Mufes^ &c.) He means 
 in the Studies of the Belle Lettre^ and above 
 all in Poefy^ which he infinitely lov’d. It ap- 
 pears, that he form’d his Ideas, and made his 
 Gufto from reading Homer % and in that imi- 
 tated Zeuxis and Polygnotus^ who (as Maxi~ 
 tnus fyrius relates) treated their Subjefts in 
 their Pidtures, as Homer did in his Poetry. 
 
 To thefe Remarks I have annex’d the Opi- 
 nions of our Author^ upon the beft and chief- 
 eft Painters of the two foregoing Ages. He 
 tells you candidly, and briefly, what were 
 their Excellencies, and what their Failings, 
 
 I pafs in Silence many things which will be ^ 541. 
 more amply treated in the enfuing Commentary. 
 
 ’Tis evident by this, how much we lofe, and 
 what Damage we have fuftain’d by our Au- 
 thor’s Death, fince thofe Commentaries had 
 undoubtedly contain’d things of high Value 
 and of great Inftrudtion. 
 
 To intruft with the Mufes, See. That is to ^ 544« 
 fay, to write in Verfe ; Poetry being under 
 their Protedlion, and confecrated to Them. 
 
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THE 
 
 JUDGMENT 
 
 O F 
 
 Charles ^Iphonfe du Frejhoy, 
 
 On the Works of the Principal and Belt 
 PAINTERS of the two laft Ages. 
 
 MINTING was in its Per- 
 feSlion amongft the Greeks. The 
 principal Schools were at Syci- 
 on, afterwards at Rhodes, at 
 Athens, and at Corinth, and 
 at laft in Rome. Wars and Luxury having 
 overthrown the Roman Empire, it was totally 
 
 extinguift?d 
 
224 : 
 
 The Judgment of 
 
 extingutjh'd, together with all the noble Arts^ 1 
 the Studies of Humanity, and the other Sciences. | 
 
 It began to appear again in the 2 ear 14.^0, 
 amongji fame Painters of Florence, of which 
 D OM EN I CO Chi R L AN D A 10 who 
 
 was Mafier to Michael Angelo, and had fome 
 kind of Reputation, though his Manner was 
 Gothique, and very dry. 
 
 Michael Angelo his Difciple, flou~ 
 riffd in the times of Julius the fecond, Leo the 
 tenth, and of feven fuccejfwe Popes. He was 
 a Painter, a Sculptor, and an Architeft, both 
 Civil and Military. ’The Choice which he 
 made of his Attitudes was not always beauti- 
 ful, or pleafmg : His Gufto of Dejign was 
 not the fin eft, nor his Out-lines the moft ele- 
 gant : The Folds of his Draperies, and the Or- 
 naments of his Habits, were neither noble, nor 
 graceful. He was not a little fantaftical and 
 extravagant in his Compojitions ; he was Bold 
 even to Rafhnefs, in taking Liberties againft the 
 Rules of Perfpebiive. His Colouring is not over 
 true, or very pleafant. He knew not the Arti- 
 fice of the Lights and Shadows : But he- Defign'd 
 more learnedly, and better underftood all the 
 Knittings of the Bones, with the Office and Si- 
 tuation of the Mufcles, than any of the Modern 
 ■Painters. There appears a certain Air of Great-, 
 i nefs 
 
Charles Ahphonfe dti Frefnoy, &c. 225 
 
 vefs and Se-verity in his Figures i in both which 
 he has oftentimes fiicceeded. But above the reft 
 of his Excellencies, was his wonderful Skill in 
 Architediure, wherein he has not only furpaf'd 
 all the Moderns, but even the Ancients alfo. 
 
 Fhe St. PeterV of Rome, the St. John’j of 
 Florence, the Capitol, the Palazzo Farnefe, 
 and his o-wn Houfe, are fuff, cient Feftimonies 
 of it. His Difciples were Marcello Venufti, 
 
 II Roflb, Georgio Vafari, Fra. Baftiano, (who 
 commonly Painted for him) and many other 
 Florentines. 
 
 Pietro Perugiko 'Dfftgrdd with fuffi- 
 cient Knowledge of Nature ; but he is dry, and 
 his Manner little. His Difciple visas 
 
 Raphael Santio, who was born on 
 Good Friday, in the Tear 1483, and died on 
 Good Friday, in the Tear 1520: So that he 
 liv'd only 37 Tears compleat. He furpafs'd all 
 Modern Painters, becaufe he poffefs'd more of 
 the excellent Parts of Painting than any other : 
 and 'tis believ'd, that he equall'd the Ancients, 
 excepting only that he Defign'd not naked Bodies 
 with fo much Learning, as Michael Angelo : 
 
 But his Gufto of Heftgn is purer, and much 
 better. He Painted not with fo good, fo full, 
 and fo graceful a Manner as Correggio : nor has 
 he any thing of the Contraft of the Lights and 
 
 Q. Shadows, 
 
226 
 
 The Judgment of 
 
 Shadows, or fo Jlrong and free a Colouring, aS 
 Titian : but he had a better jyifpojition in his 
 Pieces without compar if on^ than either Titian, 
 Correggio, Michael Angelo, or all the reft of 
 the fucceeding Painters to our Days. His Choice 
 of Attitudes, of Heads, of Ornaments, the Suit- 
 ablenefs of his Drapery, his Manner of De- 
 ftgning, his Varieties, his Contrafts, his Ex- 
 preffions.^ were beautiful in Perfeblion j but above 
 all, he pojfefs^d the Graces in fo advantageous 
 a manner, that he has never fince been equalt'd 
 by any other. '■There are Portraits (or fingle Fi- 
 gures ) of his, which are finiflJd Pieces. He was 
 an admirable ArchiteSl. He was handfome, 
 well made, and tall of Stature, Civil, and well- 
 natur’d, never refufmg to teach another what he 
 knew himfelf. He had many Scholars, amongft 
 others, Julio Romano, Polydore, Gaudenzio, 
 Giovanni d’Udine, and Michael Coxis, His 
 Graver was Marc Antonio, whofe Prints are 
 admirable, for the CorreShtefs of their Out-lines, 
 JuEio Romano was the m oft excellent of 
 all Raphael’^ Difciples ; he had Conceptions 
 which were more extraordinary, more profound, 
 and more elevated, than even his Mafter himfelf 
 He was alfo a great Architebl, his Gufto was 
 pure and exquifite. He was a great Imitator of 
 the Ancients, giving a clear Teftimony in all his 
 I Productions, 
 
Charles Alphbnfe du Frefnoy, 6 cc. 
 
 Productions^ that be itms defirous to reftore to 
 Pradiice the fame Forms and Fabricks "which 
 "were Ancient, He had the good Fortune to find 
 great Perfons "who committed to him the care of 
 EdificeSjVeftibules, Portico’s, ^z//Tetrafty- 
 les, Xiftes, Theatres, and fuch other Places as are 
 not now in ufe. He "was wonderful in his Choice 
 of Altitudes. His Manner was drier, and har^ 
 der than any of Raphaels School. He did not 
 exadlly underfland the Lights and Shadows, or 
 the Colours. He is frequently harfh, and ungrace- 
 ful: Fhe Folds of his Draperies are neither beau- 
 tiful, nor great, eafie nor natural, but all ex- 
 travagant, and too like the Habits of fantaftical 
 Comedians. He was very knowing in Humane 
 Learning. His Difeiples were Pirro Ligorio, 
 (who was admirable for ancient Buildings, as 
 for Fowns, Lemples, Lombs, and Lrophies, and 
 the Situation of ancient Edifices) JTneas Vicoj 
 Bonafone, Georgio Mantuano, and others. 
 
 Polydore, a Difciple c/ Raphael, De^ 
 fign*d admirably well, as to the Practical Part^ 
 having a particular Genius far Freezes, as we 
 may fee by thofe of White and Black, which he 
 has Painted at Rome. He Imitated the An- 
 cients, but his Manner was greater than that of 
 Julio Romano ; Neverthelefs Julio feems to be 
 the truer. Some admirable Grouppes are feen in 
 0^2 his 
 
28 The Judgment of 
 
 his Wo:h, and fuch as are not elfewhetre to he 
 found, lie Colour'd very feldom, and made 
 Landfcapes of a reafonable good Giijio. 
 
 Gio. Belling, one of the firft who was 
 of any conf deration at Venice, Painted very 
 drily., according to the Manner of his time. 
 He was very Knowing both in Architedlure and 
 PerfpeBive. He was Titian^ firjl Maftery 
 which may eafily be obferv'd in the firft Paint- 
 Ing of that noble Difciple : in which we may re- 
 mark that Propriety of Colours which his Mafter 
 has obferv'd. 
 
 About this Time Georgione, the Contem- 
 porary of Titian, came to excel in Portraits {or 
 Face-painting) and alfo in great Works. He 
 firft began to make choice of glowing and agreea- 
 ble Colours •, the Perfediion and entire Harmony 
 of which were afterwards to be found in Titi- 
 an’j PiSlures. He drefs'd his Figures wonder- 
 fully well: And it may be truly faidy that but 
 for hiniy Titian had never arriv'd to that height 
 of Perfediion •, which proceeded from the Rival- 
 fhipy and Jealoufy of Honour betwixt thofe two. 
 
 Titian was one of the great eft Colouriftsy 
 who was ever known. He defign'd with much 
 more Eafe and Vradlice than Georgione. 
 Tere are to be feen Women and Children of his 
 Handy which are admirabky both for the Dejign 
 I md 
 
Charles Alphonfe du Frefnoy, 6cc. 229 
 
 tind Colouring. Fhe Gujlo of them is delichie^ 
 charming, and noble, with a certain pleofng 
 Negligence of the Head-dreffes, the Draperies, 
 a 7 id Orfiatnents of Habits, which are wholly pe- 
 culiar to him. As for the Figures of Men, he has 
 Dfign'd them but moderately well. There are 
 even fame of his Draperies, which are mean, and 
 favour of a little Guflo. His Painting is won- 
 derfully glowing, fweet and delicate. He made 
 Portraits, which were extremely noble ; the 
 Altitudes of thetn being very gracefid, grave, 
 diverfiffd, and adorned after a veiy becoming 
 Fafhion. No Man ever painted Landfcape, 
 
 Voith fo great a Manner, fo good a Colouring, 
 and with fuch a RefemUance of Nature. For 
 eight or ten Tears fpace, be Copfd with great 
 Labour and ExaStnefs whatfoever he undertook j 
 thereby to make himfelf an eafy way, and to efta^ 
 blifh fome general Maxims for his future Con- 
 duct. Befides the excellent Guflo which he had 
 ef Colours, in which he exceWd all Mortal Men, 
 he perfeblly underjlood how to give every thing 
 the Touches which were mojl fuitable, and proper 
 to them •, fuch as diftinguifPd them from each 
 others, and which gave the greateft Spirit, and 
 the moft of Truth. The Pictures which he 
 made in his Beginning, and in the Declenfton of 
 his Age, are of a dry, and mean Manner. He 
 0^3 liv’d 
 
230 The Judgment of 
 
 liv*d ninety-nine Tears. His Vifciples tveve 
 Paulo Veronefe, Giacomo Tintoret, Giacomo 
 da Ponte Baffano, and his Sons. 
 
 PauloVeronese 'issas wonderfully grace- 
 ful in his Airs of Women : with great Variety 
 of fhining Draperies ; and incredible Vivacity 
 and Eafe. Neverthelefs his Compojition is fome- 
 times improper^ and his Defign is uncorrePi. 
 But his Colouring.) and whatfoever depends on 
 it., is fo very charming in his PiPtures, that it 
 fuprizes at the firft Sight, and makes us totally 
 forget thofe other ^alities which are wanting in 
 him. 
 
 Tintoret was the Difctpi^ of Titian, 
 Great in the praPiical Part of Dfign >, hut 
 fometimes alfo fufficiently extravagant. He had 
 an admirable Genius for Painting, if he had 
 had as great an AffePiion to his Art, and as 
 much Patience in tindergoing the Difficulties of 
 it, as be had Fire and Vivacity of Nature. He 
 has made PiPiures, not inferior in Beauty to 
 ihofe of Titian. His Compojition, and his 
 Dreffes, are for the mojt part improper ; and 
 his Out -lines are not cor re Pi : But his Colouring,^ 
 and the Dependencies of it, like that of his 
 Mafter, are mojl admirable. 
 
 The B ASSANS had a more mean, and poor 
 Gufio in Painting, than Tintoret j and their 
 
 Defigns 
 
Charles Alphmfe du Frefnoy, &c, 231 
 
 Dejig/is 'voere alfo lefs correpi than his. Fhey 
 had indeed an excellent Gufto of Colours, and 
 have touch'd all kinds of Animals with an ad- 
 mirable Manner : But were notorioufly imper- 
 febl in the Compoftlion and Ttefign. 
 
 Correggio painted at Parma two large 
 Cupola's in Frefco, and fome Altar-pieces. This 
 Artift found cut certain natural and unaffebled 
 Graces, for his Madonna’s, his Saims, and 
 little Children, which were peculiar to him- 
 His Manner is exceeding great, both for the 
 Defign and for the Work, but withal is very 
 uncorreB. His Pencil was both eafy and de-^ 
 lightful, and 'tis to be acknowledg'd, that he 
 Painted with great Strength, great Heightning 
 great Siveetnefs, and LiveUnefs of Colours, in 
 which none furpafs'd him. 
 
 He underjlood how to diftribute his Lights in 
 fuch a Manner as was wholly peculiar to himfelf-, 
 which gave a great Force and great Roundnefs to 
 his Figures. This Manner confifts in extending 
 a large Light, and then making it lofe it felf in- 
 fenftbly in the dark Shadowings, which be plac'd 
 out of the Maffes. And thofe give them this 
 great Roundnefs, without our being able to per- 
 ceive, from whence proceeds fo much of Force, 
 and fo vaji a Pleafure to the Sight. 'Tis pro- 
 bable, that in this part the reft of the Lombard 
 Q_4 School 
 
^32 The Judgment of 
 
 School copied him: He had no great choice of 
 graceful Attitudes, nor of Dijlribution for beau- 
 tiful Grouppes : his Dejign oftentimes appears 
 lame, and the Pofitions are not much obferv'd in 
 them. 'Phe Afpebis of his Figures are many limes 
 mpleafing ; but his Manner of defigning Heads, 
 Hands, Feet, and other parts, is very great, 
 and well deferves our Fmitation. In the Condubt, 
 and Finijhing of a Piblure, he has done Won- 
 ders ; for he Painted with fo much Union, that 
 his greateft Works feem'd to have been finiflM 
 in the compafs of one Day ; and appear, as if we 
 faw them from a Looking-glals. His I,and- 
 fcape is equally beautiful with his Figures. 
 
 At the fame time with Corregio, liv’d, and 
 fmriffd Parmegianoj who befides his 
 great Manner of well Colouring, excell’d aljo 
 both in Invention and Deftgn, with a Genius 
 full of Gentlenefs, and of Spirit, having nothing 
 that was ungraceful in his choice of Attitudes, 
 and in the Dref es of his Figures, xvhich we can- 
 not fay of Correggio: Fhere are Pieces of his to 
 be feen, which are both beautiful and correbl. 
 
 Fhefe two Painters Ufi mention’d, had very 
 good Difciples, but they are known only to thofe 
 of their oxvn Province : and befides, there is lit- 
 tle to be credited of xvhat his Country-men fay, 
 for Painting is wholly extinguifc’d amongft them. 
 
 I fay 
 
233 
 
 Charles Alphonfe (hi Frefnoy, tcc. 
 
 I fay nothing c/ L eonardo da Vinci, 
 hecaufe I have feen but little of his *, though hi 
 7-eftcr'd the Arts at Milan, and had many I)iJ- 
 ciples there. 
 
 Ludovico Carrache, Coujtn cfilm- 
 nibal ajid Auguftine, ftudied at Parma after 
 Correggio ; and excelled in Dejign and Colour- 
 ing, "with fuch a Gracefulnefs, and fo much 
 Candour, that Guido the Scholar of Hannibal, 
 did afterivards Imitate him ivith great Succefs. 
 There are fame of his Pidlures to be feen, which 
 are very beautiful, and well underftood. He 
 made his ordinary Refidence at Bologna ; and 
 it was He, who put the Pencil into the Hands 
 of Hannibal his Coufm. 
 
 Hannibal in a little Time excelled his 
 Mafter in all Parts of Painting. He Imitated 
 Correggio, Titian, and Raphael, in their diffe- 
 rent Mariners as he pleas'd ■, excepting only, that 
 you fee not in his Pidlures, the Noblenefs, the 
 Graces, and the Charms of Raphael : ajid his 
 Out-lines are neither fo pure, nor fo elegant as 
 his. In all other things, he is wonderfully ac- 
 complijh'd, and of an Univerfal Genius. 
 
 Augustine Brother to Hannibal, was 
 alfo a very good Painter, and an admirable 
 Graver. He had a Natural Son, call'd An- 
 ton lo, who died at the Age of and who 
 
 (according 
 
The Judgment of 
 
 (according to the general Opinion) ueouU have 
 furpafdd his Uncle Hannibal : For by -ivhat he 
 left behind him., it appears that he was of a 
 more lofty Genius. 
 
 Gu IDO chiefly imitated Ludovico Carraclie, , 
 yet retained always fomewhat of the Manner 
 which his Mafler Denis Calvert the Fleming ■ 
 taught him. ’This Calvert liv'd at Bologna, 
 and was Competitor and Rival to Ludovico 
 Carrache : Guido made the fame ufe of Albert 
 Purer, as Virgil did of old Ennius ; borrow'd 
 what pleas'd him, and made it afterwards his 
 own : that is, he accommodated zvhat was good 
 in Albert to his own Manner : Which he exe^r 
 €Uted with fo much Gracefulnefs and Beauty, 
 that He alone got mere Money, and more Repu- 
 tation in his time, than his own Maflers, and 
 all the Scholars of the Carraches, though they 
 %vere of greater Capacity than himfelf. His 
 Heads yield -no manner of precedence to thofe of 
 Raphael. 
 
 SiSTO Badolocchi Deflgn'd the befl of 
 all his Difciples, but he dy'd young. 
 
 Domenichino was a very knowing Fain- 
 ter, and very laborious, but otherwife of no 
 great natural Endowmnts. 'Tis true, he was 
 profoundly Skill'd in alt the Farts of Fainting, 
 but wanting Genius [as I faid) he had lefs of 
 
 Noblenefs. 
 
Charles Alphonfe du Frefnoy^ Scc. 235 
 
 Kohlenefs in his TVorks, than all the rejl "who 
 Sitidied in the School of the Carraches. 
 
 Albani voas excellent in all that belonged 
 to Paintings and adorn'd with variety of Learn- 
 ing. 
 
 Lanfranc,<7 Man of a great and fpright- 
 ly Wit, fupported his Reputation for a long time 
 with an extraordinary Giijlo of Dejign and Co-,' 
 louring. But his Foundation being only on the 
 praSlical Part, he at length lofi Ground in point 
 of Correcinefs : So that many of his Pieces ap- 
 pear extravagant and fantajlical. And after 
 his Dcceafe, the School of the Carraches went 
 daily to decay, in all the parts of Painting. 
 
 Gio. Viola was very old before he learn* d 
 Landfcape ; the Knowledge of which was impart- 
 ed to him^ by Hannibal Carrache, who took 
 pleafure to Inftnthl him, fo that he Painted 
 many of that kind, which are wonderfully finCy 
 and well Coloured. 
 
 If we cafl our Eyes towards Germany and 
 the Low-Countries, we may there behold Al- 
 bert Purer, Lucas Van Leyden, 
 
 Holbe IN, Alde GRAVE, who Were 
 all Contemporaries. Amongfi thefe, Albert 
 Purer and Holbein, both of them won- 
 derfully Knowing, and had certainly been of the 
 frjl Form of Painters, had they travell'd into 
 
 Italy : 
 
ro 
 
 6 The Judgment of 
 
 Italy : Fcr nothing can he laid to their charge^ 
 hut only that they had a Gothique Gujio. As 
 for Holbein, he Perform'd yet better than Ra- 
 phael ; and I have fecn a Portrait of his 
 Paintings with which one of Titian’j could 
 not come in Competition. 
 
 Amongf the Flemings, we had Rubens, 
 who deriv'd from his Birth, a lively, free, no- 
 ble, and univerfal Genius. A Genius which 
 was capable not only of raifing him to the Rank 
 ef the Ancient Painters, but alfo to the higheji 
 Employment in the Service of his Country : fo 
 that he was chofen for one of the moft important 
 Embaflies of our Age. His Gufto of Defgn 
 favours fomewhat more of the Fleming, than 
 of the Beauty of the Antique •, becaufe he fay'd 
 not long at Rome. And though we cannot hut 
 obfcrve in all his Paintings, fomewhat of Great 
 and Noble', yet it mitfl be confef'd, that general- 
 ly fpeaking, he Hefign'd not correpily : But for 
 all the other parts of Painting, he was as ah- 
 folute a Mafler of them, and pojfefs'd them all 
 as throughly, as any of his Predecefbrs in that 
 noble Art. His principal Studies were made in 
 Lombardy, after the IVorks of Titian, Paul 
 Veronefe, and Tintoret ; whofe Cream he has 
 skimm'd {if you'll allow the Phrafe) and_ ex- 
 truded from their fever al Beauties many general 
 
 Maxims, 
 
237 
 
 Charles Alphorfe du Frefnoy, &c. 
 
 Maxims, and infallible Rules, which he always 
 follow’d, and by which he has acquir’d in his 
 Works, a greater Facility than that of Titian ; 
 tno-re of Purity, F'ruth and Science, than Paul 
 Veronefe ; and more of Majefiy, Repofe and 
 Moderation, than Tintoret. Fo conclude. His 
 Manner is fo folid, fo knowing, and fo ready, 
 that it may feem, this rare accomplijh’d Genius 
 was fent from Heaven, to Infirudl Mankind in 
 the Art of Painting. 
 
 His School was full of admirable Difciples, 
 among ft whom. Van Dyck was He, who 
 heft comprehended all the Rules and general 
 Maxims of his Mafter ; and who has even ex- 
 cell’ d him in the delicacy of his Colouring, and 
 in his Cabinet Pieces *, but his Gufto in the 
 Defigning Part, was nothing better than that 
 of Rubens. 
 

 
 
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 ■: ::r ■■' VI 
 
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 V . ■ • . ' ' 
 
A 
 
 Short Account 
 
 Of the moft Eminent 
 
 PAINTERS, 
 
 BOTH 
 
 and 
 
 Continued down to the 
 
 PRESENT TIMES, 
 
 According to the 
 
 Order of their Succession. 
 
 By RICHARD GRAHAM, Efq; 
 
 The Third Edition. 
 
 Pafcitur in ^vi^'is Li^'or : fojl fata quiefcity 
 
 Cum fuus ex merito quemque tuetur Honos. Ovid. 
 
 LONDON: 
 
 Printed for Henry L i n t o t. MDCCL. 
 

THE 
 
 PREFACE. 
 
 HE Title having only promis’d 
 a fhort Account of the moft 
 Eminent Mailers, the 
 
 Reader muft expeSl to find very 
 little more in the fmall Compafs 
 of thefe few Sheets^ than the Time when, the 
 Place where, by whofe InfiruSlions, and in 
 what particular Subjed each of thofe great 
 Men became Famous. 
 
 In ' the firft Parr, which comprehends the 
 prime Mailers of Antiquity, I have follow’d 
 Pliny ; yet not blindly^ or upon his Authority 
 alone^ but chiefly in thofe Places, where I have 
 
 R found 
 
242 
 
 preface. 
 
 found his Evidence confirm'd hy the concurrent 
 Tefl-imony of other Writers. 1 'he Catalogue 
 of Fran. Junius 1 have diligently perus'd^ and 
 eicamin'd mofi of the Records cited in it. I 
 have alfo read over the Lives of the Four Prin- 
 cipal Painters of Greece, written in Italian, 
 hy Carlo Dati, of Florence, together with his 
 learned Annotations upon them. And^ in a 
 Word^ have left nothing unregarded., that cou'd 
 give me any Manner of Afliftance in this pre^ 
 fent Undertaking. 
 
 In the Chronological Partj becaufe I fore^ 
 faw that the Olympiads, and the Years of 
 Rome, would be of little ufe to the Generality 
 of Readers, I have adjufied them to the two 
 Vulgar JFra’s, {viz.) the Creation of the 
 World, and the Birth of Chrift. Ehe Greek 
 Talents I have likewife reduc'd into Englilh 
 Money : but to jufiify my Account, muji ob^ 
 ferve., that here ( as in mojl Authors, where a 
 Talent is put abfolutely^ and without any other 
 Circuntftance ) the Talentum Atticum Minus 
 is to be underftood j which, according to the near^ 
 ejl Computation, comes to about 187 1 . 10 s. of 
 our Money j the Majus being about 62 1. los, 
 more. 
 
 Ifi 
 
PREFACE. 
 
 In the latter Part, which contains the Ma- 
 fters of greateji Note amongft the Moderns, I 
 have been equally diligent^ not only in fearching 
 into all the moft conJiderableVIrmr^ who have 
 left us any Memorandums relating to them i 
 but alfo in procuring from Rome, and other 
 "Places^ the bejl Advice that pojfibly I could get, 
 concerning thofe Painters who are but lately de- 
 ceas'd, and whofe Lives have never yet appear*!, 
 in Print. In Italy I have taken fuch Guides, 
 as I had reafon to believe, were beji acquainted 
 in that Country : and in France, Germany, 
 Flanders, and Holland, have been conduced 
 by the Authors who have been mojl converfant 
 in thofe Parts. For the Roman, Florentine, 
 and fame other particular Mafters, / have ap- 
 ply*! my felf to the Vite de* Pittori, See. of 
 Giorgio Vafari, the Vite, Sec. of Cavalier 
 Baglione, and Gio. Pietro Bellori, and the 
 Abcedario Pittorico of Antonio Orlandi. For 
 the I^ombard School, I have confulted the Ma- 
 raviglie dell* Arte of Cavalier Ridolfi : For the 
 Bolognefe Painters, the Felfina Pittrice of 
 Conte Carlo Cefare Malvafia: For thofe of 
 Genoua, the Vite de* Pittori, &c. ^Rafaele 
 Soprani, Nobile Genouefe: For the French 
 Mafters, the Entretiens fur les Vies, &c. of 
 R 2 Felibien, 
 
244 
 
 PREFACE. 
 
 Felibien, the Abrege of De Piles, and. the 
 Hommes Illuftres <^Perrault: For German, 
 Flemilh, and Dutch Painters, {of whom I hane 
 admitted but very few into this Colleflion) the 
 Academia nobiliffimae Artis Pidtorite of San- 
 drart, and the Schilder-Boeck of Card van 
 Mander. For tbofe of our own Country, I 
 am afham'd to acknowledge how difficult a Mat- 
 ter I have found ity to get hut the leaf Infor- 
 mation touching feme of thofe Ingenious Men, 
 whofe Works have been a Credit and Repu- 
 tation to it. Fhat all our Neighbours have 
 a greater value for the Profeflbrs of this noble 
 Artj is fufficiently evident^ in that there has 
 hardly been any one Mailer of tolerable Parts 
 among[l them^ but a Crowd of Writers {nay^ 
 feme Pens of Quality too) have been implofd in 
 adorning his Life, and in tranfmitting his 
 Name with Honour Pofterity» 
 
 For the Char abler s of the Italians of the firfl: 
 Form, I have all along referred the Reader to 
 the Judgment of Monfteur du FRESNOY, in 
 the preceding Pages. But for the rejl^ I have 
 from the Books above-mention' d^, and the Opi- 
 nions of the Learned, briefly Jhewn, wherein 
 their different Talents and Perfeflions conflfl- 
 ed : chuflng always fin the little Room to which 
 
 r 1 
 
PREFACE. 245 
 
 I have been confin'd) to fet the heft fide for- 
 wards ; efpecially where their tew Faults have 
 been over- balanc’d by their many Virtues. 
 
 By the Figures in the Margin it will eafily 
 appear, how careful I have every where been, 
 to preferve the Order of Time ; which indeed 
 was the thing principally intended in thefe 
 Papers. Some few Mailers however muft be 
 excepted ; whom yet I have placed next to their 
 Contemporaries, tho' I could not fix them in 
 (iny particular Year. 
 
 If it fhould be Objefled, that feveral of the 
 Mailers herein after-mention' d, have already ap- 
 pear'd among ft us, in an Englifh Prefs : I can 
 only anfwer, Tdkat as the Method here made 
 ufe of, is more regular, and quite different from 
 any thing that has been hitherto publilb’d in this 
 kind ; fo, Whofo^ver fhall think it worth his 
 while to compare thefe little Sketches with the 
 Originals /m/z which I have Copy’d them, will 
 find, that I have taken greater Care in Draw- 
 ing them true, and that my Out-lines are gene- 
 rally more corredl, whatever Defeats may be 
 in the Colouring Part. 
 
 R 3 
 
 Ancient 
 
ANCIENT 
 
 MASTERS. 
 
 Y whom, and in what particUf 
 lar Age the Art of Pain t- 
 I N G was firft invented in 
 Greece^ Ancient Authors are 
 not agreed. Ariftotle afcribes Mun. 
 the honour of it to JpUCHIR, a Kinfman of 2730. 
 the famous D^dalus, who flourifii’d Anno 1218 
 before the Birth of Chriji : 'Theophraftus gives 
 it to POLTGNOTUS the Atheninn^ Athena- 
 goras to SAURIAS of Samos ; fome will have 
 it belong to PHILOCLES the Egyptian^ and 
 others to CLEANLHES of Corinth. But 
 howfoever the Learned may differ in their 
 R 4 Opinions 
 
^4^ Anclent Majlers. | 
 
 Opinions touching the Inveniet^ they are all 
 unanimous in this, that its firft Appearance 
 among the Greeks^ was in no better a Drefs, ' I P 
 than what fervM juft to reprefent the bare *(( 
 
 Shadow of a Man, or any other Body: which o 
 
 was done, merely by Circumfcribing the Figure I 
 they had a mind to exprels, whatever it was, 
 with a fingle Line only. And this fimple Man- 
 ner of Drawing was by them very properly 
 call’d Sciagraphia; and by the Latines 
 afterwards, Pictura Linearis. 
 
 The firft Step made totyards the advance- 
 ment of Painting, was by ARDICES the 
 Corinthian, and P ELEP HANES of Sicyon, 
 or CRAPO of the fame City. Thefe began 
 to add other Lines (by way of Shadowing to 
 their Figures : which gave them an Appear^ 
 ance of Roundnefs, and much greater Strength. 
 
 This Manner was call’d Qraphice. But 
 the Advantages it brought to its Inventers 
 were fo inconfiderable, that they ftill found 
 it necefTary to write under every individual 
 Piece, the Name of whatever it was defign’d 
 to reprefent, left otherwife the Spectators 
 ftiould never be able of themfelves, to make 
 the Difeovery. 
 
 The 
 
 
Anclent yiajleri. 
 
 249 
 
 The next Improvement, was by CLEO- 
 PH ANTUS^ of Corinth, who firft attempted 
 to fill up his Out-lines. But as he did it with 
 one fingle Colour, laid on every where alike, 
 his Pieces, and thofe of H TG I E MO 
 DTAG AS, and CHARMAS his Followers, 
 from thence got the Name of Monochro- 
 xjAjA, {viz.) Picliires of one Colour. 
 
 EU MARUS the Athenian, began to paint 
 Men and Women in a manner different from 
 each other •, and ventur’d to Imitate all forts 
 of Objects ; but was far excell’d by his Dif- 
 ciple 
 
 CIMON tlie Cleonican, who found out th? 
 
 Art of Painting Hiftorically, defign’d his Fi- 
 gures in variety of Poftures, diftinguifh’d the 
 feveral Parts of the Body, by their Joints 5 and 
 was the firfl: in whole Pieces there was any 
 notice taken of the Folds of Draperies. 
 
 In what Century the Majters aboye men- 
 tion’d liv’d. Antiquity has given us no Ac- 
 count. Yet certain it is, that about the time 
 pf the Foundation of Rome, Anno 750 ante A. Mun. 
 Chr. the Grecians had carry ’d Painting to luch 3*9^- 
 
'Ancient Majlers. I 
 
 a Height of Reputation, that Candaules, King 
 of Lydiay furnam’d Myrjilus^ the laft of the \ 
 HeraclidiC, and who was kill’d by Gyges^ An- 
 no quarto Qlymp. 1 6 . for a Pifture made by 
 Bularchus, reprefentjng a Battle of the Magne- 
 Jiatis^ gave its Weight in Gold. 
 
 A. Mim. PANAE NUS of Athens^ liv’d Olymf, 83. 
 3502. Anno 446 ante Chr. and is celebrated for ha- I 
 ving painted the Battel at Marathon^ between | 
 the Athenians and PerJianSy fo very exadly, | 
 that MiltiadeSy and all the general Officers on 
 both fides, were eafily to be known, and di- 
 ftinguifti’d from each other, in that Piece. 
 
 j 
 
 PHIDIAS his Brother, the Son of Char- I 
 5506. "oddasy flouriffi’d Olymp. 84. Anno 442 ante 
 Chr. and was famous both for Painting and 
 Sculpture : but particularly, in the latter fb 
 profoundly flcill’d, that his Statue of 'Jupiter 
 Olympius was by the Ancients efteem’d one of 
 the feven Wonders of the World ; as his 
 M'mervay in the Citadel of AthenSy made of 
 Ivory and Gold, was (by way of Eminence) 
 call’d the Beautiful Form. Pie w’as very inti- 
 mate with PericleSy the Athenian General j 
 and fo much envy’d upon that Account, and | 
 , for the Glory he acquir’d by his Works, that . 
 
 his 
 
Anclent Majlen, 2'f 
 
 bis Enemies cou’d never be at reft, till they 
 had plotted him into a Prifon, and had there 
 (as fome fay) taken away his Life, by Poifoot 
 
 PO L 7 ~C LETUS, a Native of Sicyon^ 
 and the moft renowned Sculptor in his time, 
 liv’d Olymp. 87. Anno 430 ante Chr. and be- A. Mun. 
 Tides the Honour he gain’d, by having brought 3 5 ^ 
 the Bajj'o Relievo to Perfedion, is commend- 
 ed for divers admirable Pieces of Work : but 
 chiefly, for being the Author of that moft ac- 
 complifli’d Model, call’d the Canon : which 
 by the joint Confent of the moft eminent 
 Artifts then in Being, as well Painters as Sculps 
 tors, was handed down to Pofterity, for the 
 Standard, or infallible Rule of true Beauty : as 
 comprizing in it felf alone, all the feveral 
 PerfeSlions, both of Feature and Proportion, 
 that are to be found in Human Bodies, 
 
 In this Olympiad alfo were MTRON, and 
 SCOPy^ 5 , both excellent in Sculpture', and in 
 fome refpeds equal even to Polycletus himfelf. 
 
 POLTGNOFUS the Fhafian, was the 
 Eifciple of his Father Aglaophon, and parti- 
 cularly famous for reprefenting Women j 
 whom he painted in lightfom and fhining 
 
 Draperies, 
 
’^Atictcnt Majlerf. 
 
 Draperies, adorning their Pleads with Dreffes 
 ot lundry Colours, and giving a greater Free- 
 dom to his Figures, than had been us’d by 
 any of his Predeccfibrs. His principal Works, 
 were thofe which he made in the } 
 
 Temple at Delphi^ and the grand Portico at 
 Athens^ call’d the Various : in Honour oJf 
 which it was folemnly Decreed, in a General 
 Council of the AmphiSlyons., that where-ever | 
 he fhould travel in Greece^ his Charges Ihould ; 
 be born by the Publick. He died Ibmetime ; 
 
 A. Mun. before the 90th Olymp. which was Anno 4 1 8 
 3530. ante Chr. 
 
 APOLLODORUS the Atheniany liv’d 
 3546. Olymp. 94. Anno 402 ante Chr. and was the 
 firli who Invented the Art of mingling his 
 Colours, and of exprefllng the Lights and 
 Shadows. He was admir’d ^Ifo for his judi- 
 cious Choice of Nature, and in the Beauty 
 and Strength of his Figures furpalTed all the 
 Mailers who went before him* He excell’d 
 likewife in Sculpture : but was Nick-nam’d the 
 Madman., from a ftrange Humour he had of 
 dedroying even his very bell Pieces, if, after 
 he had finilh’d them, he cou’d difcover any 
 P'ault, tho’ never fo inconfiderable. 
 
 I 
 
 ZEUXI-S 
 
Anclent Majlen. 
 
 ^ 5 $ 
 
 ZEUXIS of Heraclea^ flouriftiM Anno A. Mun. 
 quarto Olymp. 95. Anno 395 ante Ghr. and was 3553 ’ 
 
 film’d for being the moll excellent Colourift of 
 all the Ancients •, though Cicero, Pliny, and 
 other Authors tell us, there were but four 
 Colours then in ufe, (viz.) While, TeUow, 
 Red, and Black. He was cenfur’d by fome, 
 for making his Heads too big ; and by Ari^ 
 ftotle, for not being able to exprefs the Man- 
 ners and Paflions. He was very famous not- 
 withftanding for the Helena which he Painted 
 for the People of Crotona ; in the Compofi- 
 tion of which he colledled from live naked 
 Virgins (the moft beautiful that Town could 
 produce) whatever he obferv’d Nature had 
 form’d moft perfedt in each, and united all 
 thofe admirable Parts in one fingle Figure. 
 He was extoll’d likewife for feveral other 
 Pieces ; but being very rich, cou’d never be 
 prevail’d upon to fell any of them, becaufe 
 he thought them to be above any Price ; and 
 therefore chofe rather to give them away 
 freely to Princes, and publkk Societies. He 
 died (’tis generally faid) of a violent fit of 
 Laughter he was feiz’d with, by looking up- 
 on a comical old Woman’s Pitfture, of his 
 own Drawing. 
 
 PARRHA^ 
 
'Anclent Majters, 
 
 PARRHASIUS a Native of Ephefus^ and 
 Citizen of Athens, was the Son and Difciple 
 of Evenor, and the Contemporary of ZeuxiSi 
 whom he overcame in the noted Conteft be- 
 tween them, by deceiving him with a Cur- 
 tain, which he had painted fo excellently 
 well, that his Antagonift ifiiftook it for the 
 reality of Nature it felf. He was the firft 
 who obferv’d the Rules of Symmetry in his 
 Works j and was much admired for the Live- 
 linefs of his Expreflion, and for the Gaiety, 
 and graceful Airs of his Heads : but above all, 
 for the Softnefs and Elegance of his Out-lines, 
 and for rounding off his Figures, fo as to 
 make them appear with the greater Strength 
 and Relievo. He was wonderfully fruitful of 
 Invention, had a particular Talent in fmali 
 Pieces, efpecially in wanton Subjefts, and 
 finifh’d all his Works to the lafl degree of 
 
 
 Perfection. But withal was fo extravagantly 
 vain and arrogant, that he commonly writ 
 *Aj3|oJ**iTC{. himfdf Parrhajius the fine Gentleman, went 
 cloath’d in Purple, with a Crown of Gold 
 upon his Head, pretended to derive his Pedi- 
 gree from Apollo, and flyl’d himfdf the Prince 
 of his Profefiton, Yet, to his great Mortifi- 
 cation, he was humbled at la(t by 
 
 1 
 
 ^IMAN* 
 
Audent MaJlefS\ 
 
 
 ^‘JMJNTHES of Sicyon (or as forne fay, 
 of Cythnus) who in a Difpute betwixt them» 
 was by the majority of Votes declar’d the bet- 
 ter Painter : And befides, was as eminent for 
 the fingular Modefty and Sweetnefs of his 
 Difpofition, as for the agreeable variety of 
 his Invention, and peculiar Happinefs in mo- 
 ving the Paffions. His moft celebrated Works 
 were the Jleeping Polyphemus^ and the Sacrifice 
 of Iphigenia, in both which (as in all bis 
 other Performances) his diftinguifhing Cha- 
 raSler appeared, in making more to be under- 
 ftood, than was really exprefs’d in his Pieces. 
 
 In this time alfo flourifh’d EUPOMPVS 
 of Sicyon, an excellent Artifl:, and whofe Au- 
 thority was fo very confiderable, that out of 
 the two Schools of Painting, the Afiatic and 
 the Greek, he made a third, by dividing the 
 iaft into the Attic and the Sicyonian, His bell 
 Difciple was 
 
 PAMPHILUS a Native of Macedonia, 
 who to the Art of Painting join’d the Study of 
 the liberal Arts, efpecially the Mathematicks : 
 and us’d to fay, that without the help of Geo- 
 metry, no Painter could ever arrive to Perfec- 
 tion 
 
'Andeni Maji er s, 
 
 tlon. He was the firft who taught his Art 
 for fet Rates ; but never took a Scholar for 
 lefs time than ten Years. What Reputation 
 and Intereft he had in his own Country^ and 
 what life he made of thenij for the Honour and 
 Advancement of his Profejfwn. fee Pege 86. 
 
 PAUSIAS of Sicyon, a Difciple of Pam- 
 philus, was the firft who painted upon Walls 
 and Cielings : and amongft many rare Qua- 
 lities, was excellent at Fore-fborlening his Fi- 
 gures. His moft famous Piece was the Pic- 
 ture of his Miftrefs Glycera, in a fitting Po- 
 fture, compofing a Garland of Flowers : for 
 a Copy of which Z,. Lucullus, a noble Ro- 
 man, gave tw'O Talents (375 lih.\ 
 
 A. Mun. EUPPIRANOR the IJlhmian flourifii^d 
 3586. Olymp. \ o\,Anno 362 ante Cbr. He was an uni- 
 %'erfal Mqfter, and admirably Skill’d both irr 
 Sculpture and Painting. His Conceptions were 
 noble and elevated, his Style mafculine and 
 bold *, and he was the firft who fignaliz’d 
 liirafelf, by reprefenting the Majefty of Heroes. 
 He v;rit feveral Volumes of the Art of Co- 
 louring, and of Symmetry •, and yet notwith- 
 ftanding fell into the fame Error with Zeuxis, 
 of making his Heads too big, in proportion to 
 the other Parts. PR AX* 
 
Anclent Maker's. 2 5^ 
 
 pRAXI'TELES the fam’d Sculptor, par- 
 ticularly celebrated for his Venus of Gnidus, 
 and other excellent Performances in Marble^ 
 was the Contemporary of Euphranor. 
 
 CTT>IAS of Cythnus, liv’d Olymp. ioB. A. MuHi 
 Anno 354 ante Chr. and advanc’d his Repu- 3594* 
 ration fo much by hiS Works, that Horten- 
 ftus, the Roman Orator, gave 44 Talents, 
 
 (8250 libl) for one of his Pieces, containing 
 the Story of the Argonauts ; and built a noble 
 Apartmentj on purpofe for itj in his Villa^ 
 at Tufcnlum. 
 
 APELLES the Prince of Painters, was 3^18. 
 a Native of Coos, an Ifland in the Archipelago C— 
 
 (now known by the Name of Lango) and 
 flourifh’d Olymp. 112, Anno 330 ante Chr- 
 He improvM the noble Talent which Nature 
 had given him, in the School of Pamphilus \ 
 and afterwards^ by Degrees, became fo much 
 in Efteem with Alexander the Great, that by 
 a publick EdiSl he ftridlly commanded, that 
 no other Mafter fhould prefume to make his 
 Portrait *, that none but Lyftppus of Sicyon 
 fhould call his Statue in Brafs •, and that Pyr- 
 goteles only fhou’d grave his Image in Gems and 
 S Precious 
 
\Ancteni MaJlerS. 
 
 Precious Atones. And in farther Teftimony 
 of his particular refpeft to this Artiji^ he pre- 
 fented himj even with his mofl; beautiful and 
 charming Miflrefs Campafpe^ with whom A- 
 pelles had fall’n in Love, and by whom ’twas 
 fuppos’d he copy’d his Venus {Anadyomene') 
 rlfing out of the Sea. Grace was his peculiar 
 Portion, as our Author tells us. Page 1 56, and 
 220. In which, and in knowing when he 
 had done Enough, he tranfeended all who 
 went before him, and did not leave his Equal 
 in the World. He was miraculoufly Skill’d 
 in taking the true Lineaments and Features 
 of the Face : Infomuch that (if Appion the 
 Grammarian may be credited) Phyjiognomijis 
 upon Sight of his Pidtures only, cou’d tell 
 the precife time of the Party’s Death. He 
 was Admirable likewife in reprefenting People 
 in their laft Agonies. And, in a Word, fo 
 great was the Veneration paid by Antiquity to 
 his Works, that feveral of them were pur- 
 chas’d with uneftimated Heaps of Gold, and 
 not by any certain Number, or Weight of 
 Pieces. He was moreover extremely candid 
 and obliging in his temper, willing to Inflrudt 
 all thofe who afk’d his Advice, and generous 
 even to his moft potent Rivals. 
 
 PROPO- 
 
Andent Mafteri. 
 
 PROTOGENES of Caunus^ a City of 
 Caria, fubjeft to the Rhodians, was by the An- 
 cients efteem’d one of the four Beft Painters in 
 Greece : but liv’d niifefabiy poof, and very lit- 
 tle regarded in his own Country, till Apelles 
 having made him a Vifir, to bring him into 
 Reputation, bought up feveral of his Pidlures, 
 at greater Rates than he ask’d for them *, and 
 pretending, that he defignM to fell ’em again 
 for his own Work, the Rhodians were glad 
 to redeem them, upon any terms. Whofe 
 Difciple he was, is not certainly known 5 but 
 ’tis generally affirm’d, that he fpent the great- 
 eft part of his Life in painting Ships, and 
 Sea-pieces only : yet applying himfelf at laft 
 to nobler Subjefts, he became an Artiji ft> 
 well accompl idl’d, that Apelles confefs’d, he 
 was in all Refpcifls (at leaft) equal to himfelf ; 
 excepting only, that never knowing when to 
 leave off, by overmuch Diligence, and too 
 nice a Correffnefs, he often difpiritcd, and 
 deaden’d the Life. He was famous alfo for 
 feveral Figures which he made in Brafs : But 
 his moft celebrated piece of Painting, was 
 that of JalyfuSi which coft hirhi feven Yeafs 
 Study ancf< Labour, and which fav’d the City 
 of Rhodes from being burnt by Demetrius Po>‘ 
 liorcetes. Vide Page 86. 
 
 S 2 
 
 Of 
 
Anclent Majl&s, 
 
 i()9 
 
 Of MELANTHIUS we have nothing 
 certain, but that he was brought up at Sicyon, 
 (the beft School of Greece) under Pamphilus, 
 at the fame time with Apelles : that he con- 
 tributed both by his Pen, and Pencil, to the 
 Improvement of his Art j and amongft many 
 excellent Pieces, painted Arijlratus the Sicy- 
 cnian Tyrant in a Triumphal Chariot, attend- 
 ed by ViBory, putting a Wreath of Laurel 
 upon his Head ; which was highly efteem’d. 
 
 ARISTIDES of Thebes, the Difciple of 
 Euxenidas, liv’d in the fame Olympiad with 
 Apelles, and was the firll who by the Rules of 
 Art, attain’d a perfeft Knowledge of expref- 
 fing the Paflions and AfFeftions of the Mind. 
 And though his Colouring was fomewhat hard, 
 and not fo very beautiful as cou’d be wifh’d, 
 yet notwithftanding fo much were his Pieces 
 admir’d, that after his Deceafe, Attalus King 
 of Pergamus, gave an hundred Talents (18750 
 lib.) for one of them. 
 
 His Contemporary was ASCLEPIODO- 
 JRUS the Athenian, equally (kill’d in the Arts 
 of Sculpture and Painting ; but in the latter, 
 chiefly applauded for the Beauties of a correct 
 Style, and the Truth of his Proportion : In 
 
 which 
 
'Anclent Majlers. 261 
 
 which Apelles declar’d himfelf as much infe- 
 rior to this Artijly as he was to AMPHIONy 
 in the Ordering, and excellent Difpofition of 
 his Figures. The moft famous PiSlures of 
 Afclepiodorusy were thofe of the twelve Godsy 
 for which Mnafony the Tyrant of Elateay gave 
 him the value of about 300/. Sterl. a-piece. 
 
 About the fame time alfo were the feveral 
 Matters following {viz.) THEOMNESTUSy 
 fam’d for his admirable Talent in Portraits. 
 
 mCHOMACHUSy the Son and Difci- 
 ple of AriftodemuSy commended for the incre» 
 dible Facility and Freedom of his Pencil. 
 
 NICOPHANESy celebrated for the Ele. 
 gance of his Defign, and for his grand Man-t 
 tiery and Majetty of Style j in which few Ma- 
 kers were to be compar’d to him, 
 
 PTREICUS was famous for little Pieces 
 only j and from the fordid and mean Subjects 
 to which he addi(tted himfelf (fuch as a Bar~ 
 lePsy or ShoemakePs Sbopy the StilUlifey Ant- 
 malsy Herhagey &c.) got the furname of Rhy- 
 parographus. Yet though his Subjefts were 
 low, his Performance was admirable : and the 
 S 3 fmalleft 
 
z6z Altet ent Majlers. 
 
 fmallcft Pi6lures of this Artift-, were efleeniM 
 more, and fold at greater Rates, than the 
 larger Works of many other Majiers. 
 
 ANtlDOAUS the Pifciple of Euphranor y 
 was e^ctremely diligent, and induftripus, but 
 very flow at his Pencil ; which, as to the Co- 
 louring Parr, was generally hard and dry. He 
 was chiefly remarkable for having been the 
 Majler of 
 
 A. Mun. NICIAS of AthenSy who painted Women 
 2636. 
 
 in Perfedtion, and flourifh’d about the 1 14th 
 Olymp. Anno 322 ante Qbr. being qniverftlly 
 extolhd for the great variety and noble choice 
 of his Subjects, for the Force and Relievo of 
 his Figures, for his great Skill in the diftribu- 
 tion of the Lights and Shadows, and for his 
 tyonderful Dexterity in reprefenting all forts 
 of four-footed Animalsy beyond any Majler 
 in his time. His mofl: celebrated Piece was 
 that of Homer's Hetty which, after he had 
 refus’d 60 Talents (11250 lih.) offer’d him 
 for it, by King Ptolemyy the Son of Lagusy 
 he generoufly prefented to his own Country. 
 He was likewife much efteem’d by all his 
 Conteniporaries for his excellent Talent in 
 Sculpture-, and, zs, Pliny reports, by Praxiteles 
 
 himfelf : 
 
Ancitnt Maji en, 263 
 
 himlelf : But this feems highly improbable, 
 confidering, that by his own Account, there 
 were at leaft 40 Years betwixt them. 
 
 ATHENION of Maronea, (a City of 
 Thrace) a Difciple of Glaucion the Corinthian, 
 was about this time alfo as much in vogue as 
 Nicias : And though his Colouring was not al- 
 together fo agreeable, yet in every other par- 
 ticular he was even fuperior to him, and 
 wou’d have rifen to the higheft Pitch of Per- 
 fection, if the Length of his Life had been 
 but anfwerable to the great Extent of his 
 Genius. 
 
 FABIUS a noble Roman, painted the Mun. 
 ^Temple of Health in Rome, Anno U. C. 450, 3647. 
 ante Chr. 301 : and glory’d fo much in his 
 Performances there, that he aflum’d to himfclf 
 for ever after, the furname of PiUor, and 
 thought it no Difparagement to one of the 
 moft illuftrious Families in Rome, to be di- 
 ftinguifh’d by that ‘Title. 
 
 NEALCES liv’d Olymp. 132, Anno 250 3658. 
 ante Chr. in the time of Aratus the Sicyonian 
 General, who was his Patron, and intimate 
 friend. His particular CharaHer, was a 
 S 4 ftrange 
 
264 
 
 'Anclent Majlen. 
 
 ftrange Vivacity of Thought, a fluent Fancy, 
 and a Angular Happinefs in explaining his In- 
 tentions (as appears Page 1 54.) This Artiji is 
 frequently mentioned by Writers^ for a lucky 
 Hit, which was indeed very wonderful. He 
 was juft: upqn the point of finifhing a Horfe : 
 and wanted only to exprefs the Foam about 
 his Mouth and Bit. But, after many vain 
 Attempts, perceiving he was utterly unable, 
 in any meafure, to fatisfy himfelf: quite weary 
 at laft, and out of all patience, in a fit of 
 defponding Indignation, he threw away his 
 Pencil, with great vehemence, full againft the 
 PiMure : when, to his Amazement, he found 
 his Rage had finifhy his Hefign, much more 
 happily than ever he could propofe to have 
 done it, by the utmofi: labour of his Act, 
 
 A. Mm. MEPROBORUS flourifta’d Ann0 168 
 3780. anig Chr. and liv’d in fo much Credit and Re-: 
 putation at Athens, that P-aulus Mmiliiis, after 
 he had overcome Perfeus King of Macedon^ 
 Anno 3 Olymp. 152. having defir’d the Atbe~ 
 nians to fend him one of their moft learned 
 Pbilofophers to breed up his Children, and alfo 
 a fkilful Painter to adofn his Triumph, Me- 
 trodorus: was the Perfon unanimoufly chofen, as 
 the fjtteil fof both Employyments, 
 
 MAR 
 
Anclent Mafiers\ 265 
 
 MARCUS PACUVIUS 0^ Brundu/mm^ 
 the Nephew of old Emins, was not only an 
 ^eminent Poet hin^felf, and famous for feveral 
 Tragedies which he wrote, but excell’d alfo 
 in Painting : Witnefs his celebrated Works, 
 at Rome, in the Temple of Hercules, in the 
 Forum Boarium. He flourilh’d Anno U. C. 
 
 600, ante Chr. 151, and died at %arentum,A. Mun. 
 almoft 90 Years of Age. . 
 
 TIMOMACHU S of Byzantium (now 
 Conftantinople) Yw'd Anno U.C.yo^., ante Chr. 3901. 
 47, in the time of Julius C/efar, who gave 
 him 80 Talents (15000 lib.) for his Pieces of 
 Ajax and Medea, which he plac’d in the 
 Temple of Venus, from whom he deriv’d his 
 Family., He was commended alfo for his 
 Orejles and Iphigenia : but his Majler-piece 
 was the Gorgon, or BJedufas Head. 
 
 About the fame time ARELLIUS 
 was famous at Rome, being as much admir’d 
 for his excellent Talent in Painting, as he 
 was condemn’d for the fcandalous ufe he made 
 of it ; taking all his Idea's of the Goddejfes 
 from common Strumpets, and placing his Miz 
 fire£es in the Heavens, amongft the Gods, in 
 feveral of his Pieces. LUz 
 
$66 
 
 ^Anclent Majlen\ 
 
 LUDIUS liv’d in great Reputation, un« i 
 der Augujim C<efar^ who began his Reign An^ I 
 A. Mun. no U. C. 710, anle Chr. 41. He excell’d in '| 
 39 ® 7 ’ grand Compofuions.^ and was the firft who 
 painted the Fronts of Houfes, in the Streets 
 of Rom: which he beautified with great va- 
 riety of Landfcapes, and pleafant Views, to- 
 gether with all other forts of different Sub- 
 jeds, manag’d after a moft nohle Manner, 
 
 ’TURPILIUS a Roman Knight, liv’d in 
 the time of Vefpafian, who was chofen Em- 
 A. Dorn, ptror. An. Dom. 6 g. And (though he painted 
 69. every thing with his left Hand) was much 
 '"'"v**-’ applauded for his admirable Performances at 
 
 Verona. \ 
 
 His Contemporaries were CORNELIUS 
 PINUS and ACTIUS PRISCUS, who 
 with their Pencils adorn’d the Temples of Ho- 
 nour and Virtue, repair’d by Vefpafian. But 
 of tlte two, Prifcus came neareft in his Style, 
 and Manner of Painting, to the Purity of the 
 Grecian School. 
 
 And thus have I given the Reader a flsort 
 Account, of all the moft eminent Mafiers who 
 
 flourifh’d 
 
267 
 
 ! Ancient Majlers. 
 
 I fJourifliM in Greece, and Rome, in the com- 
 rpals tjf^ more than a thoufand Tears. ^Tis true 
 indeed, that for a long time after the Reigns 
 of Vefpofian, and Titus his Son, Painting and 
 Sculpture continu’d in great Reputation in /- 
 j taly. Nay, we are inform’d, that under their 
 ’ Succefibrs, Domitian, Nerva, and Trajan, 
 
 ' they fliin’d with a Luflre almqft equal to 
 what they had done under Alexander the Great. 
 
 ’Tis likewife true, that the Roman Emperors, 
 
 Adrian, Antonine, Alexander Severus, Con- 
 jjanline■^ and Valentmian, were not only ge* 
 nerous Encouragers o( thefe Arts, but alfo iri 
 the Praftice of them fo well {kill’d, that they 
 wrought feveral extraordinary Pieces with 
 their own Hands ; and by their Example, as 
 well as their Patronage, rais’d up many con- 
 fiderable Artijis in both Kinds. But the 
 Names of all thofe excellent Men being un-r 
 happily loft with their Works, ^e muft here 
 conclude our Catalogue of the ANCIENT 
 MASTERS: and (hall only take notice, 
 that under that Title, all thofe are to be com- 
 prehended, who pradlifed Painting or Sculp- 
 ture either in Greece or Rome, before the Year 
 of our Lord 580. At which time the Latin 
 T ongue ceafing to be the common Language qf A. Dorn. 
 Italy, and becoming mute, all the noUe Arts 
 
 and 
 
fl 
 
 268 Anclent Majlers. 
 
 and Sciences (which in the two preceding | 
 Centuries bad been brought very low, and ^ ! 
 by the continual Invafions of the Northern , 
 
 Nestims reducM to the laft Extremities) ex- ' 
 
 pir*d with it : and in the Reign of Phocas the 
 Emperor, foon after, lay bury’d together, as 
 in one common Grave, in the Ruins of the 
 E-oman Empire, 
 
 MODERN 
 
MODERN 
 
 MASTERS. 
 
 lOVJNNI CIMABUE, no- 
 bly defcended, and born at Flo- 
 rence. Anno I240j was the firft 
 who Revived the Art of 
 Painting in Italy. He was a Difciple of 
 fome poor ordinary Painters^ fent for by the; 
 Government of Florence from Greece : whom 
 he foon furpafs’d, both in Drawing and Co- 
 louring, and gave fomething of Strength and 
 Freedom to his Works, to which they cou*d 
 never arrive. And though he wanted the 
 Art of managing his Lights and Shadows, was 
 but little acquainted with the Rules of Fer- 
 fpective^ and in divers other particulars but 
 
 indiffe- 
 
2^0 Modern Maflen. ' 
 
 indifferently accompli fil’d ; yet the Founda- 
 tion which he laid for future Improvement, | ' 
 entitled him to the Name of the Father V 
 of tlie First Age, or Infancy of Mo- ii 
 OEitN Painting. Some of his Works | 
 are yet remaining at Florence^ where he was i 
 Mt. 6 o. famous alfo for his Skill in Archite 5 liire, and i 
 where he died very rich, Anno 1300. ' 
 
 GIOFFO his Difdple, born near Florence^ 
 1276. 1276, was a good Sculptor apd Archi- 
 
 tect^ as well as a better Fainter than Ciniahii:. 
 He began to fliake off the StifFnefs of the 
 Greek Majiers ; endeavouring to give a finer 
 Air to his Heads, and more of Nature to his " 
 Colouring, with proper Aftions to his Fi- 
 gures. He attempted likewife to draw after ! 
 the Life^ and to exprefs the different PafTions 
 of the Mind : but cou’d not come up to the 1 
 Livelinefs of the Eyes, the Tendernefs of the 
 Flefli, or the Strength of the Mufcles in na- 
 ked Figures. He was fent for, and employ’d j 
 by Pope Benedict XL at Rome, and by his j 
 Succeffor Clement V. at Avignon, He painted | 
 feveral Pieces alfo at Padoua, Naples, Ferrara, 
 and in other Parts of haly •, and was every ; 
 where much admir’d for his Works:- but : 
 principally for his Ship, of Mofaick-zeork, over | 
 I the 
 
Modern Maji eri. zyt 
 
 the Gates ot the Portico^ in the Entrance Cff 
 St. PeiePs Church, in Rome •, and for a Pic- 
 ture which he wrought in one of the Churches 
 of Florence, reprefenting the Death of the B. 
 
 Virgin^ with the Apojlles about her : the Atti- 
 tudes of which Story,' M. Angelo Buonaroti 
 us’d to fay could not be better defign’d. He 
 flourilh’d in the time of the famous Dante and 
 Petrarch, drew the Portrait of the former, 
 and was in great Efteem with them both, 
 and all the excellent Men in his Age. He 
 died Anno 133:6 ; and in Honour to his Me- aE/. So, 
 mory, had his Statue in Marble, cre» 5 ted over 
 his Tomb, by the City of Florence, 
 
 ANDREA 7 AFFI, and GADDO 
 GADDI were his Contemporaries, and the 
 Reftorers of Mofaick-work in Italy: which the 
 former had learnt of Apollonius the Greek, and 
 the latter very much improv’d. 
 
 At the fame time alfo was MA R GA R I- 
 H’ONE, a Native of Arezzo in Fufcany, who 
 firft Invented the Art of Gilding with Leaf- 
 gold, upon Bole-armeniac. 
 
 SIMONE MEMMI, born at Siena (a 
 City in the Borders of the Dukedom of Flo- ^^^6- 
 
 rence) 
 
27 ^ Modem Majlers. 
 
 fence') Anno 1285, was a Difciple of Giotto^ 
 . whofe Manner he impfovM in drawing after 
 
 the Life : and is particularly celebrated by 
 PeCrach, far an excellent Portrait^ which he 
 made of his beloved Laura. He was ap- 
 plauded for his free and eafy Invention., and 
 began to underftand the Decorum in his Com- 
 .cEt. 60. pofitions. OMit Anno 1345. 
 
 1300. 
 
 TADDEO GADDI, another Difciple of 
 Giotto^, born at Florence, Anno 1300, excell’d 
 his Mafter in the Beauty of his Colouring, and 
 the Livelinefs of his Figures. He was alfo a 
 very Ikilful ArchiteSl, and much commended 
 for the Bridge, which he built over the River 
 AEt. 50. Arno, at Florence. He died Anno t350. 
 
 1324. 
 
 TOMASO, called GIOTTINO, for hii 
 affefting, and imitating Giotto*s Manner, born 
 alfo at Florence, Anno 1324, began to add 
 ftrength to his Figures^ and to Improve the 
 Et. 32. Art of PerfpeSlive. He died Anno 1356. 
 
 JOHANNES ah ETK, commonly call'd 
 JOHN of BRUGES, born at Mafeech, on 
 the River Maez, in the Low-Countries, Anno 
 1370, was a Difciple of his Brother Hubert, 
 and a confiderable Painter : but above all 
 
 things 
 
 1370. 
 
 1 
 
273 
 
 Modern Majiers. 
 
 things famous for having been the happy In- 
 vente a of the Art of Painting in 
 Oil, Anno 1410, (thirty Years before 
 ing was found our, by John Guttemberg, of 
 Strasburgh.) He died Anno 1441, having fome ALt. ji. 
 Years before his Deceafe, communicated his 
 Invention to 
 
 ANTONELLO of who tra- 
 
 vell’d from his own Country into Flanders^ on 
 purpofe to learn the Secret : and returning to 
 Sicily, and afterwards to Venice, was the firft 
 who Pradlifed, and Taught it in Italy. He 
 died Anno Mtat. 49. 
 
 In the preceding Century flourllh’d feveral 
 other Majlers of good Repute : but their 
 Manner being the fame, or but very little 
 different from that of Giotto, it will be fuffici- 
 ent to mention the Names only of fome of the 
 moft Eminent, and fuch were Andrea Orgagna, 
 
 Pietro Cavallino, Stefano, Bonamico Buffal- 
 macco, Pietro Laurati, Lippo, Spinello, Cafen- 
 tino, Pifano, &c. And thus the Art of Paint- 
 ing continu’d almoft at a (land, for about an 
 hundred Years ; advancing but flowly, and 
 gathering but little Strength, till the time of 
 
 T 
 
 MAS. 
 
274 
 
 Modern Majlers, 
 
 1417. 
 
 MASACCIO^ who was born in Tufcanyi 
 Amo 1417, and for his copious Invention, 
 and true Manner of Defign ; for his delight- 
 ful way of Colourings and the graceful Aftions 
 which he gave his Figures j for his loofenefs 
 in DraperieSs and extraordinary Judgment in 
 PerfpeSli-ves is reckon’d to have been the 
 Master of the Second, or Middle 
 Age of Modern Painting : which ’cis 
 thought he wou’d have carry’d to a much 
 higher degree of Perfection, if Death had not 
 flopp’d him in his Career (by Poyfon, it was 
 Mt. 26. fuppos’d) Anno 1443. 
 
 , GEmiLEs and GIO FANNI, the Sons 
 142 J. and Difciples of COMO BELLING, 
 were born at Venice, (Gentile, Anno 1421.) 
 and were fo eminent in their time, that Gen- 
 tile was fent for to Conjlantinople, by Mahomet 
 II. Emperor of the lurks : for whom ha- 
 ving (amongft other things) painted the De- 
 collation of St. John Baptift, the Emperor, to 
 convince him, that the Neck .after its Sepa- 
 ration from the Body, could not be fo long, 
 as he had made it, in his PiCbure, order’d a 
 Slave to be brought to him, and commanded 
 his Head to be ftruck off, in his Prefence : 
 
 which 
 
Modem Ma/iers. 275 
 
 which fo terrify’d Gentile,, that he cou*d ne- 
 I ver be at refli till he got leave to return 
 ' home : which the Emperor granted, after he 
 had Knighted himj and nobly rewarded him 
 for his Services. The moib confiderable 
 Works of thefe Brother^ are at Venice, where 
 Giovanni liv’d to the Age of 90 Years, having 
 
 very rarely painted any thing but Scripture^ 
 Stories, and Religious Subjects, which he per^ 
 form’d fo well, as to be efteem’d the moft ex- 
 cellent of all the Bellini. See more of him 
 Page 228. Gentile died Anno 1501. 
 
 ypt. 80. 
 
 ANDREA MANPEGNA, born at r— ^ 
 Padoua, Anno 14.^1, and a Difciple of ^ 4 - 3 ** 
 
 Squarcione, was very Corred: in Deftgn, ad- 
 mirable in Foreshortening his Figures, well 
 vers’d in PerJpe£Hve, and arriv’d to great 
 Knowledge in the Antiquities^ by his continued 
 Application to the Statues, Baffo- Relievo* s. 
 
 See. However* his negled of feafoning his 
 Studies after ihe Antique,, with the living Beau- 
 ties of Nature, has given him a Pencil fome- 
 what hard, and dry : And befides, his Drapery 
 is generally ftifF, (according to the Manner of 
 thofe times) and too much perplex’d with 
 little Folds. He painted feveral things for 
 Pope Innocent VIII. and for other Princes, 
 
 T 2 and 
 
276 
 
 Modern M^JIcfs. 
 
 and Pci fons of Diftin6tion : But the bsfl of 
 his’ Works (and for which he was Knighted^ 
 by the Marquefs Ludovico Gonzaga, of Man- 
 toud) are the ^Triumphs of Julius C^efar, now 
 at Hampton Court. He died Anno 1517 ; ha- 
 ving been one of the firfl who Praefifed the 
 Art of Graving in Italy : the Invention whereof 
 is juftly aferib’d to MASO FI NIGU ER- 
 RA^ a Goldfmith of Florence-, v/ho in the 
 Year 1460, found out the way of Printing off 
 upon Paper, whatever he had Grav'd upon 
 his Silver-plate. 
 
 r — . ANDREA FERRO C CHIO a Florentine, 
 *432- born Anno 1432, was well fkill’d in Geometry, 
 Optics, Mujic, Architeliure, Sculpture, and 
 Painting : but left off the laft, becaufe in a 
 Piece which he had made of St. John Baptizing 
 cur Saviour, Lionardo da Vinci, one of his 
 Difciples, had, by his order, painted an An- 
 gel, holding up fome part of our Saviour'^ 
 Garments, which fo far excell’d all the reft of 
 Andrea'e, Figures, that inrag’d to be out-done 
 by a Touth, he refolv’d never to make ufe of 
 his Pencil any more. He was the firft who 
 found out the Art of taking, and preferving 
 the likenefs of the Face, by moulding off the 
 ^t. 56. Features, in Plaifter of Paris. He died Anno 
 “V — ’ 1488. LUCA 
 
Modern Maftcrs. 
 
 277 
 
 LUCA SIGNORELLI Ccrtona, a ' 
 
 City in the Dukedom of Florence^ born Anno ^ 4 - 39 * 
 1439, ^ Difciple of Pietro dal Borgo S. 
 
 Sepolcro, and fo excellent at defigning Naked 
 Bodies, that from a Piece which he painted in 
 a Chapel of the great Church, at Orvieto, 
 
 M. Angelo Buonarruoti transferr’d feveral entire 
 Figures into his lajl Judgment. He died very 82. 
 rich, Anno 1521 : And is faid to have had 
 fuch an abfolute Command of his PaJJions, 
 that when his beloved Son (a Touth extremely 
 handfome, and of great Hopes) had been un- 
 fortunately kill’d, and was brought home to 
 him ; he order’d his Corps to be carry’d into 
 his Painting-room : and having ftript him, im- 
 mediately drew his PiAure, without fliedding 
 a Tear. 
 
 PIEFRO di CO SI MO a Florentine, born 
 Anno 1441, was a Difciple of Cofimo RojJelU 
 (whofe Name he retain’d) and a very good 
 Painter ; but lb ftrangely fantaltical, and full 
 of Caprices, that all his delight was in’ Paint- 
 ing Satyrs, Fauns, Harpyes, Monjters, and 
 fuch like extravagant and whimfical Figures : 
 and therefore he apply’d himfelf, for the moft 
 part, io Bacchanalia’s, Mafquerades, &c. O- gQ 
 ^iit Anno i ^21. ^ 
 
27S 
 
 Modern Majlers'. 
 
 — ^ — > L 10 NARBO da VINCI, nobly de- 
 
 ^445* fcended, and born in a Caftle fo call’d, near 
 the City of Florence, Anno 1445 , was bred up 
 under Andrea Verrocchio ; but ib far furpafsM 
 him, and all others his Predeceflbrs, that hp 
 is own’d to have been the Master of the 
 Third, or Golden Age of Modert^ 
 Painting. He was in every refpedl one qf 
 the compleateft Men in his time, and the bed 
 furnilh’d with all the Perfections both of Body 
 and Mind ; an excellent Sculptor and Architelf, 
 a flcilful Mujician, ^n admirable Poet, very ex- 
 pert in Anaton^ and Chymijiry, and throughly 
 learned in all the Parts of the Mathematics. 
 He was extremely diligent in the Performance 
 of his Works \ and tho’ it was the Opinion of 
 Rubens, that his chiefeft Excellence lay jn 
 giving every thing its proper Chara^er, yet he 
 was fo wonderfully diffident of himfelf, and 
 curious, that he left leveral Pieces unfinilh’d, 
 believing his liand cou’d never reach th^t 
 Idea of Perfection, which he had conceiv’d of 
 them in his Mind. He liv’d many Years at 
 Milan, Birelior of the Academy of Painting, 
 eftablilh’d there by the Puke ; and highly e- 
 fteem^d for his celebrated Piece of Our Saviour’s 
 Laft Supper, and fonae of his other Paintings^ 
 
 Nor 
 
Modern Majlers. 279 
 
 Nor was he lefs applauded for his Art in con- 
 triving the Canaly that brings the Water from 
 the River Adda^ to that City. He was a great 
 Contender with M. Angelo Buonarruoti, and 
 upon account of the Enmity betwixt them, 
 went into France (Anno Ml. 70.) where after 
 feveral confiderable Services done for Francis I. 
 he expir’d in the Arms of that Monarchy being 
 taken fpeechlefs the very moment, in which 
 he would have rais’d up himfelf, to thank the 
 King for the Honour done him in that Vifit, 
 
 Anno 1520. He left a Kreatife of the Art o\Mt. 75. 
 Painting behind him, written by himfelf : of 
 which R. du Frefne publifh’d a noble Edition, 
 at Paris^ in 1 65 1, with Figures by Nic. Poujfm, 
 
 1446. 
 
 PIEFRO PE RUG I NO y fo call’d from 
 the Place where he was born, in the Ecclejiajli- 
 calStatey Anno 1446, was another Difciple of 
 Andrea Verrocchio. What Character he had, 
 fee Page 225. He was fo very miferable and 
 covetous a Wretch, that the Lofs of his Mo- 
 ney by Thieves, broke his Heart, Anno 1524. Mt. 78. 
 
 DOMENICO GHIRLANDAIO, a 
 Florentine, born Anno 1449, was at firft de- 
 fign’d for the Profeflion of a Goldfmitb ; but 
 follow’d his more prevailing Inclinations to 
 T 4 Paintin g 
 
 i44Sf. 
 
28 o Modern Majlcrs. 
 
 Painting with fuch Succefs, that he is rank’d 
 amongft the prime Majlers in his time. 
 
 44. farther Page 224. He died Anno 1493. 
 
 See 
 
 FRANCESCO RAI BO LIN I, com- 
 145®* monly ciiW’d FRANC I A, born Bologna ^ 
 
 Anno 1450, was at fir ft a Goldfmilh^ or Jew- 
 eller ; afterwards a Graver of Coins and Me- 
 dals ; but at laft applying hinifelf to Paintings 
 he acquir’d great Reputation by his Works : 
 And particularly by a Piece of St. Sebajliany 
 whom he had drawn bound to a Tree, with 
 his Hands tied over his Plead. In which Fi- 
 gure, befides the Delicacy of its Colouring, 
 and Gracefulnefs of the Pofture, the Propor- 
 tion of its Parts was fo admirably juft and 
 true, that all the fucceding Bolognefe Painters 
 (even Hannibal Carrache himfelf) ftudy’d its 
 Meafures as their Ruky and follow’d them in 
 the fame Manner as the Ancients had done the 
 Canon of Polycletus. It was under the Difci- 
 pline of this Mafter, Marc. Antonio y Ra- 
 phaels beft Graver, learnt the Rudiments of 
 his Art. Count Malvafia affirms, he liv’d 
 yE/. 80. till the Year 1530 ; tho’ Vafari ftys, he dy’d 
 in 1518 ; and will have the Occafion of his 
 Death to have been a Fit of Fran/port, that 
 feiz’d him, upon Sight of the famous St. Ce- 
 cilia^ 
 
Modern Majlers. 
 
 tilia, which Raphael had painted, and fent 
 to him, to put up in one of the Churches in 
 Bologna. 
 
 281 
 
 FRA BARFOLOMEO, born at Sa- 
 vignano, a Village about ten Miles from Flo- 
 rence. Anno 1469, was a Difciple of Cofimo 
 Rojfelli : but much m.ore beholden to the 
 Works of Lionardo da Vinci, for his extraor- 
 dinary Skill in Painting. He was very well 
 vers’d in the Fundamentals of Dejign : and 
 befides, had fo many other laudable Qualities, 
 that Raphael, after he had quitted the School 
 of Perugino, apply’d himfelf to this Mafter, 
 and under him, ftudy’d the Rules of Perfpec- 
 tive, together with the Art of Managing and 
 Uniting his Colours. He turn’d Dominican 
 Fryar, Anno 1 500, and after fome time, was 
 by his Superiors fent to the Convent of St. Mark, 
 in Florence. Fie painted both Portraits and 
 Hijlories, but his fcrupulous Confcience wou’d 
 hardly ever fuirer him to draw Naked Figures, 
 tho’ no Body underftood them better. He 
 ddzd Anno 1517, and was the firft who in- -^t. 4.^. 
 vented, and made ufe of a Lay-man. 
 
 
 ALBERT DURER, born at Nurem- 
 berg, on Good-Friday, Anno 1471, by the * 47 ^’ 
 i •- Inflrudtions 
 
282 
 
 Modern Majlers, 
 
 Inftrudions of his Father, a curious Jeweller ; 
 the Precepts of Michael Wolgemuth^ a confi- 
 derable Painter 5 and the Rules of Geometry, 
 ArchiteSiiire, and PerfpeSlive, became the moft 
 excellent of all the German Majlers. And 
 notwithftanding that his Manner of Dejign is 
 generally hard, ftiff, and ungraceful, and his 
 Gufto entirely Gothic \ yet he was otherwife fo 
 very well accomplifh’d, that his Prints were 
 had in great Efteem all over Italy \ copy*d at 
 Venice, by the famous Marc. Antonio, and fo 
 much admired even by Raphael himfelf, that 
 he hung them up in his own Chamber, and 
 us’d frequently to lament the Misfortune of fo 
 great a Genius, to be brought up in a Coun^ 
 try where nothing was to be feen, that might 
 lumiih him with noble Ideas, or give him 
 any Light into Things neceflary for grand 
 Compejitions. His principal Works were Paint-^ 
 cd at Prague, in the Palace of the Emperor 
 Maximilian I. who had fuch a Regard for his 
 0ngukr Merit, that he prefented him with a 
 Coat of Arms, as the Badge of Nobility. He 
 was all'o much in Favour with the Emperor 
 Charles V. and for his folid good Senfe, as 
 well as his modeft and agreeable Temper, be- 
 lov*d by every Body, and happy in all Places, 
 but only at Home ^ where the penurious and 
 
 fordid 
 
Modern Maflen. 283 
 
 fordid Humours of a miferable Shrew^ his 
 IVife^ fhortenM his Days, ^«»0 1528. Vide 
 Page 98. And note farther, that befides the w*y-^ 
 Obligations we have to this great Man, as a 
 Painter, and Graver -, we are much beholden 
 to him, as an Author •, for the Vreatife he 
 wrote of Geometry, Perfpe^ive, Fortification, 
 and the Proportions of Human Bodies. 
 
 MICHEL ANGELO BUONARRU- 
 OTI, nobly defpended, and born near Florence *474- 
 Anno 1474, was a Pifciple of Domenico Ghir- 
 landaio, and mofl profoundly flcill’d in the 
 Arts of Painting, Sculpture, and Architelfure. 
 
 He has the Name of the greateft Defigner 
 that has ever been : and Ms univerfally allow’d 
 him, that never any Painter in the World im- 
 derftood Anatomy fo well. He was alfo an 
 excellent Poet, and not only highly efteem’d 
 by feveral Popes fucceflively *, by the Grand 
 Duke of Fufcany, by the Repub lick of Venice, 
 by the Emperor CharlesY . by King Francis I. 
 and by moft of the Monarchs and Princes of 
 Chrijlendom : but was alfo invited over intq 
 ’Furky, by Solyman the Magnificent, upon ^ 
 
 Defign he then had of making a Bridge over 
 the Hellefpont, from Conftantinople to Pera, 
 tiis moft celebrated Piece of Painting, is that 
 
 of 
 
2S4 
 
 Modern MaJIers. 
 
 of t!ie Lafi Judgment^ in the To-pe^s Chapeh 
 He died in great Wealth at Rome, from 
 whence his Body was tranflated to Florence, 
 JEt. 90. and there honourably interr’d, Anno 1 564. 
 ' ‘Vide Page 224. 
 
 U77- 
 
 GIORGIO delCASFEL FRANCO, 
 call’d GIORG 10 NE, becaufe of his noble 
 and comely afped, was born at Frevifano, a 
 Province in the State of Venice, Anno 1477 i 
 and received his firft Inftruftions from Giovan^ 
 ni Belliao ; but having afterwards ftudied the 
 Works of Lionardo da Vinci, he foon arriv’d to 
 a Manner of Painting fuperior to them both ; 
 Defign’d with greater Freedom, Colour’d 
 with more Strength and Beauty, gave a better 
 Relievo, more Life, and a nobler Spirit to his 
 Figures, and was the firft (amongft the Lom- 
 bards) who found out the admirable Effefts 
 of ftrong Lights and Shadows, Fie excelled 
 both in Portraits and Hiftories : but his moft 
 valuable Piece in Oyl, is that of cur Saviour 
 carrying his Crofs, now at Venice ; where it is 
 had in wonderful Efteem and Veneration. He 
 died young of the Plague (which he got in the 
 AEt, 34. Arms of his Mijlrefs, who was infeded with 
 it) Anno 1511: having been likewife as fa- 
 mous 
 
Modem Mafters. 
 
 mous for his Performances in Mujic, as his 
 Produftions in Painting. Vide Page 228. 
 
 'TIPIANO the moft univerfal Genius of 
 all the Lombard School, the beft Colourijl of i 477 * 
 all the Moderns, and the mofl: eminent for 
 Hijlories, Landfcapes, and Portraits, was born 
 at Cadore, in the Venetian territories. Anno 
 1477, being defcended from the ancient 
 mily of the Vecelli. He was bred up in the 
 School of Gio. Bellino, at the fame time with 
 Giorgione : but improv’d himfelf more by the 
 Emulation that was betwixt him and his FeL 
 low-Difciple, than by the Inftrudlions of his 
 i Mafter. He was cenfur’d indeed by M. An^ 
 gelo Buonarruoti, for want of Corredtnefs in 
 , Deftgn, (a Fault common to all the Lombard- 
 . Painters, who had not been acquainted with 
 ; the Antiquities) yet that Defeft was abundant- 
 j ly fupply’d in all the other parts of a mofl ac- 
 i complifh’d Artift. He made three feveral Por- 
 traits of the Emperor Charles V. who lov’d 
 him fo entirely, that he honour’d him with 
 i Knighthood, created him Count Palatine, made 
 all his Defcendents Gentlemen, aflign’d him a 
 confiderable Penfion out of the Chamber of 
 Naples, and what other remarkable Proofs of 
 his Affedlion he fhew’d him, fee Page 88 , 89. 
 
 and 
 
286 
 
 Modern Majlers. 
 
 and a CbaraUer of his Wofks, Page 228, and 
 229. He painted alfo his Son Philip II, So^ 
 lyman Empefor of the Turks, two Popes, three i 
 Kings, two Emprejfes, feveral ^leens^ and al- ; 
 moffc all the Princes of Italy, together with \ 
 the fam’d Lud. Aricfto, and Peter Aretine, his 
 intimate Friends. Nay, fo great was the 
 Name and Reputation of Titian^ that there | 
 was hardly a Perfon of any Eminence then li- 
 ving in Europe, frorii whom he did not receive \ 
 fome particular mark of Efteem : and befides^ 
 being of a Temper wonderfully obliging and 
 generous, his Houfe at Venice was the con- 
 flant Rendezvous of all the Virtucfi, and Peo- 
 ple of the beft Quality. He was fo happy in 
 the Conflitution of his Body^ that he neVef 
 yS/. 99. had been fick till the Tear 1576, when he 
 died of the Plague, full of Honour, Glory 
 and Riches, leaving behind him two Sons and ! 
 a Brother^ of whom Pomponio the eldeft was a | 
 Clergyman, and well-preferrM •, but 
 
 ORATIO, i\\t youngcji Son, painted fe- 
 veral Portraits that might (land in Competiti- 
 on with thole of his Father'^ Hand. He was 
 famous alfo for many lliflory-picces, which he 
 made at Venice, in Concurrence with Paid 
 Veronefe, and Tintoret. But bewitch’d at laft 
 I w'ith 
 
MOi.iern Majlers. 
 
 ' With the hopes of finding the Philofphcr^s 
 Stone^ he laid afide his Pencil, and having 
 reduc’d moft of what had been got by his 
 Father, into Smoke, died of the Plague foon 
 ; after him, in the Flower of his Age. 
 
 ■ FRANCESCO VECELLIO, Titianh 
 Brother, was train’d up to Arms, but applying 
 ' himfelf afterwards to Painting, he became fo 
 great a Proficient therein, that Stiiian grew 
 I jealous of him *, and fearing, he might in time 
 come to eclipfe his Reputation, fent him (up- 
 ! on pretended Bufinefs) to Ferdinand King of 
 the Romans: and there found fuch means to 
 divert him from Painting, that he quite gave 
 over the Study of it, and never any farther 
 attempted it, unle& it were to make a Por- 
 trait now and then, at the Requeft of his 
 particular Acquaintance* 
 
 ANDREA del SARFO, (fo call’d 
 caufe 2LFaylor*s Son) born at Florence, Anno 147S. 
 1478 j was a Difciple of Pietro di Cofimo, 
 very careful and diligent in his Works ; and 
 his Colouring was wonderfully fweet : but his 
 Piftures generally want Strength and Life, as 
 well as their Author, who was naturally mild, 
 timorous, and poor-fpirited. He was fent 
 
 for 
 
288 
 
 Modern Maji er s. 
 
 for to Paris^ by Francis I. where he miglit 
 have gather’d great Riches, but that his Wife 
 and Relations would not fuffer him to conti- 
 nue long there. He lived in a mean and 
 contemptible Condition, becaufe he fet but a 
 very little Value upon his own Performances: 
 Yet the Florentines had fo great an Efteem 
 for his Works, that during the Fury of the 
 Popular FaSHons amongft them, they pre- 
 ferv’d his Pieces from the Flames, when they 
 neither fpared Churches, nor any thing elfe. 
 
 42. He died of the Plague, Anno 1520. 
 
 RAFAELLE da URBINO, born Anno^ 
 *483. 1483, was one of the handfomefl: and beft 
 temper’d Men living. See fome Account of 
 him Page 225 : and add to it, that by the ge- 
 neral Confent of Mankind, he is acknowledged 
 to have been the Prince of the Modern 
 Painters ; and is oftentimes ftyl’d the Di- 
 vine Raphael, for the inimitable Graces 
 of his Pencil, and for the Excellence of his Ge- 
 «/«.f,which feern’d to have fomething more than 
 Human in its Compofition : that he was be- 
 lov’d in the higheft degree by the Popes Julius 
 II. and Leo'K. that he was admir’d and courted 
 by all the Princes and States of Europe ; and 
 particularly by Henry ^'III. who would fain 
 I have 
 
Modern Maji en. ; 
 
 have obliged him to come over into England : 
 that his Perfon was the Wonder and Delight 
 of Rome, as his Works are now the Glory of 
 it : that he liv’d in the greateft State and 
 Splendor imaginable, mod of the eminent 
 Maders in his time being ambitious of work- 
 i ing under him: and that he never went a- 
 i broad, without a Croud of Artijls, and others, 
 who attended, and follow’d him purely out 
 I of Refpedl : that he declin’d Marriage (tho’ 
 very advantageous Offers had been made him) 
 in hopes of a Cardinal's Cap, which he ex- 
 pedled ; but falling into a Fever in the mean 
 time, and concealing the true Caufe of his 
 Didempcr from his Fhficians, Death difip- 
 pointed him of the Reward due to his mod 
 i extraordinary Merits, Anno 1520. 
 
 I ' 
 
 I GIO. ANTONIO. REGILLO da FOR- , 
 
 i DENONE, born at a Place fo call’d, not H 
 far from Udine, in the Venetian Territories, 
 Anno 1484, after fome time fpent in Letters 
 and Mujic, apply’d himfelf to Painting ; yet 
 without any. other Guide to condud him, be- 
 fide his own prompt and lively Genius, and 
 the Works of Giorgione : which he dudied at 
 ^mVi?with fo much Attention, that he foon 
 arriv’d to a Manner of Colouring nothing infe- 
 U rior 
 
2()o Modern Majlers. 
 
 rior to his Patiern. But that which tended 
 yet more to his Improvement, was the conti- 
 nued Emulation betwixt himfelf and Titian., 
 with whom he difputed the Superiority j and 
 for fear of being infulted by his Rival, paint- 
 ed (v/hile he was at Venice) with a Sword by 
 his fide. This noble Jealoufy infpir’d him 
 with an Elevation of Thought, quicken’d his 
 Invention, and produc’d feveral excellent Pieces 
 in Oil, Diftemper, and Frefco. From Venice 
 he went to Genoua, where he undertook fome 
 things in Competition v/ith Pierino del Vaga : 
 but not being able to come up to the Per- 
 fedions of Pierino’s Pencil, he return’d to 
 Venice, and afterwards vifited feveral other 
 Parts of Lombardy ; was Knighted by the Em- 
 peror Charles V, and at laft being fent for to 
 Ferrara, was fo much efteem’d there, that he 
 
 ^t. 56, is faid to have been poifon’d {Anno 1 540.) by 
 fome who envy’d the Favours which he re- 
 ceiv’d from the Duke. He renounc’d his Fa- 
 mily-Name Licinio, out of Hatred to one 
 of his Brothers, who attempted to murder him. 
 
 ( — , SEBASriANO del PIOMBO, a Native 
 of Venice, Anno 1485, took his Name from 
 an Office given him by Pope Clement VII. 
 in the Lead-Mines, He was defign’d by his 
 
 Father 
 
291 
 
 Modern Majlers. 
 
 jPather for the Profefilon of Mujtc, which 
 he practis’d for fome time, with Reputation ; 
 ’till following at lafl; the more powerful Dic- 
 tates of Nature, he betook himfelf to Painting, 
 and became a Difciple of old Gio. Bellino t 
 continued his Studies under Giorgione ; and 
 having attain’d his excellent Manner of Colour- 
 ing, went to Rome-, where he infinuated him- 
 felf fo fltr into the Favour of Michael Angelo, 
 by Tiding with him and his Party againfb 
 Raphael-, that pleas’d with the fweetnefs and 
 beauty of his Pencil, he immediately furnifh’d 
 him with fome of his own Dejigns, and let- 
 ting them pafs under Sebajlian's Name, cry’d 
 him up for the bed Painter in Rome. And 
 indeed fo univerfal was the Applaufe which he 
 gain’d by his Piece of Latz-arus rais'd from the 
 Dead, (the Defign of which had likewife been 
 given him by Michael Angelo) that nothing 
 but the famous Pranfiguration of Raphael's 
 could Eclipfe it. He has the Name of being 
 the firft who Invented the Art of preparing 
 Plaifter-walls, for Oyl-painting, (with a Com- 
 pofuion of Pitch, Majlick, and ^ick-lime) 
 but was generally fo flow, and lazy in his 
 Performances, that other Flands were often- 
 times employ’d in finilhing what he had be- 
 gun. Fie died Anno 1547. 
 
 U 2 
 
 ^t. 62. 
 
 BAR- 
 
292 
 
 Modern Majlen, 
 
 1492, 
 
 BART^OLOMEO (in iht “Tufcan EiakSi 
 call’d BACCIO) BANDINELLI, a Flo- 
 rentine Painter and Sculptor^ born Anno 1487, 
 was a Difciple of Gio. Francefco RuJticij and 
 by the help of Anatomy, joyn’d with his other 
 Studies, became a very excellent and correct 
 Dejigner : but in the Colouring Part was fo 
 unfortunate, that after he had heard Michael 
 Angelo condemn it, for being hard and un- 
 pleafant, he never could be prevail’d upon to 
 make any farther Ufe of his Pencil : but al- 
 ways engag’d fome other Hand in Colouring 
 his Eeftgns. However, in Sculpture he fuc- 
 eeeded better : and for a Eefcent from the 
 Crofs, in Mezzo-Relievo, was Knighted by 
 the Emperor. Pie was likewife much in fa- 
 vour with Francis I. and acquir’d great Repu- 
 tation by feveral of his Figures, and abundance 
 of Drawings : which yet are more admir’d 
 for their true Out-line, and Proportion, than 
 for being either graceful, or gentile. H® 
 did Anno 1559. 
 
 GIULIO ROMANO, hom Anno 1492, 
 was the greateft Artift, and moft univerfal 
 Painter, of all the Difciples of Raphael: be- 
 lov’d by him as if he had been his Son, for 
 
 the 
 
Modern Majlers. 
 
 fhe wonderful fweetnels of his temper *, and 
 made one of his Heirs, upon condition, that 
 he fhould affift in finidiing fuch things as he 
 had left imperfedl. He was profoundly learn’d 
 in all the parts of the Antiquities : and by 
 converfing with the Works of the moft ex- 
 cellent Poets, (particularly Homer) had made 
 himfelf an abfolute Mafter of the Qualifica- 
 tions neceflarily requir’d in a grand Dejigner. 
 He continu’d for fome Years at Rome, after 
 the Death of Raphael; and by the Direftions 
 of Pope Clement VII. wrought feveral admi- 
 rable Pieces in the Hall of Conjlantine, and 
 other publick Places. But his principal Per- 
 formances were at Mantoua : where he was 
 fent for by the Marquefs Frederico Gonzaga ; 
 and where he made his Name illuftrious, by 
 a noble and ftately Palace, built after his Mo- 
 del j and beautified with Variety of Paintings, 
 after his Defigns. And indeed in Architecture 
 he was fo eminently Skilful ; that he was in- 
 vited back to Rome, with an Offer made 
 him, of being the chief Architect of St. Pe- 
 ter's Church : but whilft he was debating with 
 himfelf, whether or no he fliould accept of 
 this Opportunity, of returning glorioufiy into 
 his own Country, Death interpos’d. Anno 1 546. 
 Vide Page 226. 
 
 U 3 
 
 JACOPO 
 
294 
 
 Modern Majiers. 
 
 — JACOPO CARUCJ, call’d Pt/ATOi?^ 
 ^ 493 ' MO^ from the Place of his Birth, Anno 1493, 
 Studied under Lionardo da Vinci, Mariotta 
 Albertinelli, Pietro di Cofimo, and Andrea del 
 Sarto : but chiefly follow’d the Manner of 
 the lafl, both in Defign and Colouring. Pie 
 was of fo unhappy a Temper of Mind, that 
 though his Works had flood the Tefl even 
 of Raphael, and Michael Angelo, (the beft 
 Judges) yet he could never order them fo as 
 to pleafe himfelf : and was fo far from being 
 fatisfied with any thing he had ever done, 
 that he was in great Danger of lofing the 
 Gracefulnefs of his own Manner, by imita- 
 ting that of other (inferior) Majlert, and 
 particularly the Style of Albert Durer in his 
 Prints. He fpent moft of his time at Flo- 
 rence, where he painted the Chapel of St. Lau^ 
 rence : but was fo w’onderfully tedious about 
 r, that in the (pace of eleven Years he would 
 admit no body to fee what he had perform’d. 
 He was alfo of fo mean and pitiful a Spirit, 
 that he chofe rather to be employ’d by Ordi- 
 nary People, for inconfiderable Gains, than by 
 Princes and Noblemen, at any Rates : fo. that 
 he died poor, Anno 1556. 
 
 GIO- 
 
Modern Majlers. 
 
 295 
 
 GIOVANNI D'UDINE, fo nam’d < — ^ 
 from the Place where he was born (being the ^ 494 * 
 Metropolis of Frioul) Anno 1494; was inftrud- 
 ed by Giorgione at Venice, and at Rome be- 
 came a Dilciple of Raphael: and is celebrated, 
 for having been the Reviver of Stucco-work, (a 
 Compofition of Lime and Marble-powder) in 
 ufe among the ancient Romans, and difcover’d 
 in the Subterranean Vaults of Litus* s Palace ; 
 which he reftor’d to its original Splendor and 
 Perfedlion. He was employ’d by Raphael, in 
 adorning the Apartments of the Vatican ; and 
 afterwards by fcveral Princes, and Cardinals, 
 in the chief Palaces of Rome and Florence : 
 and by the agreeable Variety and Richnefs of 
 his Fancy, and his peculiar Happinefs in ex- • 
 prefllng all forts of Animals, Fruit, Flowers, 
 and the Still-life, both in Baffo-relievo, and 
 Colours, acquir’d the Reputation of being the 
 beft Mafier in the World, for Decorations, 
 and Ornaments in Stucco, and Grotefque. He 
 died Anno 1564, and was bury’d, according 
 to his Defire, in the Rotunda, near his dear PEt, 70. 
 Mafter Raphael. v-—J 
 
 ANTONIO ALLEGRI, call’d COR-^“T^ 
 REGGIO, from the Place where he was 
 U 4 born. 
 
2g6 
 
 Medern Ma/Iers. 
 
 born, in the Dukedom of Modena^ Anno 1494, 
 was a Man of fuch admirable Natural Parts, 
 that nothing but the unhappinefs of his Edu- 
 cation (which gave him no Opportunities ei- 
 ther of ftudying at Rome, or Florence ; or of 
 confulting the Antiquities, for p.erfedling him- 
 felf in Dcjign) hinder’d him from being the 
 mod excellent Painter in the World. Yet 
 neverthelefs he had a Genius fo fublime, and 
 was Mailer of a Pencil, fo wonderfully foft, 
 tender, beaut.iful, and charming, that Julio 
 Romano having feen a Leda, and a naked Ve- 
 nus painted by him, for Frederick Duke of 
 Modena (who intended them a Prefent for the 
 Emperor) declar’d, he thought it impoffible 
 for any thing of Colours ever to go beyoud 
 them. His <M\t{AVcrks Modena, and, 
 
 Parma : at the lad of which Places he fpent 
 mod of his Life, poor, and little taken no- 
 tice of, working hard to maintain his Family, 
 which was fomewhat large. Fie w^s ejt- 
 tremely humble and moded in his Behavipur *, 
 liv’d very devoutly, and died much lamented 
 AEt. 4.o.\x\ the Tear 1534; having thrown himfelf 
 into a Fever, by drinking cold Water, when 
 his Body was overheated, with bringing home 
 fome Copper Money (to the Value of fixty 
 
 Crowns) 
 
( 
 
 Modern Majiers. 297 
 
 I Crowns) which he had receiv’d for one of 
 his Pieces. See more Page 231 and 232. 
 
 I BAT^PIS'PA FRANCO his Contempo- 
 I- rary, a Native of Venice., was a Difciple of Mi- 
 chael Angelo ; whofe Manner he follow’d fo 
 clofe, that in the Correftnefs of his Out-line he 
 furpafs’d moft of the Majiers in his time. His 
 Paintings are pretty numerous, and difpers’d 
 all over Italy, and other Parts of Euro-pe : but 
 his Colouring being very dry, they are not 
 much more efteem’d than the Prints which 
 he Etch’d. He died Anno 1561. 
 
 LUCAS van LETDEN, fo call’d from ^ 
 
 the Place where he was born, Anno 1494, ^ 494 * 
 was at firft a Difciple of his Father, a Painter 
 I of note *, and afterwards of Cornelius Engel- 
 hert : and wonderfully cry’d up in Holland^ 
 and the ilow -Countries, for his Skill in Paint- 
 ing, and Graving. He was prodigioufly la- 
 borious in his Works, and a great Emulator 
 of Albert Durer ; with whom he became at 
 length fo intimate, that they drew each others 
 Piblure. And indeed their Manner, and Style, 
 are in all refpedfs fo very much alike, that it 
 feem’d as if one and the fame- 5 i??r/ had ani- 
 mated them both. He was magnificent both 
 io his Ue)it, and voay of Living: and died 
 
 Anm 
 
Modern Majlers. 
 
 Mt. 39. Anno 1533, after an Interview betwixt him 
 **“^v*^ and fome other Painters, at Middleburgh : 
 where dilputing, and falling out in their Cups, 
 Lucas, fancying they had poifon’d him, lan- 
 guifh’d by Degrees, and in fix Years time 
 pined away, purely with Conceit. 
 
 ^UINTIN MATSrS of Antwerp, was 
 the Contemporary of Lucas \ and famous for 
 having been transform’d from a Blackfmith to 
 a Painter, by the Force of Love, and for the 
 Sake of a Mifirefs, who diflik’d his former 
 ProfeJJion. He was a painful and diligent 
 Imitator of the ordinary Life, and much 
 better at reprefenting the Defedis, than the 
 Beauties of Nature. One of his beft Pieces is 
 a Defcent from the Crofs, (in a Chapel of the 
 Cathedral, at Antvserp) for which, and a mul- 
 titude of other Hifi cries, and Portraits, he 
 gain’d a great Number of Admirers ; efpecial- 
 ly for his laborious Neatnefs, which in truth 
 was the principal part of his Character. He 
 died Anno 1529. 
 
 Befide the two Mafters laft mention’d, there 
 were feveral other Hiftory-painters, who flou- 
 nlh’d in Germany, Flanders, and Holland, a- 
 bout this time. But \d\edx Manner being ge- 
 nerally 
 
Modern Majiers. 2gg 
 
 ncrally Gotbique, Hard, and Dry ; more like 
 the Style of Cimaluc, in the Dawning of the 
 I Hrt of Painting, than the Gufto of Raphael, 
 in its Meridian Lufre 5 we fliall only give 
 ; you the Names of fome of the moft noted *, 
 and fuch were Mahufe, Aldegraef, Schocrel, 
 
 Frans Floris, Martin Hemskerck, Chrif. 
 
 I Sclrwarts, See. 
 
 I POLIDORO oi CARAVAGGIO, (yn 
 \ the Dutchy of Milan) was born Anno 1495 ; 1495 - 
 i and till 18 Years of Age, brought up to no 
 better an Employment than carrying Stone 
 and Mortar, in the New Buildings of Pope 
 Leo X. But being tempted at laft by the Per- 
 formances of Gio. d’Udine, to try his Talent in 
 ; Defign by the Affiftance of one of his Scho- 
 lars, and his own indefatigable Application to 
 the Antiquities, in a little time he became fo 
 flcilful an Artift, that he had the Honour of 
 contributing much to the finifhing thofe glo- 
 rious Works in the Vatican. He aflbeiated 
 himfelf both in the Study and Pradlice of his 
 Art, Nit\i one MATURING, ^ Florentine 
 and their Genius being very conformable, they 
 liv’d together like Brothers, working in Fref- 
 co upon feveral Frontifpieces oi the moft noble 
 Palaces in Rome: whereby they acquir’d great 
 
 Reputa- 
 
gOQ Modern Mafters, 
 
 Reputation j their Invention being the richeft, 
 and their T>eftgn the eafieft that could any 
 where be feen. But Maturino dying about 
 the Year 1527, and Rome being then in the 
 Hands of the Spaniards, Polidoro retir’d to 
 Naples, and from thence to Mejftna ; where 
 his excellent I^alent in ArchiteHure alfo being 
 highly commended, he was order’d to pre- 
 pare the 'Triumphal Arches for the Reception 
 of the Emperor Charles V. from Tunis •, for 
 •which he was nobly rewarded : and being af- 
 terwards defirous of feeing Rome once more, 
 in his return thither was murther’d by his Ser- 
 vant and Accomplices, for the fake of his 
 ^/.48. Money, and bury’d zx Mejfma, Anno 1543, 
 Vide Page 
 
 ROSSO {io call’d from his red Hair) born 
 * at Florence, Anno 1496; was educated in the 
 Study of Philofophy, Muftc, Poetry, Archi- 
 teliure. See. and having learn’d the firft Ru- 
 diments of Deftgn from the Cartones of Mi- 
 chael Angelo, improv’d himfelf by the help of 
 Anatomy \ which he underftood fo very well, 
 that he compos’d two Books upon that Sub- 
 jCift. He had a copious Invention, great Skill 
 in the Mixture of his Colours, and in the 
 Diftribution of his Lights and Shadows : was 
 2 very 
 
! Modern Mafters. 
 
 very happy alfo m Naked Figures, which 
 he cxprefs’d with a good Relievo, and proper 
 Jititudes •, and would have excell’d in all the 
 
 i 
 
 Parts of Paintifig, had he not been too licen- 
 ' tious and extravagant fometimes, and fuffer’d 
 himfelf rather to be hurry’d away with the 
 heat of an ynbounded Fancy, than governed 
 by his own Judgment, or the Rules of Art, 
 
 I From Florence his Curiofity carry’d him to 
 Rome and Venice, and afterwards into France, 
 He was a Perfon well-accomplifh’d .both in 
 Body and and by his Works in the 
 
 Galleries at Fountainhleau, and by feveral Proofs 
 which he gave of his extraordinary Knowi 
 ledge in Archite5iure, recommended himfelf 
 fo effedtualiy to Francis that he made him 
 Super -intendent ■ Gener ah of all his Buildings,, 
 Pictures, &c. as alfo a Canon of the ChapeU 
 Royal, allow’d him a confiderable Penfion, 
 and gave him other Opportunities of growing 
 fo vaftly rich, that for fome time he. liv’d 
 like a Prince himfelf,' in all the Splendor and 
 Magnificence imaginable : till av laft being 
 robb’d of a confiderable Sum of Money, and 
 fufpedfing one of his intimate Friends (Fr««- 
 cefcQ Pellegrino, a:\Florentine') he caus’d him 
 to be imprifon’d, and put to the^ Torture; 
 which he underwent with Courage : and ha- 
 ving 
 
302 
 
 Modern Majleri. 
 
 ving in the higheft Extremities rriaintaihM 
 his Innocence, with fo much Conftancy, as 
 to procure his Releafe ; Roffo, partly out of 
 Remorfe, for the barbarous Treatment of his 
 Friend, and partly out of Fear of the ill Con- 
 JEt. 45. fequence of his juft Refentment, made him- 
 felf away by Poifon, Anno 1541. 
 
 FRANCESCO PRIMAFICCIO, a 
 famous Painter and ArchitcA of Bologna^ fuc- 
 ceeded Rojfo in the Honours and Employ- 
 ments which he enjoy’d by the Favour of 
 Francis I. and befides, being very well de- 
 feended, was made Abbot of St. Martin de 
 FreyeSy in Champagne. He finifh’d all the 
 feveral Works begun by his Predeceflbr at 
 FountainbleaUy by the Afliftance of NICOLO 
 deld ABBAFEy an excellent his Difci- 
 
 ple : and enrich’d that Palace with abundance 
 of noh\tStatueSy zlvA PiecesNi Antiquity y 
 
 which he brought purpofely from Italyy by 
 the King*s Order. He had been bred up at 
 Mantouuy under Julio Romano y as well to 
 Stucco-work as Painting : and by ftudying his 
 Mannery together with the Performances of 
 other great MafterSy became perfedl in the 
 Art of DeJigUy and well vers’d in grand Com- 
 fofitions. He coptinued in France during the 
 2 Remainder 
 
Modern Maji eri. 303 
 
 Remainder of his Days : liv’d in Pomp and 
 State, more like a Nobleman than a Painter 5 
 and having been very well efteem’d in four 
 feveral Reigns, dy’d in a good old AgCj about 
 the Year 1570. 
 
 BON GIULIO CLOVIO, the celebra* ,wv— 
 ttd Limner^ born mSclavonia, Anno 1498, at 1498. 
 the Age of eighteen Years went to Italy : and 
 under the Condud of Julio Romano^ apply ’d 
 himfelf to Miniature^ with fuch admirable Suc- 
 cefs, that never did ancient Greece, or modern 
 Rome produce his Fellow. He excell’d both 
 in Portraits and Hijiories : and (as Fafari his 
 Contempcrary reports) was another 'Titian in 
 the one, and a fecond Michael Angelo in the 
 other. Fie was entertain’d for fome time in 
 the Service of the King of Hungary : after 
 whofe Deceafe he return’d to Italy ; and be- 
 ing taken Prifoner at the facking pf Rome, 
 by the Spaniards, made a Vow to retire into 
 a Convent, as foon as ever he fhould recover his 
 Liberty ; which he accordingly perform’d, not 
 long after, in Mantoua : but upon a Difpenfa- 
 tion obtain’d from the Pope, by Cardinal Gri- 
 inani, foon laid afide the religious Habit, and 
 was receiv’d into the Family of that Prince. 
 
 His Works were wonderfully efteem’d through- 
 out 
 
 .1 
 
3^4 
 
 Modern Mtijleri. 
 
 out Europe : highly valu’d by feveral Popes, by 
 the Emperors Charles V. and Maximilian II. 
 by Philip King of Spain, and many other il- 
 luftrious Perfonages ; grav’d by Albert Durer 
 himfelf ; and fo much admir’d at Rome', that 
 thofe Pieces which he wrought for the Car- 
 dinal Farnefe (in whofe Palace he fpent the 
 latter part of his Life) were by all the Lovers 
 3o of Art reckon’d in the Number of the Rari- 
 ties of that City. Ob. Anno 1578. 
 
 — k HANS HOLBEIN, born at Baftl, in 
 
 ■* 49 ^- Switzerland, Anno 1498, was a Difciple of 
 his Father ; by whofe Affiftance, and his own 
 Induftry, he made a wonderful Progrefs in 
 the Art of Painting : and acquir’d fuch a 
 Name, by his Piece of Death’s Dance, in the 
 Aown-hall of Bafil, that the famous Erafmus, 
 after he had oblig’d him to draw his PiSiure, 
 fent him over with it into England, and gave 
 him Letters recommendatory to Sir Lhornas 
 Moore (then Lord Chancellor) who receiv’d, 
 and entertain’d him with the greateft Refpedl 
 imaginable, employ’d him in making the Por- 
 traits of himfelf and Family ; and with the 
 light of them fo charm’d King Henry VIII. 
 that he immediately took him into his Ser- 
 vice, and by the many fignal Inftances which 
 
 he 
 
2^5 
 
 Modern Majlefs. 
 
 he gave him of his Royal Favour and Bourrcy» 
 brought him likewife into Efteem with all the 
 Nobility, and People of Eminence in the 
 Kingdom. One of his bed Pieces^ was that 
 of the faid King with his ^een, &c. at White- 
 hall j which, with divers other admirable 
 Portraits of his Hand, (fome as big, and others 
 lefs than the Life j and as well in Water-Co- 
 lours, as in Frefco and Oil) may challenge a 
 Place amongft thofe of the mod fam’d Italian 
 Majlers : Vide Page 235 and 236. Pie was 
 eminent allb for a rich Vein of Invention, very 
 Gonfpicuous in a multitude of Dejigns, which 
 he made for Gravers, Sculptofs, Jewellers, &c. 
 and was particularly remarkable for having 
 (like 'Turpilius, the Roman) perform’d all his 
 Works with his Left Hand. He died of the ^Ft. t^ 6 . 
 Plague, 2X London, Anno 1554. c— 
 
 Contemporary with thefe Maders was UGO r— ^ 
 ; da CARPI, a Painter, upon no Account 
 confiderable, but only for having (in the Year 
 1 500) found out the Ar T of Pr i n t i n o in 
 Chi ARO-scuRO : which he perform’d by 
 I means of two pieces, or plates of Box : One of 
 which ferving for the Out-lines and Shadows, 
 the other dampt off whatever Colour was laid 
 upon it. And the Plate being cut oar, and 
 
Modern Majlers. 
 
 holIowM in proper Places, left the white Taper 
 for the Lights^ and made the Print appear as 
 if it had been heighten’d with a Pencil. This 
 Invention he afterwards improv’d, by adding 
 a third Plate, which ferv’d for the Middle- 
 tints ; and made his Stamps fo compleat, that 
 fcveral famous Mafters, and among them Par- 
 megiano, publifli’d a great many excellent 
 things in this way. 
 
 PIERINO del VAGA, was born at 
 Florence, Anno 1 500, of fuch mean Parentage-, 
 that his Mother being dead at two Months 
 end, he was afterwards fuckled by a Goat. 
 The Name of Vaga he took from a Country 
 Painter, who carry’d him to Rome : where he 
 left him in fuch poor Circumftances, that he 
 was forc’d to fpend three Days of the Week 
 in working for Bread ; but yet fetting apart 
 the other three for his Improvement in a 
 little time, by ftudying the Antique, together 
 with the Works of Raphael, and Michael An- 
 gelo, he became one of the boldeft, and moft 
 Graceful Dejigners of the Roman School : and 
 underftood the Mufcles in naked Bodies, and 
 all the DlfHculties of the Art fo well, that 
 Raphael took an Affeftion to him, and em- 
 ploying him in the Pope’s Apartments, gave 
 
 him 
 
Modern Me fler s. ■ , 307 
 
 him a lucky Opportunity of diftinguifhing 
 himfdf from his Felloxv-difciples, by the mar- 
 vellous Beauty of his Colourings and his pecu- 
 liar Falent in Decorations and Grotefiice. liis 
 chief Works are at Genoua, where he gre^v 
 famous likewife for his Skill in Architediure ; 
 having Defign’d a noble Palace for Prince Di?- 
 rius which he alfo Painted and Adorn’d with 
 his own Hand. From Genoua he remov’d to 
 Pifa, and afterwards to feveral other Parts of 
 Italy j his rambling Humour never fuffering 
 him to continue long in one Place: till at 
 length returning to RomCs he had a Penfion 
 fettled on him, for looking after the Pope’s 
 PalacCs and the Cafa Farnefe. But Pierino ha- 
 ving fquandcr’d away in his Youth, that vdiich 
 fliould have been the Support of his old Age ; 
 and being conftrain’d at laft to make himfelf 
 cheap, by undertaking any little Pieces, for a 
 fmal! Sum of ready Money, fell into a deep 
 Melancholy, and from that Extreme into an- 
 other as bad, of Wine and Women, and the 47. 
 next turn was into his Grave, Anno 1547. J 
 
 FRANCESCO MAZZUOLT, call’d , — v-n 
 PARMEGIANO, becaufe born at Parma, ^ 5 ® 4 ' 
 Anno 1504, w'as brought up under his two 
 Uncles, and an eminent Painter, when but fix- 
 X 2 teen 
 
30 S Modern Majlen. 
 
 teen Years old ; famous all over Italy at nlnC'* 
 teen ; and at twenty-three perform’d fjch 
 Wonders, that when the Emperor Charles V. 
 had taken Rome by Storm, fome of the Com- 
 mon Soldiers, in facking the Town, having 
 broke into his Apartments, and found him 
 (like Protogenes of old) intent upon his Work, 
 were fo aftonifli’d at the charming Beauty of 
 his Pieces, that inftead of Plunder and De- 
 ftrudion, which was then their Bufinefs, they 
 refolv’d to protedl him (as they afterwards 
 did) from all manner of Violence. But be- 
 lides the Perfections of his Pencil (which was 
 one of the gentilefi:, the moft graceful, and 
 the moft elegant of any in the World) he de- 
 lighted much in Mufic, and therein alfo ex- 
 cell’d. His principal Works are at Parma \ 
 v/here, for feveral Years, he liv’d in great 
 Reputation ; till falling unhappily into the 
 Study of Chymijlry, he wafted the moft con- 
 fiderable part of his Time and Fortune in 
 fearch of the Philofophers-Stone, and died 
 yEt. 36, poor, in the Flower of his Age, Anno 1540, 
 See farther. Page 232 ; and note, that there 
 are extant many valuable Prints made by this 
 Mafter, not only in Chiaro-Scuro, but alfo in 
 Aqua Fortis, of which he is faid to have 
 been the Inventor : or at leaft, the firft 
 
 who 
 
3°9 
 
 Modern Majlers. 
 
 who Pradls’d the Art of Etching, in 
 Italy, 
 
 GIACOMO PALMA, Senior, common- 
 ly call’d PALMA VECCHIO, was born at 
 Serinalta, in the State o^ Venice, Anno 1508, 
 and made fuch good Ufe and Advantage of 
 the Inftruftions which he receiv’d from Titian, 
 that few Mafters are to be nam’d, who have 
 Ihewn a nobler Fancy in their Compojitions ; 
 better Judgment in their Defigns ; more of Na- 
 ture in their Expreffion, and Airs of Heads i 
 or of Art in jinijhing their Works. Venice 
 was the Place where he ufually refided, and 
 where he died, Anno 1 556, His Pieces are rEt. 48. 
 not very numerous, by reafon of his having "-J" 
 fpent much time in bringing thofe which he 
 has left behind him, to fuch wonderful Per?- 
 feflion. 
 
 DANIELE RICCIARELLI, (ix- 
 nam’d da VOLTERRA, from a Town in 
 Tufeany, where he was born. Anno 1509, was 
 a Perfon of a melancholy and heavy Temper, 
 and feem’d to be but meanly qualify’d by Na- 
 ture for an Artift : Yet by the Inftrufbions of 
 Balthafar da Siena, and his own continued 
 Application and Induftry, he furmounted all 
 Pifficulties j and at length became fo excel- 
 X 3 leq? 
 
310 
 
 3 1 o Modern Majlers. 
 
 lent a Defigner^ that his 'Def cent from the Crofs^ 
 in the Church of the trinity on the Mounts is 
 rank’d amongft the principal Pieces in Rome. 
 He was chofen by Pope Paul IV. to cloath 
 fome of the Nudities in Michael Angelovs Laji 
 judgment : which he perform’d with good 
 Succefs. He was as eminent likewife for his 
 JE.t. 57. Chifel., as his Pencil, and wrought feveral con- 
 fiderable things in Sculpture. Ob. Anno 1566. 
 
 I — ’ — * FRANCESCO SALVI API, a Floren- 
 
 ^ 5 *®' tine, born Anno 1510, was at firft a Difciple 
 of Andrea del Sarto, and afterwards of Baccio 
 BandinelU ; and very well efteem’d both in 
 Italy and France, for his feveral Works in 
 Frefco, Diftcmper, and Oil. He w^as quick at 
 Invention, and as ready in the Execution ; 
 Graceful in his Naked Figures, and as Gentile 
 in his Draperies ; yet his Talent did not lie in 
 grand Compofitions : And there are fome of his 
 Pieces in two Colours only, which have the 
 Name of being his befi; Performances. He was 
 naturally fo fond and conceited of his own 
 JVorks, that he could hardly allow any body 
 elfe a good Word : And ’ds faid, that the 
 Jealoufy which he had of fome Toung Men 
 then growing up into Reputation, made him 
 fo uneafy, that the very Apprehenfions of their 
 
 proving 
 
Modern Majlets^ 
 
 proving better Artifis than himfelf, haften’d Mt. 
 his Death, Anno 1563. 
 
 PI RRO L IG OR 10 , a noble Neapolitan, 
 liv’d in this time : and tho’ he addrefs’d hini- 
 ■felf chiefly to the Study of Archite^lme ; and 
 for his Skill in that Art was employ’d, and 
 highly encoura^d by Pope Paul IV. and his 
 Succeffbr Pius IV. yet he was withal an ex- 
 cellent Defigner ; and by the many flimous 
 Cartones which he made for ‘Papejlries, &cc, 
 
 (as well as by his Writings) gave fufficient 
 Proof, that he was more than indifferently 
 learnM in the Antiquitieis, There are feveral 
 Volumes of his Dejigns preferv’d in the Ca- 
 binet of the Duke of Savoy : of which fome 
 part confifts in a curious ColleVion of all the 
 Ships, Gallies, and other forts of VeJJels, in 
 Ufe amongft the Ancients. He was Engineer 
 to Alphonfus II. the laft Duke of Ferrara, and 
 died about the Year 1 573. yide Page 227. 
 
 GIACOMO da PONFE da BASS A- ( 
 
 NO, fo call’d from the Place where he was ^5 
 born, (in the Marca Frevifana) Anno 1510, 
 was at firfl: a Difciple of his Father •, and af- 
 terwards of Bonifacio, a better Painter, at 
 Venice : by whofe AfTiftance, and his own fre- 
 X 4 quent. 
 
312 
 
 Modern Majlers. 
 
 quent copying the Works of 'Titian.^ and Par' 
 megiano, he brought himfelf into a pleafant 
 and mod agreeable way of Colouring : but re- 
 turning into the Country, upon the Death of 
 his Father, he apply’d himfelf wholly to the 
 Imitation of Flature ; and from his Wife, 
 Children and Servants, took the Ideas of moft 
 of his Figures. His Works are very numerous, 
 all the Stories of the Old and Nezv Fejlament 
 having been painted by his Hand, befides a 
 multitude of other Hifiories. He was famous 
 alfo for feveral excellent Portraits, and parti- 
 cularly thofe of the celebrated Wits, Ludovico 
 Ariofto, Bernardo I’affo, and Torquato his Son, 
 the Prince of Modern Poets. In a word, fo 
 great was the Reputation of this Ariift at 
 Venice, that Titian himfelf was glad to pur- 
 chafe one of his Pieces (reprefenting The En- 
 trance of Noah and his Family into the Ark) at 
 a very confiderable Price. He was earneftly 
 follicited to go over into the Service of the 
 Emperor : but fo charming were the Pleafures 
 which he found in the quiet Enjoyment of 
 painting, Mufc, and good - Books, that no 
 Temptations whatfoever could make him 
 change his Cottage for a Court. He died Anno 
 Ait. ^2. '^59'^ ■> leaving behind him four Sons: of 
 
 FRAN^ 
 
Modern Majlers. 31 ^ 
 
 FRANCESCO, the Eldeft, fettled at 
 Venice ; where he follow’d the Manner of his 
 Father, and was well efteem’d, for divers 
 Pieces which he made in the "Ducal Palace, 
 and other publick Places, in Conjundtion with 
 Paul Veronefe, Fintoret, &c. But his too 
 clofe Application to Painting having render’d 
 him unfit for all other Bufinefs, and ignorant 
 even of his own private Affairs ; he contradt- 
 ed by Degrees a deep Melancholy, and at laft 
 became fo much craz’d, that fancying Ser- 
 jeants were continally in purfuit of him, he 
 leap’d out of his Window, to avoid ’em (as 
 he imagin’d) and by the Fall occafion’d his 
 own Death, Anno 1 594, Mt. 43. 
 
 LEANDRO, Fhird Son, had fo ex^ 
 cellent a Falent in Face-painting, (whichrtie 
 principally ftudied) that he was Knighted for 
 a Portrait he made of the Doge Marin Gri- 
 mani. He likewife finifh’d feveral things left 
 imperfedl by his Brother Francefco ; compos’d 
 fome Hijlory-pieces alfo of his own ; and was 
 as much admir’d for his PerfeElion in Mufic, 
 as his Skill in Painting. Obiit Anno 1623 
 AEt. 65. 
 
 GIO, 
 
CO 
 
 Modern Mafters^ 
 
 H 
 
 GIO. BA'T'TIS'TA^ tht Second Sov\^ and 
 G IROLAMO t\\t Toungefi, apply’d them- 
 ielves to making Copies of their Father*^ 
 Works ; which they did fo very well, that 
 they are oftentimes taken for Originals. Gio, 
 Battijla ddtA Anno 1613, 60 ; and Giro- 
 lamo , Anno 1622, See more of the 
 
 Bajfans, Page 230 . 
 
 — V GIAC 0 MO ROB US PI, calPd PI NT'O- 
 
 ^5^2. REPPO (becaufe a Dyerh Son) born at Ve- 
 nice, Anno 1512, was a Difciple of Pitian : 
 who having obferv^d fomething very extraor- 
 dinary in his Genius, difmifs’d him from his 
 Family, for fear he fliould grow up to rival 
 his Mafler. Yet he flill purfu’d Pitiards Way 
 of Colouring, as the moft Natural-, and fly- i 
 died Michael Angelas Gujlo of Deftgn, as the 
 mod; Correll. Venice was the Place of his 
 tonftant Abode, where he was made a Citi- 
 zen, and wonderfully belov’d, and efteem^d ' 
 for his Works 5 the Charalier of which fee 
 Page 230. He was call’d the Furious Pint or et, 
 for his bold Manner of Painting, with ftrong 
 Lights and deep Shadows for the rapidity of 
 his Genins, and for his grand vivacity of Spirit, 
 much admir’d by Paul Veronefe. But then, 
 
 on 
 
 i 
 
Modern Ma fieri. ^ i ^ 
 
 on the other hand, he was blam’d by him, 
 and all others of his Profefiion, for underva- 
 luing himfelf, and his Jrt, by undertaking 
 all forts of Bufinels for any Price ; thereby 
 making fo great a Difference in his feveral 
 Performances, that (as Hannibal Carrache ob- 
 ferv’d) he is fometimes equal to ‘Titian, and 
 at other times inferior even to himfelf. He 
 was extremely pleafant, and affable in his 
 Humour: and delighted fo much in Painting 
 and Mufic, his beloved Studies, that he would 
 hardly fiiffer himfelf to tafte any other Plea- 
 fures. He died Anno 1 594 j having had one oEt. 82. 
 Daughter and a Son : of whom the Eldefl v- --y— 
 
 MARIETTA T INTO RETT A, was 
 fo well Inflrufted by her Father, in his own 
 Profefiion, as well as in Mufic, that in both 
 Arts fhe got great Reputation : and was par- 
 ticularly eminent for an admirable Style in 
 Portraits. She marry’d a German, and died 
 in her Prime, Anno 1 590 ; equally lamented 
 both by her Hufband, and her Father ^ and 
 fo much belov’d by the latter, that he never 
 would content flie fhould leave him, tho’ Ihc 
 had been invited by the Emperor Maximilian, 
 by Philip II. King of Spain, and by feveral 
 Other Princes, to their Courts. 
 
 DOME~ 
 
Modern Majlers, 
 
 DOMENICO TINTORErrO, his 
 Son, gave great hopes in his Youth, that he 
 would one Day render the Name of Hintoret 
 yet more illuftrious than his Father had made 
 it : but neglefting to cultivate by Study the 
 talent which Nature had given him, he fell 
 fhort of thofe mighty things expefted from 
 him ; and became more confiderable for Por- 
 traits^ than Hiftorical Compojitions. He died 
 Anno 1637, uFlt, 75. 
 
 PARIS BORDONE, well defcended, 
 and brought up to Letters, Mujic, and other 
 gentile Accomplifhments, was a Difciple of Fi- 
 tian, and flourifli’d in the time of Fintoret : 
 but was more commended for the Delicacy of 
 his Pencil, than the Purity of his Out-lines. 
 He was in great Favour and Efteem with 
 Francis I. for whom, befides abundance of 
 Hijlories, he made the Portraits of feveral 
 Court Ladies, in fo excellent a Manner, that 
 the Original Nature was hardly more chamir 
 ing. From France he return’d home to Ve- 
 nice, laden with Honour and Riches ; and 
 having acquir’d as much Reputation in all 
 the parts of Italy, as he had done abroad, 
 died Anno AEt. 75. 
 
 GIORGIO 
 
Modern Mdjier's, 
 
 317 
 
 GIORGIO VASARI, born Arezzo, 
 a City in Tufcany, Anno 1514, equally famous * 5 * 4 * 
 for his Pen and Pencil, and as eminent for his 
 Skill in ArchiteHure, was a Difciple of Michael 
 Angelo, and Andrea del Sarto *, and by his in- 
 defatigable Diligence in ftudying and copying 
 all the bcft Pieces of the moll noted Arlifts, 
 improv’d his Invention and Hand to fuch a 
 Degree, that he attain’d a wonderful Freedom 
 in both. He fpent the moft confiderable part 
 of his Life in travelling over Italy', leaving in 
 all Places marks of his Induftry, and gather- 
 ing every where Materials for his Hijlory cf 
 the Lives of the moft excellent Painters, Sculp- 
 tors, ArchiteSls, &c. which he firft publilh’d 
 
 Florence, in two Volumes, Anno 1550: and 
 reprinted in 1568, with large Additions, and 
 the Heads of moft of the Mafters. A Work, 
 undertaken at the Requeft of his Patron, the 
 Cardinal de Medicis ; and, in the Opinion of 
 Flannibal Caro, written with great Veracity 
 and Judgment •, tho’ Felibien, and others, tax 
 him with fome Faults, and particularly with 
 flattering the Mafters then alive, and with 
 Partiality to thofe of his own Country. 
 died Anno 1578, 
 
 ANfO- 
 
Modern Majiers, 
 
 318 
 
 ^ jiN'TONIO MGRE,hoxniL\.Utrechti\n. 
 
 ^^ 5 ^ 9 ' tht Low-CourpfJ'ies, Anno 1519, was a Difci- 
 ple of John Schoorel, and in his younger Days 
 had feen Rome^ and fome other parts of Italy. 
 He was recommended by Cardinal Granville.^ 
 to the Service of the Emperor Charles V. and 
 having made a Portrait of his Son Philip II. 
 at Madrid, was fent upon the £ime Account 
 to the King, Queen, and Princefs of Portu- 
 gal ; and afterwards into England, to draw the 
 Pidiure of Queen Mary. From Spain he re- 
 tir’d into Flanders, where he became a migh- 
 ty Favourite of the Duke of Alva (then 
 Governor of the Lovo-Countries.) And befides 
 the noble Prefen ts and Applaufe, which he 
 gain’d in all Places by his Pencil, was as much 
 admir’d for his extraordinary Addrejs •, being 
 as great a Courtier as a Painter. His Talent 
 lay in Defigning very juftly, in finilhing his 
 Pieces with wonderful Care and Neatnefs, and 
 in a moft natural Imitation of Flejh and Blood, 
 in his Colouring. Yet after all, he could not 
 reach that noble Strength and Spirit, fo vifibie 
 in the Works of Titian, and to which Van 
 Dyck has fince arriv’d. He made feveral At- 
 tempts alfo in Hifiory-pieces \ but underftood 
 nothing of grand Compofitions j and his Manner 
 
Modern Majiers. 3/5^ 
 
 was tame, hard, and dry. He died at An- AEt. 56. 
 t'vecrp. Anno 1575. <— v— 
 
 PAOLO FARINALO, of Verona, ^ 
 
 was (it is faid) cut out of his Mother’s Belly, 
 
 I iuft dead in Labour, Anno 1522, He was a 
 I Difciple of Nicolb Golfmo, and an admirable 
 i TOefigner •, but not altogether fo happy in his 
 Colouring : tho’ there is a Piece of his Paint- 
 ing in St. George’s Church, at Verona, fo well 
 perform’d in both Parts, that it does not feem 
 to be inferior to one of Paul Veronese’s Hand, 
 which is plac’d next to it. He was famous 
 tarn Marte quam Mercurio j being an excellent 
 I Swords-man, and a very good Orator. He 
 was confiderable likewife for his Knowledge 
 in Sculpture and Architeblure, efpecially that 
 part of it which relates to Fortifications, &c. 
 
 His laft Moments were as remarkable as his 
 firft, for the Death of his neareji Relation. 
 
 He lay upon his Death-bed, Anno 1606: and 84. 
 his bVife, who was fick in the fame Room, 
 hearing him cry out. Fie was going j told 
 him. She would bear him Company : and was 
 as good as her Word they both expiring 
 the very fame Minute. 
 
 ANDREA 
 
1 
 
 320 Modern Maji en. 
 
 — • ANDREA SCHIAVONEi fo call’d 
 
 ^522. Country where he was born, Anno 
 
 1522 ; was fo very meanly defcended, that his 
 Parents, after they had brought him to Venice^ 
 were not able to allow him a Mafter : and yet 
 by great Study and Pains, together with fuch 
 Helps as he receiv’d from the Prints of Par- 
 megiano, and the Paintings of Giorgione and 
 'Titian,, he arriv’d at laft to a Degree of Excel- 
 lence very furprizing. ’Tis true indeed, that 
 being oblig’d to work for his daily Breads he 
 could not fpare time fufficient for making 
 himfelf throughly perfeft in Deftgn : but how- 
 ever, that Defe6l was fo well cover’d, with 
 the fingular Beauty and Sweetnefs of his Co- 
 lours, that Tintoret us’d oftentimes to fay, no 
 Painter ought to be without one Piece (at 
 leaft) of his Hand. His principal Works were 
 compos’d at Venice, fome of them in Con- 
 currence with Tintoret himfelf, and others by 
 the Direftions of Titian, in the Library of 
 St. Mark. But fo malicious was Fortune to 
 poor Andrea, that his Pidlures were but little 
 valu’d in his Life-time, and he never was 
 paid any otherwife for them, than as an ordi- 
 Mt. 60. EAnter : tho’ after his Deceafe, which 
 ■* happen’d Anfio 1582, his Works turn’d to a 
 ' much 
 
321 
 
 Modern Majlers. 
 
 much better Account, and were efteem’d an- 
 fwerable to their Merits, and but little infe- 
 rior to thofe of his moft famous Contempo- 
 raries. 
 
 FEDERICO BJROCCT^ born in the 
 City o^Urbin, Anno 1528, was train’d up in 
 the Art of Defign by Battijla Venetiano •, and 
 having at Rome acquir’d a competent Know- 
 ledge in Geometry., Perfpebtive, and Architec- 
 ture, apply’d himfelf to the Works of his moft 
 eminent Predeceffors : and in a particular man- 
 ner ftudied his Country- man Raphael, and 
 Correggio ; one in the charming Airs, and 
 graceful Out-lines of his Figures ; and the 
 other in the admirable Union, and agreeable 
 Harmony of his Colours. He had not been 
 long in Rome, before fome malicious Painters, 
 his Competitors, found means (by a Dofe of 
 Poifon, convey’d into a Sallet, with which 
 they treated him) to fend him back again 
 into his own Country, attended with an Indifpo- 
 fition fo terribly grievous, that for above fifty 
 Years together it feldom permitted him to 
 take any Repofe, and never allow’d him above 
 two Hours in a Day, to follow his Painting. 
 So that expedling, almoft every Moment, to 
 be remov’d into another World, he employ’d 
 Y his 
 
322 Modern Majlers. 
 
 his Pencil altogether in the Hijlories of the 
 Bible, and other Religious SuhjeSls : of which 
 he wrought a confiderable Number, in the 
 fliort Intervals of his painful Fils, and not- 
 withftanding the Severity of them, liv’d till 
 ^/. 84. 1612, with the Charafter of a Man 
 
 of Honour, and Virtue ; as well as the Name 
 of one of the moft Judicious, and Graceful 
 Painters, that has ever been. 
 
 FADDEO ZUCCHERO, born at St. 
 Angelo in Vado, in the Dutchy of Urbin, An^ 
 no 1529, was initiated in the Art of Painting 
 at home, by his Father ; and at Rome in- 
 ftrufted by Gio, Pietro Calabro: but improv’d- 
 himfelf moft by the Study of Anatomy, and 
 by copying the Works of Raphael. He ex- 
 cell’d chiefly in a florid Invention, a gentile 
 Manner of Defign, and in the good Difpojition 
 and Oeconomy of his Pieces : but was not fo 
 much admir’d for his Colouring, which was 
 generally unpleafant, and rather refembled the 
 Statues than the Life. Rome, Fivoli, Flo-- 
 rence, Caprarola, and Venice, were the Places 
 where he diftinguilh’d himfelf : but left many 
 27. things unfinilh’d, being fnatch’d away in his 
 Prime, Anno 1566. 
 
 PAOLO 
 
T 
 
 Modern Ma/iers, 323 
 
 PAOLO CALIARI VERONESE, r -^ — 1 
 born Amo 1532, was a Difciple of his Uncle ^ 53 ^* 
 Antonio Badile: and not only efteem’d the 
 mofl: excellent of all the Lombard Painters, 
 but for his copious and admirablfc Invention, 
 for the Grandeur and Majefty of his Compo- 
 fition, for the Beauty and Perfeftion of his 
 Draperies, together with his noble Ornaments 
 of Architeblure, &c. is ftyl’d by the Italians, 
 
 II Pittor felice (the happy Painter.) He fpent 
 moft of his time at Venice ; but the beft of 
 his Works were made after he return’d thither 
 from Rome, and had ftudied the Antique. He 
 could not be prevail’d upon by the great Of- 
 fers made him by Philip II. King of Spain, to 
 leave his own Country ; where his Reputa- 
 tion was fo well eftabliih’d, that moft of the 
 Princes of Europe fent to their feveral Am-. 
 bajfadors, to procure them fomcthing of his 
 Hand, at any Rates. He was a Perfon of a 
 fublime and noble Spirit, us’d to go richly 
 drefs’d, and generally wore a gold Chain, 
 which had been prefented him by the Procu- 
 rators of St. Mark, as a Prize he won from 
 feveral Artifts his Competitors. He was high- 
 ly in favour with all the principal Men in his 
 time : and fo much admir’d by all the great 
 Y 2 Mafters, 
 
3Z4' Modern Majiets. 
 
 Mafters, as well his Contemporaries, as thofe 
 who fucceeded him, that 'Titian himfelf us’d 
 to hiy, he was the Ornament ef his FrofeJJion : 
 and Guido Reni being afk’d, which of the 
 Mafters his PredecefiTors he would chafe to 
 be, were it in his Power ; after Raphael and 
 Correggio^ nam’d Paul Veronefe •, whom he 
 alv/ays call’d his Paolino. He died at Venice^ 
 Mt.^(s.Anno 1588 j leaving great Wealth behind 
 him to his two Sons 
 
 GABRIELLE and CARLO, who liv’d 
 very happily together, join’d in finiflring fe- 
 veral Pieces left imperfeft by their Father, and 
 foHow’d his Manner fo clofe in other excellent 
 things of their own, that they are not eafily 
 diftinguidi’d from thofe of Paulo’s Hand. 
 Carlo would have perform’d Wonders, had he 
 not been nipt in the Bud, Anno 1 596, ^t. 26 ; 
 after whofe Deceafe Gahrielle appTy’d himfelf 
 to Merchandizing yet did not quite lay afide 
 his Pencil, but rnade a confifderable Number 
 of Portraits, and fome Hijlory-pieces of a very 
 good Gujio. Obiit Anno 1631, JEt. 63. 
 
 BENEDETTO CALIARI liv’d and 
 fiudy’d with his Paulo, whom he lov’d 
 
 entirely ; and frequently affifted him, and his 
 
 Nephezvs, 
 
r 
 
 Modern Majlers. 32 ^ 
 
 J^ephews^ in finifhing feveral of their Compo^ 
 
 Jitions *, but efpecially in painting ArchileSIure^ 
 in which he chiefly delighted. He pradifed 
 for the mofl: part in Frefco : and fome of his 
 beft Pieces are in Chiaro-Scuro. He was be- 
 fides, Majl.er of an indifferent Stock of Learn- 
 ings was Poetically inclin’d, and had a pe- 
 culiar Laknt in Satyre. He died Anno 1598, 
 j^t, 60, See more of Paulo ^ Page 230. 
 
 GIOSEPPE SALVIALIs a Venetiam — ^ 
 Painters was born Anno 1535, and exchang’d ^ 535 - 
 the Name of PortUs which belong’d to his 
 Family, for that of his Mafter Francefco Sal- 
 viatis with whom he was plac’d very young 
 at RomCs by \\\%UncJe. He fpent the greatdl 
 part of his Life in Venices where he apply’d 
 Wmfelf generally to Frefco : and was often- 
 times employ’d in Concurrence with Paulo 
 Veronefcs and ‘Tintoret. He was well effeem’d 
 for his great Skills both in T>ejign and Colour- 
 ing *, was likewife well read in other Arts and 
 ScienceSs and particularly fo good a Mathema- 
 ticians that he writ feveral FreatifeSs very ju- 50. 
 dicioufly, on that SuhfeU. He died Anno 1585. '—"v— ^ 
 
 FEDERICO ZUCCHEROs born in < — ^ 
 the Dutchy oiUrbin, Anno 1 543, was a Difci- * 543 * 
 Y 3 pie 
 
326 
 
 Modern Majlers. 
 
 pie of his Brother l“addeo, from whom he dif- 
 fer’d but very little in his Style, and Manner of 
 Painting tho’ in Sculpture and Architediure he 
 was far more excellent. He fled into France, 
 to avoid the Pope's Difpleafure, which he had 
 incurr’d, by Drawing fome of his Officers with 
 AflTes Ears, in a Piece he made to reprefent 
 Calumny or Slander. From thence pafling 
 through Flanders and Holland, he came over 
 into England, drew Queen Elizabeth's Pidure, 
 went back to Italy, was pardon’d by the 
 Pope, and in a little time fent for to Spain, 
 by Philip II. and employ’d in the Efcurial. 
 He labour’d very hard, at his return to Rome, 
 for Eftablifhing the Academy of Painting, by 
 virtue of a Brief obtain’d from Pope Grego- 
 ry XIII. Of which being chofen the firfl: 
 Prince himfelf, he built a noble Apartment 
 for their Meeting, went to Venice to Print 
 fome Bocks he had compos’d of that Art, and 
 had form’d other Defigns for its farther Ad- 
 Mt. 66 . vancement, which yet were all defeated by 
 his Death, {nt Ancona) Anno 1609. 
 
 GIACOMO PALMA, Junior, com- 
 monly call'd G 10 VANE PALMA, horn 
 at Venice, Anno 1544, was the Son of Anto- 
 nio, the Nephew of Palma Veethio, He im- 
 prov’d 
 
327 
 
 Modern Majlers. 
 
 prov’d the InftrudUons which his Father had 
 given him, by copying the Works of the 
 mod eminent Majiers^ both of the Roman 
 and Lombard Schools ; but in his own Compo- 
 fitions chiefly follow’d the Manner of Fitian 
 and Fintoret. He fpent fome Years in Rome, 
 and was employ’d in the Galleries and Lodg- 
 ings of the Vatican : but the greateft Num- 
 ber of his Pieces is at Venice, where he ftudy- 
 ed Night and Day, fill’d almofl: every Place 
 with fomething or other of his Hand •, and 
 (like Lintorei) refus’d nothing that was offer’d 
 him, upon the lead Profpeft of Gain. He 
 died Anno 1628, famous for never having let^A 84. 
 any Sorrow come near his Heart, even upon 
 the fevereft Lryals. 
 
 BARTHOLOMEW SPRANGHER , , — " — ^ 
 born at Antwerp, Anno 1546, and brought 
 up under Variety of Majlers, was chief Pain- 
 ter to the Emperor Maximilian II. and fo 
 much refpedled by his SuccefTor Rodolphus, 
 that he prefented him with a Gold Chain and 
 Medal, allow’d him a Penfion, honour’d him 
 and his Poderity with the Title of Nobility, 
 lodg’d him in his own Palace, and* would 
 fuffer him to Paint for no body but himfelf. 
 
 He had fpent fome part of his Youth in Rome, 
 
 Y 4 where 
 
CO 
 
 28 Modern Maflen. 
 
 where he was employ’d by the Cardinal Far^ 
 nefe^ and afterwards preferr’d to the Service 
 of Pope Pius V. but for want of Judgment in 
 the Condudl of his Studies., brought little 
 with him, befides a good Pencil, from Italy. 
 Plis Out-line was generally Jliff and very un- 
 graceful •, his Poftures forc'd and extravagant j 
 and, in a word, there appear’d nothing of the 
 Roman Gufto in his Dejigns. He obtain’d leave 
 from the Emperor (after many Years Conti- 
 nuance in his Court) to vifit his own Country : 
 and accordingly went to Antwerp, Amfierdam, 
 Haerlem, and feveral other Places ; where he 
 was honourably receiv’d : and having had the 
 Satisfadlion of feeing his own Works highly 
 admir’d, and his Manner almoft univcrfally 
 follow’d in all thofe Parts, as well as in Ger- 
 mary, return’d to Prague, and died in a good 
 old Age. In the fame Form with Sprangher 
 we may place his Contemporaries, John van 
 Ach, and Jofeph Heints, both FUJI ory -Painters 
 of Note, and much admir’d in the Emperof% 
 Court. 
 
 ■* ^ MAF^HEW BRIL, was born at An- 
 twerp," Anno 1550, but Studied for the moft 
 part at Rome j and was Eminent for his Per- 
 formances in Hijlory and Laudfcape, in the 
 
 Galleries 
 
Modern Maji er s. 329 
 
 Galleries of the Vatican^ where he was em- 
 ploy’d by Pope Gregory XIII. He died 34- 
 young, Anno 1584. 
 
 CHERUBINO ALBERTI, born Anno 
 
 1552, was a Difciple of his Father ; and e- ^552- 
 qually Excellent both in Graving and Paint- 
 ing. His Performances in the latter are moft- 
 ly in Frefco : and hardly any where to be feen 
 out of Rome. But his Prints after M. Angelo, 
 Polydore, and Zucchero, being in the Hands of 
 all the World *, as They have done Honour 
 to thofe Majlers, fo they fecured a lading Re- 
 putation to himjelf. He fpent a great Part of 
 his Life in the happy Enjoyment of the Fruit 
 of his Labours : But a confiderable Eftate 
 (unluckily) falling to him, by the Death of 
 his Brother ; he laid afide his Pencil ; grew 
 melancholy : and in a ftrange, unaccountable 
 Whimjy of making Crofs-Bows, (fuch as were 
 us’d in War by the Ancients, before Gunpowder 
 was known) fool’d away the Remainder of Mt, 6 
 his Days, and died Anno 1615. 
 
 PAUL BRIL, of Antwerp, born Anno 
 1 554, follow’d his Brother Matthew to Rome, 
 painted feveral Things in conjunction with 
 him, and after his Deceafe, brought himfelf 
 
 into 
 
Modern Majlers. 
 
 into Credit by his Landfcapes : But elpecially 
 by thofe which he compos’d in his latter time j 
 (after he had Studied the Manner of Hannibal 
 Carracbe, and copied fome of 'titian's Works, 
 in the fame kind) the Invention in them being 
 more pleafant, the Hifpofition more noble, all 
 the Parts more agreeable, and painted with a 
 better Gttjlo, than thofe in his former Days. • 
 He was much in Favour with Pope Sixtus V. 
 and for his Succeflfor Clement VIII. painted 
 the famous Piece (about 68 Foot long) v/here- 
 in the Saint of that Name is reprefented caft 
 into the Sea, with an Anchor about his Neck. 
 He died at Rome, Anno 1626. 
 
 — > ANTONIO TEMPEST A, born in Flo- . 
 
 ^oSS’ >f£^ce. Anno 1555, was a Difciple of John 
 Strada, a Fleming. He had a particular Ge- 
 nius for Battels, Calvacades, Huntings, and for 
 Dejigning all forts of Animals : But did not fo 
 much regard the Delicacy of Colouring, as the 
 lively Exprejfwn, and Spirit of thofe Things 
 which he reprefented. His ordinary Refidence 
 was at Rome ; where, in his younger Days, 
 he wrought feveral Pieces by Order of Pope 
 Gregory XIII. in the Apartments of the Vati- 
 can. He was full of Thought and Invention, 
 very quick and ready in the Execution ; and 
 
 confiderable 
 
33 * 
 
 Modern Maj} er s. 
 
 confiJerable for a multitude of Prints, etch’d 
 by hhnfelf. He died Anno 1630, much com- Mt. 75. 
 mended alfo for his Skill in Mitfic : and fo 
 fimous for his Veracity ; that it became a 
 proverbial ExprefTion, to fay, It is as true, as 
 if Tempelta himfelf had fpoken it. 
 
 LOBOVICO CARRACCI, the Coufm- i 555 - 
 German of Auguflino and Hannibal, was born 
 at Bologna, Anno under his firft 
 
 Mafter, Profpero Fontana, difcover’d but an 
 indifferent Genius for Painting: but however. 
 
 Art fupply’d the Defeds of Nature, and by 
 his obflinate Diligence in ftudying the Works 
 of Parmegiano, Correggio, ‘Titian, and other 
 great Men, he brought himfelf at laft to a 
 Degree of Perfeblion hardly inferior to any of 
 them. He aflifted his Coujins in Founding, 
 and Settling i\\t famous Academy of Beftgn, at 
 Bologna ; and afterwards in Painting the Pa- 
 lazzo Farnefe, at Rome ; and having furviv’d ABt. 64. 
 them both, died Anno 1619. Vide Page 233. 
 
 AGOSTINO CARRACCI, a Bolognefe 
 alfo, was born Anno 1557, and by the Care 
 and Inflrudions of Domenico Tebaldi, Alefjan- 
 dro Minganti, and his Coufin Ludovico, be- 
 came not only a very good Defigner and Pain- 
 ter, 
 
 1557- 
 
—————— ——————— 
 
 Modern Mafiers. \ 
 
 ter ^ but in the Art of Graving furpafs’d 
 all the Mafters in his time. He had an In- | 
 fight likewife into all the Parts of the Mathe- t 
 matics^ Natural Philofophy, Rhetoric^ Mujicy li 
 and moft of the Liberal Arts and Sciences, a 
 He was befides, an admirable Poety and in all j 
 other Particulars extremely well accomplilh’d. ' 
 From Bologna he went to VenicCy where he 
 contraded an intimate Friendlhip with Paulo 
 VeronefCy A'intorety and Balfan ; and having ; 
 Grav’d a confiderable Number of their Worhy 
 return’d home, and foon afterwards follow’d 
 his Brother Hannibal to RomCy and joyn’d 
 with him in finilhing feveral Stories in the 
 Farnefe Gallery. But fome little Difference 
 arifing unluckily betwixt them, Augufiino re- 
 mov’d to the Court of the Duke of Parma, 
 
 45. and in his Service died. Anno 1602. Vide 
 ' Page 233. His moll celebrated Piece of 
 Painting, is that of the Communion of St. Je- 
 rom, in Bologna : a Pidlure fo compleat in all 
 its parts, that it was much to be lamented, 
 the excellent Author of it Ihould withdraw 
 himfelf from the Prabiice of an Art, in which 
 his Abilities were fo very extraordinary, to 
 follow the inferior Profejfwn of a Graver, 
 
 ANNF 
 
Modern Maji en. 
 
 333 
 
 ANNIBALE CARRACCI, born like- r— ^ 
 i wife at Bologna, Anno 1 560, was a Difciple of 
 his Coufin Ludovico ; and amongft his other 
 admirable Qualities, had fo prodigious a Me- 
 mory, that whatever he had once feen, he ne- 
 ver fail’d to retain, and make his own : fo 
 that at Parma, he acquir’d the Sweetnefs and 
 i Purity of Correggio ; at Venice, the Strength 
 and Dijlrihution of Colours of Lilian *, and at 
 i Rome, the CorreSlnefs of Defgn, and beauti- 
 ful Forms of the Antique : And by his won- 
 derful Performances in the Palazzo Farnefe, 
 foon made it appear, that all the feveral Per- 
 feVions of the mod eminent Majlers his Pre- 
 decejfors, were united in himlelf alone. In his 
 Converfation he was friendly, plain, honefi, 
 and open-hearted \ very communicative to his 
 Scholars, and fo extremely kind to them, that 
 he generally kept his Money in the fame Box 
 with his Colours, where they might have re- 
 courfe to either, as they had Occafion, But 
 the Unhappinefs of his Lemper inclining him 
 naturally to Melancholy ; the ill Ufage which 
 he receiv’d from the Cardinal Farnefe (who 
 through the Perfuafions of an ignorant Spa- 
 niard, his Domeflick, gave him but a little a- 
 bove 200 1 , Sterl. for his eight Years Study and 
 
 Labour; 
 
334 
 
 Modern Majleru 
 
 Labour) fo confirm’d him in if, that he re- 
 folv’d never more to touch his Pencil : and 
 had undoubtedly kept his Refoliition, had not 
 his Neceffities compell’d him to refume if. 
 Yet notwithftanding, fo far did his Chagrin 
 by Degrees gain upon him, that at certain . 
 times it depriv’d him of the right ufe of his 
 Senfes : and at laft betray’d him into fome Ir- 
 regularities^ which concealing from his Phyji- 
 dans, he met with the fame Fate as Raphael 
 (in the like Cafe) had done before him ; and 
 feem’d to Copy that great Mafter, as well in 
 the Manner of his Death, as he had Imitated 
 him all his IJf e-long in his Works. Nay, 
 fuch was the Veneration he had for Raphael, 
 that it was his Death- bed Requefl, to be bu- 
 ry’d in the very fame Pomb with him : which 
 was accordingly done in the Pantheon (or Ro- 
 Mt. £f<y.tundal) ziRome, Anno 1609. See more 
 
 233, and befides take notice, that there are 
 extant feveral Prints of the B. Virgin, and of 
 other Subjebls, etch’d by the Hand of this in- 
 comparable Artifl. 
 
 ANPONIO CARRACCI, the natural 
 Son of Aiigtifiino, was brought up under the 
 Care and Tuition of his Uncle Hannibal : af- 
 ter whofe Deceafe, he apply’d himfelf fo fuc- 
 4 cefsfully 
 
Modern Mafters, . 
 
 cefsfully to the Study of all the Capital Pieces 
 I in Rome^ that he would have furpafs’d even 
 Hannibal himfelf, if Death had not prevented 
 him. Anno i6i8, AEt. 2 ,S' 
 
 CAMILLO, GIULIO C ESA RE, and 
 CARD ANTONIO, the Sons and Difciples 
 of ERCOLE PROCACCINI, flourilh’d 
 in this time. They were Natives of Bologna, 
 but upon fome Mifunderftanding between 
 them and the Carraches, remov’d to Milan, 
 where they fpent the greateft part of their 
 Lives •, and fet up an Academy of Defign, fa- 
 mous for producing a great many excellent 
 Painters. Of thefe Brothers 
 
 CAMILLO, the Eldeft, abounded in In- 
 vention and Spirit : but was a great Mannerift, 
 and rather ftudy’d the Beauty, than Corredinefs 
 of his Defigns. He liv’d very gallantly ; kept 
 his Coach, and a numerous Retinue : and died 
 Anno 162S, AEt, 80, 
 
 GIULIO CESARE viz^hoih a Sculptor 
 and Painter, and famous in Rome, Modena, 
 Venice, Genoua, Bologna and Milan, for fe- 
 veral admirable things of his Hand. He was 
 the beft of all the Procaccini, and furpafs’d 
 
 his 
 
33 ^ 
 
 Modern Majlers. 
 
 his Brother Camillo in the l!ruth and Purity 
 of his Out-lines^ and in the Strength and Bold- 
 nefs of his Figures. He liv’d 78 Years. 
 
 CARD ANFONIO was an excellent 
 Mujiciarty and as well lliill’d in the Harmony 
 of ColourSy as of Sounds : yet not being able 
 to come up to the PerfedHons of his Brothers, 
 in Hiftorical CompofuionSy he apply’d himfelf, 
 wholly to Landfcapes and Flowers ; and was 
 much efteem’d for his Performances that way. 
 
 ERCOLEy the Son of Carl* Antonioy was 
 a Difciple of his Uncle Julio CefarCy and fo 
 happy in imitating his Mannery that he was 
 fent for to the Court of the Duke of Savoy^ 
 and highly honour’d, and nobly rewarded by 
 that Princey for his Services. He was befides 
 an .admirable Lutenifl : and dy’d 80 Years old, 
 Anno 16^6. 
 
 GIOSEPPE UARPINOy commonly 
 ^560. GIOSEPPINOy born in the 
 
 Kingdom of Naples y Anno 1 560, was carry ’d 
 very young to Romey and put out to fome 
 Painters then at work in the Vaticany to grind 
 their Colours : but the Quicknefs of his Ap. 
 prebenfwn having foon made him Mailer of 
 4 the 
 
Modern Majlers. 3 
 
 the Elements of Deftgn, he had the Fortune 
 to grow very famous by Degrees ; and be- 
 fides the Refpeil (hewn him by Pope Grego- 
 ry XIII. and his Succejfors, was fo well re- 
 ceiv’d by the French K. Lewis XIII. that he 
 made him a Knight of the Order of St. Mi- 
 chael. He has the Charader of a florid In- 
 vention, a ready Hand, and a good Spirit in 
 all his Works : but yet having no fure Foun- 
 dation, either in the Study of Nature, or the 
 Rules of Art ; and building only upon thofe 
 Chimeras, and fantaflical Ideas, which he had 
 form’d in his own Head, he has run himfelf 
 into a multitude of Errors ; and been guilty 
 of thofe many Extravagancies, necefifarily at- 
 tending fuch as have no better Guide than 
 their own capricious Fancy. Fie died at P^ome, 
 
 Anno 1640. ^ 
 
 Cavalier FRANCESCO VANNI, ^ * 
 born at Siena, in the Dukedom of Pufleany, * 5 ^ 3 - 
 Anno 1563, was a Difciple of Arcangelo Sa- 
 limheni (his Godfather) and afterwards of 
 Frederico Zucchero ; but quitted the Manner 
 he had learn’d from them, to follow that of 
 Barocci •, whom he imitated in his Choice of 
 Religious Suhjclls, as well as in his Guflo of 
 Painting, The moft confiderable Works of 
 Z this 
 
 

 3 ^ Modern Majlers. 
 
 this Mojier are in the fevefal Churches of 
 Siena \ and are much commended both for ’ 
 the Beauty of their Colourings and CorreSlnefs 
 JEt. 47. of their Deftgn. He died Anno 16 jo, having 
 been Knighted by Pope Clement VIII. for his 
 famous Pieces of' the Fall of Simon MaguSs 
 in the Vatican. 
 
 f ^ HANS ROFFENHAMERi 
 ^5 4 ' at Munichs the Metropolis of BavariUs Anno 
 1564, and after he had ftudied fome time in 
 Germany’s under Donawer, (an ordinary Pain- 
 ter) went to VenicCs and became a Difciple 
 of Fintoret. He painted both in Frefco and 
 Oils but his Falent lay chiefly in the latter, 
 and his peculiar Excellence was in little Pieces. 
 His Invention was free and eafys his Fefign 
 indifferently correSl, his Attitudes gentiks and 
 his Colouring very agreeable. He was well 
 efteem’d both in Italy and his own Country, 
 and by his Profejfion might have acquir’d great 
 Wealth 5 but was fo wonderfully extravagant 
 in his way of Living, that he confum’d it 
 much fafter than it came in, and at lafl: died 
 /Et. 40. fo poor, that his Friends were forced to make 
 a Purfe, to bury him. Anno 1 604. 
 
 MICHEL^ 
 
Modem Mafters. 339 
 
 MICHELANGELO MERIGT, born 
 Huiio 1569, at CARAVAGGIO, from 
 whence he deriv’d iris Name, was at firll (like 
 his Countryman Polydore) no better than a 
 Day-labourer j till having ft^n fome Painters 
 at work, upon a Brick-wall which he had 
 prepar’d for them, he was fo charm’d with 
 their Art, that he immediately addrefs’d him- 
 felf to the Study of it : and in a few Years 
 made fo confiderable a Progrefs, that in Ve- 
 nice, Rome, and feveral other Parts of Italy, 
 he was cry’d up, and admii’d by all the Toung 
 Men, as the Author of a new Style of Paint- 
 ing. Upon his firll: coming to Rome, his Nc- 
 cejfities compcll’d him to paint Flowers and 
 Fruit, under Cavalier Giofeppino : but being 
 foon weary of that Subject, and returning to 
 his former Praflice of Hijhries, with Figures 
 drawn to the middle only ; he made ufe of a 
 Method, quite diherent from the Conduit of 
 Giofeppino, aiic| running into the contrary Ex- 
 treme, follow*d the Life as much too clofe, as 
 the other deviated from it. He affediled a 
 IVay particular to himfelf, of deep and dark 
 Shadows, to give his Pieces the greater relie- 
 vo ', and defpifing all other Help, but what he 
 receiv’d from Nature alone, (whom he took 
 
 Z 2 with 
 
Modern Maften. 
 
 \vith all her Faults, and copy’d without Judg- 
 ment or Difcretion) his Invention became fo 
 foor^ that he could never any thing 
 
 without his Model before his Eyes ; and there- 
 fore underftood but little, either of Dejign, or 
 Decorum, in his Compofuions. He had indeed 
 an admirable Colouring, and great Strength 
 in all his Works : But thofe Figures which 
 he made in Imitation of the Manner of Geor- 
 gione, were his beft ; becaufe they are more 
 Mellow, and have nothing of that Blacknefs 
 in them, in which he afterwards delighted. 
 He was as Angular in his temper, as in bis 
 Gufio of Painting : full of Detra6Uon, and fo 
 ftrangely contentious, that his Pencil was no 
 fooner out of his Hand, but his Sword was in 
 it. Rome he had made too hot for him, by 
 killing one of his Friends, in a Difpute at Pe- 
 nis. And it was believ’d, bis Voyage x.o Mal- 
 ta was taken with no other View, but to get 
 himfelf Knighted, by the Grand Majler, that 
 he might be qualified to fight Cav, Giofeppi- 
 no : who had refus’d his Challenge, becaufe he 
 was a Knight, and would, not (he faid) draw 
 a Sword againft his Inferior. But in his re- 
 turn home (with the Pope’s Pardon in his 
 yRt. 40 Pocket) a Fever put an end to the parrel, 
 and his Life, in 1609 : a Year fatal to Paint- 
 ing, 
 
34J, 
 
 r 
 
 I 
 
 Modern Majiers. 
 
 ingt by the Death of Frederica Zucchero alfb, 
 and Hannibal Carrache. 
 
 FILIPPO d* ANGELI was a Roman, 
 born about this time ; but call’d NAPOLI- 
 'FANO, becaufe his Father carried him to 
 Naples, when he was very young. At his 
 Return to Rome, he apply’d himfelf to the 
 Antiquities ; but unhappily left that Study too 
 foon, and follow’d the Manner of his Con- 
 temporary M. Angelo da Caravaggio. He 
 praftis’d for the moft part in Battels, and 
 Landfcapes, with Figures finely touch’d ; was 
 every where well efteem’d for his Works, and 
 employ’d by feveral Princes, in many of the 
 Churches and Palaces of Rome, Naples, and 
 Venice ; at the laft' of which Places he died, 
 
 Anno Mtat. 40. 
 
 i JAN BRUEGHEL, the Son of old Pe- 
 ter, and the younger Brother cA Helfen Brueg- ^5^9‘ 
 hel, was born in Brujfels, Anno 1569, and 
 call’d FL UWE ELEN, becaufe of the Velvet 
 Garments which he generally affedted to wear. 
 
 He began his Studies at home, under Peter 
 Goe-kindt, and continu’d them in Italy, with 
 fuch Succefs, that of all the German, Dutch, 
 or Flemijh Majiers, Eljheimer only was Equal- 
 Z 3 to. 
 
342 
 
 Modern Mnjlen. 
 
 to him in Landfcapes, and lUftorks with fmall 
 Figures. He painted both in Water-Colours 
 and 0/7, but in the latter chiefly excell’d ; 
 and efpecially, in reprefenting Wakes, Fairs, 
 Dances, and other frolickfome and merry Meet- 
 ings of Country-people. His Invention was eafy 
 and pleafant, his Out-lines firm and fure, his 
 Pencil loofe and free : and in flnort, all his 
 Compojitions were fo well manag’d, that Na- 
 ture, in her plain Country Drefs, was always 
 
 ADAM ELSHEIMER,hotn ztFranck- 
 
 ■* 574 - fort upon the Mayn, Anno 1574, was at firfl: 
 a Difciple of Philip Uffenbach, a German : 
 but an ardent Defire of Improvement carry- 
 ing him to Rome, he foon became a moft ex- 
 cellent Arlifi in Landfcapes, Hijlories, and 
 Night-pieces, with little Figures. His Works 
 are very few ; and for the incredible Pains 
 and Labour which he beftow’d upon them, 
 valu’d at fuch prodigious Rates, that they are 
 hardly any where to be found, but in the Ca- 
 binets of Princes. He was a Perfon by Nature 
 inclin’d to Melancholy, and through continu’d 
 Study and Thoughtfulnefs, fo far fettled in 
 that unhappy Lemper, that neglecting his own 
 domeftic Concerns, Debts came thick upon 
 
 him 
 
343 
 
 Modern Majiers. 
 
 him, and Imprijonment follow’d : which ftruck 
 , fuch a damp upon his Spirits, that tho’ he 
 was foon releas’d, he did not long furvive it, 
 and died in the Year i6io, or thereabout, ^t. 36. 
 
 GUIDO RENT was born at Bologna, 
 
 Anno 1575, and having learn’d the Rudiments ^ 575 ' 
 of Painting, under Denis Calvert, a Flemijh 
 Mafler, was refin’d and polilh’d in the School 
 of the Carraches : and to what Degree of Ex-; 
 cellence he arriv’d, fee Page 234, He acquir’d 
 fome Skill alfo in Mujic, by the Inftrudfions 
 of his Father, an eminent Profejfor of that 
 Art. Great were the Honours he receiv’d 
 from Pope Paul V. from all the Cardinals, 
 and Princes of Italy ; from the French King 
 Lewis XIII. from Philip IV. of Spain : and 
 alfo from Uladijlaus, King of Poland and Swe- ' 
 den ; who (befides a noble Reward) made 
 him a Complement, in a Letter under his 
 own Hand, for an Europa he had fent him. 
 
 He was extremely handfome, and graceful 
 in his Perfon : and fo very beautiful in his 
 younger Days, that his Mafter Ludovico, in 
 painting his Angels, took him always for his 
 Model, Nor v./as he an Angel only in his 
 Looks, if we may believe what Cavalier Gio- 
 feppino told the Pope, when he afldd his Opi- 
 Z 4 nion 
 
344 
 
 Modern Majlen. 
 
 n’on of Guido's Performances, In the Capella 
 ^ir inale, “ Our Pictures (faid he) are the 
 “ JVo’rk of Mens Hands ; hut thefe are made 
 “ by Hands Divine.” In his Behaviour he 
 v/as modeft, gentile, and very obliging, liv’d 
 in great Splendor both at Bologna and Rome, 
 and was only unhappy in his irnmoderate 
 Love of Gaming ; to which in his latter Days, 
 he had abandon'd himfelf fo intirely, that all 
 the Money he cou’d get by his Pencil, or bor- 
 row upon Intereft, being too little to fupply 
 his Lobes, he was at laft reduc’d to fo poor 
 and mean a Condition, that the Confideration 
 of his prefent Circumftances, together with 
 Rededlions on his former Reputation, and 
 high Manner of Living, brought a langui fil- 
 ing Diftemfer upon him, which occafion’d 
 hi\s Death, Anno 1642. Note, that there are 
 jPf feveral Defigns of this great Mafter, in print. 
 Etch'd by himfelf. 
 
 — > MARCELLO PROVENZALE, of 
 
 ^ 575 ’ Cento, born Anno ^575, was a Man of fingu- 
 lar Probity and Virtue, very regular in the 
 Condudl of his Life, an able Painter, and in 
 Mefaic Works fuperior to all Mankind. Pie 
 v/as a Difciple of Paulo Roffetti, and his Co- 
 adjutor in thofe noble Perform, ances, in Sr. 
 
 Peter's 
 
Modern Mafters. 345 
 
 Peteret Church in Rome. He refitted the fa- 
 mous Ship, made by Giotto ; and added to it 
 
 ■ feveral curious Figures of his own. He re- 
 ftored alfo feme of the ancient Mofaics (bro- 
 
 ! ken, and almoft ruined by Time) to their pri- - 
 ;; mitive Beauty. But nothing got him a great- 
 er Name than his Portrait of Pope Paulo V. 
 in the Palazzo Borghefe : a Piece wrought 
 with fuch exquifite Art and Judgment, that 
 
 ■ (though it was compofed of innumerable 
 I Bits of Stone) the Pencil even of 'Titian hard- 
 i ly ever carry’d any thing to a higher Point 
 
 : of Perfedlion. He died in Rome, Anno 1 639 ; AEt. 64. 
 
 of Difeontent (it was fear’d) to find himfelf * 
 
 . fo poorly rewarded, in his Life-time, for thofe 
 I glorious Works, which he forefaw would be 
 ineftimable after his Deceafe. 
 
 GIO. BATTISTA VIOLA, ^ Bolognefe, 1 — ^ 
 born Anno 1576, was a Difciple of Hanni- * 57 ^* 
 bal Carrache, by whofe Affiftance he arriv’d 
 to an excellent Manner in Landfeape-painting, 
 which he chiefly ftudied, and for which he 
 was well efteem’d in Rome, and feveral other 
 Parts of Italy. But Pope Gregory XV. having 
 : made him Keeper of his Palace, and given him 
 j a Penften of 500 Crowns per Ann. to reward 
 j him for the Services which he had done for 
 : him 
 
34 ^ 
 
 Modern Majlers. 
 
 him, when he was Cardinal^ he quitted his 
 Pencil, and praiflifing Mufic only, (wherein ;ii 
 46. he alfo excell’d) died foon after, Anno 1622. ^ 
 
 rw — , Sir PEPER PAUL RUBENS, born 
 
 ^577' at Cologne, Anno 1577 , was the of all 
 
 the Flemifh Mafters : and would have rival’d 
 even the moft celebrated Italians, if his Pa- 
 rents, inftead of placing him under the 7\ii- 
 tion of Adam van Noort, and Otho Venius, 
 had bred him up in the Roman and Lombard 
 Schools. Yet notwithftanding, he made fo 
 good ufe of the Time he fpent in thofe Places, 
 that perhaps none of his Predecejfors can boaft 
 a more beautiful Colouring, a nobler Invention, 
 or a more luxurious Fancy in their Compoft- 
 tions : of which fee a farther Account, Page 
 236, But befides his Palent in Painting, and - 
 his admirable Skill in Architeliure, (very emi- ; 
 nent in the feveral Churches, and Palaces, 
 built after his Defigns, at Genoua) he was a 
 Perfon poflefs’d of all the Ornaments and Ad- > 
 vantages that can render a Man valuable : 
 was univerfally Learned, fpoke feven Lan- \ 
 guages very perfedlly, was well read in Hiftory, 
 and withal, fo excellent a Statefman, that he 
 was employ’d in feveral public Negotiations 
 of great Importance, which he manag’d with j 
 
 the I 
 
34 ? 
 
 ! Modern Maji en. 
 
 the moft refin’d Prudence and Conduci : and 
 was particularly famous for the Character with 
 which he was fent into England^ of Amhaf^ 
 fador from the Infanta I fabella.^ and Philip IV. 
 
 I of Spain, to King Charles I, upon a 'Treaty of 
 Peace between the two Crowns, confirm’d 
 Anno 1630. His principal Performances are 
 I in the Banquetting-houfe at White-hall, the 
 Efcurial in Spain, and the Luxemhurgh-Gal- 
 leries at Paris, where he was employ’d by 
 Queen Mary of Medicis, Dowager of Plenry 
 IV. And in each of thofe three Courts, had 
 the Honour Knighthood conferr’d upon him, 
 befides feveral magnificent Prefents, in tefti- 
 mony of his extraordinary Merits. His ufual 
 Abode was at Antwerp, where he built a 
 fpacious Apartment, in Imitation of the Ro- 
 tunda at Rome, for a noble Ccllcliion of Pic- 
 j fares, which he had purchafed in Italy : Some 
 of which, together with his Statues, Me- 
 dals, and other Antiquities, he fold, not long 
 after, to the Duke of Buckingham, his inti- 
 mate Friend, for ten thoufand Pounds. He 
 liv’d in the higheft EJleem, Reputation, and 
 Grandeur imaginable ; was as great a Patron, 
 as Mafier of his Art ; and fo much admir’d 
 all over Europe, for his many fingular Endow- 
 ments, that no Strangers of any ^ality, cou’d 
 
 pafs 
 
348 Modern Majlers, 
 
 pafs through the Low-Countries.^ till they had 
 firft feen Rubens., of whofe Fame they had 
 heard fo much. He died Anno 164,0, lea- 
 ving vafb Riches behind him to his Children j 
 of v/hom Albert the eldeft, fucceeded him in 
 the OJice of Secretary of State, in Flanders. 
 
 ORAFIO GENFILESCHI, a Native 
 of Pifa (a City in Fufcany) and a Difciple of 
 Aurelio Lomi, his Half-brother, flourifh’d in 
 this Time : and after he had made himfelf 
 known in Florence, Rome, Gencua, and other 
 Parts of Italy, remov’d to Savoy, from thence 
 went to France, and at laft, upon his Arri- 
 val in England, was fo well receivM by King 
 Charles I. that he appointed him Lodgings 
 in his Court, together with a confiderable 
 Salary, and imploy’d him in his Palace at 
 Greenwich, and other publick Places, He 
 made feveral Attempts in Face-painting, but 
 with little Succefs *, his Falent lying altogether 
 in Flifiories, with Figures as big as the Life : 
 In which kind, fome of his Compofitions have 
 defervedly met with great Applaufe. He was 
 much in Favour v/ith the Duke of Buck- 
 ingham, and many others of the Nobility : 
 And after twelve Years Continuance in this 
 
 Kingdom, 
 
Modern MaJIen. 
 
 Kingdom, died Anno Mtat. 84, and lies bu- 
 ried in the ^leen's Chapd^ in Somerfet-houfe. 
 
 ARTEMISIA GENTTLESCHI his 
 Daughter, excell’d her Father in Portraits, 
 and was but little inferior to him in Hijlories. 
 
 She liv’d for the mod part at Naples, in great 
 Splendor : And was as famous all over Europe 
 for her Gallantry, and Love-Intrigues, as for 
 her Lalent in Painting. 
 
 FRANCESCO ALBANI,^ Bolognefe, 
 horn Anno 1578, imbib’d the Principles * 57 ^* 
 of Befign (with his Friend Guido) in the 
 School of Denis Calvert. But being after- 
 wards advanc’d to that of the Carraches, he 
 foon became Majler of one of the moft a- 
 greeable Pencils in the World. He was well 
 vers’d in polite Literature, and excellent in 
 all the Parts of Painting ; but principally ad- 
 mir’d for his Performances in little. He had 
 a particular Genius for naked Figures : And 
 the better to accomplifh himfelf in that Stu- 
 dy, marry ’d a beautiful Lady of Bologna, with 
 little or no Fortune *, by whom (upon all Oe- 
 cafions) he us’d to defign naked Venus's, the 
 Graces, Nymphs, and other Goddeffes : And by 
 her Children, little Cupids playing and dan- 
 cing 
 
 to 
 
Modern Majlers. 
 
 cing in all the Variety of Pojlures imaginable. 
 He Ipent fome time at Rome^ was imploy’d 
 alfo by the Grand Duke of 1 ‘ufcany^ but com- 
 pos’d moft of his Works in his own Country ; 
 where he died, Anno 1660. 
 
 FRANCIS SNTDERS, born at An- 
 twerp, Anno 1579, was bred up under Henry 
 van Balen his Country-man •, but ow’d the 
 moft confiderable Part of his Improvement, 
 to his Studies in Italy. He painted all forts of 
 Wild-Beajls, and other Animals, Huntings^ 
 Fijh, Fruit, &c. in great Perfellion : Was 
 often imploy’d by the King of Spain, and 
 feveral other Princes, and every where much 
 commended for his Works. 
 
 DOMENICO ZAMPIERI, com- 
 monly called DOMENICHINO, well 
 defcended, and born in the City of Bologna, 
 Anno 1581, was at firft a Difciple of D. Cal- 
 vert, the Fleming : But foon quitted his School, 
 for a much better of the Carraches being in- 
 ftruded at Bologna by Ludovico, and at Rome, 
 by Hannibal, who had fo great a Value for 
 him, that he took him to his AJJiJiance in the 
 Farnefe Gallery. He was extremely laborious 
 and Jlow in his Produblions, applying himfelf 
 
Modern Maflers. 
 
 always to his Work with much Study and 
 thought fuhiefs^ and never offering to touch 
 his Pencil^ till he found a kind of Enthujiafnty 
 or Infpiration upon him. His ‘Talent lay prin- 
 cipally in the Corre£tnefs of his Style^ and in 
 expreffing the Paffwns and AfieWions of the 
 Mind. In both which he was fo admirably 
 Judicious., that Nicolb Poujftn, and Andrea Sae^ 
 chi us’d to lay, his Communion of St, Jerome^ 
 
 (in the Church of the Charity) and Raphael's 
 celebrated Piece of the Transfiguration., were 
 the two bell PiAures in Rome. He was made 
 the chief Architedl of the ApoftoUcal Palace., 
 by Pope Gregory XV, for his great Skill in 
 that Art. He was likewife well vers’d in the 
 Theory of Mufic, but in the Pradlice of it had 
 little Succefs. He had the Misfortune to find 
 Enemies in all Places, where-ever he came, 
 and particularly at Naples was fo ill treated 
 by thofe of his own Profejfion, that having 
 agreed among themfelves to difparage all his 
 Works, they would hardly allow him to be a 
 tolerable Majler : and were not content with 
 having, frighted him, for fome time, from that 
 City, but afterwards, upon his return thither, 
 never left perfecuting him, till by their Tricks 
 and Contrivances they had quite weary’d him 
 out of hisZ.//^, Anno 1641, not without Su- v— 
 
 fpicion 
 
Modern Majlers. ’ ; 
 
 fpicion of Poifon. Vide Page 234. His Coh~ ^ \ 
 temporary^ and mod malicious Enemy 'n , 
 
 GIOSEPPE RIBERA, a Native of 
 Valencia, in Spain, commonly known by the 
 Name of SPAGNOLEPTO, was an Ar^ ; 
 tiji perfedl in Dejign, and famous for the ex- ; 
 eellent Manner of Colouring, which he had 
 learn’d from Michael Angelo da Caravaggio. 
 
 His }Vay was very often in Half-Figures only, ■ 
 and (like his Mafter) he was wonderfully | 
 ftridt in following the Life ; but as ill-natuVd 
 in the Choice of his Subjedls, as in his Behavi- \ 
 our to poor Domenichino j alfefting generally 
 Ibmethifig very terrible and frightful in his 
 Pieces, fuch as Prometheus with the Vulture \ 
 feeding upon his Liver, Cato Uticencis welter- i 
 
 ing in his own Blood, St. Bartholomew with !j 
 
 the Skin flay’d off from his Body, &c. But | 
 however^ in all his Compofitions, Nature was 
 imitated with fo much Art and Judgment, that • 
 a certain Lady, big with Child, having acci- ; 
 dentally caft her Eyes upon an Ixion, whom 
 he had reprefented Lorture upon the Wheel, j 
 receiv’d fuch an Imprefflon from it, that die 
 brought forth an Infant, with Fingers diftort- * 
 ed, jufl: like thofc in his PiUure. His ufual | 
 Abode was at Naples^ where he liv’d very I 
 2 fplendidly, I 
 
Modern Majlers. 3 
 
 fplendidly, being much in favour with the 
 Viceroy^ his Countryman •, and in great Repu- 
 tation for his Works in Painting, and for fe- 
 veral Prints etch’d with his own Hand. 
 
 Cavalier GIOVANNI LANFRAN- 
 CO, born at Parma (on the fame Day with 15^^’ 
 Domenichino) Anno 1581, was a Difciple of 
 the Carraches : and befides a zealous Imitator 
 of the Works of Raphael and Correggio. His 
 CharaBer fee Page 235. He was highly ap- 
 plauded at Naples, for feveral excellent Pieces 
 which he wrought there ; and was much 
 efteem’d in Rome, that for his Performances 
 in the Vatican, he was Knighted by Pope 
 Urban VIII. He died Anno 1647. 55^ 
 
 SISTO BADALOCCm, his Fellow- 
 Difciple, was of Parma alfo ; and by the 
 Inftrudions of the Carraches, at Rome, be- 
 came one of the beft Defigners of their School. 
 
 He had alfo many other commendable pa- 
 nties, and particularly Facility ; but W'anted 
 Diligence. He join’d with his Countryman 
 Lanfranc, in Etching the Hiftories of the 
 Bible, after the Paintings of Raphael, in the 
 Vatican-, which they dedicated to Hannibal, 
 
 A a their 
 
 
354 
 
 1582. 
 
 Modern Majlers. 
 
 their Mifler. He praflifed moflly at Bologna. 
 where he died young. 
 
 1 
 
 SIMON VOUETy born Paris y Anno 
 
 1582, was bred up to Painting under his Fa- 
 ther, and carry’d very young to Conjlantinople, 
 by Monfieur de Sancy the French Ambaflador, 
 to draw the Pillure of the Grand Signior *, 
 which he did by Strength of Memory only. 
 From thence he went to VenicCy and after- 
 wards fettling himfelf at RomCy made fo con- 
 fiderable a Progrefs in his Arty that befides 
 the Favours which he receiv’d from Pope Ur- 
 ban VIII. and the Cardinal his Nephew, he . 
 was chofen Prince of the Roman Academy of 
 St. Luke. He was fent for home Anno 1627, » 
 
 ’ by the Order of Lewis XIII. whom he ferv’d ■ 
 in the Quality of his chief Painter. He prac- 
 tifed both in Portraits and Hifiories : and fur- 
 nifli’d fome of the Apartments of the Louvre, 
 the Palaces of Luxemburghy and St. Germains, ' 
 the Galleries of Cardinal RichelieUy and other | 
 public Places, with his Works. His greateft 
 Perfebiion was in his agreeable Colouringy and * 
 his brisk and lively Pencily being other wife 
 but very indifferently qualify’d. He had no 
 Genius for grand CompofttionSy was unhappy irt | 
 his Invention, unacquainted with the Rules of pi 
 
 Per-'- 
 
 i 
 
Modern Mafters. 3^5 
 
 Perfpe5lhe, and underftood but little of the 
 Union of Colours^ or the Do5irine of Lights 
 and Shadows. Yet neverthelefs he brought 
 up feveral eminent Difciples ; and had the 
 Honour to Inftruft the KING himfelf, in 
 the Art of Leftgn. He died Anno 1641. . Mt. 59.’ 
 
 PELER van LAER, commonly call’d 
 BAMBOCCIO, (upon Account of his difa- * 5 ^ 4 - 
 greeable Figure^ with long Legs, a Ihort Body, 
 and his Head funk down into his Shoulders) 
 was born in the City of Haerlem, Anno 15S4: 
 and after he had laid a good Foundation in 
 Drawing and Perfpeliive at home^ went to 
 France, and from thence to Rome *, where by 
 his earneft Application to Study, for fixteen 
 Years together, he arriv’d to great Perfedlion 
 in Fliji cries, Landfcapes, Grottos, Huntings, 
 
 See. With little Figures, Animals. He 
 had an admirable Gujlo in Colouring, was 
 very Judicious in the Ordering of his Pieces, 
 nicely ju§i in his Proportions *, and only to be 
 blam’d for affecting to reprefent Nature in 
 her worfl: Drefs, and following the Life too 
 jclofe, in moft of his Compojitions. He re- 
 turn’d 10 Amfterdam, Anno 1639: and after 
 a fhort Stay there, fpent the Remainder of 
 his Days with his Brother, a noted School- 
 A a 2 Majler, 
 
Modern Majlen. 
 
 Mafier^ in Haerlem. He was a Perfon very 
 ferious and contemplative in his Humour *, took 
 Pleafure in nothing but Painting and Mufic : 
 and by indulging himfelf too much in a me- 
 ySt. Co. lancboly Retirement., is faid to have llaorten’d 
 his Life., Anno 1 644. 
 
 DOMENICO FELLI was bred up un- 
 der Lodovico Civoli, in Rome^ where he was 
 born, Anno 1589: But attending Cardinal 
 Ferdinand Gonzaga, afterwards Duke of Man- 
 toua, to that City, by ftudying the Works of 
 fulio Romano, he became an excellent Imita- 
 tor of that great Majler. From thence he 
 went to Venice, to enlafge his Notions, and 
 improve himfelf in Colouring : but broke his 
 Conflitution fo much by difordeily Courfes, 
 that he died in his Prime, Anno 1624. 
 
 CORNELIUS POELENBURCH, 
 ^ 59 °* born at Utrecht, Anno 1 590, was a Difciple 
 of Abraham Blomaert, and afterwards, for a 
 long time, a Student in Rome and Florence. 
 His Falent lay altogether in fmall Figures, na- 
 ked Boys, Landfcapes, Ruins, &c. which he 
 exprefs’d with a Pencil very agreeable, as to 
 the Colouring Part : but generally attended 
 with a little Stiffnefs, the (almoft infeparable) 
 
 Companion 
 
1590 . 
 
 Modem Majlers. 3 57 
 
 Companion of much Labour and Neatnefs. 
 However, Rubens was fo well pleas’d with his 
 PiclureSy that he defir’d Sandrart to buy fome 
 of them for him. He came over into Eng- 
 land^ Anno 1637 ; and after he had continu’d 
 here four Years, and been handfomely re- 
 warded by King Charles I. for feveral Pieces., 
 which he wrought for him, return’d into his 
 own Country, and died Anno i 66 y. JEt, 77. 
 
 CcrvalierGIO. FRANCESCO BARBl 
 ERI da CENTO, commonly call’d GUER- 
 Cl NO, (becaufe of a Caft he had with one 
 of his Eyes) was born near Bologna, An. 1 590, 
 and bred up under Benedetto Gennari his Coun- 
 tryman : by whofe Infiru&ions, and the Die- 
 tates of his own excellent Genius, he foon 
 learn’d to Oefign gracefully, and with Correbi- 
 nefs ; and by converfing afterwards with the 
 Works of Michael Angelo da Caravaggio, and 
 the Carraches, became an admirable Colourifl, 
 and befides, very famous for his happy Inven- 
 tion, and Freedom of Pencil ; and for the 
 Strength, Relievo, and becoming Boldnefs of 
 his Figures. He began, in the Declenjion of 
 his Age, to alter his Style in Painting : and (to 
 pleafe the unthinking Multitude, rather than 
 himfelf) took up another Manner, moxtgay, 
 A a 3 neat. 
 
35S 
 
 Modern Majicn. 
 
 neat, and pleafant ; but by no means fo grand 
 and fo natural, as his former Gu(lo. He was V' 
 fent for to Rome, by Pope Gregory XV. and 
 after two Years fpent there, with univerfal 
 Applaufe, return’d home : and could not be 
 drawn from thence, by the raoft powerful In- 
 vitations either of the King of England, or 
 the French King. Nor zoxM-Chriftina, Queen 
 of Sweden, prevail with him to leave Bologna ; 
 tho’ in her Paflage through it, fhe made him 
 a Vifit ; and would not be fatisfy’d, till fire 
 had taken him by the Hand, 'That Hand ((he 
 laid) that had painted CVI. Altar-Pieces, 
 CXLIV. Pidlures for People of the firll Qua- 
 lity in Europe •, and befides, had compos’d 
 X. Books of Dejigns. He receiv’d the Flonour 
 of Knighthood from the Duke of Mantoua : 
 And for his exemplary Piety, Prudence, and 
 Morality, was every where as much efteem’d, 
 as for his Knowledge in Painting. He died a 
 yS/. 76. Batchelor, Anno 1666, very rich, notwith- 
 Handing the great Sums of Money he had • 
 expended, in Building Chapels, Founding 
 Hofpitals, and other Adis of Charity, 
 
 r— ^ NICOLO PUSSINO, the French Ra- 
 
 ^ 594 ' pkiael, was the Defcendent of a noMe Family in i- 
 Picardy j but born at Andely, a Town in Nor^ i : 
 
 mandy, f ; 
 
 i 
 
Modern Maji er s, 
 
 mandy. Anno iS 9 A- He was feafon’d In Li- 
 teralure at home, inftrudled in the Rudiments 
 of Dejign at Paris., learn’d the Principles of 
 Geometry, PerfpedHve and Anatomy, at Rome, 
 pradlifed after the Life in the Academy of Do- 
 menichino, and ftudy’d the Antiquities in Com- 
 pany with the famous Sculptor, Francefco 
 Fiammingo, who was born in the fame Year, 
 and lodg’d in the fame Houfe with him. His 
 Way (for the moft part) was in Hijlories, 
 with Figures about two or three Foot high •, 
 and his Colouring inclin’d rather to the An- 
 tique-Marble, than to Nature: but in all the 
 other Parts of Painting, he was profoundly 
 Excellent ; and particularly the Beauty of his 
 Genius appear’d in his nice and judicious Ob- 
 fervation of the Decorum in his Compojitions ; 
 and in exprejfmg the Paffions and Affeblions 
 with fuch incomparable Skill, that all his 
 Pieces feem to have the very Spirit of the 
 Ablion, and the Life and Soul of the Perfons 
 they reprefent. He had not been in Rome 
 above fix teen Years, before his Name became 
 fo univerfally celebrated, that Cardinal Rich- 
 lieu refolving to Advance the noble Arts in 
 France, prevail’d upon him (by means of an 
 obliging Letter, written to him, by Lewis 
 XIII. himfelf. Anno 1639) to return to his 
 A a 4 own 
 
360 
 
 Modem Mafters. 
 
 own Country : where he was receiv’d with all 
 poffible Demonftrations of Efteem^ was de- 
 clar’d Firft Fainter to the King^ had a confi- 
 derable Fenfion appointed him, was employ’d 
 in feveral fublic Works, and at laft undertook 
 to Faint the Grand Gallery of the Louvre. 
 But the King and Cardinal both dying, in the 
 time that he v/ent back to fettle his Affairs in 
 Italy, and bring his Family from thence *, he 
 quite laid afide the Thoughts of returning any 
 71. more to France, and ended his Days in Rome^ 
 Anno 1665 : having for fome Years before his 
 Dtceafe, been fo much fuble< 5 t to the Falfte, 
 liiat the EfFc( 5 ts of his unfteddy Hand are vifi- 
 ble in feveral of his Dejlgns. 
 
 r— / — ^ FIE FRO BE RE TLINI, of Cortona^ 
 
 ^ 59 ^' in Fufcany, was born Anno 15^6', brought up 
 in the Houfe of Sachetti, in Rome and a 
 Difciple of Baccio Ciarpi. Fie was univerfally 
 applauded for the vafl Extent of his Genius, 
 the Vivacity of his Imagination, and an in- 
 credible Facility in the Execution of his 
 Works. His Latent lay in Grand Ordonnances : 
 and tho’ he was Uncorredt in his Defign, In- 
 judicious in his Expreflion, and Irregular in 
 his Draperies, yet thofe Defedts were fo hap- 
 pily atton’d for, by the Magnificence of his 
 
 Com- 
 
361 
 
 Modern Mafiers. 
 
 Compofitions, the fine Airs of his Figures, 
 the Noblenefs of his Decorations, and the fur- 
 prifing Beauty and Gracefulnefs of the Whole- 
 together ; that he is allow’d to have been the 
 moft agreeable Manneriji, that any Age has 
 produc’d. He praftis’d both in Frefco and 
 Oil: But it was in the firfl: he chiefly ex- 
 cell’d ; tho’ admirable alfo in t’other. His 
 principal Performances are on the Ctelings, 
 and Walls, of the Churches and Palaces of 
 Rome, and Florence. And for thofe (few) 
 things of his Hand, that adorn the Cabinets 
 of the Curious, They are beholden to his ill 
 State of Health for them ; becaufe he hardly 
 ever made an Eafel-piece, but when a Fit of 
 the Gout confin’d him to his Chamber. Fie 
 was handfome in his Perfon: and to his ex- 
 traordinary Qualities in Painting joyn’d thofe 
 of a perfectly honefi Man. He was in great 
 Efteem with Pope Urban VIII. 'Innocent X. 
 and moft of the Perfons of prime Quality in 
 Italy, for his confummate Skill in ArchiteSure, 
 as well as for his Pencil : And having receiv’d 
 the Honour of Knighthood from Po'^t Alexan- yEt. 73. 
 der Yli. died 1669. 
 
 Sir ANFHONY VAN BTCK was r— 
 born at Antwerp, Anno 1599: and gave fuch ^ 599 - 
 
 earl y 
 
362 
 
 Modern Majlers. ;■ 
 
 early Proofs of his moft excellent Endowments^ I 
 that Rubens (his Mqfter) fearing he would be- ' 
 come as Univerfal as himfelf, to, divert him 
 from Hijlories^ us’d to commend his ’Talent 
 in Painting after the Life^ and took fuch Care 
 to keep him continually employ’d in Bufinefs 
 of that Nature, that he refolv’d at laft to 
 make it his principal Study ; and for his Im- 
 provement went to Venice^ where he attain’d 
 the beautiful Colouring of Titian, Paulo Ve- 
 ronefe, &c. And after a few Tears fpent in 
 Rome, Genoua, and Sicily, return’d home to 
 Flanders, with a Manner of Painting, fo noble, 
 natural, and eafy, that Titian himfelf was hard- 
 ly his Superior, and no other Mafier in the 
 World Equal to him for Portraits. He came 
 over \t\io' England, foon after Rubens had left 
 it, and was entertain'd in the Service of King 
 Charles I. who conceiv’d a marvellous Eftcem 
 for his Works', honour’d him with Knight- 
 hood ’, prefented him with his own Pibhire, 
 fet round with Diamonds ; affign’d him a con- 
 fiderable Penfion fat very often to him, for 
 his Portrait', and was follow’d by moll of the 
 Nobility, and principal Gentry of the Kingdom,. 
 He was a Perfon low of Stature, but well- 
 proportion' d ', very handfome, modefi, and ex- 
 tremely obliging a great Encourager of all fuch 
 
 as 
 
3^3 
 
 Modern Maflers. 
 
 as excelled in any Art or Science, and Generous 
 to the very laft Degree. He marry’d one of 
 the faireft Ladies of the Englijh Court, Daugh- 
 ter of the Lord Ruthen Earl of Gowry, and 
 liv’d in State and Grandeur anfwerable to her 
 Birth : His own Garb was generally very rich, 
 his Coaches and Eqtiipage magnificent, his Re- 
 tinue numerous and gallant, his Table very 
 Iplendid ; and fo much frequented by People 
 of the beft ^ality of both Sexes, that his 
 Apartments feem’d rather to be the Court of a 
 Prince, than the Lodgings of a Painter. He 
 grew weary, towards the latter end of his 
 Life, of the continu’d trouble that attended 
 Face-Painting ; and being defirous of Imm.or- 
 talizing his Name, by fome more glorious Un- 
 dertaking, went to Paris in hopes of being 
 employ’d in the Grand Gallery of the Louvre : 
 but not fucceeding there, he return’d ^hither ; 
 and propos’d to the King fby his Friend, Sir 
 Kenelm T)igby') to make Cartones for the Ban- 
 queting-Houfe, at White-hall: the Subjedf of 
 which was to have been the Inftitution of the 
 Order of the Garter, the Procejfwn of the 
 Knights in their Habits, with the Ceremony of 
 their Injlallment, and St. George's Feafi. But 
 his Demands of fourfcore thoufand Pounds, 
 being thought unreafonable, whilft the King 
 
 was 
 
(>5 
 
 64 Modern Majlers. 
 
 was upon treating with him for a lefs Sum, \ 
 the Gout, and other Diftcmpers, put an end 
 Mt. 42. to that Affair, and his Life, Anno 1641 ; and 
 his Qody was intcrr’d in St. Faul*& Church. 
 
 See farther, Page 237. And note, thatamongft 
 the Portraits of Illuftrious Perfons, See. print- 
 ed and publifh’d by the particular Diredlions 
 of this Great Majter, fome were Etch’d in 
 Aqua- forth, with his own Hand. 
 
 GIO. BENE BELLO CASLIGLIONE, 
 a Geitouefe, was at firft a Difciple of Battifia 
 Paggi, and Ferrari, his Countrymen ; im- 
 prov’d himfelf afterwards by the Inftruftions 
 of Van Byck, (as long as he continu’d in Ge- 
 mua) and at lafl: became an Imitator of the 
 Manner of Nicolo Pouffin. He was commend- 
 ed for feveral very good Prints of his own 
 Etching : but in Painting his Inclinations led 
 him to Figures, with Landfeapes and Animals *, 
 which he touch’d up with a great deal of 
 Life and Spirit ; and was particularly remark- 
 able for a brisk Pencil, and a free Handling in 
 all his Compofitions. He was a Perfon very 
 unfettled in his Lemper, and never lov’d to 
 ftay long in one Place : but being continually 
 upon the Ramble, his Works lie fcatter’d up 
 and down in Genoua, Rome, Naples, Venice, 
 
 Parma, 
 
Modern Majlers. 
 
 Parma, and Mantoua : at which lafb Place 
 he died. 
 
 36: 
 
 VIVIANO CODAZ ZO, generally 
 call’d VIVIANO dalle PROSPEVVIVE, ^ 599 - 
 was born at Bergamo, in the Venetian Terri-_ 
 tories, Anno 1599. And by the Inftrudtions of 
 Augujiino Tajjo his Matter, arriv’d to a moft 
 excellent of painting Buildings, Ruins, 
 
 &c. His ordinary Refidence was at Rome, 
 where he died. Anno 1674, and was buried in Ait. 75. 
 the Church of S. Lorenzo in Lucina. He had 
 a Son call’d Nicolb, who purfu’d his Father's 
 Steps, and died at Genoua, in great Reputa- 
 tion for his Performances in Perfpedlive. 
 
 1599* 
 
 MARIO NUZZI, commonly call’d 
 MARIO dai FIORI, born at Orta in the 
 Terra di Sabina, was a Difciple of his Uncle 
 Tomafo Salini, and one of the mott famous 
 Mafters in his Time, for painting Flowers. 
 
 He died in Rome, (where he had fpent great 
 Part of his Life) and was alfo bury’d in S. jEt. 75. 
 Lorenzo'^ Church, Anno 1672. 
 
 MICHELANGELO CER^OZZI, 
 was born in Rome, Anno 1600, and bred up 
 in the Sclpool of Antonio Sahatti, a Bolegnefe. 
 
 I-Ie 
 
366 
 
 Modern Maji er s. 
 
 He was call’d dalle BAT'TAGLIE^ from , 
 his excellent Talent in Battels ; but befides his ; 
 great Skill in that particular Subject, he was 
 very fuccelsful in all forts of Figures^ and 
 painted Fruit incomparably beyond any Ma- 
 JBt. (so.fter in his Time. He was buried in the Choire 
 of S. Maries Church, in Rome^ Anno 1660. 
 
 1600. 
 
 CLAUDIO CILLE of LORAIN, 
 born Anno 1600, was by his Parents fent 
 very young to Rome : and after he had been 
 grounded in the Elements of Defign, and the 
 Rules of Perfpeblive, under Auguftino Faffo, 
 he removed his Study to the Banks of the 
 ^yber, and into the open Fields ; took all his 
 Lejfons from Nature herfelf, and by many 
 Years diligent Imitation of that excellent Mi- 
 ftre/s, climb’d up to the higheft Step of Per- 
 fediion in Landfcape-painting : And was uni- 
 verfally admir’d for his pleafant and moft a- 
 greeable Invention •, for the Delicacy of his Co- 
 louring, and the charming Variety and Fender- 
 nefs of his Fints ; for his artful Dillrihution od 
 the Lights and Shadows, and for his wonderful 
 Condudl in difpojing his Figures, for the Ad- 
 vantage and Harmony of his Compofttiens. He 
 was much commended for feveral of his Per- 
 formances in Frefco, as well as Oil •, was em- 
 4 ploy’d 
 
367 
 
 Modern Mafters. 
 
 ploy’d by Pope Urban VIII. and many of ihe 
 Italian Princes, in adorning their Palaces : 
 And having by his Pencil (and a great many 
 Prints^ etch’d with his own Pland) made his 
 Jdlame famous throughout Europe ^ died Anno 
 1682, and was interr’d in the Church di 
 Hrinita de Monti^ in Rome. 
 
 1600. 
 
 GA S PA RO DUG H was of French 
 Extradion, but born in Rome., Anno 1600, 
 
 He took to himfelf the Name of POUSSINy 
 in Gratitude for many Favours^ (and particu- 
 larly that of his Education) which he receiv’d 
 from Nicolb Poufftn, who married his Sifier. 
 
 Elis firft Employment under his Brother-in- 
 Law, was in looking after his Colour Sy Pencils, 
 
 &c. but his excellent Genius for Painting foon 
 difcovering itfelf; by his own Indufiry, and 
 bis Brother’s Injtruciions, was fo well im- 
 prov’d, that in Landfcapes (which he princi- 
 pally ftudied) he became one of the greateft 
 ■Majlers in his.^^^; and was much in Re- 
 queft for his eafie Invention, /olid Judgment, 
 regular Difpofttion, and true Refemblance of Na- 
 ture, in all his Works. He died in his great 
 Climablerical Year, 1663, and was buried m/Et. 63. 
 his Parijh-Chwch of S. Sufanna, in Rome. 
 
 ANDREA 
 
Modern Majlcrs. 
 
 ANDREA SACCHR born in Rome^ An^ 
 no i6oi, was the Son of ^Painter, but under 
 the Condudl of Cavalier Giofeppino (a Mafter 
 of greater Fame) by incredible Diligence he 
 made fuch Advances, that before he was 
 twelve Years of Age, he carry’d the Prize, in 
 the Academy of St. Luke^ from all his (much 
 older) Competitors. With this Badge of Ho- 
 nour, they gave him the Nick-Name of An- 
 dreuccioy to denote the diminutive Figure he 
 then made, being a Boy. And though he 
 grew up to be a tall, graceful, and well pro- 
 portion’d Man, yet he ftill retain’d the Name 
 of Little Andrew, almoft to the Day of his 
 Death. His Application to the Chiaro-Scuros 
 of Polydore, to the Paintings of Raphael, and 
 to the antique Marbles ; together with his 
 Studies under Albani, and his Copies after 
 Correggio, and others, the beft Lombard Ma- 
 Jiers, were the feveral Steps by which he 
 rais’d himfelf to mighty Perfection in Hifio- 
 rical Compqfitions. The three firft gave him 
 his CorreHnefs, and Elegance of Defign: and 
 the laft made him the beft Colourijl of all the 
 Roman School. His Works are not very nume- 
 rous, by reafon of the Infirmities that attend- 
 ed him in his latter Years : And more efpe- 
 
3^9 
 
 Modern Mnjiers. 
 
 cially the Gout, which often confin’d him to 
 his Bed for feveral Months together. And 
 befides, he was at all times very flow in his 
 Performances ; becaufe he never did any thing 
 (he faid) but what he propofed fhould be feen 
 by Raphael and Hannibal ; which laid a Re- 
 ftraint upon his Hand, and made him proceed 
 with the utmoft Precaution. His firft Pa- 
 trons were the Cardinals Antonio Barberini^ 
 and del Monte^ the Protebfor of the Academy 
 of Painting. He became afterwards a great 
 Favourite of Pope Urban VIII. and drew a 
 Piblure of him, which (with fome other 
 things, he painted after the Life) may ftand 
 in competition with whatever has been done 
 by the mod renowned for Portraits. He was 
 a Perfon of a noble Appearance, grave, pru- 
 dent, and in Converfation very entertaining. 
 
 He was moreover an excellent ArchiteSly and 
 for many other rare Qualities dy’d much k- 6 o. 
 mented. Anno i66i. -v— -* 
 
 PADRE GIACOMO CORLESI, 
 commonly call’d, the BORGOGNONE, 
 from the Country where lie was born, about 
 the Year 1 605, was highly applauded for his 
 admirable Gufto.^ and grand Manner of paint- 
 ing Battels. He had for feveral Years been 
 B b converfant 
 
37 ^ Modern Majlers. 
 
 converfant in Military Affairs, was a confi- 
 derable Officer in the Anny, made the Camp 
 his School, and form’d all his excellent Ideas 
 from what he had feen performed in the Field. 
 His Style was roughly noble, and [Soldier like) 
 full of Fire and Spirit ; as is fufficiently evi- 
 dent even in the few Prints which he EtcFd. 
 He retir’d, towards the latter End of his 
 Life, into the Convent of the Jefuits, in Rome', 
 where he was forc’d to take SanSluary (they 
 fay) to rid his Hands of an ill Bargain, he 
 had got in a Wife : But happily furviving 
 her; he liv’d till after the Year 1675, in 
 great Efteem and Honour. 
 
 GUGLIELMO COR^FESI, his Bro- 
 ther, was alfo a Painter of Note : And ha- 
 ving been bred up in the School of Peter Cor- 
 tona, fhew’d how well he had fpent his Time 
 there, by his Performances in feveral of the 
 Churches and Palaces of Rome. 
 
 REMBRANBr VAN RTN, born 
 near Leyden, Anno 1606, was a Difciple of 
 1606. Lafman of Amfterdam. He had an excellent 
 Difpofition for Painting. His Vein was fruit- 
 ful, and his Thoughts fine and lively. But 
 having fuck’d in, with his Milk, -the bad 
 
 Tafte 
 
Modern Ma/iers. 
 
 Tafte of his Country, and aiming at nothing 
 beyond a faithful Imitation of the living 
 (heavy) Nature^ which he had always before 
 his Eyes, he form’d a Manner entirely new, 
 and peculiar to himfelf. He prepar’d his 
 Ground with a Lay of fuch friendly Colours 
 as united, and came neareft to the Life. 
 Upon this he touch’d in his Virgin Tints 
 (each in its proper Place) rough, and as little 
 difturb’d by the Pencil, as poflible : And with 
 great Maffes of Lights and Shadows rounding 
 off his Figures, gave them a Force and Frefb- 
 nefs, that was very furprifing. And indeed, 
 to do Juftice to the predominant Part of his 
 CharaSler^ the Union and Harmony in all his 
 Compojitions is fuch, as is rarely to be found in 
 other Majlers. He drew abundance of Por- 
 traits^ with wonderful Strength, Sweetnefs, 
 and Refemblance : and even in his Etching 
 (which was dark, and as particular as his Style 
 in Painting) every individual Stroke did its 
 Parr, and exprefs’d the very Flefh, as well as 
 the Spirit of the Perfons he reprefented. A- 
 greeable with all the reft, was the Singularity 
 of his Behaviour. He was a Man of Senfe 
 and Subfiance *, but a Humourijl of the firft 
 Order. He affeded an old-fafhion’d, flo- 
 venly Drefs, and 'delighting in the Conver- 
 B b 2 fation 
 
 CO 
 
Modern Mdjiefs. 
 
 fation of mean and pitiful People, reduc’d 
 his Fortunes at laft to a Level with the poor- 
 ^2. eft of his Companions. He died Anno 1668 ; 
 for nothing more to be admir’d, than for his 
 having heap’d up a noble Treafure of Italian 
 Prints and Drawings^ and making no better 
 Ufe of them. 
 
 GEE Part DOU, bom at L^den, was 
 a Difciple of Rembrandt, but much pleafanter 
 in his Style of Painting, and fuperior to him 
 in little Figures. He was efteem’d in Holland 
 a great Majler in his Way : and though we 
 muft not expeft to find in his Works that E- 
 levation of Fhought, that Corretlnefs of Dejign, 
 or that noble Spirit, and grand Gufio, in which 
 the Italians have diftinguilh’d themfelves from 
 the reft of Mankind ; yet it muft be acknow- 
 ledg’d, that he was a careful and juft Imitator 
 of the Fife ; exceedingly happy in the Ma- 
 nagement of his Pencil ; and in finifliing his 
 Pieces curious, and patient beyond- Example. 
 He dy’d about the Year 1674, leaving be- 
 hind him many Scholars, of whom 
 
 FRANCIS M IERIS, the Chief, pur- 
 fued his MaJiePs Steps very clofe, and in time 
 furpafs’d him : Being more correlt in his Out- 
 line, 
 
r 
 
 Modern Makers, 
 
 linSy more bright in his Colourings and more 
 graceful in his Compojitions. Wonderful Things 
 were expedted from his promifing Genius : 
 But Intemperance, and a thoughtlefs, random 
 way of Living, cut him off, in the very Flozver 
 of his dge. Anno 1683. As for the reft of 
 the Difciples and Followers of Dou^ their 
 Works having nothing to recommend them, 
 but only an elaborate Ncatnefs^ we may pro- 
 perly place them in the fame Form with the 
 cunning Fools mention’d Page 138. 
 
 GODFRIDUS SCHALCKEN how^ 
 ever muft be excepted out of this Number ; 
 who in fmall Night-pieces, and Reprefentations 
 of the Low-life, by Candle-light, hath out- 
 done all the Mafters that have gone before 
 him, in that School. 
 
 ADRIAEN BROUWER was born in 
 the City of Haerlem, Anno 1608 *, and befides 
 his great Obligations to Nature, was very 
 much beholden to Frans Hals, who took him 
 from begging in the Streets, and inf rubied him 
 in the Rudiments of Painting, And to make 
 him Amends for his Kindnefs, Brouwer, when 
 he found himfelf fufRcIently qualified to get 
 a Livelihood, ran away from his Mafter into 
 B b 3 France, 
 
374 
 
 Modern Majlers. 
 
 France^ and after a fhort Stay there, return’d, 
 and fettled at Antwerp. Humour was his pro- 
 per Sphere : and it was in little Pieces that he 
 us’d to reprefent Boors, and others his Pot- 
 companions drinking, fmoaking Tobacco, ga- 
 tning, fightitig, &c. with a Pencil fo tender 
 and free, fo mucfi of Nature in his Expreffion, 
 fuch excellent Drawing in all the particular 
 Parts, and good Keeping in the Whole-toge- 
 ther, that none of his Countrymen have ever 
 been comparable to him, in that Subjedt. 
 He was extremely facetious and pleafant over 
 his Cups, fcqrn’d to work as long as he had 
 any Money in his Pocket, declar’d for a fhort 
 Life, and a merry one : and refolving to ride 
 Pojt to his Grave, by the help of' Wine and 
 30. Brandy, got to his Journey’s End, Anno 1638 j 
 fo very poor, that Contributions were rais’d to 
 lay him privately in the Ground : from 
 whence he was foon after taken up, and (’cis 
 commonly faid) very handfomely interr’d by 
 Rubens, who was a great Admirer of his happy 
 Genius for Painting. 
 
 PIER-FRANCESCO MOLA,o(Lu- 
 160C). gano, born Anno 1609, was Difciple of Albani, 
 whofe agreeable and pleafant Style of Painting 
 he acquired j excepting only that his Colouring 
 
375 
 
 Modern Majiers. 
 
 was not altogether lb Brillant, But, as his 
 Conceptions were lively, and very warm, fo, 
 he Defign'd with great Spirit and Liberty of 
 Pencil ; fometimes perhaps more than was 
 llridly allowable. He was in fuch Efteem 
 however, for abundance of his fine Perform- 
 ances in Romey that his hidden Death {Anno 
 1665) was much regretted by all the Lovers 56. 
 of An. V— 
 
 GIO BA^:riSrA MO LA was his Bro- 
 ther and Fellow-Difciple. And though he 
 could not attain to the Perfeftion of Albaniy 
 in his FigureSy (which in truth were a little 
 hard and cutting) yet in Landfcapes he came 
 fo very near him, that his four large Pieces in 
 Duke SalviatPs Palace, at Romey are generally 
 taken for his MafteP% Hand. 
 
 SAMUEL COOPERy born in Londony 
 Anno 1609, was bred up (together with his 
 elder Brother Alexander) under the Care and 
 Difcipline of Mr. Hoskins his Uncle : but de- 
 rived the moll confiderable Advantages from 
 the Obfervations which he made on the Works 
 of Van Dyck. His Pencil was generally con- 
 fin’d to a Head only ; and indeed below that 
 Part he was not always fo fuccefsful as could 
 B b 4 be 
 
37*5 
 
 Modern Maflen. 
 
 be wifh’d : But for a Face^ and all the Depen- 
 dencies of it, {viz.) the graceful and becoming 
 Air, the Strength, Relievo and noble Spirit, 
 the Softnefs and tender Livelinefs of Flejh and 
 Blood, and the loofe and gentile Management 
 of the Hair ; his Falent was fo extraordinary, 
 that for the Honour of our Nation, it may, 
 without Vanity be affirm’d, he was (at leaf!) 
 equal to the moft famous Italians', and that 
 hardly any one of his Predecejfors has ever been 
 able to fliew fo much Per fell ion, in fo narrow 
 a Compafs. Anfwerable to his Abilities in 
 this Art, was his Skill in Mujic : and he was 
 reckon’d one of the beft Lutenijis, as well as 
 the mofl excellent Limner in his Time, He 
 fpent feveral Years of his Life abroad, was per- 
 fonally acquainted with the greateft Men of 
 France, Holland, and his own Country, and by 
 his Works more univerfally known in all the 
 Mt. 63. Parts of Chrifttndom. He died Anno 1672, and 
 lies bury’d in Pancras Church, in the Fields. 
 
 k WILLIAM DOBSON, z Gentleman 
 i6io. defcended of Family very eminent (at that 
 tim.e) in St. Albans, was born in St. Andrew* s, 
 Pariffi, in Holbourn, Anno 1610. Who firft 
 inftrudled him in the ufe of his Pencil, is un- 
 certain: of this we are well affiir’d, that he 
 
377 
 
 Modern Majlers. 
 
 was put out very early an Af -prentice to one 
 Mr. Peake., a Stationer, and ‘Trader in Pidfures ; 
 and that Nature, his beft Mijlrefs, inclin’d 
 him fo powerfully to the Praftice of Painting 
 after the Life, that had his Education been 
 but anfwerable to his Genius, England might 
 juftly have been as proud of her Dohfon, as 
 Venice of her Titian, or Flanders of her Van 
 Dyck. How much he was beholden to the 
 latter of thofe Great Men, may eafily be feen 
 in all his Works ; no Painter having ever come 
 up fo near to the PerfeSlion of that excellent 
 Mafter, as this his happy Imitator. He was 
 alfo farther indebted to the Generofity of Van 
 Dyck, in prefenting him to King Charles I. 
 who took him into his immediate Protcdlion^ 
 kept him in Oxford, all the while his Majejly 
 continu’d in that City ; fat feveral times to 
 him. for his Pidiure ; and oblig’d the Prince 
 of Wales, Prince Rupert, and mofl; of the 
 Lords of his Court to do the like. He was a 
 fair, middle -fiAd Man, of a ready Wit, and 
 pleafing Converfation ; was fomewhat loofe, and 
 irregular in his way of Living ; and notwith- 
 ftanding the many Opportunities which he had 
 of making his Fortunes, died very poor, at his 
 Houfe in St. Martin's Lane, Anno 1647. Mt. 37. 
 
 Ml- 
 
37 ^ 
 
 Modern Majiers, 
 
 
 i6jo. 
 
 MICHELANGELO PACE, bom 
 Anno i6io, and call’d di CAMPIDOGLIO, 
 (becaufe of an Office he had in the Capitol) 
 ■was a Difciple of Fioravanti, and very much 
 efteem’d all over Italy, for his admirable Fa- 
 lent in painting Fruit, and the Still-life. He 
 died in Rome, Anno 1670, leaving behind 
 him two Sons j of whom Gio. Battijla, the 
 eldeft, was brought up to Hiftory-painting, 
 under Francefco Mola, and went into the Ser- 
 vice of the King of Spain : But the other, 
 call’d Pietro, died in his Prime, and only liv’d 
 juft long enough to (hew, that a few Tears 
 more would have made him one of the great- 
 eft Mafters in the World. 
 
 l6ii. 
 
 PIETRO TESTA, was born at Lucca, 
 in the Dukedom of Florence, Anno 1611: 
 and having laid the Foundations of Painting 
 at home, went very poor to Rome ; and fpent 
 fome time in the School of Domenichino ; but 
 afterwards fix’d himfelf in that of Peter Cor- 
 tona. He was fo indefatigable in his Studies, 
 that there was not a Piece of ArchiteHure, a 
 Statue, a Bafs-Relief, a Monument, or the 
 leaft Fragment of Antiquity, in, or about 
 Rome, that he had not Deftgn'd, and got by 
 
 heart. 
 
Modern Majlen. ^79 
 
 heart. He was a Man of a quick Heady a 
 ready Handy and a lively Spirity in moft of his 
 Performances : but yet for want of Science, 
 and good Rules to cultivate and ftrengthen 
 his GeniuSy all thofe hopeful Slualities foon 
 ran to Weeds, and produced little elfe but 
 Monfters, Chimeras, and fuch like wild and 
 extravagant Fancies: Vide Page 102. He at- 
 tempted very often to make himfelf perfeft 
 in the Art of Colouring, but never had any 
 Succefs that way , and indeed was only com- 
 mended for his Drawings, and the Prints 
 which he Etch’d. He was drown’d in the 
 fyber. Anno 1650. Some fay, he accidental- gj 
 ly fell off from the Bank, as he was endea- v— v— j 
 vouring to recover his Hat, which the Wind 
 had blown into the Water. But others, who 
 were well acquainted with the morofe, and 
 melancholy Temper of the Man, will have it to 
 have been a voluntary, and premeditated Adt. 
 
 CHARLES ALPHONSE du FRES- 
 NO T, born at Paris, Anno 1611, from his r***’*"-^ 
 Infancy gave fuch extraordinary Proofs of his 
 Attachment to the Mufes, that he would un- 
 doubtedly have been the greateft Poet in his 
 time, if the Art of Painting, a Miftrefs equal- 
 ly beloved, had not -divided, and weaken’d 
 
 his 
 
380 
 
 Modern Majlers. 
 
 fiis T’alent. He was about twenty Years of 
 Age, when he learn’d to Dffign under Perrier^ ' 
 and Voiiet: and in 16^4 went to Rome, where 
 he contraded an intimate F'riendfliip with 
 M. Mignard, as lading as his Life. He had 
 a Soul no"t to be fatisfy’d with a igperficial 
 Knowledge of his Art : and therefore he re- 
 folv’d to go to the Root, and extrad: the very 
 Quinteffence of it. He made himfelf fami- 
 liar with the Creek and Latin Poets : ftudy’d 
 Anatomy, and the Elements of Geometry, with 
 the Rules of Perfpediive and Architecture : 
 Defign’d after the Life, in the Academy ; af- 
 ter Raphael, in the Vatican and after the 
 Antiquities, where-ever he found them : And 
 making Critical Remarks, as he gain’d Ground, 
 drew up a Body of them in Latin Verfe, and 
 laid the Plan of his incomparable Poem De 
 Arte Graphica. In Conformity to the 
 Principles therein eftablifh’d, he endeavour’d 
 to put his own Thoughts in Execution. But, 
 as he never had been well Inflruded in the 
 Management of his Pencil^ his Hand was ex- 
 tremely flow : and befides, having employ’d 
 moft of his Time in a profound Attention to 
 the Lheory of Painting, he had fo little left 
 for Practice, that his Performances (exclufive 
 of his Copies after others) don’t exceed fifty 
 
 Hijlorical 
 
381 
 
 Modern Mafiers. 
 
 Hiftorical Pieces. Of all his Compojitions his 
 Poem Vfd&hh Favouriie : being the Fruit of 
 above twenty Years Study and Labour. He 
 communicated it to the Majters of greatefl 
 Note, in all Places where he went ; and par- 
 ticularly to Alhani., and Guercino, at Bologna. 
 
 He confulted alfo the Men of Letters.^ and 
 the beft Authors on Painting ; as well as the 
 Works of the moft celebrated Profejfors of the 
 Art, before he put his lafl: Hand to it. Upon 
 his Return home from Italy, in 1656, he 
 feem’d very inclinable to give it to the Pub- 
 lic : Bur, whether he was perfuaded that a 
 Franjlation would make it of more general 
 Life ; or (upon fecond Thoughts) was unwil- 
 ling it fhould go abroad, without the Com- 
 mentary, which he promis’d us in his Poem : 
 it was not Printed till after his^Death, which 
 happen’d Anno 16b He had a particular 
 Veneration for Titian, as the moft perfe< 5 t I- u— 
 mitator of Flature : and follow’d him, in his 
 Manner of Colouring ; as he did the Carr aches, 
 in their Gujlo of Dejign. Never did any French 
 Majier come fo near Titian, as ^/mFresnoy. 
 
 But whatever may be wanting in his Pencil, to 
 make him famous in After-Ages, his Pen has 
 abundantly fupply’d : And his Poem upon 
 Painting will keep his Name alive, as 
 I long 
 
Modern Mafiers. 
 
 long as Either of thofe Arts fliall find any 
 Efteem in the World. 
 
 GIO. FRANCESCO ROMANELLI, 
 born at Viterbo, Anno 1612, was the Fa- 
 vour! te-Difciple of Peter Cortona : In whofe 
 School there was hardly any one equal to him 
 ioT Correbinefs of Dejign, or for Imitation of 
 the New Style of Painting, introduc’d by that 
 famous Mafter. His Works are in all Places 
 well efteem’d, but more efpeciaily at Rome ; 
 where his Prefentatiowof the B. Virgin (paint- 
 ed in the Vatican) is by Strangers judg’d to 
 be of Peter Cortona's, Hand. Qbiit Anno 1662. 
 
 SAL V A TOR ROSA, a Neapolitan, 
 born Anno 1614, in both the Sifter- Arts of 
 Poefy and Painting, was efteem’d one of the 
 molt excellent Majlers that Italy has produc’d 
 in this Century. In the firft, his Province 
 was Satyr \ in the latter, Landfcapes, Battels, 
 Havens, &c. with little Figures. Fie was a 
 Difciple of Daniels Falconi his Countryman, 
 an Artft of good Repute *, whofe Inftruc- 
 tions he very much improv’d by his Study af- 
 ter the Antiqiuilies, and the Works of the moft ■ 
 eminent Painters who went before him. He 
 was fanr’d for his copious and florid Invention, 
 
 T for 
 
3^3 
 
 Modern Majiers. 
 
 for his folid Judgment in the Ordering of his 
 Pieces^ for the gentile and uncommon Manage- 
 ment of his Figures y and his general Knowledge 
 in all the parts of Painting : But that which 
 gave a more particular Stamp to his Compofi- 
 tions^ xiz&Kxe, inimitable Liberty of Pencil, and 
 the noble Spirit with which he animated all 
 his Works. Rome was the Place where he 
 fpent the greateft part of his Life ; highly 
 courted and admir’d by all the Men of Note 
 and ^ality, and where he died Anno 1673 ; Ml. 59. 
 
 having Eteh'd abundance of valuable Prints 
 with his own Hand. 
 
 CARLO (commonly call’d CARLING) 
 DOLCI, ee Florentine, horn Anno 1616, was 
 a Difciple of Jacopo Vignali, and a Man of 
 Condition and Subftance. He had a Pencil 
 wonderfully foft and beautiful, which he con- 
 fecrated to Divine SubjeSis', having rarely paint- 
 ed any thing elfe, excepting only fome Por- 
 traits, wherein he fucceeded fo well, that he 
 was fent for into Germany, to draw the Em- 
 prefs’s Pidure. His Falent lay in finilhing 
 all his Works to a Degree of Neatnefs infi- 
 nitely furprizing : but his Hand was fo ex- 
 tremely flow, that (if we may believe Tra- 
 dition) he had his Brain turn’d, upon feeing 
 
 the 
 
 1616. 
 
Modern Majleri, 
 
 the famous Luca Giordano difpatch more Bu- 
 finefe in four or five Hours, than he himfelf 
 could have done in fo many Months. Ohiit 
 Jnno 1686. 
 
 Sir PE'LER LE LT v/nshorn /dnno iSiy, 
 in Wejlphalia^ where his Father, being a 
 Captain^ happen’d to be then in Garrifon. 
 He was bred up for fome time in the Hague, 
 and afterwards committed to the Care of one 
 de Grehher, of Haerlem. He came over into 
 England^ Anno 1641, and purfu’d the natural 
 Bent of his Genius in Landfcapes^ with fmall 
 Figures, and Hijlorical Compofuions : but find- 
 ing the Pradlice of Painting after~ 4 ke Life 
 generally more encourag’d, he apply’d him- 
 felf to Portraits, with fuch Succefs, as in a 
 little time to furpafs all his Contemporaries in 
 Europe. He was very earneft in his younger 
 Days, to have finilh’d the Courfe of his Studies 
 in Italy : but the great Bufinefs in which he 
 was perpetually engag’d, not allowing him fo 
 much time ; to make himfelf Amends, he 
 refolv’d, at laft, in a numerous (but well cho- 
 fen) Collellion of the Drawings, Prints, and 
 Paintings, of the moft celebrated Mafters, to 
 bring the Roman and Lombard Schools home 
 to him. And what Benefit he reap’d from this 
 
 Expedient, 
 
I Mvdern Majiers. 
 
 icpedient^ was fufficiently apparent in that 
 admirable Style of Paintings which he form’d 
 to himfelf, by daily convcrfitig with the Works 
 of thofe Great Men : in the Corre^nefs of his 
 Drawings and the Beauty of his Colouring ; but 
 efpecially in the graceful Airs of his FigureSy 
 the pleafmg Variety of his PoJtureSy and his 
 gentile Negligence ^ and loofe Manner of Drape- 
 ries : In which Particular, as few of his Pre- 
 decefors were equal to him, fo all fucceeding 
 Artifts muft Hand oblig’d to his happy Inven- 
 tion, for the noble Pattern which he has left 
 them for Imitation. He was recommended to 
 the Favour of King Charles I. by Philip Earl 
 of PembrokCi, then Lord Chamberlain \ and 
 drew his Majefty’s Piblure, when he was Pri- 
 fener in Hampton Court. He was alfo much 
 in Efteem with his Son Charles II. who made 
 1 him his Painter, conferr’d the Honour of 
 Knighthood upon him, and would oftentimes 
 take great Pleafure in his Converfation, which 
 he found to be as agreeable as his Pencil. He 
 was likewife highly refpefted by all the People 
 ; of Eminence in the Kingdom ; and indeed I'o 
 i extraordinary were his natural Endowments,, 
 and lb great bis acquifd Knowledge, that it 
 would be hard to determine, v/hether he was 
 i a better Painter, or a more accompliJPd Con- 
 i' C c tleman : 
 
^86 Modern Maji er s. 
 
 tlemant or whether the Honours which he 
 has done his Trofejfion^ or the Advantages 
 which he deriv’d from it, were the moft con- 
 fiderable. But as to his Art^ certain it is, 
 that his laft Pieces were his beft ; and that he 
 gain’d Ground, and improv’d himfelf, every 
 Day, even to the very Moment in which Death 
 Mt. 63. fnatch’d his Pencil out of his Hand., in an Apo- 
 < "**V “ * pledlic Fit, Anno 16Z0. 
 
 Of all the Difcipks of Sir Peter Lely, the 
 moft Excellent was JOHN GREENHILL, 
 a Gentleman well defcended, and born in Sa* 
 lishury. He was finely qualify’d by Nature, 
 for both the Sifter- Arts of Painting and Poe- 
 try. But Death, taking Advantage of his 
 loofe, and unguarded Manner of Living, 
 fnatch’d him away betimes : and only fuffer’d i 
 him to leave us juft enough of his Hand, to j 
 make us wifli, he had been more careful of a 
 Life, fo likely to do great Honour to his 
 Country. 
 
 SEBASTIAN BOURDON, a French 
 s6i^. Man, born at Montpellier, Anno 1619, ftudy’d 
 feven Years in Rom: and acquir’d fo much 
 Reputation by his IVorks, both in Hftory and 
 Landfcape, that upon his Return to France, 
 
 2 he 
 

 Modern Mcfters, 38^ 
 
 he had the Honour of being the fir(i who 
 was Rector of the Royal Academy of Painting 
 and Sculpture, at Paris. He fpent two Years 
 a!fo in Sweden ; where he was very well 
 efteem’d, and nobly prefented, by that great 
 Patronefs of Arts and Sciences, Queen Chrif- 
 tina, whofe Portrait he made. He died 54. 
 
 Anno 1673. V— V— 
 
 CHARLES le BRUN was born in f*— 
 Paris, Anno 1620: and came into the World 
 with all the happy Dirpofitions neceflTary to 
 form a Great Mafter. He began his Studies 
 under Simon Voilet, and finifh'd them at Rome, 
 by the Favour of Monfieur the Chancellor Se- 
 guier, who fent him thither, with a confi- 
 derable Penfion, for three Years. The firft 
 Proofs of his Abilities, after his Return home, 
 were the Prize-Pidlures he made two Years 
 fucceffively, for the Church of Notre-Dame. 
 
 And his Performances foon afterwards, in fe- 
 veral of the fine Houfes in France, gave fuch 
 a Luftre to his Pencil, that the King (upon 
 the Recommendation of Monfieur Colbert) 
 made him his Chief Painter ; Ennobled him, 
 and Honour’d him with the Order of 5 /. Mi- 
 thael. He had a Genius lively, penetrating, 
 and equal to every thing he undertook. His 
 C c 2 Inven- 
 
Modern Majlers. 
 
 Invention was eafy, and his Talent (excepting 
 in Landfcapes only) univerfal. He was not ■ I 
 indeed admir’d for his Colouring, nor for his t 
 Skill in the Diftribution of the Lights and i i 
 Shadows : bur, for a good Gujlo of Defign, an 
 excellent Choice of Attitudes, an agreeable 
 Management of his Draperies, a beautiful and 
 juft Expreflion, and withal a ftri6l Obfervance 
 of the Decorum^ his Compofitions will com- 
 mand the Attention and Admiration of the 
 niceft Judges. His Capital Works are the 
 Cielings of the Gallery, and grand Stair-Cafe 
 of Verfailles and his five large Pieces, con- 
 taining the Hiftory of Alexander the Great : 
 the Prints of which are alone fufficient to- 
 rendcr his Name famous to Pofterity, He 
 compos’d a curious Treatife of Fhyfiognomy^ . 
 and another of the Charadiers of the Pajfions. 
 
 He procur’d feveral Advantages for the Royal 
 Academy of Painting and Sculpture, in Paris: 
 form’d the Plan of Another, for the Students 
 of his own Nation, in Rome : And there was 
 hardly any thing done, for the Advancement | 
 of the fioble Arls^ wherein le Brun was not 
 confulted. He had the Superintendency of the 
 Manufadlures^ at the Gohelines^ given him : 
 
 And having for fome Years Govern’d all the 
 King’s Artificers^ like the Father of a Family, 
 
 * exceedingly 
 
Mddern Maflers, 
 
 exceedingly belov’d and honour’d, 
 mongft them, Anno 1690. 
 
 3^9 
 
 dy’d a- Mt. 70. 
 
 Cavalier GIAC IN‘tO BRANDI, born 
 at Poll, in the EccleJiaJHcal State, Anno 1623, 
 was one of the beft Mafiers that came out of 
 the School of Lanfranc. And his Performan- 
 ces in the Cupolas and Cielings of feveral of 
 the Roman Churches, and Palaces, are fuffi- 
 cient Evidence, that there was nothing want- 
 ing, either in his Head, or Hand, to meric 
 the Reputation and Honour he acquir’d. 
 
 Obiit Anno 1691. -eEt. 68 . 
 
 FILIPPO LAURO was born in Rome, 
 Anno 1623, and train’d up to Painting under 
 his Brother-in-kw Angelo Carofello, whom he 
 alTifted in a great many of his Works : and al- 
 ways acquitted himfelf with deferv’d Applaule. 
 But, upon leaving his Mafter, he purfu’d his 
 own Genius, in a Style quite different from 
 him j and contradting his Lalent into a nar- 
 rower Compafs, confin’d his Pencil to fmall 
 Figures, and Hijlories in little. He liv’d for 
 the moft part in Rome ; highly valu’d for his 
 rich Vein of Invention, and accurate Judg- 
 ment *, for the Purity of his Out-line, the 
 Delicacy of his Colouring, and the graceful 
 C c 3 Spirit 
 
390 Modern Mafters, 
 
 Spirit, that brighten‘J all his Gompofitions. 
 
 .'El 71. Obiit Anno 1694. 
 
 > CARLO MAR ALL I was born at Ca~ 
 162^. morano^ wtAX Ancona, Anno 1625. He came 
 a poor Boy to Rome, at eleven Years of Age : 
 and at twelve recomm.ended himfelf fo advan- 
 tageoufly to Andrea Sacchi, by his Dejigns af- 
 ter Raphael, in the Vatican ; that he took him 
 into his School ; where he continued his Stu- 
 dies five and twenty Years, to the Death of 
 his Majler. His graceful and beautiful Ideas 
 were the Occafion of his being generally em- 
 ploy’d in ’^dmivne^Madonnas, eecAFemaleSainis. 
 Hence Sahator Rofa fatyrically nick-nam’d 
 him Carluccio della Madonne. This he was fp 
 far from reckoning a Diminution of his Cha- 
 rader, that in the infeription on his Monu- 
 ment, at Lermini (plac’d there by himfelf, 
 nine Years before his Deceafe) he calls it glo- 
 riofum Cognomentum, and profeiTes his parti- 
 cular Devotion to the B. Virgin. No Man 
 ever perform’d in a better Style, or with 
 greater Elegance of Handling, and Corrednefs 
 of Out-line. From the fineft Statues^ and’. 
 Pidures, he had made himfelf Mafter of the 
 perfedeft Forms, and moft charming Airs of 
 ■Heads : which he fkeich’d with as much Eafe, 
 
 anc^ 
 
391 
 
 Modern Maji er s. 
 
 and Grace, as Parmegiano ; excepting tliat 
 Author’s Profiles^ which indeed tranfcend all 
 human Performance. He has produc’d a no- 
 bler Variety of Draperies, more artfully ma- 
 nag’d, more richly ornamented, and with 
 greater Propriety, than even the beft of the 
 Moderns. Pie was inimitable in adorning the 
 Head, and in the Difpofal of the Hair ; and 
 his elegant Forms, of Hands and Feet, (fo 
 truly in Charafter) are hardly to be found in 
 Raphael himfelf. Among the many excellent 
 Talents which he poflefs’d, Gracefulnefs was 
 the moft confpicuous. And to him may be 
 apply’d,. what Paufanias tells us was to Apel- 
 les : That fuch and fuch a Matter furpafs’d 
 him in fome Particulars of the Art.^ but in 
 Gracefulnefs he was fuperior to them all. *Tis 
 endlefs to recount the celebrated Pieces of this 
 great ]^$an: which yet might have been mqch 
 more numerous, had he been as intent upon 
 acquiring Riches, as Fame. He executed 
 nothing flightly, often chang’d his Deftgn^ 
 and almoft always for the better : and there- 
 fore his PiSlures were long in hand. It has 
 been objedled by fome Criticks, That his 
 Works, from about the feventieth Year of his 
 Age, were faintly and languidly colour’d. But 
 he knew by Experience, that Shadows gain 
 C c 4 Strength, 
 
392 
 
 Modern Maften. 
 
 Scrength, and grow deeper by Time ; and 
 liv’d long enough, to fee his Pieces confute 
 their Error, By the Example of his Mafier^ 
 he has made leveral admirable Portraits of 
 Popes, Cardinals, and other People of Diftinc-r 
 tion ; from whom he receiv’d the higheft 
 Teftimonies of Efteem : as he likewife did 
 from almotl all the Monarchs, and Princes of 
 Europe, in his time. In his younger Days 
 (for Subfiftence) he Etch'd a few Prints, as 
 well of his own Invention, as after others, 
 with equal Spirit and Correftnefs. He was 
 appointed Keeper of the Paintings in the Pope's 
 Chapel, and the Vatican, by Innocent XI. con- 
 firm’d therein by his Succefibrs ; and merited 
 the additional Honour of Knighthood, from the 
 prefen t Pope. He erefted two noble Monu- 
 
 ments, for Raphael and Hannibal, at his own 
 Expence, in the Pantheon, And how well 
 he maintain’d the Dignity of his Profejfion, 
 appears by his Anfiver to a Roman Prince, 
 who tax’d him with the exceflive Price of his 
 PiSlures. He told him, “ there was a vaft 
 “ Debt due from the World, to the famous 
 Artifts, his Predecejfors : and that He, as 
 their rightful Succedor, was come to claim 
 thofe Arrears.” His Abilities, in Painting, 
 \\ere accompany’d wftth a great many Chrif, 
 
 tian 
 
393 
 
 Modern Mnjlers. 
 
 tlan and Moral Virtues : and particularly with 
 an cxcenfive Charity^ which crown’d all the 
 reft. Obiit Anno 1713. AE,t. 88. 
 
 His chief Difciples were NICOLO BE- 
 RETTONI, who dy’d long before him, and 
 GIUSEPPE CHIARI, ftill living. The 
 former carry’d Colouring to a great height j 
 efpecially in his Frefcos^ at Altieri's Palace. 
 
 ’Tis faid indeed, his Mafter was his conftant 
 Coadjutor : and his Works have fucceeded the 
 better for it. 
 
 LUCA GIORDA NO, was born in 
 Naples, Anno 1626, and by his under 
 
 Spagnolet at home, and Pietro da Cortona at 
 Rome, joyn’d with his continu’d Application 
 to all the noble Remains of Antiquity, became 
 one of the beft accomplifh’d Mafiers in his 
 time. He was wonderfully {kill’d in the 
 prablical part of Dejign, and from his incre- 
 dible Facility, and prodigious Difpatch, was 
 call’d by his Fellow-Painters, Luca fa Prefto. 
 
 He Vv'as befides very Plappy in imitating the 
 different Styles of other Great Men, and par- 
 ticularly follow’d the Manner of Filian, Bajfan, 
 
 Fintoret, Guido, &c. fo clofe in feveral of his 
 Pieces, that it is not every Pretender to Paint- 
 ing 
 
394 
 
 Mcdern Mafiers. 
 
 ing, that can diftinguifti them from Origmah 
 ot thofe Hands. He was famous for his many 
 excellent Performances in Rome and Florence : 
 And being continually employ’d in working 
 for Princes, and People of the firft Quality, 
 all over Europe^ grew fo vaftly rich, that, at 
 his Return to Naples, he pqrphas’d a Bukhy 
 in that Kingdom, marry’d aqd liv’d fplendidly, 
 kept a noble Palace, and a numerous Reti- 
 nue, with Coaches, Litters, and all other ima- 
 ginable State. Being grown Old, he was 
 earneftly prefs’d by the Viceroy, to go over 
 into Spain, and ferve the King his Mafter : 
 He had no Fancy for the Voyage, and there- 
 fore rais’d his 'Terms very high : was not con- 
 tent with twenty thoufand Crowns paid him 
 down, and the Golden Key given him, as Groom, 
 of the Bed-Chamber-, but befides, having heard, 
 that by the Statutes of St. Jago, and the other 
 Military Orders of Spain, it was exprefly pro- 
 vided, that no Painter fhould be admitted 
 into any of them, becaufe their Profejfion was 
 generally look’d upon as Mechanic he re- 
 folv’d, for the Honour of his Art, not to ftir 
 a foot, till he himfelf was flrfl made a Knight 
 of St. Jago, and his two Sons Knights of Al- 
 cantara and Calatrava. Ail which being 
 granted, he fet out for Madrid-, where he 
 
 was 
 
Modern Majlen. 
 
 was receiv’d very kindly by the King : and 
 having adorn'd the grand Stair-Cafe of the 
 Efcurialt with the Story of the Battel of St. 
 ^intin, (which is perhaps one of the beft 
 things in its kind, that has been any where 
 perform’d in this Age) he fell to '•asork upon 
 the great Church belonging to that Palace. 
 But the Climate being too fevere for his Con- 
 flitution of Body, and his Mind not fo well 
 fatisfy’d, as at Naples, he return’d home, and 
 dy’d in a good old Age. 
 
 39 ^ 
 
 GIRO FERRI, a Roman, born Anno 
 1628, was a true and faithful Imitator of *628. 
 Peter Cortona, under whom he had been bred : 
 and to whom he came fo near in his Ideas, 
 his Invention, and his Manner of Painting, 
 that he was chofen (preferably to Peter Tefta, 
 and Romanelli, his Fellow-Difciples) to finilh 
 thofe Pillures, which his Mafter left imper- 
 fedl at his Death. He had an excellent 
 Tafte in Architedlure, and drew feveral De- 
 Jigns for the Publick. He made Cartones for 
 fome of the Mofaic-Works in the Vatican : 
 and having in a great many noble Perform- 
 ances diftinguifli’d himfelf, by the Beauty and 62. 
 Fertility of his Genius, dy’d Anno 1 690. 
 
 ‘I 
 
 7OHN 
 
39 ^ 
 
 Modern Majlers. 
 
 — » JOHN RILET, born in the City of 
 
 1646. London, Anno 1646, was Inftrufled in the 
 firfl: Rudiments of Painting by Mr. Zouft and 
 Mr. Fuller ; but left them whilft he was very 
 young, and began to pradtife after the Life: 
 yet acquir’d no great Reputation, till, upon 
 the Death of Sir Peter Lely, his Friends being 
 defirous that he fhould fucceed that excel- 
 lent Majler in the Favour of King Charles II. 
 engag’d Mr, Chiffinch to fit to him for his 
 Pidiure \ which he perform’d fo well, that 
 the King, upon fight of it, fent for him, 
 and having employ’d him in drawing the 
 Duke of Grafton’s Portrait, and foon after 
 his own, took him into his Service, honour’d 
 him with feveral obliging Fefiimonies of his 
 Efteeni, and withal gave this Character of his 
 Works, that he Painted both Infide and Outfide. 
 Upon the AccelTion of K. William and Q;, 
 Mary to the Crown, he was fworn their Ma- 
 jefties Principal Painter ; which Place he had 
 not enjoy’d in the preceding Reign, tho’ K. 
 James, and his ^ueen, were both pleas’d to 
 be drawn by his Hand. Fie was very dili- 
 gent in the Imitation of Nature and by 
 fiudying the Life, rather than following any 
 particular Manner, arriv’d to a plealant, and 
 
 mofl: 
 
397 
 
 Modern Mafters. 
 
 moft agreeable Style of Painting. But that 
 which eminently diftinguifli’d him from all 
 his Contemporaries^ was his peculiar Excellence 
 in a Head, and efpecially in the Colouring 
 part ; wherein fome of his Pieces were fo 
 very extraordinary, that Mr. Riley himfelf 
 was the only Perfon who was not charm’d 
 with them. He was a Gentleman extremely 
 Courteous in his Behaviour, Engaging in his 
 Converfation, and Prudent in all his Aolions- 
 He was a dutiful Son, an affeftionate Bro- 
 ther, a kind Majter, and a faithful Friend. 
 
 He never was guilty of a piece of Vanity 
 (too common amongft Artijis) of faying 
 mighty things on his ovon Behalf ; but con- 
 tented himfelf with letting his Works fpcak 
 for him •, which being plentifully difpers’d 
 over other Nations, as well as our own, were 
 indeed every where very Eloquent in his Com- 
 mendation. He had for feveral Years been 
 violently perfecuted by the Gout ; which, af- 
 ter many terrible AJfacdts, flying up at laft 
 into his Head, brought him to his Grave, 
 
 Anno 1691, exceedingly lamented by all fuchyg'/. 4^. 
 as had the Happinefs of being acquainted ei- 
 ther with his Perfon, or his Works. 
 
 FINIS. 
 
Ancient Masters contain’d in ' 
 the preceding Account. 
 
 A. 
 
 
 Cleophantus. 
 
 249 
 
 
 Page. 
 
 Cornelius Pinus. 
 
 266 
 
 A Ctius Prifcus 
 
 266 : 
 
 Crato. 
 
 248 
 
 jlTl Amphion. 
 
 261 ' 
 
 Cydias. 
 
 257 
 
 Antidotus, 
 
 262 
 
 
 
 Apelles. 
 
 257 
 
 D. 
 
 
 Apollodorus, 
 
 252 
 
 Dimas. 
 
 249 
 
 Ardices. 
 
 24^ 1 
 
 
 
 Arellius. 
 
 265 ' 
 
 E, 
 
 
 Ariftides. 
 
 260 
 
 Euchir, 
 
 247 
 
 Afclepiodorus. 
 
 260 
 
 Eumarus. 
 
 249 
 
 Athenion. 
 
 263 
 
 Euphranor. 
 
 256 
 
 
 
 Eupompus. 
 
 255 
 
 B. 
 
 
 
 
 Bularchus^ 
 
 250 
 
 F. 
 
 
 
 
 Fabius Pidor. 
 
 263 
 
 C. 
 
 
 
 
 Charmas. 
 
 249 
 
 H. 
 
 
 Cimon, 
 
 249 
 
 ’ Uygiewon. 
 
 249 
 
 Cleanthes. 
 
 247 
 
 1 
 
 1 
 
 
 
 
 1 
 
 L. Lu~ 
 

 Ancient 
 
 r L. 
 
 Ludius. 
 
 266 
 
 M. 
 
 Marcus Pacuvius. 
 
 265 
 
 Melanthius. 
 
 260 
 
 Metrodorus. 
 
 264 
 
 Myron. 
 
 251 
 
 N. 
 
 Nealces. 
 
 263 
 
 Nicias. 
 
 262 
 
 Nicomachus. 
 
 261 
 
 Nicophanes. 
 
 261 
 
 P. 
 
 Pamphilus. 
 
 255 
 
 Pancenus. 
 
 250 
 
 Parrhaftus. 
 
 254 
 
 Paufias. 
 
 256 
 
 Phidias. 
 
 250 
 
 Majiers\ 
 
 Philocles. 
 
 247 
 
 Polygnotus Athenienfis. 247 
 
 Thafius. 
 
 25* 
 
 Polycletus. 
 
 251 
 
 Praxiteles. 
 
 257 
 
 Protogenes. 
 
 259 
 
 Pyre'icus. 
 
 26ft 
 
 s. 
 
 
 Saurias. 
 
 247 
 
 Scopas. . 
 
 251 
 
 T. 
 
 
 Lelephanes. 
 
 24S 
 
 Lheomnejius. 
 
 261 
 
 Limanthes. 
 
 255 
 
 Linmnachus. 
 
 265 
 
 Lurpilius. 
 
 266 
 
 Z. 
 
 
 I^euxis. 
 
 25? 
 
 M o D E R 
 
Modern Masters. 
 
 A. 
 
 
 
 Page 
 
 A Lhani. 
 
 jL\. Albert Durer. 
 
 349 
 
 281 
 
 Alberti (Cherubino.) 
 
 329 
 
 
 - Mantegna. 
 
 275 
 
 
 Sacchi. 
 
 368 
 
 Andrea < 
 
 del Sarto. 
 Schiavone. 
 
 287 
 
 320 
 
 
 raffi . 
 
 271 
 
 
 _ Verrochio. 
 
 276 
 
 Annibale Carracci. 
 
 333 
 
 Antonello da Mejftna. 
 
 273 
 
 
 ' Carracci. 
 
 334 
 
 Antonio ■< 
 
 )da Correggio. 295 
 ) More 318 
 
 
 ‘Fempefta. 
 
 33 ^ 
 
 Artemifta Gentilefchi. 
 
 349 
 
 Agoftino Carracci. 
 
 331 
 
 
 B. 
 
 
 Badalocchi (Sifto.) 
 
 353 
 
 Bandinelli (Baccio.) 
 
 292 1 
 
 Bamboccio, 
 
 355 
 
 Barocci (Federico.) 
 
 321 
 
 Bartolomeo (Fra.) 2Si 
 r Francefco. 313 
 \Giacomo. 3 1 1 
 Bajfano Battifta. 3 1 4 
 y Girolamo. 314 
 V, Leandro, 3 1 3 
 Battaglie (M. Angelo.) 366 
 Battifta Franco. ' 297 
 
 Bdlim "74 
 
 tGiovanm. 274 
 
 D j % Caliari. 324 
 Benedettos r a- v « 
 
 iLafttglione. 364 
 
 Berettoni (Nicolo.) 393 
 
 Bordone (Paris.) 3 1 6 
 
 Bergcgnone. 369 
 
 Bourdon (Sebaftian.) 386 
 
 Brandi (Giacinto.) 389 
 
 Brueghel (Fluweelen.) 341 
 
 Bril 328 
 
 IPaul. 329 
 
 Brouwer. 373 
 
 Brun (Charles le.) 387 
 Buonarruoti (M. Angelo.) 
 
 283 
 
 C. Caliari 
 
Modern Majiers. 
 
 Caliari 
 
 Carr acci- 
 
 sti 
 
 305 
 
 333 
 
 334 
 
 331 
 
 331 
 
 C. 
 
 'Benedetto. 324 
 
 ) Carlo. 324 
 
 IGabrielle. 324 
 
 Paolo. 323 
 
 Camillo Procaccini. 335 
 
 Campidoglio (M. Angelo.) 
 
 37S 
 
 Carl' Antonio Procaccini. 
 
 336 
 
 Carlo Dolci. 
 
 Carpi (Ugo da.) 
 
 Annibale. 
 
 I Antonio. 
 lAgoftino. 
 Lodovico. 
 Carravaggio (M. Angelo.) 
 
 339 
 
 (Benedetto.) 364 
 Cimabue. 269 
 
 Ciro Ferri 395 
 
 Claudio Gille {l-jordlm.) 366 
 Cooper (Samuel.) 375 
 Correggio. 295 
 
 D. ' 
 
 "Daniele da VoUerra 309 
 Dobfon. 376 
 
 Domenichino, 350 
 
 CFetti. 356 
 ^Ghirlandaio. 
 
 ; ^79 
 
 C Fintoretto. 3 1 6 
 
 Domenico' 
 
 Don. 
 
 Durer- (Albert.) 
 
 Eljheimcr. 
 
 Ercole Procaccini. 
 
 372 
 
 281 
 
 342 
 
 33 ^» 
 
 F. 
 
 Farinalo (Paolo.) 
 
 FedtrUoi f™" • 
 tZucchero. 
 
 Fetti (Domenico.) 
 
 D' Angeli. 
 
 Lauro. 
 
 Napolitano. 
 
 Albani. 
 
 Filippo-^ 
 
 Barbieri, 
 Bajfano. 
 Francia. 
 Francefcod, Mazzuoli. 
 
 319 
 
 321 
 
 325 
 
 35 ^ 
 341 
 
 3^9 
 341 
 
 349 
 357 
 
 313 
 
 280 
 
 307 
 
 Primaticcio. 302 
 Salviati. 310 
 
 Vanni. 337 
 
 J^ecellio. 287 
 
 Franco (Battifta.) 297 
 
 Frefnoy (C. Alphonfe.) 379 
 
 i Taddeo. 272 
 
 Gafparo Poiiffin. 367 
 
 _ cArtemifia. 349 
 
 ~f‘'hi\ordii\o. 348 
 
 D d Ghirlandaio 
 
Ghirlandaio (Domenico.) 
 
 279 
 
 r Bajfano. 3 1 1 
 
 y-.. }Cortefi. q 6 q 
 
 tacomo<^^ 
 
 (^’Tintoretto. 314 
 
 Gio. Battifia Bajfano. 314 
 
 Giorgione. 284 
 
 Giorgio Vafari. 317 
 
 Giordano (Luca.) 395 
 
 r" ^Ribera. 3^2 
 
 ‘^•’f‘PP‘\SalviaH. 325 
 
 Giofeppino. 336 
 
 Gioitino. 272 
 
 Giotto. 270 
 
 Girolamo Bajfano. 3 1 4 
 
 GiulioCefareProcaccini. 335 
 
 Giulio' 
 
 j . i Clovio. 
 
 \ Romano. 
 Creenhill. 
 
 Guercino da Cento. 
 Guglielmo Cortefu 
 Guido Reni, 
 
 H. 
 
 Holbein. 
 
 303 
 
 292 
 
 386 
 
 357 
 
 370 
 
 343 
 
 304 
 
 I. 
 
 of Bruges. 272 
 
 Lanf ranco. 253 
 
 Lauro (Filippo.) 389 
 
 Majiers. 
 
 
 Leandro Bajfano. 
 
 313 
 
 Lely (Sir Peter.) 
 
 384 
 
 Lionardo da Vinci. 
 
 278 
 
 Lodovico Carracci. 
 
 33 ^ 
 
 Lucaif.°^^T,- 
 
 395 
 
 \J>tgnorellt. 
 
 277 
 
 Lucas van Leyden. 
 
 297 
 
 M. 
 
 
 Mantegna (Andrea.) 
 
 275 
 
 Maratti (Carlo.) 
 
 390 
 
 Marcello Provenzale. 
 
 344 
 
 Margaritone. 
 
 271 
 
 Marietta Tintoretta. 
 
 315 
 
 Mario dai Fiori. 
 
 365 
 
 Mafaccio. 
 
 274 
 
 Matthew Bril. 
 
 328 
 
 Maturino. 
 
 299 
 
 r delle Battaglie. 
 
 Michel 
 
 am 
 
 Mieris. 
 Mola 
 
 I 365 
 
 Bmnarruoti. 283 
 LtLrjt,!,- ; Campidoglio. 
 
 378 
 
 I de Caravaggio. 
 
 339 
 372 
 
 CO. 
 
 Gio. Battijia. 
 
 More (Antonio.) 
 
 374 
 
 375 
 318 
 
 N. 
 
 Napolitano (Filippo.) 341 
 Nicolb dell* Abbate, 302 
 Kuclb 
 
Nicolb PuJJino. 
 
 Modern Majiers. 
 
 35 ^ 
 
 O. 
 
 J Gentilefchi. 
 \ Vecellio. 
 
 omth 348 
 
 286 
 
 Palma 
 
 Paolo 
 
 P. 
 
 f Giovane. 
 
 ( Vecchio. 
 
 5 Farinato. 
 
 I Veronefe. 
 Paris Bordone. 
 Parmtgiano. 
 
 Paul Bril. 
 
 Peter van Laer. 
 Pierino del Vaga, 
 
 da Cortona. 
 )di Cojimo. 
 
 I Perugino 
 Tefta. 
 
 Pirro Ligor to. 
 Poelenburch. 
 
 Polidoro. 
 
 Pordenone. 
 
 Primaliccio. 
 
 "Gunillo. 
 
 Pietro 
 
 226 
 
 309 
 
 3^9 
 
 323 
 
 216 
 
 307 
 329 
 
 355 
 306 
 
 560 
 
 277 
 
 279 
 
 378 
 311 
 
 35 ^ 
 299 
 289 
 302 
 335 
 
 Carl* Antonio. 
 Procac- ^ 33^ ! 
 
 cmi ' Ercole. 336 
 
 Giulio Cefare. 
 
 ■ . 335 
 
 Puntormo (Giacomo.) 294 
 
 Pujfmo 
 
 .Tai 
 
 Nicolo. 
 Sluintin Matfys. 
 
 R. 
 
 R^faelle da Urbino. 
 P.emhrandt. 
 Ricciarelli (D.inicle.) 
 Riley (John.) 
 Romane Hi. 
 
 Rojfo. 
 
 Rottenhamer. 
 
 Rubens. 
 
 S. 
 
 Sacchi (Andrea.) 
 
 Salvator Rofa. 
 
 o 1 • < Francefco. 
 
 Salvtah < r.- r 
 
 (.Gioleppe, 
 
 Sarto (Andrea del.) 
 
 Schalcken. 
 
 Schiavone (Andrea.) 
 Sebajlian Bourdon. 
 Sebajliano del Piombo. 
 Signorelli (Luca.) 
 Simone Memmi. 
 
 Sijlo Badaloeehi. 
 Snyders. 
 
 Spagnoletto (Ribera.) 
 Sprangker. 
 
 3^7 
 
 358 
 
 298 
 
 288 
 
 370 
 
 309 
 
 39 ^ 
 
 382 
 
 300 
 
 338 
 
 346 
 
 368 
 382 
 3 10 
 
 325 
 
 287 
 
 373 
 
 320 
 
 386 
 
 290 
 
 277 
 
 271 
 
 353 
 
 350 
 
 352 
 
 327 
 
 T. 
 
Modern Mdfier:. 
 
 T. 
 
 Taddeo Zucchcro. 322 
 I'affi (Andrea.) 271 
 
 ^fempejla (Antonio.) 330 
 ‘ 1 ‘efta (Pietro.) 378 
 
 ‘Tinteretta (Marietta.) 315 
 tr- ^ S Domenico. 216 
 
 Tintorettos r" ^ 
 
 (.Cjiacomo. 3 14 
 Titiano. 285 
 
 V. 
 
 Van Dyck. 3^1 
 
 Vanni (Francelco.) 337 
 Vafari (Giorgio.) 317 
 Udine (Giovanni da.) 295 
 
 ( Francefco. 
 
 Veallh 
 
 Veronefe (Paolo.) 
 
 Verrocchio (Andrea.) 
 
 Ugo da Carpi. 
 
 Vinci (Lionardo da.) 
 
 Viola, f 
 
 Viviano, 
 
 Volterra (Daniele da.) 
 Vouet (Simon.) 
 
 Z. 
 
 Zampieri (Domenico.) 350 
 
 rr . 1 t Federico. 3 2 k 
 Z ucchero jj ^ 
 
 {_ Taddeo. 322 
 
 287 
 
 286 
 
 323 
 
 27$ 
 
 278 
 
 345 
 
 365 
 
 309 
 
 354 
 
 \ 
 
 FINIS. 
 
 

 ■J 
 
 ' >• 
 
 I 
 
 '* ■; * \ 
 

 GETTY CENTER UBRMt