YFILE UNIVERSITY LIBRARY

A39002005743639B

YALE
UNIVERSITY LIBRARY

THE
WORKS

Sir JOSHUA REYNOLDS, Knight;
LATE PRESIDENT OF THE ROYAL ACADEMY :

CONTAINING
HIS DISCOURSES, IDLERS,
A JpURNEY TO FLANDERS AND HOLLAND,
AND HIS COMMENTARY ON DU FRESNOY'S ART OF
PAINTING j
PRINTED FROM HIS REVISED COPIES,
(WITH HIS LAST CORRECTIONS AND ADDITIONS,)
IN THREE VOLUMES.
TO WHICH IS PREFIXED
AN ACCOUNT OF THE LIFE AND WRITINGS OF THE
AUTHOR,
By EDMOND MALONE, Esq.
ONE OF HIS EXECUTORS.
THE SECOND EDITION CORRECTED.
—QUASI NON EA PR.ECIFIAM ALIIS, QVJE MIHI IPSI DESUNT. CICERO.
VOLUME THE THIRD.
LONDON:
PRINTED FOR T, CADELL, JUN. AND W. DAVIES, IN THE STRAND,
1798.

CONTENTS X
OF THE THIRD VOLUME.

The Art of Painting, by C. A. Dufresnoy, translated
into English Verse by the Rev. William Mason . .
Page i.
Annotations on Du Fresnoy's Poem  p. 93.
Du Fresnoy's Sentiments on the principal Painters of
the two last ages  p. 197.
Parallel between Poetry and Painting. . . . p. 215.
Chronological List of Painters, with short characters,
and an account of their respective births and deaths.
p. 291.
Alphabetical List of Painters, referring to the former.
General Index  p. 239'

VOL. III.

THE

ART OF PAINTING,

O F

CHARLES ALPHONSE DU FRESNOY;
TRANSLATED INTO ENGLISH VERSE
BY WILLIAM MASON, M.A.
WITH ANNOTATIONS
BY SIR JOSHUA REYNOLDS.

V
VOL. III. -B

EPISTLE

TO

SIR JOSHUA REYNOLDS.

^n^THEN Dryden, worn with sickness,
bow'd with years,
Was doom'd (my friend, let pity warm thy tears,)
The galling pang of penury to feel,
For ill-placed loyalty, and courtly zeal,
To see that laurel, which his brows o'erspread,
Transplanted droop on Sbadwell's barren head,
The Bard opprqss'd, yet not subdued by fate,
For very bread descended to translate :
And he, whose fancy, eopious as his phrase,
Could light at will expression's brightest blaze,
On Fresnoy's lay emplOy'd his studious hour;
JJut niggard there of that melodious power,
His pen in haste the hireling ta§k to close
Transformed, the studied strain to careless prose,
Which, fondly lending faith to French pretence^
Mistook its meaning, or obscur'd its sense.
b 2

4 EPISTLE, &c.
Yet still he pleas'd, for Dryden still must
please,
Whether with artless elegance and ease
He glides in prose, or from its tinkling chime,
By varied pauses, purifies his rhyme,
And mounts on Maro's plumes, and soars his
heights sublime.
This artless elegance, this native fire
Provok'd his tuneful heir* to strike the lyre,
Who, proud his numbers with that prose to join,
Wove an illustrious wreath for friendship's
shrine.
How oft, on that fair shrine when Poets bind
The flowers of song, does partial passion blind
Their judgment's eye! How oft does truth
disclaim
The deed, and scorn to call it genuine fame!
* Mr. Pope, in his epiftle to Jervas, has these lines :
R.ad these instructive leaves, in which conspire
Fresnoy's close art with Dryden's native fire.

EPISTLE, &c s
How did she here, when Jervas was the theme,
Waft thro' the ivory gate the Poet's dream !
How view, indignant, error's base alloy
The sterling lustre of his praise destroy,
Which now, if praise like his my Muse could
coin,
Current through ages, she would stamp for thine !
Let friendship, asshecaus'd, excuse the deed;
With thee, and such as thee, she must succeed.
But what, if fashion tempted Pope astray?
The witch has spells, and Jervas knew a day
When mode-struck Belles and Beaux were
proud to come
And buy of him a thousand years of bloom*.
Ev'n then I deem it but a venial crime :
Perish alone that selfish sordid rhyme,
Which flatters lawless sway, or tinsel pride ;
Let black Oblivion plunge it in her tide*

* Alluding to another couplet in the same Epistle :
Beauty, frail flower, that every season fears,
Blooms in thy colours/??- a thousand years .

« EPISTLE, &c.
From fate like this my truth-supported lay*,
Ev'n if aspiring to thy pencil's praise,
Would flow secure; but humbler aims are mine ;
Know, when to thee I consecrate the line,
Tis but to thank thy genius for the ray
Which pours on Fresnoy's rules a fuller day:
Those candid strictures, those reflections new,
Refin'd by taste, yet still as nature true,
Which, blended herewith his instructive strains,
Shall bid thy art inherit new domains ;
Give her in Albion as in Greece to rule,
And guide (what thou hast form'd) a British
School.
And, O, if aught thy Poet can pretend
Beyond his fav'rite wish to call thee friend,
Be it that here his tuneful toil has drest
The Muse of Fresnoy in a modern vest;
And, with what skill his fancy could bestow.
Taught the close folds to take an easier flow ;
Be it, that here thy partial smile approv'd
The pains he lavish'd on the art he lov'd.
Oct. 10, 1782. W. MASON.

PREFACE.

J[ HE poem of M.du Fresnoy, when con-
siderepl as a treatise on Painjting, may
unquestionably claim the merit of giving the
leacjing principles of the art with more precision,
conciseness, and accuracy, than any work of
the kind, that has either preceded or followed
it ; yet as it was published about the middle
of the l^st century, many pf the precepts it
contains haye been so frequently repeated by-
later writers, that they haye lost the air of
novelty, and wijl, consequently, now be held
common; some of them too may, perhaps,
not be sp generally true as to claim the autho
rity pf absolute rules : Yet the reader of taste
will always be pleased to see a Frenchman
holding out to his countrymen the study of
nature, and the chaste models of antiquity,
when (if we except Le S£ur and Nicolo
Poussjn, who were Fresnoy's contemporaries)

8 PREFACE.
so few painters of that nation have regarded
either of these archetypes. The modern artist
also will be proud to emulate that simplicity
of style, which this work has for more than
a century recommended, and which, having
only very lately got the better of fluttering
drapery and theatrical attitude, is become one
of the principal tests of picturesque excellence.
But if the text may have lost somewhat of
its original merit, the notes of M. du Piles,
which have hitherto accompanied it, have
lost much more. Indeed it may be doubted
whether they ever had merit in any consi
derable degree. Certain it is that they contain
such a parade of common-place quotation,
with so small a degree of illustrative science,
that I ^ave thought proper to expel them from
this edition, in order to make room for their
betters. As to the poetical powers of my author,
I do not suppose that these alone would ever

PREFACE. f
have given him a place in the numerous libra.-.
ries which he now holds ; and I have, there-,
fore, often wondered that M. de Voltaire,
when he gave an account of the authors who
appeared in the age of Louis XIV. should dis
miss Fresnoy, with saying, in his decisive
manner, that " his poem has succeeded with
such persons as could bear to read Latin verse,"
not of the Augustan age*. This is the. criti
cism of a mere Poet. Nobody, I should sup
pose, ever read Fresnoy to admire, or even
criticise his versification, but either to be in
structed by him as a Painter, or improved as a
Virtuoso. . .... .1 a.
. IO
It was this latter motive only, I confess,
that led me to attempt the following translation ;
which was begun in very early youth, with a
double view of implanting in my own memory
* Du Fre/Boi (Charles) ne a Paris 1611, peintre & poete.
Son poeme de la peinture a reussi aupres de ceux qui peuvent
lire d'autres vers Latins -que ceux du siecle d'Auguste. .
Siecle de Louis XIV. Tom. I.

ro PREFACE.
the principles of a favourite art, and of ac*
quiring a habit of versification, for which pur-.
pose the close and condensed style of the ori^
ginal seemed peculiarly calculated, especially
when considered as a sort of school exercise^
However, the task proved so difficult, that
when I had gone through a part of it I remitted
of my diligence, and proceeded at such separate
intervals, that I had passed many posterior
productions through the press before this was
brought to any conclusion in manuscript; and
after it was so, it lay long neglected, and
would certainly have never been made publick,
had not Sir Joshua Reynolds requested a sight
of it, and made an obliging offer of illus
trating it by a series of his own notes. This.
prompted me to revise it with all possible accu
racy; and as I had preserved the strictures
which my late excellent friend Mr. Gray had
made many years before on the version, as it
then stood, I attended to each of thern in their
order with that deference which every criticism

PREFACE. u
•f his must demand. Besides this, as much
more time was now elapsed since I had perused
the copy, my own eye was become more open
to its defects. I found the rule which my author
had given to his Painter full as useful to a
writer, (Ast ubi consilium deerit sapientis amici,
Id tempus dabit, atque mora intermissa labori.)
And I may say, with truth, that having become
from this circumstance, as impartial, if not
as fastidious, to my own work, as any other
critick could possibly have been, I hardly left
a single line in it without giving it, what I
thought an emendation. It is not, therefore,
as a juvenile work that I now present it to the
publick, but as one which I have improved to
the utmost of my mature abilities, in order to
make it more worthy of its Annotator.
In the preceding Epistle I have obviated, I
hope, every suspicion of arrogance in attempt
ing this work after Mr. Dryden. The single
consideration that his version was in prose

ii. PREFACE.
were in itself sufficient; because, as Mr. Pope
has justly observed, verse and even rhyme is
the best mode of conveying preceptive truths,
" as in this way they are more shortly expressed,
and more easily retained*." Still less need I
make an apology for undertaking it after Mr.
Wills, who in the year 1754, published a
translation of it in metre without rhyme-f.
This Gentleman, a Painter by profession,
assumed for his motto,
Tractant fabrilia fabri ;
but however adroit he might be in handling

* See his Advertisement before the Essay on Man.
+ I call it so rather than Blank Verse, because it was devoid
of all harmony of numbers. The beginning, which I shall
here insert, is a sufficient proof of the truth of this assertion :
As Painting, Poesy, so similar
To Poesy be Painting ; emulous
Alike, each to her sister doth refer,
Alternate change the office and the name ;
Mute verse is this, that speaking picture call'd.
From this little specimen the reader will easily form a
judgment of the whole.

PREFACE. 13
the tools of his own art, candour must own
that the tools of a Poet and a translator were
beyond his management: attempting also a
task absolutely impossible, that of expressing
• • the sense of his author in an equal number of
lines, he produced a version, which (if it was
ever read through by any person except myself)
is now totally forgotten. Nevertheless I must
do him the justice to own that he understood
the original text; that he detected some errors
in Mr. Dryden's translation, which had esca
ped Mr. Jervas (assisted, as it is said, by his
friend Mr. Pope) in that corrected edition which
Mr. Graham inscribed to the Earl of Burlington;
and that I have myself sometimes profited by
his labours. It is also from his edition that I
reprint the following Life of the Author, which
was drawn up from Felibien and other Biogra
phers by the late Dr. Birch, who, with his
usual industry, has collected all they have said
on Fresnoy's subject.

THE
LIFE OF
MONS. DU FRESNOY.

Charles alphonse du fresnoy
was born at Paris in the year 1611. His
father, who was an eminent apothecary in
that city, intending him for the profession of
physick, gave him as good an education as
possible. During the first year, Which he
spent at the college, he made a very consider
able progress iti his studies : but as soon as
he was raised to the higher classes, and begam
to cbntr'ard: a taiste of poetry, his genius for
it opened itself, and he ca-rrfed all the prizes
in it, whidh were proposed tb excite the
emulation of his fellow Jstudenfts. His incK-
nation for it was heightened by exercise; and
his earliest performances shewed, that he was
%

16 THELIFEOF
capable of becoming one of the greatest poets
of his age, if his love of painting, which
equally possessed him, had not divided his
time and application. At last he laid aside
all thoughts of the study of phyfick, and
declared absolutely for that of painting, not
withstanding the opposition of his parents,
who, by all kinds of severity, endeavoured to
divert him from pursuing his passion for that
art, the profession of which they unjustly
considered in a very contemptible light. But
the strength of his inclination defeating all the
measures taken to suppress it, he took the first
: opportunity of cultivating his favourite study.
He was nineteen or twenty years of age when
he began ( to learn to design under Francis
Perier ; and haying spent two years in the
school of that painter, and of Simon Voiiet,
he thought, proper to take a journey into Italy,
where he arrived in the end of 1633, or l^e
beginning of 1634.
As he had, during his studies, applied

M. DU FREStfOY. 17
himself very much to that of geometry, he
began, upon his coming to Rome, to paint
landscapes, buildings, and antient ruins.
But, for the first two years of his residence
in that city, he had the utmost difficulty to
support himself, being abandoned by his
parents, who resented his having rejected
their advice in the choice of his profession ;
and the little stock of money which he had
provided before he left France, proving scarce
sufficient for the expences of his journey to
Italy. Being destitute, therefore, of friends
and acquaintance at Rome, he was reduced to
such distress, that his chief subsistence for
the greatest part of that time was bread and
a small quantity of cheese. But he diverted
the sense of uneasy circumstances by an
intense and indefatigable application to paint
ing, till the arrival of the celebrated Peter
Mignard, who had been the companion of
his studies under Voiiet, set him more at ease.
They immediately engaged" in the strictest
friendship, living together in the same house,
and bdng commonly known at Rom£ by th*
VOL. III. c

/# tHl LIFE OF
name of the Inseparables. They were
employed by the Cardinal of Lyons in copying
all the best pieces in the Farnese palace.
But their principal study was the works of
Raffaelle and other great masters, and the
antiques ; and they were constant in their
attendance every evening at the academy, in
designing after models. Mignard had superior
talents in practice ; but Du Fresnoy was a
greater master of the rules, history, and theory
of his profession. They communicated to
each other their remarks and sentiments;^1
Du Fresnoy furnishing his friend with noble
and excellent ideas, and the latter instructing
the former to paint with greater expedition
and ease. . >
Poetry shared with Painting the time and
thoughts of Du Fresnoy, ' who, as he pene
trated into the secrets of the latter art, wrote
down his observations; and having at last
acquired a full , knowledge of the subject,
formed a design of writing a Poem upon it.
which he did, not finish till, many .years afteife

M. DU FRESNOY. 19-
Wards, when he had consulted the best
Writers, and examined with the utmost care
the most admired pictures in Italy*
While he resided there he painted several
pictures, particularly the Ruins of the Campo
Vaccine, with the City of Rome in the figure
of a woman ; a young Woman of Athens
going to see the monument of a lover ; ^Eneas
carrying his father to his tomb ; Mars finding
Lavinia sleeping on the banks of the Tyber,
descending from his chariot, and lifting up
the veil which covered her, which is one of
his best pieces ; the birth of Venus, and that
of Cupia\ He had a peculiar esteem for
the works of Titian, several of which he
copied, imitating that excellent Painter in his
colouring, as he did Caracci in his design.
About the year 1653, he went with Mignard
to Venice*, and travelled throughout Lom-
* This is the account of Mons. Felibien, Entretiens sur les
Ket sur les outrages des plus excellens peintres, torn. 1 1 . edit,
fd> *7°<5> P« 333- 3ut the late author ol/ibrege de la vie det
C %

30 THELIFEOF
bardy ; and during his stay in that city painted
a Venus for Signor Mark Paruta, a noble
Venetian, and a Madonna, a half-length.
These pictures shewed that he had not studied
those of Titian without success. Here the
two friends separated, Mignard returning to
Rome, and Du Fresnoy to France. He had
read his poem to the best painters in all places
through which he passed, and particularly to
Albana and Guercino, then at Bologna ; and
he consulted several men famous- for their
skill in polite literature.
He arrived at Paris in 1656, where he
lodged with Mons. Potel, Gieffier of the
Council, in the street Beautreillis, where he
painted a small room; afterwards a picture
for the altar of the church of St. Margaret in
the suburb St. Antoine. Mons. Bordier,
Intendant of the finances, who was then
plus fameux pdntres, part, n.' p. 284, edit. Par. 1745, in
4to, says, that Fresnoy went to Venice without Mignard ;
and that the latter, being importuned by the letters of tl$$
former, made a visit to him in that city.

M. DU FRESNOY. ai
finishing his house of Rinci, now Livry,
having seen this picture, was so highly
pleased with it, that he took Du Fresnoy
to that house, which is but two leagues from
Paris, to paint the Salon. In the ceiling was
represented the burning of Troy ; Venus is
standing by Paris, who makes her remark
how the fire consumes that great city ; in
the front is the God of the river, which runs"
by it, and other deities : this is one of- his
best performances, both for disposition and
colouring. He afterwards painted a consider
able number of pictures for the cabinets of
the curious, particularly an altar-piece for the
church of Lagni, representing the Assumption
of the Virgin and the Twelve Apostles, all as
large as life. At the Hotel d'Erval (now
d'Armenonville) he painted several pictures,
and a^mong them a ceiling of a room with
four beautiful landscapes, the figures of which
were by Mignard. As he understood archi
tecture very well, he drew for Mons. de
Vilargele all the designs of a house which
that gentleman built four leagues from

22 THE LIFE OF
Avignon; as likewise those for the Hotel de
Lyonne, and for that of the Grand Prior de
Souvre. The high altar of the Filles-Dieu,
in the street pf St. Denial was also designed
by him,
Though he had finish 'd his poem before he
had left Italy, and communicated it, as has
been already mentioned, to the best judges
of that country, yet, after his return to France,
he continued still to revise it, with a view to
treat more at length of some things, which
did not seem to him sufficiently explained.
This employment took up no small part of
his time, and was the reason of his not
having finished so many pictures as he might
otherwise have done. And though he Was
desirous to see his work in print, he thought
it improper to publish it without a French
translation, which he deferred undertaking
from time to time, out of diffidence of his.
own skill in his native language, which he
had in some measure lost by his long residence
in Italy. Mons. de Piles was therefore at

M. DU FRESNOY. 23
last induced, at his desire, and by the merit
of the Poem, to translate it into French, his
version being revised by Du Fresnoy himself:
and the latter had begun a commentary upon
it, when he was seized with a palsy, and
after languishing four or five months under
it, died at the house of one of his brothers
at Villiers-le-bel, four leagues from Paris,
in 1665, at the age of fifty-four, and was
interred in the parish-church there. He had
quitted his lodgings at Mons. Potel 's, upon
Mignard's return to Paris in 1658, and the
two friends lived together from that time till
the death of Du Fresnoy.
His poem was not published till three
years after his death, when it was printed at
Paris in duodecimo, with the French version
and remarks of Mons. de Piles, and has been
Justly admired for its elegance and perspicuity.

THE
ART OF PAINTING,

WITH THE

ORIGINAL TEXT SUBJOINED.

THE ART OF PAINTING,

-t rue Poetry the Painter's power displays ;
True Painting emulates the Poet's lays ;
The rival sisters, fond of equal fame,
Alternate change their office and their name ;
Bid silent Poetry the canvas warm, g
The tuneful page with speaking picture charm.
What to the ear sublimer rapture brings.
That strain alone the genuine Poet sings ;
That form alone where glows peculiar grace,
The genuine Painter condescends to trace : io
No sordid theme will verse or paint admit,
Unworthy colours, if unworthy wit.
DE ARTE GRAPHICA.
Ut Pictura Poesis erit ; similisqufi Poesi
Sit Pictura ; refert par aemula quaeque, sororem,
Alternantque vices et nominaj muta Poesis
Dicitur hsec, Pictura loquens solet ilia vocari.
Quod fuit auditu gratum cecinere Poeta?;
Quod pulchrum aspectu Pictores pingere curant :
Quasque Poetarum numeris indigna fuere,
Non eadem Pictorum operam studiumq; merentur :
4

»S THE ART OF PAINTING.
Fromyou, blest Pair ! Religion deigns to claim
Her sacred honours ; at her awful name
High o'er the stars you take your soaring flight,
And rove the regions of supernal light ; 16
Attend to lays that flow from tongues divine,
Undazzled gaze where charms seraphick shine;
Trace beauty's beam to its eternal spring,
And pure to man the fire celestial bring. zo
Then round this globe on joint pursuit ye stray,
Time's ample annals studiously survey ;
And from the eddies of Oblivion's stream
Propitious L$natch each memorable theme.
Thus to each form, in heaven, and earth, and
sea, 25
That wins with grace, or awes with dignity,
Amba2 quippe sacros ad religionis honores
Sydereos superant ignes, aulamque tonantis '°
Ingressa:, Divum aspectu, alloquioque fruuntur ;
Oraque magna Deum, et dicta observata reportant,
Ccslestemque suorum operum mortalibus ignem.
Inde per hune Orbem studiis coeuntibus errant,
. Carperites quas digna sui, revolutaque lustrant 1S
Tempora, quasrendis consortibus argumentis.
Denique quascunq; in ccelo, terraque, marique
Longius in tempus durare, ut pulchra merentur,?

THE ART OF PAINTING. 20
To each exalted deed, which dares to claim?
The glorious meed of an immortal fame,
That meed ye grant. Hence, to remotest age^
The Hero's soul darts from the Poet's page; 30
Hence, from the canvas, still, with wonted?
state, ( y
He lives, he breathes, he braves the frown of
Fate.
Such powers, such praises, heaven-born Pair,
belong
To magick colouring, and creative song.
But here I pause, nor ask Pieria's train, 3$
Nor Pheebus self to elevate the strain :
Vain is the flow'ry verse, when reasoning sage'
And sober precept fill the studied page;
Nobilitate sua, claroque insignia casu,
Dives et ampla manet Pictores atque Poetas **
Materies ; inde alta sonant per saecula mundo
Nomina, magnanimis Heroibus inde superstes
Gloria, perpetuoque operum miracula restant:
Tantus inest divis honor artibus atque pptestas.
Nori mihi Pieridum chorus hie, nee Apollo vo-
candus, **!
Majus ut eloquium numeris, aut gratia fandi
Dogmaticls illusrret opus rationrbus horrens :

3o THE ART OF PAINTING.
Enough if there the fluent numbers pleased
With native clearness, and instructive ease. 4a
Nor shall my rules the Artist's hand confine,
Whom practice, gives to strike the free design;
Or banifh Fancy from her fairy plains,
Or fetter Genius in didactick chains:
No, 'tis their liberal purpose to convey 45
That scientifick skill which Wins its way
On docile nature, and transmits to youth,
Talents to reach, and taste to relish truth;
While inborn Genius from their aid receives
Each. supplemental art that practice gives. 50
a 'Tis Paintings firft chief business to explore,
What lovelier forms in Nature's boundless store
Cum nitida tantum et facili digesta loquela,
Grnari prascepta negent, contenta doceri.
Nee mihi mens animusve fuit constringere nodos 3*
Artificum manibus, quos tantum dirigit usus ;
Indolis ut vigor inde potens obstrictus hebescat,
Normarum numero immani, Geniumq; moretur :
Sed rerum ut pollens ars cognitione, g;radatirri
Naturce sese insinuet, verique capace 3S
TranseaC in Genium ; Geniusq; usu induat artem.
b Prascipua imprimis artisque potissima pars est,
1 I. Of the Beautiful. b I. De Pulchro.

THE ART OF PAINTING? ?*
Are best to'art and ancient taste allied,
For ancient taste those forms has best applied.
Till this be learn 'd, how all things disagree!
How all one wretched, blind barbarity ! 56
The fool to native ignorance confin'd,
No beauty beaming on his clouded mind;
Untaught/ to relish, yet too proud to learn,
He scorns the grace his dulness can't discern.
Hence reason to caprice resigns the stage, 61
And hence that maxim, of the antient Sage,
". Of all vain fools with coxcomb talents curst,
*¦?' Bad Painters and bad Poets are the worst."
When first the orient rays of beauty move 6;
The conscious soul, they light the lamp of love;

Nosse quid in rebus natura crearit ad artem
Pulchrius,idque modum juxta, mentemque vetustam :
Qua sine barbaries casca et temeraria pulchrum *%,
Negligit, insultans ignotas audacior arti,
Ut curare nequit, qua? non modo noverit esse ;
Illud apud veteres fuit unde notabile dictum,
" Nil Pictore malo securius atque Poeta."
Cognita amas, et amata cupis, sequerisqj cu-
pita ;
Passibus asscqueris tandem quae fervidus urges:

3». THE ART OF PAINTING.
Love wakes those warm desires that prompt
our chace,
To follow and to fix each flying grace:
But earth-born graces sparingly impart
The symmetry supreme of perfect art : 70
For tho' our casual glance may sometimes meet
With charms that strike the soul, and seem
complete,
Yet if those charms t6o closely we, define,
Content to copy nature line for line,
Our end is lost. Not such the Master's care,
Curious he culls the perfect from the fair; 76
Judge of his art, thro' beauty's realm he flies,
Selects, combines, improves, diversifies ;
With nimble step pursues the fleeting throng,
And clasps each Venus as she glides along. 80
Ilia tamen quas pulchra decent ; non omnia casus
Qualiacumque dabunt, etiamve simillima veris : -
Nam quamcumque modo servili haud sufficit ipsam
Naturam exprimere ad vivum : sed ut arbiter artis, so
Seliget ex ilia, tantum pulcherrima Pictor ;
Quodque minus pulchrum, aut mendosum, corriget
ipse
Marte suo, formas Veneres captando fugaxes.
1

THE ART OF PAINTING. 33
fc Yet some there are who indiscreetly stray,
Where purblind practice only points the way ;
Who every theoretick truth disdain*
And blunder on mechanically vain.
Some too there are, within Whose languid breasts
A lifeless heap of embryo knowledge rests, 86
When nor the pencil feels their drowzy art,
Nor the skill'd hand explains the meaning heart.
In chains of sloth such talents droop Confin'd:
'Twas not by words Apelles' charm'd man
kind, go
Hear then the Muse; tho* perfect beauty
towers
Above the reach of her descriptive powers,.

* Utque manus grandi nil nomine practica dignum
Assequitur, primum arcarias quam deficit artis 55
Lumen, et in praceps abitura ut casca vagatur ;
Sic nihil ars opera manuum privata supremum
Exequituf , sed languet iners uti vincta lacertos ;
Dispositumque typum non lingua pinxit Apelles.
Ergo licet tota normam haud possimus in arte *'*
Ponere, ( cum* nequeant quas sunt pulcherrima dici,)
* II. Of Theory and Prac- d II. De Speculations <;t
tice. - Praxi.
VOL. Ill, D

34 THE ART OF PAINTING.
Yet will she strive sdme leading rules to draw
From sovereign Nature's universal law i,
Stretch hei> wide j view o'er ancient Art's do
main, 9$
Agajn establish Reason's legal reign,
Genius again;eorrect with science sage,
And curb luxuriant fancy's headlong rage, .;-]>?
" Right ever. reigns its stated bounds; between,
"And, taste, like morals, loves the golden
- -• mean." , ... ...:ov/ ¦-,"¦¦¦ • >..¦ w»
eSome lofty theme let judgment. first ss.upply,
Supremely fraught 'with grace and majesty:;
For fancy copious, free to every charm
That lines can circumscribe or colours .warm ;

Nitimur hsec paucis, scrutati sunama magistral
Dogmata Naturae, artisque exemplaria prima
Altius intuiti ; sic mens habijisque facultas,,
Indolis excolitur, Geniumque Scientia complet ; **
Luxuriansque in monstra furor compescitur Arte.
" Est modus in rebus, sunt cert'}, deniquefin.es,
" ghios ultra citrdque nequit consistere rectum."
fHis positis, erit optanclum.thema, nobile^ pul
chrum,
e III. Of the Subject. r III. DeArgumento.

THE ART OF PAINTING: fi;
Still happier, if that artful theme dispense 105
A poignant moral and instructive sense.
sThen let the virgin canvas smooth expand,
To claim the sketch and tempt the Artist's hand :
Then, bold Invention, all thy powers diffuse,
Of all thy' sisters thou the noblest Muse: iio
Thee every art,- thee every grace inspires,
Thee Phoebus |fills with all his brightest fires.
*? Choose such judicious force of shade and
light
As suits the theme, afnd satisfies the sight ;
Quodque venustatum, circa formam atque co-,
lorem, '9
Sponte capax, ampiam emeritaa mox prasbeat Arti
Materiam, retegens aliquid salis et documents
' Tandem opus aggredior ; primoq; occurrit in albo
Dispohenda typi, coneepta potente Miner vay
Machiria, quae nostris Inventio dicitur oris
Ilia quidem prius ingenuis instructa sororum
.Artibus- Aonidum,- et Phcsbi sublimiof sestu.
k Quserendasque inter' pbsituras, lumini&, umbrs,
• « Invention the first jpart ' Inventio prima ¦ PicturW
of painting. -¦• pars.
h IV. Disposition- or eco- * IV. Dispositio, sive
nomy of the whole. operis totius cecoriomia.
' D 2

3& THE ART OF PAINTING.
"Weigh part with part, and with prophetick
eye "5
The future power of all thy tints descry;
And those, those only on the. canvas place j
Whose hues are social, whose effect is grace.
1 Vivid and faithful to the historiek page,
Express j the; customs j- manners, forms, sand
age ; .:.... ... a » 20
w Nor. paint conspkuoussion the foremostplain
Whate'er is false, impertinent, or vain;
But like the. Tra gick Muse, thy lustre throw,
Where the chief action claims its warmest glow.
Atque futurorum jam praesenrire colorum
Par erit harmoniam, captando ab utrisque ve-
nustum. 8o.
. . n Sit thematis genuina ac viva expressio, juxta
Textum antiquorum, propriis cum tempore formis*
-Nee quod inane, nihil facit ad rem, sive videtur
Improprium, minimeque urgens, potiora tenebit
Ornamenta operis ; Tragicae sed lege sororis, 8s
Summa ubi res agitur, vis summa requiritur Artis. •
A
1 V. The Subject t& be : n V. Fidelitas Argument!.
treated faithfully. • VI. Inane rejiciendum.
m VI. Every foreign orna
ment to be rejected.

THE ART OF PAINTING. 37
This rare, this arduous "task no rules can
teach, 12;
No skill'd preceptor point, no practice reach; .
'Tis taste, 'tis genius, 'tis the heav'nly ray
Prometheus ravish'd from the car of day.
In Egypt first the infant art appear'd,
Rude and unform'd; but when to. Greece she
; Steer 'd 130
Her prosperous coursjp, fair Fancy met the
Maid ; '
Wit, Reason, Judgment, lent their powerful aid;
Till all complete the gradual wonder shone,
And vanquisfh'd Nature own'd herself out
done.

Ista labore gravi, studio, monitisque magistri
Ardua pars nequit addisci : rarissima namque,
Ni prius jethereo' rapuit quod ab axe Prometheus
Sit jubar infusum menti cum flamine vitas.
Mortali baud cui vis , divina Hasd munera dantur 3
Non uti Baedaleam licet omnibus ire Corinthum.
jEgypto informis quondam pictura reperta,
Grascorum studiis, et mentis acumine crevit !
Egregiis tandem illustrata et adujta magiftris,
Naturam visa est miro superare labore.

3$- THE. ART OF FAINTING,:
'Twas there the Goddess • fix'd her hlest
abodes, 1.35
There reign'd in Corinth, Athens, Sicyon,
Rhodes, r
Her various vot'ries various talents crown'd,
Yet each alike her inspiration own'd :
Witness those marble miracles of grace,
Those tests of symmetry where still we trace 140.
All art's perfection : :W%h reluctant gaze- -
To these the genius of succeeding days
Looks dazzled up, and, as their glories spread*
Hides in his mantle his diminished head.
p Learn then from Greece, ye youths, Pro
portion's law, , ,#£,.
Inform'd by her, each just Position draw;
Quos inter, Graphidos Gymnasia prima fuere
Portus Ajthenarum, Sicyon, Rhodos, a,tque Corinthus,
Disparia inter se modicum ratione, laboris ; 9^
Ut patet ex vcterum Statuis, formae atque deooris
Archetypis. ; queis posterior nil protulit aetas
Condignum, et non inferius longe, arte modoque.,
« Horurn igitur' vera ad normam positura legetur :
p VII. Design or Position, ' VII. Graphis seu Posi-
$he second part of Painting, "¦'titra secunda Picturae pars'.

THE . ART OF PAINTING. $9
Skilful to range each: large unequal part,*1 ^.
With Varied motion arid- contrasted art ;
Full'* in the front the ndbler limbs to place,
And poise each figure on its central base. \~ 150
But chief from her that flowing outline take,
Which floats, in wavy windings, like the snake,
Or lambent flame ; which, ample, broad, and
long,
Reliev'dj'-not swell'd, at once both light and
strong, < '. {
Glides thro' "the graceful whole. Her art
divine" ><j' 155
Cuts not, in parts minute, the tame defign,
But by a few bold strokes, distinct- and free, .*
Calls forth the charms of perfect Symmetry.

Grandia, inasqualis, formosaque partibus amplis
Anteriora dabit membra, in contraria motu
17.. •¦-¦-.•¦-'• " i -. < H-M* '
Diverso variata, suo librataque centra ;
Membrorumque sinus ignis flammantis ad instar,
Serpenti undantes Jflexu ; sed lsvia, plana,
Magnaqu e signa, quasi sine tubere subdita taetu,
Ex longe deducta fluant, non secta minutim. '
Insertisque toris sint.nota.ligamina, juxta
Compagem anatomes, et membrificatio Gra^co

10{

49 THE ART OF PAINTING.
True to anatomy, more true to, grace, ¦'•-'.-
She bids each muscle know its native place ; ifr»
Bids small from great in just gradation ris;e,
And, atone visual point, approach the eyes.
Yet deem not, youths, th^t perspective can
give
Those charms complete by which ypur- works
shall live :
What tho'i her rules may to your hand in>?
part -\- 16,5
A, quick mechanick substitute for art,
Yet formal, geometrick shapes she draws ;
Hence the true Genius scorns her- rigid laws ;
By Nature taught he strikes th'unerring lines,
Consults his eye, and as he §ees designs., 179
Deformata modo, paucisque expressa lacertis,
Qualis, apud veteresj totoque Eurythmia partes
Componai'; genitumque suo generante sequent! - Ui
Sit minus, et piincto videantur cuncta sub uno.
v Regula certa licet nequeat prospectica dici1,
Aut complementum graphidos j sed in arte juvamenj
Et mbduS ac'celerans operandi : at corpora falso
Sub visuin multis referens, mendosa labascit : ""
Nam Geometralem nunquam sunt corpora juxta'
Menshram'depicta oculis, sed qualra visa.

THE ART OF PAINTING, 4a
? Man's changeful race, the sport of chance
- and tirn®j
Varies no Jess in aspect than in clime ;
Mark well the difference, and let each be. seen
Of various age, complexion, hair, and mien ^
* Yet to each separate form adapt with care 17;
Such limbs, such robes, such attitude and air,
As best befit the head, and best combine
To make one whole, one uniform design :
^Learn action from the dumb; the dumb shaU
teach
I-Jaw happiest to supply the want qf speech- 180
uNon eadem formae species, non omnibus stas
^Equalis,, similesque color, crinesque figuris : .
Nam, variis velut orta plagis, gens dispare vultu
est. "_?
x Singula membra, suo capiti conformia, fiant
Unum idemque simul corpus cum vestibus ipsis :
y Mutorumque silens positura imitabitur actus.
r VIII. Variety in the Fi- ° VIII. Varietas in Fi-
Figures'. guris.. .r
* IX. Conformity of the * IX. Figura sit una mem-
Limbs and Drapery to the bris et vestibus.
Head. 7 X. Mutorum, aetionej
1 X.1 Action of the* Mutes imitandse.
(o be imitated.

42 THE ART OF PAINTING.
'•Fair in the front, in all the blaze of light,
The Hero of thy piece should meet the sight,
Supreme in beauty ; lavish here thine art,
And bid him boldly from the canvas start ;
'While round that sov'reign form th' inferior-
train 185
In groups collected fill the pictur'd plain ;
Fill, but not Croud ; for oft some open space
Must part their ranks, and leave a vacant place,
Lest- artlessly dispers'd the sever'd crew
At. random rush on our bewildered view ; 190
Or parts with parts, in thick confusion bound,
Spread a tumultuous chaos o'er the ground.
1 Prima figurarum, seu princeps dramatis, ultrd
Prosiliat media in tabula, sub lumine primo ,3*
Pulchrior ante alias, reliquis nee operta figuris.
1 Agglomerata simul sint membra, ipsa^que
' figurae ,
Stipentiir, circumque globos locus usque vacabit ;
Ne, .male dispersis dum visus ubique figuris
Dividitur, cunctisque operis fervente tumultu ,3J
Partibus implicitis, crepitans confusio surgat.
* XI. The principal Figure. b XI. Figura princeps.
a XII. Groups of Figures. c XII-. Figurarum "gl6bi
seu cumuli.

THE. ART OF PAINTING, 43
d In every figur'dgroup the judging eye
Demands the charms of contrariety;
In forms, in attitudes, expects tor trace 195
Distinct inflections, and contrasted grace,
Where art diversely leads each changeful line,
Opposes, breaks, divides the whole design :
Thus, when the rest m front their charms dis
play,
Let "one with face averted turn away ; 200
Shoulders oppose to breasts, and left to right,
With parts that meet and parts that shun the
sight.
This rule in practice; uniformly true
Extends alike to many forms or few. 204
, $ •
* Inque figurarurv'cumulis npri omnibus idem
Corporis inflexus, motusque j vel artubus omnes
Conversis pariter non connitantur eodem ;
Sed quasdam in diversa trahant contraria membra, ,4°
Tranverspque aliis pugnent, et camera frangant.
Pluribus, adversis aversam oppone figuram,
Pectoribusque humeros, et dextera membra sinistris,
Seu multis constabit opus, paucisve fjguris.
d XIH. Diversity pf At- . , f XIII. Positurarura dj-
fitude in .Groups.- versitas in cumulis,

4V THE ART OF PAINTING.
! Yet keep thro' all the piece a perfect poize ;
If here in frequent troops the figures rise,
There let some object tower with equal pride ;'
And so arrange each correspondent side,
That, thro? the well-connected plan, appear
No cold vacuity, no desert drear. no
sSay does the Poet glow with genuine rage,
Who crouds with pomp and noise his bustling
sta;ge ? . •*?'/. ,r •¦••"'
Devojd alike of taste that Painter deem,
Whose flutt'ring works with num 'rous figures
teem :

' h Altera pars tabula? vacuo neu frigida eampo, *4V
Aut deserta siet, dum pluribus altera formis
Fervida mole sua supremam exsyrgit ad Oram.
Sed tibi sic positis respondeat utraqiie rebus,
Ut si aliquid sursum se parte attollat in una,
§ic aliquid parte ex alia consurgat, et ambas '¦ *J*'
iEquiparet, geminas cumulando asqualiiSer oras.
'Pluribus implicitum personis drama supremo !
In genere, ut rarum est, multis ita densa figuris
{ XIV. A Balance to bef > h XIV. Tabula: libramsn,
kept in the Picture. turn.
* XV. Of the'Numher ' XV. Nurherus Figu,
of Figures, rarum.
6

THE ART -OF PAINTING. 45.
A task so various how shall art fulfill, 215
When oft the simplest forms elude our skill ?'•'.
But, did the toil succeed, we still should lose
That solemn majesty, that soft repose,
Dear to the curious eye, and only found,
Where few fair objects fill an ample ground. -220
Yet if some grand important theme demand
Of many needful forms a busy band,
Judgment will so the several groups unite,
That one compacted whole shall meet the sight.
kThe joints in each extreme distinctly
treat, 2Zj
Nor e'er conceal the outline of the feet :
Rarior est tabula excellens ; vel adhuc fere nulla
PraBstitit in multis, quod vix bene prapstat in una: '*'.
Quippe solet rerum nimio dispersa tumultu,
Majestate carer'e gravi, requieque decora ;
Nee speciosa nitet, vacuo nisi libera campo. ,
Sed si opere. in magno, plures thema grande requirat
Esse figurarum ctimulos, spectabitur una V*0
Machina t6ta;reij non singula quseque .seorsim.
1 Prjecipua- extremis raro internodia membris
Abdita sintj. jsed summa pedum vestigia nunquam.
k.XVL The Joints; qf the , l XVI. Internodia et Pe*
Feet. , des. . p r,. l ..

46 THE ART OF PAINTING".
m The hands alike demand to be exprest
Iri half-shewn figures rang'd behind the rest i '
Nor can such forms with force or beauty shine,.
Save when the head and hands in action
join. ' 130
n Each air constraint and-fore'd, each gesture
rude, :
Whate'er contracts or cramps the attitude,
With scorn discard. When 'squares or angles
join,
When flows in tedious parallel the line,
Acute, obtuse, whene'er the shapes appear, 235
Or take a formal geometrick air,

0 Gratia nulla manet, motusque, vigorque figuras
Retro aliis subter majori ex parte latentes,/ ,tf
Ni capitis motum manibus comitentur agendo.
p DifEciles fugito aspectus, contractaque visu
Membra' sub ingrato, motusque, actusque coactosj
Quodque refert signis, rectos quodammodo tractus,
Sive parallelos plures simul, et vel acutas, ,1tf
m XVII. The Motion of " XVII. Motus manuum
the Hands with the Head. motui capitis jungendus-.
¦ XVIII. What things are '* XVIII. Quae fugienda in
to be avoided in the Distri- distributione-etcompositione,
bution of the Piece.

THE ART OF PAINTING, 47
These all displease, and the disgusted eye
Nauseates the tame and irksome symmetry.
Ivlark then qur former rule*; with contrast
strong, ,
And mode transverse the leading lines pro
long ; ,. ¦• 340
For these in each design,' if well exprest,
Give value, force, and lustre to the rest.
..1 Nor yet to Nature such strict homage pay,
As not to quit when Genius leads the way ;>
Nor yet, tho' Genius all his succour sends, 24;
Her mimick powers tho' ready memory lends,
Vel geometrales (ut quadra, triangula) formas:
Ingratamqufi; pari signorum ex. ordine quandam
Symmetriam : sed prascipua in contraria semper
Signa volunt duci transversa, ut diximus ante.*
Summa igitur ratio signorum habeatur in omni ,,J
CompPsito ; dat enim reliquis pretium, atque
vigorem.
' Non ita naturae astanti sis cuique revinctus,
Hanc praster -nihiL ut genio studioque relinquas ;
Nee sine teste rei natura, artisque magistra,
* Page 43, Rule xiii.
"XIX. Nature to be ac- r XIX. Natura genio _*$»
commodated to Qenius.- commodanda-. .-',. 71 1

4S THE ART OF PAINTING.
Presume from Nature wholly to depart,
For Nature is the arbitress of art.
In Error's grove ten thousand thickets spread^
Ten thousand devious paths our steps mis
lead * 25*0
'Mid curves, that vary in perpetual twine,
Truth owns but one direct and perfect line.
8 Spread then her genuine charms o'er all the
_ piece,
Sublime and perfect as they glow'd in Greece.
Those genuine charms to sei2e, with zeal ex
plore 515-' j
The vases, medals, statues, form'd of yore,
Relievos high that swell the column's stem,
Speak from the marble, sparkle from the gem :
Quidlibet ingenio, memor ut tantummodo rerun)* lS*
Pingere posse putes ; errorum est plurima sylva,
Multiplicesque vias, bene agendi terminus unus,
Linea recta velut sola est, et millq recurvas*
' Sed juxta antiquos naturam imitabere pulchram,
Qualem forma rei propria, objcctumque requirit, '**
Non te igitur lateant antiqua numismata, gemmas,
8 XX. The Antique the ' XX. Signa antiqua' Na-
Model to be copied. turas modum constituunt.

THE ART OF PAINTING. 49
Hence all-majestic on th' expanding soul,
In copious tide the bright ideas roll ; 260
Fill it with radiant forms unknown before,
Forms such as demigods and heroes wore:
Here pause and pity our enervate days,
Hopeless to rival their transcendent praise.
w Peculiar toil on single forms bestow, 265
There let expression lend its finish'd glow ;
There each variety of tint unite
With the full harmony of shade and light.
x Free o'er the limbs the flowing vesture cast.
The light broad folds with grace majestick
placed ; 270
Vasa, typi, statuas, cadataque marmora signis,
Quodque refert specie veterum post ssecula mentem .
Splendidior quippe ex illis assurgit imago,
Magnaque se rerum facies aperit meditanti : '9*
Tunc nostri tenuem ssecli miserebere sortem,
Cum spes nulla siet reditura; sequalis in jevum.
y Exquisita siet forma, dum sola figura
Pingitur ; et multis variata coloribus esto.
1 Lati, amplique sinus pannorum, et rfobilis ordo I9S
v XXL How to paint a y XXI. Sola Figura quo-
single Figure1. modo tractanda.
* XXII. Of Drapery. z XXII. Quid in Pannis
observandum.
yOL. III. E

jo THE ART OF PAINTING.
And as each figure turns a different way,
Give the large plaits their corresponding
play;
Yet devious oft and swelling from the part,
The flowing robe with ease should seem to
start;
Not on the form in stiff adhesion laid, 275
But well reliev'd by gentle light and shade.
Where'er a flat vacuity is seen,
There let some shadowy bending intervene,
Above, below, to lead its varied line,
As best may teach the distant folds to join ; 28®
And as the limbs by few bold strokes exprest
Excel in beauty, so the liberal Vest
Membra sequens, subter latitantia lumine et umbra
Exprifnet ; ille licet transversus saspe feratur,
Et cjrcumfusos pannorum porrigat extra
Membra sinus, non contigUos, ipsisque figura
Partibus impressos, quasi pannus adhaareat illis ; 20t>
Sed modice expressos cum lumine servet et umbris :
Quaeque intermissis passim sunt dissita vanis,
Copulet, inductis subterve, superve lacernis.
Et membra, ut magnis, paucisque expressa lacertis,
Majestate aliis prsestant, forma, atque decore : "J
Haud secus in pannis, quos supra optavimus amplos,

THE ART OF PAINTING. s...
In large, distinct, unwrinkled folds should fly;
Beauty's best handmaid is Simplicity.
To difF'rent ranks adapt their proper robe; 285
With ample pall let monarchs sweep the globe;
In garb succinct and coarse array the swain ;
In light .and silken veils the virgin train.
Where in black shade the deeper hollow lies,
Assisting art some midway fold supplies, ao»
That gently meets the light, and gently spreads
To break the hardness of opposing shades.
a Each nobler symbol classick Sages use,
To mark a Virtue, or adorn a Muse,

Perpaucos sinuum flexus, rugasque, striasque,
Membra super, versu faciles, inducere prasstat.
Naturasque rei proprius sit pannus, abundans
Patriciis ; succinctus erit, crassusque bubulcis, "•
Mancipiisque ; levis, teneris, gracilisque puellis.
Inque cavis maculisque umbrarum aliquando tu-«
mescet,
Lumen ut excipiens, operis qua massa requirit,
Latius extendat, sublatisque aggreget umbris.
b Nobilia arma j uvant Virtutum ornantque figuras, a ' J
a XXIII. Of Picturesque " XXIII. Tabulae Orna-
Ornament. mentum.
E 2

52 THE ART OF PAINTING.
Ensigns of war, of peace, or Rites divine, 295
These in thy work with dignity may shine :
•But sparingly thy earth-born stores unfold,
Nor load with gems, nor lace with tawdry gold;
Rare things alone are dear in custom*s eye,
They lose- f heir Value as they multiply. 300
d Of absent forms the features to define,
Prepare a model to direct thy line ;
*Each garb, each custom, with precision trace,
Unite in strict decorum time with place ;
f And emulous alone of genuine fame, 305
Be Grace, be Majesty thy constant aim,
Qiialia Musarum, Belli, cultusque Deorum.
6 Nee sit. opus nimium gemfnis auroque refertum;
Rara etenim magno in pretio, sed plurima viii.
h Quas deinde ex vero nequeant prassente videri,
Prototypum prius illbrum ibrmare juvabit. "*
1 Conveniat locus, atque habitus ; ritusque decusqUe
ft Servetur : Sit nobilitas, Charitumque venustas,
c XXIV. Ornament of * XXIV. Orriamenttim
Gold and Jewels. Auri et Gemmarum:
* XXV. Of the Model. " XXV. Prototype.
• XXVI. Union of. -the ' XXVI. Convenientia
Piece. rerum cum Scena.
f XXVII. Grace and Ma- k XXVII. Charitas et No-
jesty. bilitas.

THE ART OF PAINTING. &i
That Majesty, that Grace so rarely given
To mortal man, nor taught by art but Heaven.
1 In all to sage propriety attend',
Nor sink the clouds, nor bid the waves
ascend ; r 3,0
Lift not the mansions drear of Hell or Night
Above the Thunderer's lofty arch of light ;
Nor build the column on an osier base ;
But let each object know its native place.
* Thy Jast, thy noblest task remains untold,
Passion to paint, and sentiment unfold; 316
Yet how these motions °f tne mind display !
Can colours catch them, or can lines portray ?
(Rarum hqrnini munus, C.celo, non arte petendum.)
Natura; sit ubiquc tenor, ratioque sequenda.
" Non vicina pedum tabulata excelsa tonantis "s
Astra dornus depicta gerent, nubesque, notosque j
Nee mare depressum laquearia summa, vel Orcum j
Ma^mQreamque feret cannis vaga pergula molem :
Congrua sed propria semper statione locentur.
0 Hjec prater, motus animorum, et corde re-
postos u*
1 XXVIII. Every thing in n XXVIII. Res quaeque
it? proper place, locum suum teneat.
' *¦ XXIX. The Passions. • XXIX, Affectus,

54 THE ART OF PAINTING.
Who shall our pigmy pencils arm with might
To seize the Soul, and force her into sight? 320!
Jove, Jove alone ; his highly-favour'd few
Alone can call such miracles to view.
But this to rhet'rick and the schools I leave,
Content from ancient lore one rule to give :
" By tedious tbil no passions are exprest, 325
" His hand who feels them strongest paints
them best."
* Yet shall the Muse with all her force pro
scribe
Of base and barbarous forms that Gothick tribe,

Exprimere affectus, paucisque coloribus ipsam
•Pingere posse animam, atque oculis przebere vi-
dendam,
" Hoc opus, hie labor est. Pauci, quos aquus amavit
" Jupiter, aut ar dens avexit ad a thera virtus,
" Dis similes potuere" manu miracula tanta. Ils
Hos ego rhetoribus tractandos desero ; tantum
Egregii antiquum memorabo sophisma magistri;
« Verius affectus animi vigor exprimit ardens,
" Solliciti nimium quam sedula cura laboris**
* Denique nil sapiat Gothorum barbara trito 24*
* XXX. Gothick Orna- 1 XXX- Gothorum Or-
ment to be avoided. namenta fugienda.

THE ART OF PAINTING. sj
Which sprang to birth, what time, thro' lust
of sway,
Imperial Latium bade the world obey : 330
Fierce from the north the headlong demons
flew,
The wreaths of Science wither'd at their view;
Plagues were their harbingers, and war accurst,
And luxury, of every fiend the worst :
Then did each Muse behold her triumphs fade,
Then pensive Painting droop'd the languish'd
head ; 3jS
And sorrowing Sculpture, while the ruthless
flame
Involv'd each trophy of her sister's fame,
Fled to sepulchral cells her own to save,
And lurk'd a patient inmate of the grave. 340
Ornamenta modo, saxlorum et monstra malorum :
Queis ubi bella, farnem, et pestem, discordia, luxus,
Et Romanorum res grandior intulit orbj,
Ingenua; periere artes, periere superba;
Artificum moles -, sua tunc miracula vidit *4S
Ignibusr absumi Pictura, latere coacta
Fornicibus, sortem et reliquam confidere cryptis ;
•Marmoribusque diu Sculptura jacere sepultis.
3

$6 THE ART OF PAINTING.
Meanwhile beneath the frown of angry Heaven,
Unworthy every boon its smile had given,
Involv'd in error's cloud, and scorn 'd of light,
The guilty Empire sunk. Then horrid Night,
And Dullness drear their murky vigils kept, 345
In savage gloom the impious Ages slept,
Till Genius, starting from his rugged bed,
Full late awoke, the ceaseless tear to shed
For perish'd art; for those celestial hues,
Which Zeuxis, aided by the Attiek Muse, 359
x Gave to the wond'ring eye : She bade his
name,
With thine, Apelles, gild the lists of fame ;
Imperium interea, scelerum gravitate fatiscens,
Horrida nox totum invasit, donoque superni as"
Luminis indignum, errorum caligine mersit,
Impiaque ignaris damnavit sascla tenebris.
Unde coloratum Graiis hue usque magistris
Nil'superesttantorum hominum, quodmente modoq;
Nostrates juvet artifices, doceatque laborem ; lSi,
"Nee qui Chromatices nobis, hoc tempore, partes
Restituat, quales Zeuxis tractaverat olim,
Hujus quando maga velut arte sequavit Apellem
* Colouring the third • Chromatices tertia.P*r
Part of Painting. Picturae.

THE ART OF PAINTING. 5?
With thine to colouring's brightest glories
soar,
The Gods applaiid him, and the world adore. -
Alas ! how lost those magick mixtures
all ! 3SS-
No hues of his now animate the wall ;
How then shadl modern art those hues apply,
How give design its finish'd dignity ?
Return fair Colouring ! all thy lures prepare,
Each safe deception, every honest snare, 36a
Which brings new lovers to thy sister's train,
Skilful at once to charrn, and to retain;
Come, faithful Siren! chast seducer! say,
What laws control thee, and what powers
obey.

Pictorum archigraphum, meruitque coloribus altam
Nominis asterni famam, toto orbe sonantem. a6*
Hasc quidem ut in tabulis fallax, sed grata venustas,
Et complementum graphidos, mirabile visu,
Pulchra vocabatur, sed subdola, lena sororis :
Non tamen hoc lenocinium, fueusque, dolusque
pedecori fuit unquam ; illi sed semper honori, *6i
LaudjJbus et meretis ; hanc ergo nosse juvabit.

$8 THE ART OF PAINTING.
Know first, that light displays and shade
destroys 365
Refulgent Nature's variegated dyes.
Thus bodies near the light distinctly shine
With rays direct, and as it fades decline.
Thus to the eye oppos'd with stronger light
They meet its orb, for distance dims the sight.
* Learn hence to paint the parts that meet
the view 371
In sperick forms, of bright and equal hue;
While, from the light receding or the eye,
The sinking outlines take a fainter dye*
Lux varium, vivumque dabit, nullum umbra, co-
lorem.
Quo magis adversum est corpus, lucique pro-
pinquum.
Clarius est lumen j nam debilitatur eundo.
Quo magis est corpus directum, oculisque pro-
pinquum, *'•
Conspicitur melius ; nam visus hebescit eundo.
" Ergo in corporibus, quas visa adversa, rotundiSj,
Integra sunt, extrema abscedant perdita signis,
1 XXXI. The conduct of « XXXI.. Tonbrum Lu.
the Tints of Light and Sha- minum et Umbrafum ratio,
dow.

THE ART OF PAINTING/ . 59
Lost and confused progressively they fade,. 375
Not fall precipitate from light to shade.
This Nature dictates, and this taste pursues,
Studious in gradual gloom her lights to lose ;
The various whole with soft'ning tints to fill,
As if one single head employ 'd her skill. 380
Thus if bold fancy plan some proud design,
Where many various groups divide or join, .
(Tho* sure from more than there confusion
springs,)
One globe of light and shade o'er all she
flings ;
Yet skill'd the separate masses to dispose, 385
Where'er, in front, the fuller radiance glows,
Behind, a calm reposing gloom she spreads,
Relieving shades with light, and light with
shades.
Confusis, non prascipiti labentur in umbram
Clara gradu, nee adumbrata in clara alta repente I7S
Prorumpant ; sed erit sensim hinc atque inde meatus
Lucis et umbrarum ; capitisque unius. ad instar,
Totum Opus, ex multis quanquam sit partibus, unus
Luminis umbrarumque globus tantummodo fiet,
Sive duas, vel tres ad summum, ubi grandius esset tU
Divisum pegma in partes statione remotas.

«> THE ART OF PAINTIN'S.
And as the center of some convex glass,
Draws to a point the congregated mass 390
Of dazzling rays, that, more than nature bright,
Reflect each image in an orb of light,
While from that point the scatter 'd beams retire,
Sink td the verge, and there in shade expire*
So strongly near, so softly distant throw 391;
On all thy rounded groups the circling glow.
As is the Sculptor's, such the Painter's aim,
Their labour different, but their end the same:
What from the marble the rude chissel breaks,
The softer pencil from the canvas takes ; 40©

Sintque ita discreti inter se, ratione colorum,
Luminis, umbrarumque, antrorsum ur, eorpora cl^ra^
t)bseura umbrarum requies spectanda relinquat ;
Claroque exiliant umbrata atque aspera campo. lts
Ac veluti in speculfs convexis, eminet ante
Asperior reipsa vigor, et vis aucla colorum
Partibus adversis 5 magis et fuga rupta retrorsum
Illorum estj (ut visa minus vergentibus Oris,)
Corporibus dabimus formas hoc more rotundas. *»••
Mente modoque igitur plastes, et pictor, eodem
Dispositum tractabit opus ,< qufc sculptor in orbem,
Atterit, haec rupto procul abscedente colore
Assequitur picter, fugientiaque ilia retrorsum

THE ART OF PAINTING* 61
And, skill'd remoter distances to keep,
Surrounds the outline pale in shadows deep;
While on the front the sparkling lustre plays,
And meets the eye in full meridian blaze. 404
True Colouring thus in plastick power excells,
Fair to the visual point her forms she swells,
And lifts them from their flat aerial ground
Warm as the life, and as the statue round.
^In silver clouds in ether's blue domain,
Or the clear mirrour of the watry plain, 410
If chance some solid substance claim a place4
Firm and opaque amid the lucid space,

Jam signata minus confusa coloribus aufert : "*'.
Anteriora quidem directe adversa, colore
Integra vivaci, summo cum lumine et umbra
Antrorsum distincta refert, velut aspera visu.;
Sicque super planum inducit leuce-ma colores,
Hos velut ex ipsa natufa immotus eodem
Intuitu circum statuas daret inde rotundas.
y Densa figurarum solidis qua? corpora formis
Subdita, sunt tactu, non translucent, sed opaca

J»*

" XXXII. Deriseand opa- * XXXII. Corpora densa*
•true bodies with translucent et opaca cum translucentibus.
ones.

tfa THE ART OF PAINTING.
Rough let it swell and boldly meet the sight,
Mark'd with peculiar strength of shade and
light ;
There blend each earthy tint of heaviest sort, 41 j
At once to give consistence and support,
While the bright wave, soft cloud, or azure
sky,
Light and pellucid from that substance fly.
z Permit not two conspicuous lights to shine
With rival radiance in the same design; 420
But yield to one alone the power to blaze
And spread th' extensive vigour of its rays,
In translucendi spatio ut super aera, nubes,
Limpida stagna undarum, et inania castera debent 30S
' Asperiora illis prope circumstantibus esse ;
Ut distincta magis firmo cum lumine et umbra,
Et gravioribus ut sustenta coloribus, inter
Aerias species subsistant semper opaca :
Sed contra, procul abscedant prelucida, densis 3,s
Corporibus leviora ; uti nubes, aer, et undas.
a Non poterunt diversa locis duo lumina eadem
In tabula paria admitti, aut aequalia pingi :
! * XXXIII. There must a XXXIII. Non duo ex,
not be two equal Lights in ccelo Lumina in tabulam se-
the Picture. qualia.

THE" ART OF PAINTING. , €3
There where the noblest figures are display'd ;
Thencegild the distant parts , and lessening fade r
As fade the beams which Phoebus from the
East 425
Flings vivid forth to light the distant West,
Gradual those vivid beams forget to shine,
So gradual let thy pictur'd lights decline.
The sculptor'd forms which some proud
Circus grace,
In Parian marble or Corinthian brass, 43Q
Illumin'd thus, give to the gazing eye
Th'expressive head in radiant Majesty,
While to each lower limb the fainter ray
Lends only light to mark, but not display :

if >.

Maj us at in mediam lumen cadet usque tabellam
Latius infusum, primis qua summa figuris
Res agitur, circumque oras minuetur eundo :
Utque in progressu jubar attenuatur ab ortu
Solis, ad occasum paulatim, et cessat eundo ;
Sic tabulis lumen, tota in compage colorum,
Primo a fonte, minus sensim declinat eundo. "*
Majus ut in statuis, per compita stantibus urbis,
Lumen habent partes superse, minus inferioris ;
Idem erit in tabulis -, majorque nee umbra, vel ater
Membra figurarum intrabit color, atque secabit :

tit THE ART Of PAIfrfrTNG.
So let thy pencil fling its beams around, 435
Nor e'er with darker shades their force con
found,
For shades too dark dissever'd shapes will give,
And sink the parts their softness would relieve;
Then only well reliev'd, when like a veil
Round the full lights the wand 'ring shadows
steal ; 440
Then only justly spread, when to the sight
A breadth of shade pursues a breadth of light.
This charm to give, great Titian wisely made
Thecluster'd grapes his rule of light and shade.
b White, when it shines with unstain'd lustre
clear, 445
May bear an object back, or bring it near ;
Corpora sed c'ircum umbra cavis latitabit oberrans ;
Atque ka quaeretur lux opportuna figuris, ss
Ut late infusum lumen lata umbra sequatur.
Unde, nee immeritd, fertur Titianus ubique
Lucis et umbrarum normam appellasse racemum.
e Purum album esse potest propiusque magisque
remotum : "«
" XXXIV. Of White • XXXIV. Album et
and Black. Nigrum.

3**

THE ART OF PAINTING* $g
Aided by black it to the front aspires,
That aid withdrawn it distantly retires ;
But black unmix'd, of darkest midnight hue,
Still calls each object nearer to the view. 45a
d Whate'er we spy thro* colour'd light or air,
A stain congenial on their surface bear,
While neighb'ring forms by joint reflection give
And mutual take the dyes that they receive.
c But where on both alike one equal light 455
Diffusive spreads, the blending tints unite.
For breaking colours thus (the ancient phrase
By Artists used) fair Venice claims our praise:
Cum riigro antevenit propius ; fugit absq; remotum";
Purum autem nigrum antrorsum venit usque pro-
pinquum. "*
Lux fucata suo tingifr miscetque colore
Corpora, sicque suo, per quem lux funditur, aer.
f Corpora juncta simul, circumfusosque colores 35$.
Excipiunr, propriumque aliis radiosa reflectunt.
s Pluribus in solidis liquida sub luce propinquis,
Participcs, mixtosque simul decet esse colores.
Hanc normam Veneti pictores rite sequuti,
d XXXV. The Reflection f XXXV. Colorum reT.
of Colours. flectio.
e XXXVI. The Union of « XXXVI. Unio Colo-
Colours. rum.
VOL. III. f

66 THE ART OF' PAINTING.
She, cautious to transgress so sage a rule,.
Confin'd to soberest tints her learned school j
For tho' she lov'd by varied mode to join 461
Tumultuous crowds in one immense design,
Yet there we ne'er condemn such hostile
hues
As cut the parts or glaringly confuse ;
In tinsel trim no foppish form is drest. 46 $
Still flows in graceful unity the vest ;
And o'er that vest a kindred mantle spreads,
Unvaried but by power of lights' and shades,
Which mildly mixing, every social dye
Unites the whole in loveliest harmony. 47*

34?

(Queb fuit antiquis corruptio dicta colorum,1)
Cum plures opere in magno posuere figuras,
Ne conjuncta simul variorum inimica colorum '
Congeries formam implicitam, et concisa minutrs
Membra daret pannis, totam unamquamque figu-
ram
Affini, aut uno tantum vestire colore, * Ui
Sunt soliti ¦, variando tonis tunicamque, togamque,
Garbaseosque sinus, vel amicum in lumine ct
¦ umbra
Cohtiguis ctrcum rebus sociando colorem.

'THE ART OF PAINTING: #7
*> When small the space, or pure the ambient
air,
Each form is iseeri in bright precision clear ;
But if thick clouds that purity deface,
If far extend that intervening Space,
There all confus'd the objects faintly rise, 471;
As if prepar'd to vanish from our eyes.
"' Give then each foremost part a touch so
bright,
That, o'er the rest, its domineering light '
May much prevail; yet, relative'in all,
Let greater parts advance before the small. 48a
* •,*
k Qua minus est spatii aerei, aut qua purior aer, 34»
Cuncta magis distincta patent, speciesque reservant :
Quaque magis densus nebulis, aut plurimus aer
r Amplum inter fuerit spatium porrectus, in auras
Confundet rerum species, et perdet inanes.
Anteriora magis semper Anita, remotis
Incertis dominentur et abscedentibus, idque %st
More relative, ut majora minoribus extent.
. \ XXXVII. Of . the In- fc XXXVII. Aer inter:
terpositioh of Air. positus.
1 XXXVIIL The Rela- '» XXXVIII. Distantiwua •
' . u .- ': i'A ' . . '.- ' ¦
tion of Distanc«sv Relatio.
t 2

6t THE ART/OF PAINTING.
.... !" Minuter forms, when .distantly we trace,
Are mingled all in one compacted mass ; *
Such the T light leaves : that clothe remoter
woods,
And such the. waves on wide-extended floods.
n Let each contiguous part be firm allied, 485
Nor labour less the separate to divide, ;
Yet, so diyide. that to th' approving eye
They both at small and pleafing distance lie.
0 Fqrbi4 two hostile colours close to meet,
And win .' with middle tints their union,
' .Weet; . ,tU: ..-. .;:-.; 49»

• p.Cuncta minuta produl massam densantur in ujiafm}
Uj folia arboribus, sylvarum, et in aequore flycfiiS.,
« Contigua inter se cpeant, sed dissita distent,
Distabuntque tamen grato, et discrimine parvo. iS»
r Extrema je^tremis cgntraria jungere noli ;
Sed medio sint, usque grJdu soeiafa coloris.

™ XXXIX. Of Bodie»  4f;XXXIX.% Corpora pro-
which are distanced. cui distantia.
" XL. Of contiguous and * XL. Contigua et Dis*
separated Bodies. sita. "'
0 XLI. Colours very op, r XLI. Contraria extrema
posite to each other- never to fugienda.
be joined. 2

THE ART OF PAINTING*. 6$
Yet varying all thy tones, let some aspire
' Fiercely in front, some tenderly retire.
* Vain is the hope by colouring to display
The bright effulgence of the noon-tide ray,
Or paint the full-orb 'd Ruler of the skies 495
With pencils dipp'd in dull terrestrial dyes:
But when mild Evening sheds her golden light;
When Morn appears array 'd in modest white;
Wheh soft suffusion of the vernal shower 499
Dims the pale sun; or, at the thUnd'ririg hour,
When,1 wrapt in crimson clouds, he hides his
head,
Then catch the glow and on the canvas spread*
" Cbrporum erit tonus atque color variatus ubique;
Quarat amicitiam retro ; ferus emicet ante.
x Supremum in tabulis lumen captare diei, }(i
Insanus labor artlficum; cum attingere tantum
Non pigmenta queant : auream sed vespere lucem,
Seu modicum mane albentem j sive astheris actam
Post hyemem nimbis transfuso sole caducam i
Seu nebulis fultam accipient, tonitruque rubentem. "?
8 XLII. Diversity of Tints u XLII. Tonus et Color
and Colours. varii.
1 XLIII. The Choice of x XLIII. Lumtois de<
Light. lcctus.

}d. THE ART OF PAINTING.
v Bodies of polish'd pr transparent tone,
Of metal, crystal, iv'ry, wood, pr stone ;
And all whose rough unequal parts are rear'd, $oj
The shaggy fleece, thick fur, or hrjstly heard ;
The liquid tpo; the sadly melting eye,
The well-cpmb'd locks that wave with glossy
dye;
Plumage and silks; a floating form that take,
Fair Nature's mirrpur, the extended lake; 510
With what immers'd thro' its callrn. imedium
shines
By reflex light, or to its surface joins ;
These first with thin and even shades portray,
Then, on their flatness strike th' enlivening ray.
Bright arid distinct,— and last, with strict review,
Restore to every form its outline true. $16,
* Lasvia quas lucent, veluti crystalla, metalla,
Ligna, ossa, et lapides ; villosa, ut vcllera, pelles.
Barbae, aqueique oculi, crines, holoserica, plumce;
Et liquida, ut stagnans aqua, reflexseque sub undis
Corporeal species, et aquis contermina cuncta, 37J
Subter ad extrcmum liquide sint pieta, superquc i
Luminibus percussa suis, signisque repostis.
* XLIV. Of certain Things z XLIV. Quaedam circa,
relating to the practical part. Praxim.

THE ART OF PAINTING, 7*
* By mellowing skill thy ground at distance
cast,"
Free as the air, and transient as its blast;
There all thy liquid colours sweetly blend,
There all the treasures of thy palette spend, $a©
And every form retiring to that ground
Of hue congenial to itself compound.
k The hand that colours well, must colour
Dright ;
Hope not that praise to gain by sickly white ;
6 But amply heap in front each splendid dye, 5x5
Thenthinand light withdraw them from the eye*
* Area, vel campus tabula? vagus esto, levisque
Abscedat latus, liquideque bene unctus amicis
Tota ex mole coloribus, una sive patella j }89
Qtiaeque cadunt retro in campum, confinia campo.
' Vividus esto color, nimio non pallidus albo ;
Adversisque lbcis ingestus plurimus, ardens :
Sed leviter parceque datus vergentibus oris.
f Cuncta labore simul coeant; velut umbra, in eadem.
a XLV. The Field of the * XLV. Campus Tabulae. ,
Picture, ¦ ,: , • e XLVI. Color vividu§,
* XLVI. Of the Vjva- non tamen pallidus.
city of Colours. f XLVIL Umbra.
* XLVII. Of Shadows,

<j4 THE ART OF PAINTING.
« Mix'd with that simple unity of shade,
As all were from one single palette spread.
h Much will the mirrour teach, or evening gray,
When o'er some ample space her twilightray 530
Obscurely gleams; hence art shall best perceive
On distant parts what fainter hues to give.
i Whate'er the form which our first glance
commands,
Whether in front or in profile he stands,
Whether he rule the group, or singly reign, 535
Or shine at distance on some ample plain,
On that high-finish'd form let Paint bestow
Her midnight shadow, her meridian glow.

k Tota siet tabula ex una, depicta patella. 3s?
Multa cxWtura speculum praeclara docebit;
1 Quseque procul sero spatiis spectantur in amplis*
"" Dimidia effigies, quas sola, vel integra plures
Ante alias posita ad lucem, stat proxima visu,, *«?
Et latis spectanda locis, oculisque remota,
Luminis umbrarumque gradu sit pieta supremo,
*XLVHI. The Picture to k XLVIII. Ex una pa,
be of one Piece. tella sit tabula. ¦
h XLIX, The Looking * XLIX. Speculum Pic,
Glass the Painter's bestMaster. torum Magister.
* L. A half Figure or a -m L. Dimidia Figura, vel,

THE ART OF PAINTING, 73
n The Portrait claims from imitative art
Resemblance close in each minuter part, 54^
And this to give, the ready hand and eye
With playful skill the kindred features ply;
From part to part alternately convey
The harmonizing gloom, the darting ray,
With tones so just, in snch gradation thrown, 543
Adopting Nature owns the work her own.
0 Say, is the piece thy hand prepares to trace
Ordain 'd for nearer sight, pr narrow space ?
Paint it of soft and amicable hue :
But, if predestin'd to remoter view, 550
Thy strong unequal varied colours blend ;
And ample space to ample figures lend,
p Partibus in minimis imitatio justa juvabit
Effigiem, alternas refcrendo tempore eodem
Consimiks partes, cum luminis atque coloris 895
Compositis, justisque tonisj tunc par ta labore
Si facili et vegeto micat ardens, viva videtur.
q Visa loco angusto tenere pingantur, amico
Juncta colore, graduque ¦, procul quas pieta, feroci
Sint et inasquali variata colore, tonoque. 4°*
Grandia signa volunt spatia ampla, ferosque coloresk
n LI. A Portrait. * LI. Effigies.
0 LII. The place ofthe V LII. ' Locus Tabulae.
Picture.

•74 THE ART OF PAINTING.
r Where to broad lights the circumambient shade
In liquid play by labour just is laid ;. 554
5 Alike with liveliest touch the forms portray,
Where the dim window half excludes the day;
But, when expos 'd in fuller light or air,
A brown and sober cast the group may bear.
1 Fly every foe to elegance and grace,
Each yawning hollow, each divided space ; 560
Whate'er is trite, minute, abrupt, or dry,
Where light meets shade in flat equality ;
Each theme fantastick, filthy, vile, or vain,
•That gives the soul disgust, or senses pain ;
"Lumina lata, unctas simul undique copulet umbras
x Extremus labor. In tabulas demissa fenestris
Si fuerit lux parva, color clarissimus esto ;
Vividus at contra, obscurusque, in lumine apertat *°l
7 Quas vacuis divjsa cavis, vitare memento $
Trita, minuta, simul quae non stipata dehiscunt,
Barbara, cruda oculis, rugis fiicata colorum j
r LIII. Large Lights. * LIII. Lumina lata.
s LIV. The quantity of * LIV., Quantitas luminis
Light and Shade to be adapted loci in quo tabula est expo-
to the Place of the Picture. nenda.
* L.V. Things which are r LV. Errores^ 'et Vitia
disagreeable in Painting to be Picturae."
avoided.

THE ART OF PAINTING. ?y
Monsters of barbarous birth, Chimeras drear,
That pall with ugliness, or awe with fear, 56$
And all that chaos of sharp broken parts,
Where reigns confusion, or whence discord starts*
2 Yet hear me, youths ! while zealous ye,
•forsake
Petected faults, this friendly caution take,—' sip
iShun all excess ; and with true wisdom deem,
That vice alike resides in each extreme.
aK,now, if supreme perfection be your aim,
If classick praise your pencil hope to claim,
Ypur npble outlines must be chaste, yet free, 575
Connected all with studied harmony ;
Luminis umbrarumque tonis asqualia cuncta ;
Fceda cruenta, cruces, obsccena, ingrata, chimeras, *l*
Sordidaque et misera, et vel acuta, vel aspera tact-u;
Quasque dabunt formas, temere congesta, ruinam,
Implicitas aliis confuhdent mixtaque partes.
b Dumque fugis vitiosa, cave in contraria labi
pamnamali; vitium extremis nam semperinha?ret.4'5
c Pulchra gradu summo, graphidos stabilita vetustas
* LVI. The prudential part '' LVI. Prudentia in Pic.
pf a Painter. tore. „
a LVII. The idea ©f a £ LVII. 'Elegajitiutfi I.daea
beautiful Picture. Tabularum.

•fS THE 'ART OF, PAINTING.
Few in their parts, yet those distinct and greatjj
Your 'Colouring boldly strong, yet softly sweet.
d Know, he that well begins has half achiev'd
His destin'd work. Yetlate shallbe retriev'd 580
That time mispent, that labour worse than lost,
The yoimg disciple, to his dearest cost,
Gives to a dull preceptor's tame designs ;
His tawdry colours, his erroneous lines,
Will to the soul that poison rank convey, 585
Which life's best length shall fail to purge away.
Yet let not your untutor'd childhood strive
Of Nature's living charms the sketch to give,
Nobilibus signis, sunt grandia, dissita, pura,
Tersa, velut minime confusa, labore ligata,
Partibus ex magnis paucisque effi eta, colorum
Corporibus distincta feris, sed semper amicis. 4J»
c Qui bene caspit, uti facti jam fertur habere
Dimidium ; picturam ita nil sub limine primo
Ingrediens, puer offendit damnosius arti,
Quam varia errorum genera, ignorante magistro,
Ex pravis libare typis, mentemque veneno ¦*-*
Jnficere, in to to quod non abstergitur asvo.
Nee graphidos rudis artis adhuc cito qualiacunque
, d LVIII. Advice to a e LVIII. Pictor Tyro.
young Painter.

TIJE ART OF PAINTING. j?
Till, skill'd her separate features to design,
You know each muscle's site, andhpw theyjoin.
These while beneath some master's eye you trace,
Vers'd in the lore of symmetry and grace,
Boldly proceed ; his precepts shall impart
Each sweet deception of the pleasing art :
Still more than precept shall his practice teach,
And add what self-reflection ne'er can reach. 596
f Ok, when alone, the studious hour employ
On what may aid your art, and what destroy ;
s Diversity of parts is sure to please,
If all the various parts unite with ease ; 600
Corpora viva super studium meditabitur, ante
Illorum quam symmetriam, internodia, formam
Noverit, inspectis, docto evolvente magistro, 43*
Archetypis, dulcesque dolos prasseriserit artis.
Plusque manu ante oculos quam voce docebitur usis.
11 Quasre artem qascunque juvant^ fuge quasque re-
* pugnant.
1 Corpora diverse naturas juncta placebunt;
Sic ea quas.facili contempta labore videntur :j 43!
f LIX. Art must be sub- » h LIX. Ars debet servire
servient to the Painter. Pictori, non Pictor Arti.
g LX. Diversity and Faci- l LX. Oculos recreant . di,
Jity are pleasing, versitas et operis facilitas,
quae speciatim Ars dicitur.

7§ T#E ART Of PAINTING.
As surely charms that voluntary style,
Which careless plays, and seems tomock at foil i
For labour'd lines with cold exactness tire,
'Tis freedom only gives the force and fire
Ethereal ; she, with alchymy divine, 6oj
Brightens each touch, ennobles every line ;
Yet pains and practice only can .bestow'
This facile power of hand, whose liberal flow
With grateful fraud its own exertions veils :
He best employs his art who best conceals. *6ib
kThis to obtain, let taste With judgment jbin'd
The future whole infix upon thy mind ;
Be there each line in truth ideal drawn,
Or ere a colour on the canvas dawn ;
iEthereus quippe ignis inest et spiritus illis ;
Mente diu versata, manu celeranda repenti.
Arsque laborque operis grata sic fraude latebit :
Maxima deinde erit ars, nihil artis inesse videri.
1 Nee prius inducas tabulae pigmenri colorum, 44*
Expensi quam signa typi stabilita nitescant,
Et menti prassens operis sit pegma futuri.
k LXI. The Original must J LXI. Archetypus in .
be in the Head, and the C 9- mente, Apographus m tela.
py on the Cloth. i . . j >
4

THE ART OF PAINTING. 75
Then as the work proceeds, that work submit 615
To sight instinctive, not to doubting wit ;
The eye each obvious errour swift descries*
Hold then the compass only in the eyes.
"Give to the dictates of the Learn *d respect*
Nor proudly untaught sentiments reject,. 620
Severe to self alone; for self is blind,
.And deems each merit in its offspring join'd :
Such fond delusion time can best remove,
Concealing for a while the child we love;
By absence then the eye impartial grown, 625
Will, tho* no friend assist, each errour own; a

• Prasvaleat sensus rationi, quas officit arti
Conspicuas ; inque oculis tantummodo circinus esto.
* Utere doctorum monitis, nee sperne superbus 44i
Discere, quas de te fuerit sententia vulgi :
Est cascus nam quisque suis in rebus, et expers
Judicii, prolemque suam miratur amatque.
Ast ubi consilium deerit sapientis amici,
Id tempus dabit, atque mora, intermissa labori. 4S°
m LXII. The Compass to ' ° LXII. Circinus in OcUr
be in the Eyes-: lis.
n LXIIL Pride anienemy 0 LXIII. Superbia Pictori
to good Painting. nocet plurhrium.ioi^' ,

go THE ART OF PAINTING,
But these subdued, let thy determin'd mind
Veer not with every critick's veering wind,
Or e'er submit thy genius to the rules
Of prating fops, or self-important fools ; 630
jjiough if from the Learn 'd applause be Won :
Who dpat on random praises, merit none.
1 By Nature's sympathetick power, -we see,
As is the Parent, such the Progeny :
Ev'n Artists, bound by her instinctive law, -6$f
In all their works their own resemblance draw :
Learn then "to know* thyself;" that precept sage
Shall best allay luxuriant Fancy's rage;
Shall point how far indulgent Genius deigns
To aid her flight, and to what point restrains. 640

Non facilis tamen ad nutus, et inania vulgi
Dicta, levis mutabis opus, geniumque relinques :
Nam qui parte sua sperat bene posse mereri
Multivaga de plebe, nocet sibi, nee placet ulli.
Cumque opere in proprio soleat se pingere
pictor, 44s
(Prolem adeo sibi ferre parem natura, suevit,)
Proderit imprimis pictori j/vuflj oWoi>,
Ut data quas genio colat, abstineatque negatis.
' LXIV. Know thyself. r Nosce teipsum-

THE ART OF PAINTING, *t
But as the blushing fruits, the breathing flowers,
Adorning Flora's and Pomona's bowers.
When forcing firescommand their buds to swell,
Refuse their dulcet taste, their balmy smell ;
So labour's vain extortion ne'er achieves 64$.
That grace supreme which willing Genius gives.
8 Thus tho' to pains and practice muc h we owe,
Tho' thence each line obtains its easy flow,
Yet let those pains, that practice, ne'erbe join'd,
To blunt the native vigour of the mind. 650
* When shines the Morn, when , in recruited
course
The spirits flow, devote their active force

Fructibus utque suus nun quam est sapor, atque venustas
Floribus, insueto in fundo, prascoce sub anni 4S*
" Tempore, quos cultus violentus et ignis adegit ;
Sic nunquam, nimio quas sunt extorta labore,
Et pieta invito genio, nunquam ilia plaeebunt.
* Vera super meditando, manus labor improbus
adsit j
s LXV. Perpetually prac- ' " LXV. Quod mente con-
tice, and do easily what you ceperis manu comproba.
have conceived. x LXVI. Matutinum Tem-
' LXVI. The Morning pus labori aptum.
most proper for work.
V®L. m. O

.82 THE ART OF PAINTING.
To every nicer part of thy design,
y But pass no idle day without a line :
z And wanderingoft thecrouded streets along, 65 «?
The native gestures of the passing throng
Attentive mark ; for many a casual grace,
Th' expressive lines of each impassion'd face,
That bears its joys or sorrows undisguis'd,
May by observant taste be there surpriz'd. 669
Thus, true to art, and zealous to excel,
Ponder on Nature's powers, and weigh then\
well ;
Explore thro' earth and heaven, thro' sea and

The accidental graces as they rise ;
Nee tamen obtundat genium, mentisque vigorem, *b\
*• Optima nostrorum pars matutina dierum,
Bifficili hanc igitur potiorem impende labori.
b Nulla dies abeat, quin linea, ducta supersit :
Perque vias, vultus hominum, motusque notabis
Libertate suaproprios, positasque figuras 47"
Ex sese faciles, ut inobservatus, habebis.
* LXVII. Every day do a LXVII. Singulis die-
something. bus aliquid faciendum.'
1 LXVIII. The method b LXVIII. , Affectu? in-
of catching natural Passions, observati et naturales. ;

THE ART OF PAINTING. 83
fc And while each present form the Fancy warms,
Swift on thy tablets fix its fleeting charms. 666
To Temperance all our liveliest powers we
owe,
She bids the Judgment wake, the Fancy flow ;
For her the Artist shuns the fuming feast,
The midnight roar, the Bacchanalian guest, 670
And seeks those softer opiates of the soul,
The social circle, the diluted bowl :
Crown'd with the freedom of a single life,
He flies cjomestick din, litigious strife ;
Abhors the noisy haunts of bustling trade, 675
And steals serene to solitude and shade ;
4 Mox quodcumque mari, terris, et in aere pulchrum
Contigerit, chartis propera mandare paratis,
Dum prassens animo species tibi fervet hianti.
Non epulis nimis indulget Pictura, mcroque 41S
Parcit : Amicorum nisi cum sermone benignp
Exhaustam reparet mentem recreataj sed inde
Litibus, et curis, in ccelibe libera vita,
Secessus procul a turba, strepituque remotos,
Villarum, rurisque beata silentia quasrit : 48a
Namque recollecto, tota incumbente Minerva,
" LXIX- Of the Table, <• LXIX. Non desint pu-
Book. gillares.
G 1

54 THE ART OF PAINTING.
There calmly seated in his village bower,
He gives to noblest themes the studious hour*
Whilf Genius, Practice, Contemplation join
To warm his soul with energy divine : 680
For paltry gold let pining Misers sigh,
His soul invokes a nobler Deity ;
Smit with the glorious avarice of fame,
He claims no less than an immortal name ;
Hence on his fancy just conception shines, 685
True judgment guides his hand, true taste re
fines;
Hence ceaseless toil, devotion to his art,
A docile temper, and, a generous heart j
Docile, his sage Preceptor to obey,
Generous, his aid with gratitude to pay; %a
Ingenie, rerum species prassentior extat;
Commodiusque operis compagem amplecritur em-,
nem.
Infami tibi non potior sit avara peculi
Cura, aurique fames, modica quam sorte beato. 4&i
XT • • • "
Nominis asterni, et laudis pruritus habcnda?,
Condignas pukhrorum operum mercedis in asvum.
Judicium, docile ingenium, cor nobile, sensus
Sublimes, firmum corpus, florensque juventa,
Commoda res, labor, arris amor, doctusque magister;

THE ART OF PAINTING. 8$
Blest with the bloom of youth, the nerves of
health,
And competence, a better boon than weakh.
* Great blessings these ! yet will not these em
power
His tints to charm at every labouring hour :
All have their brilliant moments, when alone 6§t
They paint as if some star propitious shone.
Yet then, e'en then, the hand but ill conveys
The bolder grace that in the fancy plays :
Hence, candid Criticks, this sad truth confest,
Accept what least is bad, and deem it best; 7c*
Lament the soul in errour 's thraldom held,
Compare life's span with art's extensive field ;
Know that, ere perfect taste matures the mind,
Or perfect practice to that taste be join'd,

Et quamcumque voles occasio porrigat ansam, 4U1
,Ni genius quidam adfuerit, sydusque benignum,
Dotibus his tantis, nee adhuc ars tanta paratur.
Distat ab ingenio longe manus. Optima doctis
Censentur, quas prava minus ; Iatet omnibus error?
Vitaque tam longas brevior non sufficit arti.
Desinimus nam posse senes, cum scire periti

86 THE ART OF PAINTING.
Comes agej comes sickness, comes contracting
pain, 705
And chills the warmth of youth in every vein.
Rise then, ye youths, while yet that warmth
inspires,
While yet nor years impair, nor labour tires,
While health, while strength; are yours, while
that mild ray
Which shone auspicious on your natal day, 710
Conducts you to Minerva's peaceful quire, —
Sons of her choice, and sharers of her fire,
Rise at the call of art : expand your breast,
Capacious to receive the mighty guest,
While, free from prejudice, your active eye
Preserves its first unsullied- purity ; 716

Incipimus, doctamque manum gravat asgra senectus -,
Nee gelidis fervet juvenilis in artibus ardor.
Quare agite, O juvenes, placido quos sydere
natos . . 5°»
Paciferas studia allec'tant tranquil-la Minervas ;
Quosque suo fovet igne, sibique optavit alumnos !
r Eja agite, atque animis ingentem ingentibus artem
Exercete alacres, dum strenua corda juventus
Viribus exstimulat vegetis, patiensque laborum est;

THE ART OF PAINTING. 8Z
While new to Beauty's charms, your eager soul
Drinks copious draughts of the delicious whole,'
And Memory on her soft, yet lasting page,
Stamps the fresh image which shall charm
thro' age. 720
? When duely taught each geometrick rule,
Approach with awful step the Grecian school,
The sculptur'd reliques of her skill survey,
Muse on by night, and imitate by day ;
No rest, no pause, till, all her graces known,
A happy habit makes each grace your own. 726
As years advance, to modern masters come,
Gaze on their glories in majestick Rome ;
Dum vacua errorum, nulloque imbuta sapore
Pura nitet mens, et rerum sitibunda novarum,
Prassentes haurit species, atque humida servat !
f In geometrali prius arte parumper adulti
Signa antiqua super Graiorum addiscite formam j Jl°
Nee mora, nee requies, noctuque diuque labori,
Illorum menti atque modo, vos donee agendi
Praxis ab assiduo faciles assueverit usu.
Mox, ubi judicium emensis adoleverit annis,
Singula, quas celebrant primas exemplaria classis, 5"
e LXX. 'The Method of f LXX. Ordo Studiorum.
Studies for a young Painter.

83 THE ART OF PAINTING.
Admire the proud productions of their skill,.
Which Venice, Parma, and Bologna fill;
And, rightly led by our preceptive lore, 731
Their style, their colouring, part by part, ex
plore,
See Raffaelle there his forms celestial trace,
Unrivall'd Sovereign of the realms of Grace :
See Angelo, with energy divine, 735
Seize on the summit of correct design :
Learn how, at Julio's birth, the Muses smil'd,
And in their mystick caverns nurs'd the child;
How, by th'Aonian powers theirsmile bestow'd,
His pencil with ppetick fervour glow'd ; 740
When faintly verse Apollo's charms convey 'd,
He oped the shrine, and all the God display'd:
Romani, Veneti, Parmenses, atque Bononi,
Partibus in cunctis pedetentim, atque ordine recto,
Ut m.onitum supra est, vqs expendisse juvabit.
Hos apud invenit Raphael miracula sumfno
Ducta modo, Veneresque habuit quas nemo deinceps.
Quidquid erat fbrmas scivit Bonarota potenter. su
„ Julius a puero musarum eductus in antris,
Aonias reseravit opes,- graphicaque poesi,
Quas non visa prius, sed tantum audita poetis,
Ante oculos spectanda dedit sacraria Phcebi i liJ
1

THE ART Of PAINTING 'I 89
His triumphs more than mortal pomp adorns.
With more than mortal rage his battle burns;
His Heroes, happy heirs of fav'ring fame, 74;
More from his art than from their actions claim.
Bright, beyond all. the rest, Correggio flings
His ample lights, and round them gently brings'
The mingling shade. In all his works we view'
Grandeur of style, and chastity of hue. 750
Yet higher still great Titian dar'd to soar.
He reach 'd the loftiest heights of colouring's
power ;
His friendly tints in happiest mixture flow,
His shades and lights their just gradations know;
His were those dear delusions of the art, 75;
That round, relieve, inspirit every^ part;
Quasque coronatis complevit bella triumphis
Heroum fortuna potens, casusque decoros,.
Nobilius re ipsa antiqua pinxisse videtur.
Clarior ante alios Corregius extitit, ampla
Luce superfusa, circum coeuntibus urnbris, ^l<~
Pingendique modo grandi, et tractando colore
Corpora. Amicitiamque, gradusque, dolosque co
lorum,
Compagemque ita disposuit Tiiianus., ut inde

$6 THE ART OF PAINTING.
Hence deem 'd divine, the world his merit own'd**
With riches loaded, and with honours crown'di
From all their charms combin'd, with happ^"
toil,
Did Annibal compose his Wond'rous style: 760
O'er the fair fraud so close a veil is thrown,
That every borrow 'd grace becomes his own.
s If then to praise like theirs your souls aspire,
Catch from their works a portion of their fire ;
Revolve their labours all, for all will teach, — ¦
Their finish'd picture, and their slightest
sketch. 766
Yet more than these to Meditation's eyes
Great Nature's self redundantly supplies :
Her presence, best of Models ! is the source
Whence Genius draws augmented pPwer and
force ; 770
Divus sit dictus, magnis et honoribus auctus,
Fortunasque bonis : Quos sedulus Hannibal omnes 53S
In propriam mentem, atque modum mira arte coegit.
h Plurimus inde labor tabulas imitando juvabit
Egregias, operumque typos j sed plura docebit
Natura ante oculos prassens ; nam firmat et auget
sLXXI. Nature and Ex- h LXXI. Natura et Ex
perience perfect Art., perieritia Artem perficiunt.

THE ART OF PAINTING. 91
Her precepts, best of teachers ! give the powers,
Whence art, by practice, to perfection soars.
, These useful rules from time and chance to
save,
In Latian strains, the studious Fresnoy gave:
On Tiber's peaceful banks the Poet lay, 775
What time the pride of Bourbon urg'd his way,
Thro' hostile camps, and crimson fields of slain,
To vindicate his race and vanquish Spain ;
High on the Alps he took his warrior stand,
And thence, in ardent volley from his hand 780
His thunder darted ; (so the Flatterer sings.
In strains best suited to the ear of kings,)
And like Alcides, with vindictive tread,
Crush'd the Hispanian lion's gasping head*
Vim genii, ex illaque artem experientia complet. u"
Multa super sileo qua comment aria dicent.
Hasc ego, dum memoror subi'tura volubiUs sevi
Cuncta vices, variisque olim peritura ruinis,
Pauca sophismata sum graphica immortalibus ausus
Credere pieriis, Romas meditatus : ad Alpes, S4!
Dum super insanas moles, inimicaque castra
Borbonidum decus et vindex Lodoicus avorurn,
Fulminat ardenti dextra, patriasque resurgens
Gallicus Alcides premit Hispani ora leonis.

9x THE ART OF PAINTING,
But vtark the Proteus^policy of state : 785
Now, while his courtly numbers I translate^
[The foes are friends, in social league they dare
On Britain to " let slip the Dogs of War."
Vain efforts all, which in disgrace shall end,
If Britain, truly to herself a friend, 750
Thro* all her-realms bids civil discord cease,
And heals her Empire's wounds by arts of Peace.
Rouse, then, fair Freedom ! fan that holy fame,
Fr am whence thy sons their dearest blessings claim ;
Srill bid them feel that scorn of lawless sway, 705
Whkh Interest cannot blind, nor Power dismay :
So shall the Throne, thougav'st the Brunswick
line,
Long by that face adorn'd, thy dread Palladium
shine.

THE END.

NOTES

ON THE

ART OF PAINTING.

{£f* The few Notes which the Translator
has inserted, and which afe marked M, are
merely critical, and relate only to the author's
text or his own version.

NOTES ON THE
ART OF PAINTING.

NOTE I. Verse i.
Two Sister Muses, with alternate fire, &c.
..Du Piles opens his annotations here,
with much learned quotation from TertuUian,
Cicero, Ovid, and Suidas, in order to shew the
affinity between the two arts. But it may
perhaps be more pertinent to substitute in the
place of it all a single passage, by I'lutarch
ascribed to Simonides, and which our author,
after having quoted Horace, hasliterally trans
lated : Za^gewp/ary nvoti <£0ErTOMENHN tw
Hoivwiv, iroina-iv Se XITHXAN rm> i^aygcttpictv.
There is a Latin line somewhere to the same
purpose, but I know not whether ancient or
modern : Poema
Est Pictura loquens, mutum Pictura Poema. M.
6

96 NOTES ON
NOTE II. Verse 33.
Such powers, such ppakes, heav'n-born pair, belong
To mqgick colouring, and persuasive song.
That is to say, they belongintrinsically and
of right. Mr. Wills, in the preface to his
version of our poet, first detected the false'
translations of Du Piles and Dryden, which
say, " so much have these divine arts been
honoured ;" in consequence of which the
Frenchman gives a note of four pages, enume
rating the instances in which Painting and its
Professors have been honoured by kings and
great men, ancient and modern. Fresnoy had
not this in his idea : He says, " tantus inest
divis honor artibus atque potestas," which
Wills justly and literally translates,
Such powers, such honours,, are in arts divine. M.
NOTE III, Verse 51.
'Tis Painting's first chief business to explore,
What lovelier forms in nature's boundless store,
Are best to art and ancient taste allied,
For ancient taste those forms has best applied..

THE ART 0F PAINTING.. 97
J The Poet,, witbvgj'eat propriety, begins, by
<&? cjiriflg what is. t&e' chief business, of Theory
and |^o«s»)Mefs it tp.be aknowledge of what
^9. beautiful; in nature':
That form alone, ,wfee re glows, peculiar grace,
The^eWI^PMoter-.^n^iesc?nds. to trace, -z?. 9.
The*©' is ah absolute necessity for the Painter
JPiggflftraHze his, hcrtiofis ; to paint particulars
jl' rjq't to piint nature.i: it is only to paint cir
cumstances ;<•; When the Artist has, conceived
jn hisf imagination c the image of perfect
jlMafyjI or the abstract ;;idea of forms', 'he
rnsty; be. said to 'be- admitted into the great
C^'uneH of Nature, arid to • '
n; Trace ||eaatgrYbsam to its eternal spring,
., And pure to man the fire celeftial bring, v.i-g.. ¦
To f&gififate the acquisition of this ideal beauty,
ih£ Ajtist i« recommended to a studious ex
amination of ancient sculpture. R.
NOTE IV. Verse 55.
Till this fa hwftd, bow ali things difagree,
Hpw aU.on,e wretched, blind barbarity !
The mind is distracted with the variety of
accidents, for so they ought to be palled
rather than forms ; and the disagreement of
VOL. III. H

$8 NOTES ON
those among themselves will be a perpetual
source of confusion and meanness, until, by
generalizing his ideas, the painter has ac
quired the only true criterion of judgement ;
then, With a Master's caref
Judge of his art, thro' beauty's realms he flies,
Selects, combines, improves, diversifies, ver. 76.
It is better that he should come to diversify
on particulars from the large and broad idea
of things, than vainly attempt to ascend
from particulars to this great general- idea :
ibr to generalise from the endless and viciouis
variety of actual forms, requires a mind of
wonderful capacity ; it is perhaps more than
any one mind can accomplish : but when
the other, and, I think, better course is pur
sued, the Artist may avail himself of the
united powers of all his predecessors. He
sets out with an ample inheritance, and avails
himself of the selection of ages. R,
NOTE.V. Verse 63.
Of all vain fools with coxcomb talents curst,— •
The sententious and Horatian line, (says a
later French editor,) which in the original

THE ART OE PAINTING. 99
is placed to the score of the Ancients, to. give
it greater weignt> is the Author's own. I
suspect* however, that he borrowed the
thought from some ancient' prose-writer, as
we seethe borrowed from Plutarch before at
the opening of his poem. M.
NOTE VI. Verse 65.
When first the orient beams of beauty move—
: The original here is very obscure ; when I
had translated the passage in the clearest
manner I was able, but necessarily with
some periphrasis, I consulted a learned friend
upon it, who was pleased to approve the
version, and to elucidate the, text in the fol
lowing manner : " Cognita," (the things
known,) in Jine 45, refers to *• Nosse quid
in natura pulchrius," (the thing to be
learned,) in line 38; the main thing isto
lenow what forms are most beautiful, and to
know what forms have been chiefly reputed
such by the .Ancients. In these when once
known, i. e. attended to and considered, the
mind of course takes a pleasure, and thus the
conscious soul becomes enamoured with the
object, &c. as in the Paraphrase. M.
h 2

tco " &OTES ON

NOTE VII. Versus.
With nimble stip pursues the fleeting throng,
- And clasps each Venus as she glide* alohg*
The power of expressing these transitory
beauties is perhaps the greatest effort of our
art, and which cannot be attained till the
Student has acquired a facility of drawing
nature correctly in its, inanimate flate. ;R.
¦ NOT|: VIII/. Verse ,78.
Tet fome there are who indifereetly stray;
, > Where purblind practice only- points the .way, :,
Practice is-just-ly called purblind ; for prac^-
fiee, that is tolerable in it's way, is not totally
blind : an imperceptible theory, Which grows
out pf, accompanies, and directs it; is never
wholly wanting j"fo a : sedulous practice ; hut
this goes' but a- little way* with Vhe Painter
himself, and is utterly inexplicable to others.
To become a great proficient, an artist
ought to see' clearly enough to enable hihi
to point out to others the principle on whidh
he works; otherwise he will 'be confined,'
and what is worse, he will be uncertain.

THE ART OF PAINTING. ioi
A decree of mechanical practice, odd as
it may seem, must precede theory. The
reason is, that if we wait till we are partly
able to cpmprehend the theory of art, too
much of life will be passed to permit us
to acquire facility and power: something
therefore must be done on trust, by mere
imitation of given patterns before the the
ory of art can be felt. Thus we shall
become acquainted with the necessities of
the art, and the very great want of Theory,
the sense of which want can alone lead us
to take pains to acquire it : for what better
means can we have of knowing to a cer
tainty, and of imprinting strongly on our
mind our own deficiencies, than unsuccess
ful attempts ? This Theory will be best
iinderftood by, and in, practice. If Prac
tice advances too far before Theory, her
guide, she is likely to lose her way ; and
if she keeps too far behind, to be dis
couraged, R.

102 NOTES ON
NOTE IX. Verse 89.
'Twas not by words Apelles charmed mankind.
As Fresnoy has condescended to give
advice of a prudential kind, let me be per
mitted here to recommend to the Artist to
talk as little as possible of his own works,
much less to praise them ; and this not so
much for the sake of avpiding the character
of vanity, as for keeping clear of a real de
triment ; of a real productive cause which
prevents his progress in his art, and dulls the
edge pf enterprize.
He who has the habit of insinuating his
own excellence to the little circle of his
friends, with whom he comes into contact,
will grow languid in his exertions to fill a
larger sphere of reputation : He will fall into
the habit of acquiescing in the partial opinions
of a few ; he xvi\\ grow restive in his own ;
by admiring himself, he will come to re
peat himself, and then there is ah end of
improvement. In a Painter it is particularly
dangerous to be too good a speaker ; it
lessens the necessary endeavours to (make

THE ART OF PAINTING. 103
himself master of the language which pro
perly belongs to his art, that of his pencil.
This circle of self-applause and reflected ad
miration, is to him the world, which he
vainly imagines he has engaged in his party,
and therefore supposes that further enterprise
becomes less necessary.
Nei her is it prudent, for the same rea
son, to talk much of a work before he under*
takes it, which will probably thus be pre
vented from being ever begun. Even
: shewing a picture in an unfinished state
makes the finishing afterwards irksome ;
the artist has already had the gratification
! which he ought to have kept back, and
| made to serve as a spur to hasten its com-
: pletion. R„
' NOTE X. Verse 100.
Some lofty theme let jugdment firft supply.
Supremely fraught with grace and majesty.
. It is a matter of great judgment to know
what subjects are or are not fit for painting.
It is true that they ought to be such, as
the verses here direct, full of grace and
majesty; but it is not every such subject that

¦104 NOTES ON
will answer to the' . Painter. Thp Pain
ter's theme is generally supplied by:. the
Poeft or Historian : but as the Painter speaks
tb the. eye,, a story in which fine feeling ^and
curious sentiment is predominant, father
than palpable .situation, gross interest; and
distinct passion, is not suited to his purpose.
It should be likewise a story generally
kriown ; for the Painter, representing, one
point of time only, cannot inform the spec-
tatPr what preceded the event, however
necessary in order to judge of the propriety
¦and truth of the expression and ; character
of the Actors. It may be remarked that action
'is the principal requisite in a subject for
History-painting; and thatihere are many
subjects which, though very interestinig to the
reader, would make no figure in representa-,
tion : such are fhose'subjects which consist in
any long series of action, the parts of which
have Very much dependency each Ofi the
other ; or where any remarkable point or
turn of verbal expression makes a part of
the excellence of the story ; or where it has
•;its effect from allufon to circumstances not
actually present. An instance occurs to tne

THE ART OF PAINTING. i»5
of a subject which was recommended to a
Painter by a very distinguished person, but
who, as it appears, was but little conver
sant 'with the art ; it was what passed be
tween James II. and the old Earfof Bed
ford in the Council which was held just
before the Revolution *. This is a— very
Striking piece of history ; but so far from
being a proper subject, that it unluckily
possesses no one requisite necessary for a
picture ; it has a retrospect to other circum
stances of history of a very complicated
nature; it marks no general or intelligible
action or passion ; and it is necessarily defi
cient in that variety of lieads, forms, ages,
sexes, and draperies, Which sometimes, by
good Management, supply by picturesque
effect the want of Teal interest in a history'. R.
* Dajrymple's Memoirs, I. 168. This writer has
quoted no authority for the remarkable anecdote here
alluded to : an inexcusable omission. E. M..

ieS NOTES ON
NOTE XI. Verse 106.
Then let the virgin canvas fmobth expand,
To claim the sketch and tempt the Artist's hdnfi." ' '
I wish to understand the last line as
recommending to the artist to paint the
sketch previously on canvas, as was the prac
tice with Rubens.
This method of painting the sketch,
instead of merely drawing it on paper, will
give a facility in the management of colours,
and in the handling, which the . Italian
Painters, not having this custom, wanteds
by habit he will acquire equal readiness in
doing two things at a time as in doing
only one. A Painter, as I have said on an
other occasion, if possible, should paint all
his studies, and consider drawing only as a
succedaneum when colours are not at hand.
This was the practice of the Venetian Pain
ters, and of all those who have excelled
in colouring ; Correggio used to say, C'ha^-
vea i suoi dessegni nella stremita de pennelli.
The method of Rubens was to sketch
his composition in colours, with all the

THE ART OF PAINTING. io?
parts more determined than sketches gene
rally; are; from this sketch his scholars
advanced the picture as far as they were
capable ; after which he retouched the whole
himself. ; "The -¦- Painter's operation may be divided
into three parts ; the planning which implies
the sketch of the general composition ; the
transferring that design to the. canvas; and
the finishing, or retouching the whole. If,
for dispatch, the Artist looks out for
assistance, it is in the middle stage only
he- can receive it; the first and last ope
ration muff be the work of his own hand. R.
NOTE XH. Verse 108.
Then^ bold Invention all thy powers diffuse,
Of all thy Sisters thou the noblest muse.
The Invention of a Painter consists not in
inventing the subject, but in a capacity of
forming in. his imagination the subject in a
manner best accommodated to his art, though
wholly borrowed from Poets, Historians ar,
popular tradition. For this purpose he has;

ic8 'NOTE'S ON
full as much to do, and perhaps more, -than
if the very story was invented ;' for he is
bound to follow the' ideas "which -he has
received, and -ta tran-slate them (if! -may use
the expression) into another art. In this
translation the Painter's invention lies ; he
must in a manner new-cast dhe whole, and
mbdelit infti-s own irrragirrafiori -J to make
it a 'Painter"s nourishment, it must pass
through a Painter's mind. Having received
an idea of the pathetickand grand m intellect,
helias next to consider how to make it cor
respond with what is touching and awful to
the eye, which is a "business by itself. But
here begins what in the language of Painters
is called Invention, which includes not only
the composition, . or the putting the whole
together, and the -disposition of every indivi
dual part, but likewise the management of
the back-ground, the effect of light and sha
dow, and the attitude of every figure.or ani
mal that is introduced or makes a part of the
work. ., .
v -Composition, which is the principal part
of the Invention of a Painter, is by far the
greatest difficulty he has to Encounter.

THE ART OF POINTING. . tag
Every man that can paint at all, earn execute
individual parts ;. bue to keep* those parts/ im
due subordination as relative to a' whole, re
quires a comprehensive view of the art, that
more sttofigly implies genius, than perhaps
any other quality whatever. jy,,._ R„
. NOTE XIII.. Vers? .11 8.
Vivid. an4 faithful to the historic^ page,
Express tfye customs, manners,; forms, (ind age.
Though the Painter borrows his subject,
he considers his art as not subservient to any
other. His business is something more than
assisting the Historian with explanatory
figures : as soon as he takes it into his hands,
he adds, retrenches, transposes, and moulds
it anew, fill it is made fit for his own art;
he avail's himself of the privileges allowed to
Poets and Painters, and dares every thing to
accomplish his end, by means correspondent
to that end, — to impress the Spectator with
the same interest at the sight of his repre
sentation, as the Poet has contrived to impress
on the Reader by his description: the end is
the same inboth cases, though the means are
and must be. different. Ideas intended to be

HO NOTES ON
conveyed to the mind by one sense, cannot
always, with equal success, be conveyed by
another : our author therefore has recom-,
mended to us elsewhere to be attentive
K Onwhatmayaid our art, and what destroy, v. $98.
Even the Historian takes great liberties with
facts, in order to interest his readers, and
makes his narration more delightful; much
greater right has the Painter to do this, who,
though his work is called History-Painting,
gives in reality a poetical representation of
events. R.
NOTE XIV. Verse lao.
Nor paint conspicuous on the foremost plain
Whate'er is false, impertinent, or vain.
This precfept, so obvious to common sense,
appears superfluous,, till we recollect that
some of the greatest Painters have been guilty^
of a breach of it; for, not to mention Paul"
Veronese or Rubens, whose principles, as
ornamental Painters, would allow great
latitude in introducing animals,' or whatever
they might think necessary, to contrast or"
make the composition more .picturesque, we
can no longer wonder why the Poet has

THE ART OF PAINTING. tu
thought it worth setting a guard against this
impropriety, when we find that such men as
Raffaelle and the Caracci, in ,their greatest
and most serious works, have introduced on
the foreground mean and frivolous circum
stances. Such: improprieties, to do justice to the
more modern Painters, are seldom found in
their works. The only excuse that can be
made for those great Artists, is their living
in an age when it was the custom to mix the
ludicrous with the serious, and when Poetry
as well as Painting gave into this fashion. R.
NOTE XV. Verse 124.
This rare, this arduous task no rules can teach.
This must be meant to refer to Invention,
and not to the precepts immediately pre
ceding; which relating only to the mecha
nical disposition of the work, cannot be sup
posed to be out of the reach of the rules of
art, or not to be acquired but by the assist
ance of supernatural power, R.

ii* . -NO-TES ON
'NOTE XVI. Verse 127.
Prometheus ravished from the Gar of Day.
. After the, lines! in the. original of this pas
sage, there comes in one of a proverbial cast,;
taken from Horace*: " Non uti Daedaliam
licet omnibus ire Corintbum." I could not
kitroduce a version of this with any grace
into the .conclusion of the sentence; and in
deed I do not think; it connects well in the
original, It, certainly conveys no truth of
importance, nor adds much to. what went
before it. I suppose, therefore, I shall be
pardoned fpr having taken: no notice of it in
my translation., •,.,,. ,
Mr. Ray, in., his collection of English
proverbs, brings this of Horace, as a parallel
to a1 ridiculous English one, viz. Every man*s
nose wi{l not make a shoeing.-horn.. It -i's cer
tain, were a proverb herp introduced, it ought
to be of English .growth to suit an English?
translation; but this, alas ! would not fit my
* Horace's line runs thus, (Epistle ty, Book I. line 36.)
Non cuivis homini contingit adire Corinthum. M.

THE ART OF PAINTING. 113
purpose, and Mr. Ray gives us no other. I
hold myself, therefore, excusable for leaving
tfcfe line untranslated. M.
; NOTE XVII.. ;:Verse 130. ; ;
Till all complete' the gradual wonder shone,
And vanquished Nature oqon'd herself outdone.
In strict propriey , the Grecian Statues only
excel nature by bringing together such an
assemblage of beautiful parts as Nature was:
never known to bestow on one object :
For earth-born1 graces sparingly impart
The symmetry supreme of perfect art. V.6S.
It must be remembered, that the compo
nent parrs of the most perfect Statue never
can excel nature, — that we can form no idea
of beauty beyond her works : we can only
make this rare assemblage; an assemblage so
rare, that if we are fo give the name of Mon
ster to what is uncommon, we might, in the
words of the Duke of Buckingham, call it
A faultless Monster which the world ne'er saw. R.

vol. nr.

»,4 NOTES ON
fcOTE XVIII. Vsrse 144*
Learn then from Greece, ye youths, Proportion's law?}
Inform 'd by her, each just position draw.
Du Piles1 has, in his- note on this passage,
given the measures of a human body, as
taken by Fresnoy from the statues of the
ancients,, which are here transcribed :
. ". The Ancients have; commonly allowed:,
eight heads to their figures, though some of-
them have but seven; but we ordinarily di
vide the figures into tea faces*; that is to say,
from the eroWn of the head to the sole of the
foot, , in the following manner; ;
. . " From the crown ofthe head to the fore
head is the third part of a fjce.
" The face begins at the root of the low
est hairs which are upon the forehead, an4i
ends at the bpttom of the chin.
*.' The, face is divided into three propor
tionable parts ; the first? contains the forehead,
the second the nose, and the third the mouth
* This depends on the age and <juality of the persons.
The Apollo and Venus of Medicis have more thaa ten*
face*. JR,,

TME ART OF PAINTING. n£
and the chin; frOmfhe chin to the pit betwixt
the collar-bones are two lengths of a nose.
" From the pit betwixt the collar-bones;
to the botfOrri of the breast, one face. -
" From the bottom of the breasts fo the?
navel, one face -f-.
" From fhe navel to the geh'ifories, one
facej. " From the' genifories to the tipper part
of the knee, two faces.
" 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 stretched
out, is, from the longest finger of his right
hand to the longest of his left, as brbad as
he is long.
" From one side of the breasts to the
other, two faces.
t The Apollo has a nose more. R.
^ The Apollo has half a nose more ; and the upper half
•f .the Venus de Medicis is to the lower part of the belly,
<md not to the privy -parts. R,
I 2

:h6 NOTES ON
" The bone of the arm, called Humerus,
is the length of two faces from the shoulder
to the elbow.
** JFrom the end of the elbow to the root
of the little finger, the bone called Cubitus,
with part of the hand, contains two faces-
'" From fhe box of the shoulder-blade to
the pit betwixt the collar-bones, one face."
" If you would be satisfied in the mea
sure of breadth, from the extremity of one
finger to the other, so that this breadth
should be equal to the length of the body,
you must observe, that the boxes of the el
bows with the humerus, and of the humerus
with the shoulder blade, bear the proportion
of half a face when the arms are stretched out.
" The sole of the foot is the sixth part
of the figure.
" The hand is the length of a face.
*.' The thumb contains a nose.. . , .¦-.-.
" The inside of the arm, from the place
where the muscle disappears, which rrjakes
the breast, (called the Pectoral muscle,) to
themiddle of the arm, four noses. -
"From the middle of the arm to the "be
ginning of the head, fivenos.es.

THE ART OF PAINTING. 117
? ' The longest toe is a nose long.
" The two utmost parts of the teats, and
the pit betwixt the collar-bones of a woman,
make an equilateral triangle.
" For the breadth of the limbs, no pre
cise measures can be given, because the mea
sures themselves are changeable, according
to the quality of the persons, , and according
to the movement of the muscles." Du
Piles.
The measures of the ancient statues, by
Audran, appear to be the most useful, as
they are accompanied with the outline of
the figures which are most distinguished, for
correctness, R,
NOTE XK. VeR*e 150.
But chief from her that flowing outline take,—
The French editor, '* who republished this
poem in the year 1753, (eighty-five years
later than the first edition of Du Piles,) re
marks here, that Noel Coypel, (called Coy-
* He calls himself, in the Paris edition, intitled, " V
Ecole d'Uranie," Le Sieur M. D. Q. The Abbe De
Marsy's Poem, intitled, Pictura, is annexed to Du Fres
noy's, in that edition. M,

tIs NOTES ON
pel le Poussin,) in a discourse which he pub
lished, and addressed to the French Academy
say, " That all which our Author has de-«
livered concerning outlines (contours) in this
passage, does not appear to him to convey
any precise or certain rules. He adds, that
it is indeed almost a thing impossible to
give them, particularly in what regards
grace and elegance of outline. Anatomy
and proportion, according to him, may enable
a person to design with correctness, but can
not give that noble part of the art, which
ought to be attributed to the mind or under
standing, according to which it is more or
'less delicate." I think Fresnoy has hinted
the very same thing more than once ; and,
perhaps, like Coypel, lays too great a stress.
en the mental faculty, which we call Strength,
of, Genius; but the consideration , of this
does not come within the province whjch \
have allp.tted myself in these critical note^. M,

THE ART OF PAINTING. 119
NOTE XX. Verse 162.
Tet deem not, Touths, that Perspective can give
Those charms complete, by which your works shall live^
The translator has softened, if not changed
the text, which boldly pronounces that Per
spective cannot be depended on as a certain.
rule. Fresnoy was not aware that he was
arguing frorn the abuse of the Art of Per
spective, the business of which is to repre
sent objects as they appear to the eye, or as
they are delineated on a transparent plattfe
placed between the spectator and fhe object.
The rules of Perspective, as well as all other
rules, may be injudiciously applied ; and it
must be acknowledged that a misapplication
of them is but too frequently found even in
the Works of the most considerable artists.
it is not uncommon to see a figure on the
foreground represented near twice the size of
another which is supposed to be removed
but a few feet behind it : this, though true
according to rule, will appear monstrous.
This error proceeds from placing the point
of distance too near the point of sight, by

Ho NOTES ON
'7jt ¦¦
which means fhe diminution pf objects is sp
sudden as to appear unnatural, unless you
stand so near the picture as the point pf dis
tance requires, which would be too near for
the eye to comprehend the whole picture ;
whereas, if the point of distance ,Js rempved
so fa^ as the spectator may be supposed to
stand in order, to see commodiously, and
take within his view the whole, the figures
behind would then suffer unde* no such vio
lent diminution. Du Piles, in his note on
this passage, endeavours to confirm Fresnoy
in his prejudice, by giving an instance which
proves, as he imagines, the uncertainty pf
the art. He supposes it employed to deli
neate the Trajan Pillar, the figures on which,
being, as he says, larger at the top than the
bottom i would counteract the effects of per
spective. The folly of this needs no com
ment. I shalf only observe, by the waJ>
that the fact is not true, the figures on that
pillar being all of the same dimensions. R.

THE ART OF PAINTING, «?
NOTE XXI, Vxrse 1,62.
Tet. deem not, Touths, that Perspective can give,
' Jhose charms ^complete } by which your,, work shall Uve<,
I plead guilty to the charge in the preced
ing note. I have translated the passage, as
if the text had been ad complementum gra-
phidos, inftead of aut, and consequently
might have been thus construed : *' Perspec
tive cannot be said to be a sure rule or guide
to the Complete knowledge of Painting, but
only an assistance, &c." This I did to
make the position more consonant to truth;
and I am pleased to find that it Agrees much
better with Sir Joshua's annotations than the
original would have done. Du Piles, in the
former part of his note, (which, I know riot
Tor what reason Mr. 'Dryden omitted,) says
thus :*•** It is not in order to reject Perspec
tive that the Author speaks thus; for he
advises it elsewhere in his poem *, as a
study absolutely necessary. Nevertheless,
I own this passage is not quite clear, yet it
* I suppose he alludes to the 509th line :
In geometrali prius arte parirnipej; adu,ki, M.

m NOTES ON
was not my fault that the Author did not
make it more intelligible; but. he was so
much offended with some persons who knew
nothing of Painting in general, save only
the part of Perspective, in which they made
the whole art of it to consist, that he would
never be persuaded to recall the expression,
though I fully convinced him, that every
thing these people said was not of the least
consequence." Pu Piles seems -to tell this
tale (so little to the credit pf his friend's
judgment) merely tp make himself of con
sequence; fpr my own part, I can hardly
he persuaded that a person who has trans
lated a wor 1$ so inaccurately as Du Piles has
done this, " did it under the Author's awn
eye, and corrected it till the version was en
tirely to his own mind," which, in his
prefacej he asserts was the case.
NOTE XXIT. Verse r74.
Tet to each separate forty adapt vyith cdre
Such limbs, such robes, "such attitude and air^
As best befit the head,  r-
As it is necessary, for the sake of variety,
#hat figures npt only of different ages, but of

THE ART OF PAINTING. u3
different forms and characters, be introduced
in a worlc where many figures are required,
care must be taken that those different cha
racters have a certain consonance of parts
among themselves, such as is generally found
in nature : a fat face, for instance, is usually
accompanied with a proportional degreeof
corpulency of body; an aquiline nose for
the most part belongs to a thin countenance,
with a bpdy and limbs corresponding to it;
but these are observations which must occur
to every body.
Yet there areothers that are not go obvious $
arid those who have turned their thoughts
this way, may fprm a probable conjecture
concerning the form of the rest of the figure
from a part, — from the fingers, or from %
f ingle feature of the face : for instance, those!
who are born crook-backed have commonly
a peculiar form of lips and expression in,
the inouth, ithajt strongly denotes that de,
ity, R*

Ui. NOTES bfc
NOTE XXIII. Verse 178.
Learn action from the dumb, the dumb shall teach
How happiest to supply tbe want of speech.
Gesture is a language we are born with,
and is the most natural way of expressing our
selves : Painting may be said therefore in this
respect to have the superiority over Poetry.
Fresnoy, however, certainly means here
persons either born dumb, or who are be
come so from accident or violence ; and the
translator has, therefore, rendered his mean
ing justly s but persons who are born dumb
are commonly deaf also, and their gestures
are usually extravagant and forced ; and of
those who have become dumb by accident of
violence examples are too rare to furnish the
Painter with sufficient observation. I woulJ
wish therefore to understand thfe rule, as dic
tating to the Artist, to observe how persons,1
with naturally good expressive features, are
affected in their looks and actions by any
Spectacle or sentiment which they see or
hear, and to copy the gestures which they
then silently make use of : but he should
ever take these Jessons from nature only.

THE ART OF PAINTING. u*
%nd not imitate her at second-hand, as many
French Painters do, who appear to take their
ideas, not only of grace and dignity, but of
emotion and passion, from their theatrical
heroes ; which is imitating an imitation, and
often a false or exaggerated imitation. R.
NOTE XXIV. Verse 180.
Fair in the front, in all the blaze of light,
The Hero of thy piece should meet the sight.
There can be no doubt that this figure
shpuld be laboured in proportion as it claims
the attention of the spectator, but there is no
necessity that it should be placed in the
middle o£ the picture, or receive the principal
light.;, this, conduct, if always observed,
would reduce the art of Composition to too
great a uniformity.
. It is sufficient* if the place he holds* or
the attention of trie other figures to him, de
note him^be hero pf the piece.
( The principal figure may be too principal.
The harmony pf,. composition requires that
the inferipr characters .bear some proportion,
according to. their several stations, to the hero
o| the work.

j2$ NOTES ON
This rule, as* enforced by Fresnoy, tnay*
be said more properly to belong to the art?
in its infant state; or to be directed to young
students as a first precept; but the more-' ad
vanced know that such an appfcreht artificial
disposition would be in reality for tha^t reason
inartificial. R.
NOTE XXV, Verse 192.
In every figured group fhe judging eye
Demands the charms of contrariety.
The rule of contrasting figures, or groups,
is not Only universally known and adopted,
but it is frequently carried to such excess,
that oUr Author might, perhaps, with more
propriety have fixed his caution on the other
side, and recommended to the artist, riot to
destroy the grandeur and simplicity of his
design by violent and affected contrasts.
The artless uniformity of the compositions^
of the old Gothick Painters is far preferable
to this false refinement, this ostentatious dis
play of acadernick art. A greater degree of
contrast and variety rriay be allowed in the
picturesque or ornamental style; but' we must
not forget that they are the natural ehemies

THE ART OF PAINTING. ttj
ojf simplicity, and consequently of the grand
style, and, destroy that solemn majesty, that soft
repose, which is produced in a great measure
by regularity and uniformity:
An instance occurs to me where those two
qualities are separately exhibited by two great
Painters, Rubens and Titian. The picture
of Rubens is in the Church of St. Augustine
at. Antwerp;; the subject (if that may fee
called a subject where no . story is repre
sented) is the Virgin and. infant Christ,
placed high in the picture on a pedestal,- With
many saints about them, and as many below
themj with others on the steps, to serve~ as
a link to unite the upper and lower part of
the picture.
The composition of this picture is perfect
in its kind ; the artist has shewn the greatest
skill in disposing and contrasting more than;
twenty figures without confusion and with
out crouding ; the whole appearing as much
animated and in motion as it is possible,
where riPthirig is to be don£.
The picture of Titian, winch we would-
oppose to this, is in the church of the Frari
at Venice. The peculiar character of this

t2g NOTES ON
piece is Grandeur and Simplicity} which
proceed in a great measure frorh the regularity
of the composition, two of the principal
figures being represented kneeling directly
opposite ftp each other, and nearly in the
same attitude; this is what few Painters
would have had the courage to venture i
Rubens would certainly have rejected so un-
picturesque a mode of composition, had it
occurred to him.
Both those pictures are equally excellent
in their kind, and may be said to characte
rise their respective authors. There is a
bustle and animation in the work of Rubens ;
a quiet, solemn majesty in that of Titian.
The excellence of Rubens is the picturesque
effect which he produces. The superior
merit of Titian is in the appearance of being
above seeking after any such artificial ex
cellence*. R.
* 5ee the Journey to Flanders and Holland, Vol.
II. p. 310, where the subject of this note is more fully
treated. The fair transcript of that Journey having been
written about the same time that these notes were com
posed, our author took from thence the illustration which
he has made use of here. E. M

THE ART CF PAINTING. 129
NOTE XXVI. • Verse. 217.
*  ¦ — we still should lose

That solemn majesty, that soft repose,
Dear to the. curious eye> and, only found
.j Where few fair objects fill an ample ground.
It is' said to have been Annibal Caracci's
opinion, that a perfect composition ought
not to consist of more than twelve figures,
which he thought enough to people three
groups, and that 'more would destroy that
majesty and repose so necessary to the grand
style of Painting. R.
NOTE XXVII. Verse 223. '
Judgment will so the several groups unitej
That one compacted whole shall meet the sight.
Nothing so much breaks in upon, and de
stroys this compactness, as that mode of
composition which cuts in the middle the
figures on the foreground, though it was
frequently the practice of the greatest Pain
ters, even of the best age : Michael Angelo
has it in the crucifixion of St. Peter ; Raf
faelle in the Carton of the preaching St.
VOL. III. K

-no NOTES ON
Paul ; and Parmigianxno often shewed only
the head and shoulders above the base of the
picture. However, "frrcmofe modern Tain*
ters, notwithstanding such authorities, can
not be accused of having fallen into this error.
But, suppose we carry the reformation
"stillfarther, and that we do not suffer the
•sides of the picture to cut off any part of
the figures ; the composition Would certainly
be more round and compact Within itself.
All subjects, it is true, will riot admit of
' this ; however we may safely recommend itr
unless the circumstances are very particular*
and such as are certain to produce some
striking effect by the breach of so just a
rule. R9
NOTE XXVJH. Verse 243.
Nor yet to Nature such strict homage pay,
As not to quit when Genius leads the way ;
Nor yet, though Genius all his succour sends*
Her mimick pbw'rs though ready Memory lends*.
Presume from Nature wholly to depart ;
For Nature is the Arbifress of Art.
Nothing in the art requires more attention
and judgment, or more of that power of dis-

THE ART OF PAINTING. 131
crimination which may not improperly be
called Genius, than jthe steering between
general ideas and individuality : sfor .though
the body of the work must certainly , be com
posed, by the first, ih order to communicate
a character of grandeur to the whole, yet a
dash.of the latter is sometimes necessary to
give an interest. An individual model, copied
with scrupulous .exactness, makes a rnean
style, :like the Dutch ; and the neglect of
an actual. model, .and the method pf proceed
ing solely; from idea, has .a tendency to make
the .Painter degenerate, into ca mannerist.' ,
In order to keep the mind in repair, it, is
.necessary to replace and refreshen those im
pressions of nature /which are qontinually
Wearing away
A circumstance mentioned in the life of
Guido, is. well worth the. attention of Artists.
He was. asked .-.from whence he borrowed his
idea of beauty, which is acknowledged supe
rior to that of any other Painter ; he said he
would shew all the models he used, and
ordered a common porter to sit before him,
from whom he drew a beautiful countenance.
K %

132 NOTES ON
This was Undoubtedly an exaggeration of
his conduct; but his intention was to shew
that he thought it necessary for painters to
have some model of nature before them,
however they might deviate from it, and
correct it from the idea of perfect beauty
which they have formed in their minds.
In Painting it is far better to have a model
even to depart from, than to have nothing
fixed and certain to determine the idea.
When there is a model, there is something
to proceed on, something to be corrected; so
that even supposing no part is adopted, the
model has still been not without use.
Such habits of intercourse with nature will
at least create that variety which will pre
vent any one from prognosticating, on being
informed of the subject, what manner of
work the painter is likely to produce; which
is the most disagreeable character an Artist
can have. R,

THE ART OF PAINTING. 133
NOTE XXIX. Verse 265.
Peculiar toil on single forms bestow^
There let expression lend its finish'd glow.
When the picture consists of a single
figure only, that figure must be contrasted
in its limbs and drapery with great variety
of lines : it should be as much as possible
a composition of itself. It may be remarked,
thatsUch a complete figure-will never unite'
or make a part of a group ; as on the
other hand, no figure of a well-conducted
group will stand by itself. A Composition,
where every figure is such as I suppose
a single figure ought to be, and those like
wise contrasted to each other, which is not
.ak.
uncommon in the works < of young artists,
produces such an assemblage of artifice and
affectation as is in the highest degree unna
tural and disgustful.
There is another circumstance which,
though not improper in single figures, ought
never to be practised in historical pictures ;
that of representing any figure as looking out
of the picture, that is, looking at the person

J34 NOTES ON
who views the picture. This conduct in
history gives ah appearance fo that figure, of
having no connection with the rest; and
ought therefore never to be practised except
in ludicrous" subjects.
It is not certain that the variety recom
mended in a single figure, can with equal
success be extended to colouring. The diffi
culty will be in diffusing the colours of the
drapery of this single figure to other distant
parts of the picture, for this is what harmony
requires; this difficulty, however, seems to
be evaded in the works of Titian, Vandyck,
'"and many others * by dressing their single
figures in black or white.
Vaftdycki in the famous portrait of Car
dinal Bentivoglio, was confined in his dress
fo crimson velvet and white linen : he has,
therefore, made the curtain in the back
ground of the same crimson colour, and the
white is diffused by a letter which lies on
the table; arid a bunch of flowers is likewise
introduced for the same purpose. R,

"THE ART OF PAINTING; 13*
NOTE XXX.. Ve*s£27$.
Not on. the form in stiff adhefion laid.
But well reliev'd by gentle light and shade.
The disposing of the drapery so as to
appear to cling close round the limbs, is a
kind of pedantry which young Painters are
very apt to fall into, as it carries with it a
relish of the learning acquired from the
ancient statues; but they should recollect
there is not tlie same necessity for this prac
tice in painting as in sculpture. R.
-S" • 1
NOTE XXXI. Verse 297.
gut sparingly thy earth-born stores unfold*
Nor load witjh gems, nor lace with tawdry, gold.
Finery of all kinds destroys grandeul,
which in' a great measure proceeds from sim
plicity; it may, however, withput impro
priety be introduced into the ornamental ?tyl§,
such as that of Rubens and Paul Veronese. R.

136 NOTES ONj
NOTE XXXII: VERSE'307.
That majesty, that grace, so rarely given
To mortal man, not taught by art, but heaven.
It is undoubtedly true, and perfectly "ob
vious, that every part of the art has a grace
belonging to it, which, to satisfy- and cap
tivate the mind, must be superadded tp cor
rectness. , This excellence, however expres
sed, whether we call it Genius, Taste, or
the gift of Heaven, I am confident may be
acquired; or the Artist may certainly be put
into that train by which it shall be. acquired ;
though he must, in a great measure, teach
himself by a continual contemplation ofthe
works of those Painters, who are acknow
ledged to excel in grace arid majesty : this
will teach him to Took for it in nature, and
industry will give him the power of exjpress-
ving it on canvas. .-¦¦- R,

THE ART OF PAINTING. 137
NOTE XXXIII. Verse 315.
Thy last, thy noblest task remains untold,
Passion to paint and sentiment unfold.
This is truly the noblest task, and is the
finishingof the fabrick of the art : to attempt
this summit of excellence, without having
first laid the foundation of habitual correctness,
may indeed be said tP build castles in the air.
Every part which goes to the composition
of a picture, even inanimate objects, are
capable to a certain degree of conveying sen
timent, and contribute their share to fhe
general purpose of striking the imagination
of the spectator. The disposition of light,
or the folding of drapery, will give some
times a general air of grandeur to the whole
work, R,
;,. NOTE XXXIV. Verse 325.
By tedious toil no passions are exprest,
His hand who feels them strongest paints them Jest .
A Pamter, whatever he may feel, will not -j
be able to express it on canvas, without
having recourse to a recollection of those

j3l NOTES ON
principles by which the passion required is
expressed. The mind thus occupied, is not
likely at the same time to be possessed with,
the passion which he is, representing. An
image may be ludicrous, and in its first con
ception make the Painter laugh as well as
the Spectator ; but the difficulty af his art
makes the Painter, in the course of his work,
equally" grave and serious, whether fee is
employed on the most ludicrous, or the most
solemn subject.
However, we may, without great violence,;
suppose this rule to mean no more, than that
a sensibility is required in the the Artist, so
that he should be capable of conceiving the
passion properly before he sets about repre
senting it on canvas. R,
NOTE XXXV. Verse 325.
By tedious toil no passions are exprest,
His hand who feels them strongest paints them best,
" The two verses of the text, notwith
standing the air of antiquity which they
appear to have, seem most probably to be the
author's own," says the late French editor 5

THE ART OF PAINTING. 1-39
but I suppose, as 1 did on a similar adage
before, that the thought is taken from antii
qtiity. With respect to my translation, I
beg leave to intimate, that by feeling the
passions strongest, I do not mean that a
passionate man will make the best painter of
the passions, but he who has the clearest con- ;
ception of them, that is, who feels their ef
fect on the countenance of other men, as in
great actors on the stage, and in persons in real
life strongly agitated by them : perhaps my
translation would have been clearer arid more
consonant with the above judicious expli
cation of Sir Joshua: Reynolds, if it had run,
<h?us ;
He who conceives them strongest paints theni
best. M.
NOTE XXXVI. Verse 348.
Full late awoke the ceafeless tear to shed
Fer perish' d art ; —
'the later French editor, who has mo
dernized the style of Du Piles's translation,
says here, that " he has taken the liberty to
cbften this passage, and has translated Nil su~
pretyst, by presque rien, instead of Du Piles's

J4o NOTES ON
version, II ne nous a rien reste de leur peinture,
being authorised to make this change by the
late discoveries of ancient painting at Her-
culaneum;" but I scarce think that, by these
discoveries, we have retrieved any thing of
ancient colouring, yvhich. is the matter here in
question, therefore I have given my trans
lation that turn. M.
NOTE XXXVII. Verse 349.
— for thofe celestial hues

Which Zeuxis, aided by the Attiek Muse,
Gave to the wondering eye :  —
- From the various ancient Paintings, which
have come down to us, we may form a
judgment with tolerable' accuracy of the ex
cellencies and the defects of the art amongst
the ancients.
There can be no doubt, but that the same
correctness of design was required from the
Painter as from the Sculptor ; and if what
has happened in the case of Sculpture, , had
likewise happened in regard to their Paint
ings, and we had the good fortune to possess
what the Ancients themselves esteemed, their
master-pieces, I have no doubt but, we should

THE ART OF PAINTING. 141
find their figures as correctly drawn as- the
Laocoon, and probably coloured like Titian.
What disposes me to think higher of their
colouring than any remains of ancient Paint
ing will warrant, is the account which Pliny
gives of the mode of operation used by
Apelles ; — that overhis finished picture he
spread a transparent liquid like ink, of
which the effect was to give brilliancy, and
at the same time to lower the too great glare
of the colour: " £>god absoluia opera atra-
mento illi nebat ita tenia, ut id ipsum re per cuff u
dark at es colorum excitaret ;—et cum. ratione
magna, ne colorum clariias oculorum aciem
offenderet." This passage, though it may
possibly perplex the criticks, is a true and
an artist -like description of the effect of
glazing Or scumbling, such as was practised
by.. Titian and the rest of the Venetian
Painters. .This custom, or mode of operation,
'implies at least a true taste of that in which
the excellence of colouring consists ; which
does not proceed from fine cplours, but true
-colours; ..from- breaking' down these 'fine
'-^colours: which would appear too raw, to a
?deep-tpried brightness. Perhaps the manner

Ht NOTES O.NV;
in which Correggio practised the art of glazing
was still more like that of Apelles, which
Was only perceptible, to those who looked
-close to the picture, ad manum intuenti .(fewiitn
appareret ; whereas in Titian, and still mpre
in Bassan and others his imitators, it was
apparent on the slightest inspection. Artisfs
who may not approve of glazing, must still
acknowledge, that this practice is not that of
ignorance, ,
: Another -, circumstance, that tends to pre
judice me in favour of their colouring, is the
account we have of some of , their prin
cipal painters using but four colours only.
I .am convinced the r fewer the colours the
cleaner will be the effect of those colours,
, and that four are sufficient to. make every
combination required. Two colours mixed
together will not preserve the brightness
tof; either of them single, nor will three
be as bright as two: of this observation,
simple as it is, an Artist, who .wishes to
colour bright, will know the value, ,c
In /regard to their power of giving ^pe-
»culiar expression, rip correct judgment e<m
be formed; but We cannotA-well s^goje

THE ART OF PAINTING. ^j
that men, who Were capable of giving
that general grandeur of character which
so eminently distinguishes their works in
Sculpture, were incapable of expressing
peculiar passions.
As to the enthusiastick commendations
bestowed on them by their contemporaries,
I consider them as of no weight. The
best words are always employed to praise
the best works : admiration often proceeds
from ignorance of higher excellence. What
they appear to have most failed in is com
position, both in regkrd to the grouping of
their figures, and the art of disposing the
light and shadow in masses. 'It is appa
rent that this, which makes so consider
able a part of modern art, was to them
totally unknown.
If the great Painters had possessed this
excellence, some portion of it would have
infallibly been diffused, arid have been dis
coverable in the works of the inferior rank
of Artists, such as those whose works have
come down to us, and which may be
considered as on the same rank with the
Paintings* tha.t ornament our publick gar-
%

T44 Notes oN ...„
dens. Supposing our modern pictures of
this rank only were preserved for the inspec
tion of connoisseurs two thousand years
hence, the general principles , of composU
tion would be still discoverable in those
pieces : however feebly executed, there
\vould be seen an attempt to an union of
the figure with its ground, and some idea
of disposing both the figures and the lights
in groups. Now as nothing of this ap
pears in what we have of ancient Painting,
we may conclude that this part of the art
was totally neglected, or more probably
unknown. They might, however, have produced
single figures which approached perfection
both in drawing and colouring ; they might
excel in a Solo, (in the language of Musi
cians,) though they were probably incapable
of composing a full piece for a concert of
different instruments. R.

THE ART QF PAINTING. 145
NOTE XXXVIII. Verse 419.
Permit not two conspicuous lights to shins
With rival 'radiance in the same. design.
The same right judgment which pro
scribes two equal lights, forbids any two
objects to be introduced of equal magnitude
or force, so as to appear to be competitors
for the attention of the spectator. This is
common ; but I do not think it quite so
common, to extend the rule so far as it
ought to be extended : even in colours,
whether of the warm or cold kind, there
should be one of each which should be appa
rently principal and predominate over the
rest. It must be observed, even in drapery;
two folds of the same drapery must not be
of equal magnitude. R.
NOTE XXXIX. Verse 421.
But yield to one alone the power to blaze,
And spread th' extensive vigour of its rays.
Rembrandt frequently practised this rule
to a degree of affectation, by allowing but
one mass of light; but the Venetian Painters,
VOL. III. L

uS NOTES ON
and Rubens, who extracted his principle's
from their works, admitted many subordi
nate lights.
The same rules, which have been given in
regard to the regulation of groups of figures,
must be observed in regard to the grouping
of lights; that there shall be a superiority of
one over the rest, that they shall be separated,
and varied in their shapes, and that there
should be at least three lights : the secondary
lights ought, for the sake of harmony and
union, to be of nearly equal brightness;
though not of equal magnitude with the
principal. The Dutch Painters particularly excelled
in the management of light and shade, and
have shewn, in this department, that con-^
summate skill which entirely conceals the
ajppearance of art.
JanSteen, Teniers, Ostade, Du Sart, and
many others of that School, may be produced
as instances, and recommended to the young
artist's careful study and attention.
The means by which the Painter works,
and on -which the effect of his picture de
pends, are light and shade, warm and cold

THE ART OP PAINTING. 147
Colours. That there is an art in the manage
ment and disposition of those means will be
easily granted , and it is equally certain, that
this art is tobe acquired by a careful exami
nation of the works of those who have ex
celled in it.
I shall here set down the result ofthe ob
servations which I have made on the works
of those Artists who appear to have best
understood the management of light and
shade, and who may be considered as exam
ples for imitation in this branch of the art.
Titian, Paul Veronese, and Tintoret, were
among the first Painters who reduced to a ,
system what was before practised without
any fixed principle, and consequently neg
lected occasionally. From the Venetian
Painters Rubens extracted his scheme of
-composition, which was soon understood
and adopted by his countrymen, and extended
even to the minor Painters of familiar life in
theDuteh school.
When I was at Venice, the method I took
tpavail myself of their principles was this.
When I obgervdd an extraordinary effect of
light and shade in any picture, I took a leaf of
l 2.

r48 NOTES ON
my pocket-book, and darkened every part of
it in the same gradation of light and shade as
the picture, leaving the white paper untouched
to represent the light, and this without any
attention to the subject or to the drawing of
the figures. A few trials of this kind will
be sufficient to give the method of their con
duct in the management of their lights.
After a few experiments I found the paper
blotted nearly alike : their general practice
appeared to be, to allow not above a quarter
of the picture for the light, including in this
portion both the principal and secondary
lights ; another quarter to be as dark as, possi-
. ble ; and the remaining half kept in mezzo
tint or half shadow.
Rubens appears to have admitted rather
more light than a quarter, and Rembrand|
much less, scarce an eighth ; by this conduct
Rembrandt's light is extremely brilliant, but
it costs too much ; the rest of the picture is
sacrificed to this one object. That light will
,a certainly appear the brightest which is sur
rounded with the greatest quantity of shader
supposing equal skill in the Artist.
By this means you may likewise remark
v 4

THE ART OF PAINTING. 149
the various forms and shapes of those lights,
as well as the objects on which they are
flung ; whether a figure, or the sky, a white
napkin, animals, or utensils, often introdu-.
ced for this purpose only. It may be ob-,
served likewise what portion is strongly re
lieved, and how much is united with its
ground; for it is necessary that some part
(though a small one is sufficient) should be
sharp and cutting against its ground, whether
it be light on a dark, or dark on a light
ground, in order to give firmness and dis
tinctness to the work; if on the Other hand
it is relieved on every side, it will appear as
if inlaid on its ground. Such a blotted
paper, held at a distance from the eye, will
strike the spectator as something excellent
for the disposition of light and shadow,
though he does not distinguish whether it is
ahistory, a portrait, a landscape, dead game,
or any thing else; for the same principles
extend to every branch of the art.
Whether I have' given an exact account,
or made a just division of the quantity of
light admitted into the works of those Paints
ers1, is of no very great consequence ; let every'

n5m NOTES OH>
person examine and judge for himself: ;it
will be sufficient if I have suggested a mode
of examining pictures this way, and one
means at least of acquiring the principles on
which they wrought. R,
NOTE XL. Verse 441.,
Then only justly spread, when to the sight
A breadth of shade pursues a breadth of light.
The highest finishing is labour in vain,
unless at the same time there be preserved a
breadth of light and shadow^ it is a; quality,
therefore, that is more frequently; - recom
mended tp students, and insisted upon, than
any other whatever; and, perhaps, for this
reason, because it is most apt to be neglected,
the attention of the Artist being so often en
tirely absorbed in the detail.
To illustrate this, we may have recourse to,
Titian's bunch of grapes, which we will
suppose placed so as to receive a broad light
and shadow- Here, though each individual
grape on the light side has its light*, and
shadow, and reflexion, yet altogether they
i make but one broad mass of light : the slight-

THE ART OF PAINTING. *c I
est sketch, therefore, where this breadth is
preserved, will have a better effect, will have
more the appearance of coming from a master-
hand, that is, in other wdrds, will have more
the characteristick and generate of nature,
than the most laborious finishing, where this
breadth is lost or neglected. R.
NOTE XLI. Verse 469.
Which mildly mixing, every social dye
Unites the whole in loveliest harmony.
The same method may be used to acquire
that harmonious effect of colours, which was
recommended for the acquisition of light and
shade; the adding colours to the darkened
paper; but as those are not always at hand,
it may be sufficient, if the picture which you
think worthy of imitating be considered in
this light, to ascertain the quantity of warm,
and the quantity of told dolours.
The predominant colours of the picture
ought to be of a Warm mellow kind; red or
yellow; and no more cold colour should be
introduced than will be just enough to serve
as a ground or foil to set off arid give • value

i;* • NOTES ON •
to the mellow colours, and neyer should!
itself be a principal;; for this; purpose a quar^>
ter of the picture will be sufficient;, those
Gold colours, whether- blue,, grey, or green,
are to be dispersed about the ground or. sur
rounding parts of the picture* wherever it has
the .appearance of wanting such a foil, but
sparingly employed in the masses of light.
I am confident that an habitual examina
tion ofthe works of those Painters who have
excelled in harmony, will,, by degrees* give
a correctness of eye that will revolt at dis
cordant colours, as a musician's ear revolts at
discordant, sounds, \ R,
NOTE XLII. Verse 517.
By mellfiwing skill thy. ground at distance. casti:
Free as the air, and transient as its blast.
By. a story told of Rubens, we have his
authority for asserting, that to the effect of
the picture the back-ground is of the greatest
consequence,, Rubens being desired, to take under his
instruction a young painter, the person
who- recommended; him, in order to induce

THE ART OF PAINTING. ?y3
Rubens tHe- more readily to take him, said;
that he was already somewhat advanced in
the art, arid that he would be of imme
diate assistance in his back-grounds. Rubens
smiled at his simplicity r and told him,
that if the youth was capable of paint
ing his back-grounds, he stood in no need
of his instructions ; that the regulation and
management of them required the most
comprehensive knowledge ofthe art. This,
painters know to be no exaggerated account
of a back-ground, being fully apprised how
much the effect of the picture depends
upon it.
It must be in union with the figure, so
as not to have, the appearance of being inlaid,
-like Holbein's portraits, which are often
on a bright green or blue ground. T®
prevent this effect, the ground must par
take of the colour of the figure ; or, as ex
pressed in, a subsequent line, receive all
the treasures of the palette. The back
ground regulates likewise where and in
what part the figure is to be relieved. When
the form is beautiful, it is to be seen dis
tinctly ; when, on the contrary, it is

iH. NOTES ON
uncouth or too angular, it may be lost in
the ground. Sometimes a light is intro
duced in order to join and extend the light
on the figure, and the dark side of the figure
is lost in a still darker back-ground ; for
the fewer the outlines are which cut
against the ground, the richer will be the
effect ; as the contrary produces what is
called the dry manner,
One of the arts of supplying the defect
of a scantiness of dress by means of the,
back-ground, may be observed in a whole-
length portrait by Vandyck, which is in the
cabinet of the Duke of Montagu : the dress
pf this figure would have had an ungrace
ful effect; he has, therefore, by means of
ajlight back-ground opposed to the light of
the figure, and by the help of a curtain
that catches the light near the figure, made
the effect pf the whole together full and rich
tp the eye. R,

THE ART OF PAINTING, J55
NOTE XLIII. Verse 523.
The hand that colours well must colour bright,
Hope not that praise to gain by sickly white.
All the modes of harmony, or of produ
cing that effect of colours which is required
in a picture, may be reduced to three ;
two of which belong to the graiid style,
^nd the other to the ornamental.
,- The first may be called the Roman man
ner, where the colours are of a full, and
Strong body, such as are found in the Trans
figuration : the next is that harmony which
is produced by what the Ancients called
.the, corruption of the. colours, by mixing and
breaking them till there is a general union
in the whole,, without any thing that shall
bring to ypur remembrance the Painter's
palette, or the original colours ; this may
be called the Bolognian style, and it is this
hue and effect of colours which Lodovico
Carracci seems to have endeavoured to pro
duce, though he did not carry it to that
perfection which we have seen since his
time in the small works of the Dutch school,

rs6 NOTES ON
particularly Jan Steen ; where art is com
pletely concealed, and the Painter, like a
great Orator, never draws the attention from
the subject on himself.
The last manner belongs properly to the
ornamental style, which we call the Vene
tian, being first practised at Venice, but
is perhaps better learned from Rubens : here;
the brightest colours possible are admitted,
with the two extremes of warm and cold,
and those reconciled by being dispersed over
the picture, till the whole appears like a
buneh of flowers.
As I have given instances from the Dutch
school, where the art of breaking colour
may be learned, we may recommend! here'
an attention to the works of Watteau for
excellence in this florid style of painting.
To all these different manners, there are
some general rules that must never be neg^
leered'. First, that the same colour which
makes the largest mass, be diffused and
appear to revive in different parts of the
picture ; for a single colour will make a>
spot or blot. Even the dispersed flesh-
colour, which the faces and hands make.

THE ART OF PAINTING. ,-157
requires a principal mass, which is best
produced by a naked figure ; but where the
subject will not allow of this, a drapery
approaching to flesh-colour will answer the
purpose ; as in the Transfiguration, where
a woman is clothed in drapery of this
colour, which makes a principal to all
the heads and hands of the picture ; and,
for the sake of harmony, the colours, how
ever distinguished in their light, should
be nearly the same in their shadows ; of a
 " simple unity of shade,
" As all were from one single palette spread."
And to give the utmost force, strength, and
f olidity to the work, some part of the pic
ture should be as light and some as dark as
possible ; these two extremes are .then to
be harmonized and reconciled to each other.
Instances were both of them are used,
may be observed in two pictures of Rubens,
which are equally eminent for the force and
brilliancy of their effect ; one is in the cabi-
. net of the Duke of Rutland, and the other in
the chapel of Rubens at Antwerp, which
serves as his monument. In both these
pictures he has introduced a female figure.

NOTE-S ON
dressed in black satiri,-' the shadows ? of
which are as dark as pure black, opposed
to, the- contrary extreme of brightness, can
make them.
If to t(hese different manners we add one
more; that in which a silver-grey or pearly
tint is predominant, I believe every kind of
harmony that can be produced s by colours
will be comprehended . One of the greatest
examples in this mode is the famous marri
age at Cana, in St. George's church at Venice;
where the sky, which makes a very consider
able part of the picture, is of the lightest,
blue colour, and the clouds perfectly white;
the rest of the picture is in the same key„
wrought from this, high pitch. We see like
wise many, pictures of Guido in this tint;
and indeed. those that are so, are in his best
manner. Female figures, angels and chil
dren, were the subjects in which Guido
more particularly succeeded; and to such,'
the cleanness and neatness of this tint perfectly
corresponds, and contributes not a little, to
that exquisite beauty and delicacy which so
much distinguishes his works. To 'see this
style in perfection, we must again have re-
2

THE ART OF PAINTING. ij9
course to the Dutch school, particularly to
the works of the younger Vandervelde, and
the younger Teniers, whose pictures are
valued by the connoisseurs in proportion as
they possess this excellence of a silver tint.
Which of these different styles ought to be
preferred, so as to meet every man's idea,
would be difficult to determine, from the pre
dilection which every man has to that mode
which is practised by the school in which he
has been educated ; but if any pre-eminence
is to be given, it must be to that manner,
which stands in the highest estimation with
mankind in, general, and that is the Venetian,
or rather the manner of Titian ; which, sim
ply considered as producing an effect of co
lours, will certainly eclipse with its splen
dour whatever is brought into competition
with it. But, as I hinted before, if female
delicacy and beauty be the principal object of
the Painter's aim, the purity and clearness of
the tint of Guido will correspond better, and
more contribute to produce it than even the
glowing tint of Titian.
The rarity of excellence in any of these
styles of colouring sufficiently shews the

60 NOTES ON
difficulty of succeeding in them. It may be
worth the Artist's attention, while he is in
this pursuit, particularly to guard against
those errors which seem to be annexed to
or divided by thin partitions from their
neighbouring excellence. Thus, when he is
endeavouring to acquire the Roman style, if
he is not extremely careful, he falls into a
hard and dry manner. The flowery colour
ing is nearly allied to the gaudy effect of fan-
paintirig. The simplicity of the Bolognian
style requires the nicest hand to preserve it
from insipidity. That of Titian, which
may be called the Golden manner, when
unskilfully managed, becomes What the
Painters-call Foxy ; and the silver degenerates
into the leaderi and heavy manner. None of
them, to be perfect in their way, will bear
any union with each other: if they are not
distinctly separated, the effect ofthe picture
will be feeble and insipid, without any mark
or distinguished character. R.

THE ART OF PAINTING. i $ i
NOTE XLIV. Verse '538.
On that high-finish' d form let paint bestow
Her midnight-shadbw, her meridian glow.
It is indeed a rule adopted by many Paint
ers to admit in no part of the back-ground,
or on any object in the picture, shadows of
equal strength with those which are employ*
ed on the principal figure; but this produces
a false representation. With deference to our.
Author, to have the strong light and shadow
there alone, is not to produce thebest natural
effect ; nor is it authorised by the practice of
those Painters ;who are most distinguished
for harmony c?f colouring: a conduct, there
fore, totally contrary to this is absolutely
necessary, that the same strength, the same
tone of colour, should be diffused over the
whole, picture.
I am no enemy to dark shadows. The
general deficiency to be observed in the works
of the Painters of the last age, as well as in
deed of many of the present, is a feebleness
of effect ; they seem to be too much afraid
of those midnight shadows, which alone
VOL. III. M

46* NOTES ON
give the poWer of nature, and without which,
a picture will appear like one wholly wanting
solidky and strength. The lightest and gay
est style requires this foil to give it force and
brilliancy. There is another fault prevalent in the
modern Painters, — the predominance of a
grey leaden colour over the whole picture:
this is more particularly to be remarked
when their works hang in the same room
With pictures well and powerfully coloured.
These two deficiencies, the want of'sfrength,
arid the want of mellowness or warmth^ are
often imputed to the want of materials;-—
as if we had not such good colours- as those
Painters" whose works we So much/ admire*
"'- :;k ; ' • R.
NOTE XLV. VIrse '579.
, Know he that well begins has half atchiev' d
His destin' d'work,— — ¦
Those Masters are the, best models to be
gin with who have the fewest faults, and
who are the most regular in the conduct of
their work. The first studies ought rather

The art of painting* 163
to be made on their performances than on the
productions of excentrick Genius : where
striking beauties are mixed with great defects,
the student will be in danger of mistaking
blemishes for beauties, and perhaps the
beauties may be sUch as he is riot advanced
enough to attempt. R.
NOTE XLVI. Verse 584.
 1 — - his irroneous lines

-Will to the soul that poison rank convey,
Which life's best length shall fail to purge ataay.
'- ' a ... I
Taste will, be unavoidably regulated by
what is continually before the eyes. It were
therefore well if young students could be de-
barred the sight of any works that were not,
free from ,gross faults, till they had well
formed, apd, as I may say, hardened their
judgment: they might then be permitted to
lopk about them, not only without fear of
vitiating theirtaste, but even with advantage ;
and would often find great ingenuity and ex
traordinary invention in works which are
under the influence of a bad taste. R.
M 3

ig4 NOTES ON
NOTE XLVn. Verss €GL
As surely charts' that voluntary Style,
Which careless plays and seems to mock at Hit.
This appearance of ease and facility may
be called the Grace or Genius of the mecha
nical or executive part of the art. There is
undoubtedly; something fascinating in seeing
that done with careless ease, which others do
with laborious difficulty.: fhe spectator un
avoidably, by a kind of natural instinct, feels
that general animation with which the hand
ofthe Artist seems fo be inspired.
Of all Painters Rubens appears to claim
the first rank for facility, both in the inven
tion and in the execution of his work: it
fnakes so great a part of his excellence, that
if we take if away, Jhatlf af, least of his repu
tation will go with it. R.
NOTE XLVIII. Verse 617.
The eye each obvious error swift descries ^
Hold then the compass only in the eyes.
A Painter who relies on his compass, leans
on a prop which will not support him : there

THE ART OF PAINTING. i6j
are few parts of his figures but what are fore
shortened more or less, andcannot, therefore,
be drawn or corrected by measures. Though
he begins his studies with the compass in his
hand as we learn a dead language by gram
mar, ypt, after a certain time, they are both
flung aside, and in their place a kind of me*
chanical correctness of the eye and ear is sub
stituted, which operates without any consci
ous effort of the mind. R.
NOTE XLIX, Verse 620.
Give to the dictates ofthe learn' d respect.
There are few spectators of a Painter's
work, learned or unlearned, who, if they
Can be induced to speak their real sensations,
would not be profitable to the Artist. The
only opinions of which no use can be made,
are those of half-learned connoisseurs, who
have quitted nature and have not acquired
art. That same sagacity which makes a
man excel in his profession must assist him
in the proper use to be made of the judgment
of the learned, and the opinions of the vul
gar. Of many things the vulgar are as

166 NOTES ON
competent judges as the most learned con-;
noisseur; of the portrait, for instance, of
an animal; or, perhaps, of the truth of
the representations of some Vulgar passions.
It must be expected that the untaught
vulgar will carry with them the same want
of right taste in the judgment they make of
the effect or character in a picture as they
do in life, and prefer a strutting figure and
gaudy colours tp the grandeur of simplicity ;
but if this same vulgar person, or even an,
infant, should mistake for dirt what was in
tended to be a shade, it might be apprehend
ed that the shadow was not the true colour of
nature, with almost as much certainty as if.
the observation had been made by the most
able connoisseur. R,
NOTE L. Verse 703.
Know that ere perfect taste matures the mind,
Or perfect practice to that taste be join'd,— -
However admirable his taste may be, he
is but half a Painter who can only conceive
his subject, and is without knowledge of
trie mechanical part pf his art; as on the

THE ART OF PAINTING. --;< 1167
other hand his skill may be said to be thrown
away, who has employed his colours on sub*
jects that create no interest from their beauty,,
their character, or expression. One part
often absorbs the whole mind to the neglect
ofthe rest: the young Students, whilst at
Rome, studying the works of Michael An
gelo and Raffaelle, are apt to lose all relish
for any kind of excellence, except what is
found in their works. Perhaps going after
wards to Venice they may be induced to
think there are other things required, and
that nothing but the most superlative excel
lence in design, character, and dignity of
style, can atone for a deficiency in the orna
mental graces of the art. Excellence must
of course be rare ; and one of the causes of
its rarity, is the necessity of uniting qualities
which in their nature are contrary to each
other; and yet no approaches can be made
towards perfection without it. Every art or
profession requires this union of contrary
qualities, like the harmony of colouring,
which is produced by an opposition of hot
and cold hues. The Poet and the Painter
must unite to the warmth that accompanies.

i«8 NOTES ON
a poetical imagination, patience and perse
verance ; the one in counting syllables and
toiling for a rhyme, and the other in labour
ing the minute parts, and finishing the detail
of his works, in order to produce the great
effe£t he desires : they must both possess
a comprehensive mind that fakes in the
whole at one view, and at the same time
an accuracy of eye or mind that distinguishes
between two things that, to an ordinary
spectator, appear the same, whether this
Consists in tints or words, or the nice dis
crimination on which expression and elegance
depend. R*.-
NOTE LI. Verse 715.
While free from prejudice your active eye
Preferves its first unfullied purity.
Prejudice is generally used in a bad sense,
to imply a predilection, not founded on
reason or nature, in favour of a particular
master, or a particular manner, and therefore
ought to be opposed with all our force ; but
totally to eradicate in advanced age what has
so much assisted us in our youth, is a point

THE ART OF PAINTING. i69
to which we cannot hope to arrive. The
difficulty of conquering this prejudice is to
be considered in the number of those causes
which makes excellence so very rare.
Whoever would make a rapid progress in
any art or science, must begin by having
great confidence in, and even prejudice in
favour of, his instructor ; but to continue to
think him infallible, would be continuing
for ever in a state of infancy.
It is impossible to draw a line when the
Artist shall begin to dare to examine and
criticise the works of his Master, or of the
greatest master-pieces of art ; we can only
say, that his progress to this capacity will
be gradual. In proportion as the scholar
learns to analyse the excellence of the Masters
he esteems, — in proportion as he comes
exactly to distinguish in what that excellence
, consists, and refer it to some precise rule
and fixed standard, in that proportion he
becomes free. When he has once laid hold
of their principle, he will see when they
deviate from it, or fail to come up to it ;
so that it is in reality through his extreme
admiration of, and olind deference to, these
3

i7o NOTES ON
masteis, (without which he never would
-have employed an intense application to
discover the rule and scheme of their works,)
that he is enabled, if I may use the expres
sion, to emancipate himself, even, to get
abpve them, and to become the judge pf
those of whom hp was at first the humble
disciple, R.
NOTE LII. Verse 721.
When duly taught each geometrick rule,
Approach with awful step the Grecian school.
The first business of the student is to be
able to give a true representation of what
ever object presents itself, just as it appears
to the' eye, so as to amount to a deception ;
and the geometrick rujes of perspective are
included in this study. This is the language
of the art ; which appears the more necessary
to be taught early, from the natural repug
nance which the mind has to such mechanical
labour, after it has acquired a relish for its
higher departments.
The next step is to acquire a knowledge
of the beauty of Form ; for this purpose he

THE ART OF PAINTING. 171
is recommended to the study of the Grecian
Sculpture ; and for composition, colouring,
and expression to the great works at Rome,
Venice, Parma, and Bologna: he begins now
to look for those excellencies which address
themselves to the imagination, and considers
deception as a scaffolding to be now thrown
aside, as of no importance to this finished
fabrick. R.
¦1 NOTE LIII. Verse 725.
No rest, no pause, till all her graces known,
A hdppy habit makes each grace your own.
Tp acquire this excellence, something
more is required than measuring statues or
copying pictures.
I am confident the works of the ancient
sculptors were produced, not by measuring,
but in consequence of that correctness of
eye which they had acquired by long habit,
"which served them at all times, and on all
Occasions, when the compass would fail.
There is no reason why the. eye should not
be capable of acquiring equal precision and

J7* NOTES ON
exactness with the organs of hearing or
speaking. We know that an infant, who
bas learned its language by:habit, will some*
times correct the most learned grammarian
who has been taught by rule? only : the
idiom, which is the peculiarity of language*
and that in which its native grace is seated*
can be learned by habit alone.
To possess this perfect habit, the same
conduct is necessary in art as in language ;
that it should be begun early, whilst the
organs are pliable and impressions are easily
taken, and that we should accustom our
selves, while this habit is forming, to see
beauty only, and avoid as muc<h as possible
deformity or what is incorrect. Whatever
is got this way may be said to be properly
made our own ; it becomes a part of our
selves, and operates unperceived. The
mind acquires by such exercise a kind of
instinctive rectitude which supersedes all
rules. R,

THE ART OF PAINTING. .173
NOTE LIV. Verse 733.
See Raffaelle there his forms celestial trace,
Vnrivall'd sovereign ofthe realms tf grate*-
The pre-eminence which Fresnoy has
given to those three great Painters, Raffaelle,
Michael Angelo, and Julio Romano, suffi
ciently points out to us what ought to be the
chief object of our pursuit. Though two
of them were either totally ignorant of, or
never practised any of those graces of the
art which proceed from the management of
colours or the disposition of light and sha
dow, and the other (Raffaelle) was far from
being eminently. skilful in these particulars,
yet they all justly deserve that high rank ih
which Fresnoy has placed them ; Michael
Angelo, for the grandeur and sublimity of
his characters, as well as for his profound
knowledge of design ; Raffaelle, for the
judicious arrangement of his materials, for
the grace, the dignity, and the expression
of his characters; and Julio Romano, for
possessing the true poetical genius of painty

j74 NOTES ON
ing, perhaps, in a higher degree than atijr
other Painter whatever.
In heroick subjects it will not, I hope,
appear too great a refinement of criticism to
say, that the want of naturalness or deception
of the art, which give to an inferior style
its whole value, is no material disadvantage;
the Hours, for instance, as represented by
Julio Romano, giving provender to the
horses ofthe Sun, Would not strike the ima
gination more forcibly from their "beirig co
loured with the pencil of Rubens, though he
would have represented them more naturally;
but might he not possibly, by that very act,
have brought them down from the celestial
state to the rank of iriereteriestrialanimals ?
Jn these things, however, I admit there will
always be a degree of uncertainty. Who
knows that Julio Romano, if he had pos
sessed the "art and practice of colouring like
Rubens, would not have given to it some
taste of poetical grandeur 'not yet attained to?
The same familiar naturalness would be
equally an imperfection in characters which
are to be represented as demi-gods, or some
thing above humanity.

THE ART OF PAINTING. 17*
"Though it would be far from an addition
to the merit of those two great Painters to
have made their works deceptions, yet there
can be no reason why they might not, in
some degree, and with a judicious caution
and selection, have availed themselves of
many excellencies which are found in the
Venetian, Flemish, 'and even. Dutch schools*
and which have been inculcated in this
poem. There are some of them which are
not in absolute contradiction to any style;
the happy disposition, for instance, of light
and shade; the 1 preservation, of breadth in
the masses of colours ; the union of the,S£
with their grounds ; and the harmony arising
from a due mixture of hot and cold hues,
with many other excellencies, not inseparably
connected with that individuality Which pro
duces deception, would surely not counter
act' the effect of the grand style ; they would
only contribute to the ease of the spectator,
by making the vehicle pleasing by which
ideas are conveyed to the mind, which oher-
wise might be perplexed and bewildered
with a confused assemblage of objects;
they would add a certain degree of .grace and
4

i75 N-O T E S. O N
sweetness to strength and grandeur.- Though
the merits of those two great Painters are
of such transcendency as to make us overlook
their deficiency, yet a subdued attention to
these inferior excellencies must be added to
complete the idea of a perfect Painter.
Deception, which is so often recom
mended by writers on the theory of paint
ing, instead of advancing the art, is in rea
lity carrying it back to its infant state: thp
first essays of painting were certainly no
thing but mere imitation of individual ob
jects, and when this amounted to a decep
tion, the Artist had accomplished his
purpose. And here I must observe, that the arts of
Painting and Poetry seem to have no kind
of resemblance in their early stages. The
first, or, :at least, the second stage of Poetry
in every nation, is ' removed as far as pos
sible from common life ; every thing is of
the marvellous kind ; it treats only of he
roes, wars, ghosts, enchantments, and
transformations : The Poet could not expect
to seize and captivate the attention, if he
related only common occurrences, such as

THE ART OF PAINTING. j77
every day produces. Whereas the Painter
exhibited what then appeared a great effort
of art, by merely giving the appearance of
relief to a flat superficies, however uninte*
resting in itself that object might be ; but
this soon satiating, the same entertainment
was required from Painting which had been
experienced in Poetry. The mind and ima
gination were to be satisfied, and required to
be amused and delighted, as Well as the
eye ; and when the art proceeded to a still
higher degree of excellence, it was then
found that this deeeptipn not only did not
assist, but even in a certain degree counter
acted the flight of imagination : hence pro
ceeded the Roman school ; and it is from
hence that Raffaelle, Michael Angelo, and
Julio Romano stand in that pre-eminence of
rank i» which Fresnoy has justly placed
thera. R.

VOL. III. N

"z~$ NOTES ON
NOTE LV. Verse 747.
" Bright, beyond all the rest, Correggio flings
Tits ample lights, and round theni gently brings
¦ The mingling shade, — —
The excellency of Correggio 's manner has
justly, been admired by ali succeeding Pain
ters. This manner is in direct opposition to
what, is" called the dry and hard manner
which preceded him.
His colour, and his mode of finishing,
approach nearer to perfection than those of
any other Painter : the gliding motion of his
outline, and the sweetness with which it
melts into the ground ; the cleanness and
transparency of his colouring, which stop
at that exact medium" in which the purity
and perfection of taste lies, leave nothirig to
be wished for. Baroccio, though, upon the
whole, one of his most successful imitators,
yet sometimes, in endeavouring at cleanness
or brilliancy of tint, overshot the mark, and
falls under the criticism that was made on an
ancient Painter, that his figures looked as if
they fed upon roses. R.

THE. ART OF PAINTING. 179
¦ "¦¦':. NOTE LVI/ Verse '767.
Tet more than these to meditation' s eyes ;-
Great Nature's self -redundantly' supplies',
Fresnoy, with great propriety, begins and
finishes his /poem with recommending the
study of Nature.
This is in reality the beginning and. the
end of theory. It is in nature only, we can
find that beauty which is the great object of
bur search ; it can be found no where else :
We can no more form any idea of beauty su-
"perior.tp Nature than we can form an idea
of a sixth sense, or any other excellence out
of the limits of the human mind. We are
forced to'confine our conception even of hea
ven itself xand its inhabitants to what we see
iri this world ; even the Supreme .Being, if
he is represented at all, the Painter has no
other way of representing than by reversing
the/ decree of the inspired Lawgiver, and
making God after his own image/"
Nothing can be so unphilosophical as a
supposition that We cari form any idea of
beauty or excellence out of or beyond Na-

,g0 NOTES ON _
ture, which is and must be the fountain-
head from whence all our ideas must be
derived. This being acknowledged, it must follow*
pf course, that all the rules which this theory,
or any Other, teaches, can be no more than
teaching the art of seeing nature. The
rules of Art are formed on the various works
of those who have studied Nature the most
successfully : by this advantage, of observing
the various manners in which various minds
have contemplated her works, the artist en
larges his own views, and is taught to look
for and see what otherwise would have
escaped his observation.
It is to be remarked, that there are two
modes of imitating nature; one of which
refers for its truth to the sensations of the
mind, and the other, tp.the eye.
Some schools, such as the Roman and
Florentine, appear to have addressed them
selves principally to the mind; others sojely
to the eye, such as the Venetian in the ui-
stancesof Paul Veronese and Tintoret : others
again have endeavoured to unite both, by
joining the elegance and grace of ornament

THE ART OF PAINTING. i&t
with the strength and vigour of desigri ;
such are the schools df Bologna and Parma.
All those schools are equally to be Con
sidered as followers of Nature. He -who
produces a work analogous to the mirid or
imagination of man, is as natural a Painter
as he whose works are calculated to delight
the eye ; the works of Michael Angelo, Pr
Julio Romano, in this sense, may be said
to be as natural as those of the Dutch Pain
ters. The study, therefore, of the nature or
affections of the mind is as necessary to the
theory of the higher department pf the art, as
the knowledge of what will be pleasing or
offensive to the eye, is to the lower style.
What relates to the mind or imagination,
such as invention, character, expression,
grace, or grandeur, certainly cannot be
taught by rules; little more can be done
than pointing out where they are to be found :
it is a part which belongs to general educa
tion, and will operate in proportion to the
cultivation of the mirid of the Artist.
The greater part of the rules in this Poem
are, therefore, necessarily eonfiried to what
relates? to 'the eye ; and it may be- remarked,
i

182 NOTES ON
that none of -those rules make any pretend
sions towards improving Nature, or going
contrary to her work: their tendency is
merely to show what is truly Nature.
Thus, for instance, a flowing outline is
recommended, because beauty (which alone
is Nature) cannot be produced without it:
old age or leanness produces strait lines;
corpulency round lines ; but in a state of
health, accompanying youth, the outlines
are waving, flowing, and serpentine. Thus
again, if We are told to avoid the chalk, tHe
brick, or the leaden colour, it is because
real flesh never partakes of those hues,
though ill-coloured pictures are always in
clinable to one or other of those defects .
Rules are to be considered likewise as
fences placed only where trespass is expected ;
and are particularly enforced in proportion as
peculiar faults or defects are prevalent at the
time, or age, in which they are delivered ;
for what may be proper strongly to recom
mend or enforce in one age, may not with'
equal propriety be so much laboured in an
other, when it may be the fashion for Artists
to run into the contrary extreme, proceeding

THE ART OF PAINTING. 183
from prejudice to a manner adopted by some
favourite Painter then in vogue.
When it is recommended to preserve a
breadth of colour or of light, it is not in
tended that the Artist is to work broader
than Nature ; but this lesson is insisted on
because we know, from experience, that
the contrary is a fault which Artists are apt
to be guilty of; who, when they are ex
amining and finishing the detail, neglect or
forget that breadth which is observable only
when the eye takes in the effect of the
whole, Thus again, we recommend to paint soft
and tender, to make a harmony and union
of colouring; and for this end, that all
the shadows shall be nearly of the same co
lour. The reason of thdse precepts being at
all enforced, proceeds from the disposition
which Artists have to paint harder than Na
ture, to make the outline more cutting
against the ground, and to have less har
mony and union than is found in Nature,
- preserving the same brightness of colour in
the shadows as are seen in the lights : both
these false manners of representing Nature

tt4 NOTES ON
were the practice of the Painters when the
art was in its infancy, and would be the
practice now of every student who was left
to himself, and had never been taught the
art of seeing nature.
There are other rules which may be said not
so much to relate to the objects represented as
to the eye ; but the truth of these are as much
fixed in Nature as the others, and proceed
from the necessity there is that the work
should be seen with ease and satisfaction ;
to this end are all the rules that relate to
grouping and the disposition of light and
shade. With regard to precepts about mgde&atmn,
and avoiding extremes, little \s to be drawn
from them. The rule would be too minuter
that had any exactness at all: a multiplicity
of exceptions would arise, so that the teacher
would be for ever saying top much, and yet
never enough. When a student is instructed
to mark with precision every part of his
figure, whether it.be naked, or in drapery,
he probably becomes hard ; if, on the con
trary, he is told tp paint in the most tender
manner, possibly he becomes insipid. But

THE ART OF PAINTING. 185
among extremes some are more tolerable
than others ; of the. two extremes I have just
mentioned, the hard manner is the most par
donable, carrying with it an air of learning,
as if the Artist knew with precision the true
form of Nature, though he had rendered it
with too heavy a hand.
In every part of the human figure, when
riot spoiled by too great corpulency, will be
found this distinctness, the parts never ap
pearing uncertain or confused, or, as a mu
sician would say, slurred; and all those
smaller parts which are comprehended in the
larger compartment are still tobe there, how
ever tenderly marked.
To conclude. In all minute, detailed,
and practical excellence, general precepts
must be either deficient or unnecessary : for
the rule is not known, nor is it indeed to any
purpose a rule, if it be necessary to inculcate
it on every occasion. "I&i,

JSS NOTES ON
'*'» ¦
NOTE LVII. Verse 772.
Whence Art, by practice, . to perfection soars.
After this the Poet says, that he passes
over in silence many things which will be
more amply treated in his Commentary.
" Multa supersileo quae Cornmentaria dicent."
But as he never lived to write that Commen
tary, his translatPr has taken the Jiberty to
pass over this line in silence also, M,
NOTE LVIII. Verse 77.5.
What time the pride of Bourbon urg'd his way, &c,
Du Piles, and after him Dryden, call this
Hero Louis XIII, but the later French Edi
tor, whom I have before quoted, will needs
have. him to be the XIV. His note is as
follows: " At the accession of Louis XIV.
Du. Fresnoy had been ten years at Rome,
therefore the epoch, marked by the Poet,
falls probably upon the first years of that
Prince; that is to say, upon the years 1643
or 1644. The thunders which he darts on
the Alps, allude to the successes of our arms
in the Milanese, and in Piedmont; and the

, THE 'ART OF PAINTING, 1S7
Alcides, who is born again in France for
the defence of his country, is the conqueror
of Rocroy, the young Duke of Anguien,
afterwards called Le Grand Conde." I am
apt to suspect that all this fine criticism is
false, though I do not think it worth while
to controvert it. Whether the Poet meant
to compliment Louis XIII. or the little boy
that succeeded him, (for he was only six
years old in the year 1 644, ) he was guilty of
gross flattery. It is impossible, however,
from the construction of the sentence, that
Lodovicus Borbonidum Decus, & Gallicus
Alcides, could mean any more than one
identical person; and consequently the Edi
tor's notion concerning the Grand Cond6 is
indisputably false. I have, therefore, taken
the whole passage in the same sense that Du
Piles did; and have also, like him, used
the Poet's phrase ofthe Spanish Lion in the
concluding line, rather than that of the
Spanish Geryon, to which Mr. Dryden has
transformed him : His reason, I suppose,
for doing this was, that the monster Geryon
was of Spanish extraction, and the Nemean
Lion, which Hercules killed, was of Pelo-

iS3 NOTES ON
ponnesus; but we are told by Martial,* that
there was a fountain in Spain called Nemea,
which, perhaps, led Fresnoy astray in this
passage. However this be, Hercules killed
so many lions, besides that which constitu
ted the first of his twelve labours, that either
he, or at least some one of his namesakes,
may well be supposed to have killed one in
Spain. Geryon is described by all the Poets
as a man with three heads, and therefore
could not well have been called a Lion by
Fresnoy; neither does the plural Ora mean
any more than the Jaws of a single beast.
So Lucan, lib. iv. ver. 739.
Quippe ubi nonsonipes motusclangore tubarum
Saxa quatit pulsu, rigidos vexantia fraenos
Ora terens,  M.
NOTE LIX. Verse 785.
But mark the Proteus Policy of State.
If this translation should live as many
years as the original has done already, which,
* Avidam rigens Dirceaha placabit sitim
Et Nemea quae vincit nives.
Mart. lib. i. Epig. 50. deB'pso. loc. M.

THE ART- OF- PAINTING. 1 89
by its being printed with that original, and
illustrated by stich a Commentator, is a thing
not impossible, it may not be amiss, in
order to prevent an hallucination of some
future cri tick, similar to that ofthe French
.Editor mentioned in the last note, to con
clude with a memorandum that the transla
tion was finished, and these occasional verses
added, in the year 1781; leaving, however,
the political sentiments, which they express,
to be approved or condemned by him, as the
annals ofthe time (written at a period distant
enough for history to become impartial)
may determine his judgment. M.

THiE; END OF THE NOTES.

The Precepts which Sir Joshua Rey
nolds has illustrated, are marked in the
following Table with one or more Asterisks,
according to the number of his Notes.

.. .A'al-
TABLE
OF THE RULES
CONTAINED IN THE FOREGOING
P O EM.

I. \JF the Beautiful *** . . . . Page 30
II. Of Theory and Practice .*. * .... .^
TIL Of the. Subject * . ........ 34
Invention, the first part of Painting** 35
IV. Disposition, or ceconomy of the whole 35
V. The Subject to be treated faithfully * 36
VI. Every foreign Ornament to be re
jected**.*  36
VII. Design, or Posltion, the second
part of Painting * *  38
VIII. Variety in the Figures  41
IX. Conformity of the Limbs and Dra
pery tb the Head *  41
X. Action of Mutes to be imitated* . 41
XI. The principal Figure* . „ . . ... . 42
XII. Groups of Figures  43
XIII. Diversity of Attitude in Groups * 43
4

r5r TABLE OF THE RULES.
XlV.A Balance to be kept in the Picture p.44.
XV. Of the Number of Figures** . . 44
XVI. The Joints and Feet  45
XVII. The Motion of the Hands with
the Head  46
XVIII. What things are to be avoided in
the Distribution of the Piece . . 46
XIX. Nature to be accommodated toGenius*47
XX. The Antique the Model to be copied 48
XXL How to paint a single Figure * . 49
XXII. Of Drapery *  49
XXIII. Of picturesque Ornament . . . 51
XXIV. Omament of Gold and Jewels * 53
XXV. Of the Model ........ 53
XXVI, Union pf the Piece ...... 53
XXVII. Grace and Majesty*  52
XXVIII. Every Thing in its proper Place $3
XXIX. The Passions** ....... 53
XXX. Gothick Ornament to be avoided 54
Co louring, the thirdpart of Painting*^
XXXI. The Conduct of the Tints of
Light and Shadow  58
XXXII. Dense and Ppake Bodies with
translucent ones ".'  61
XXXIII. There must not be two equal
Lights in the Picture **.... 6z.

TABLE OF THE RULES. 193 .
XXXIV. Of White and Black . . . p. 64
XXXV; The Reflection of Colours . . 6$7
X XXVI. The Union of Colours* . . 65
XXX VII. 'Of the Iriterposition of Air 67
XXXVIIl, The Relation of Distances 67
XXXIX. Of Bodies which are distanced 68
XL. Of contiguous arid separated Bodies 68
XLI. Colours very opposite to each other
never to be joined  68-
XLIL Diversity of Tints and Colours 69
XLlH. The Choice of Light .... 69
XLIV, Of certain Things relating to the
practical part  70
XLV-' The Field of the Picture* ... 7i_
XLVi. 'Of the Vivacity of Colours * 71
XLVII. Of Shadows  71
XLVI It. The Picture to be of one Piece 72
XLIX. The Looking-glass the Painter's -
best Master  72
L. An half Figure, or a whole one before
others * ,  72
LI. A Portrait  73
LII. The Place of the Picture .... 73
LIII. Large Lights  74
LIV- The Quantity of Light and Shade to
be adapted to the Place ofthe Picture 74
VOL. III. o

1 94 TABLE OF THE RULES.
LV. Things which . are disagreeable in
Painting to be -avoided  P* 74
LVI. The prudential part of a Painter 75
LVII. The idea of a beautiful Picture . 75
LVIII. Advice to a young Painter** 76
LIX. Art must be subservient to the Painter 77
LX. Diversity and Facility are pleasing* 77
LXI. The Original must be in the Head,
and the Copy on the Cloth .... 78
LXII. The Compass to be in the Eyes* 79
LXIII. Pride, an Enemy to good Painting* 79
LXIV. Know thyself  , 80
LXV. Perpetually practise, and do easily
what you have conceived .... 81
LXVI . The Morning most proper for Work 8 1
LXVII. Every Day do something . . 82
, LXVIII. The Method of catching natural
Passions  82
LXIX. Of the Table-Book** .... 83
LXX. The Method of Studies for a young
Painter****  87
LXXI. Nature and Experience perfect
Art *  90

APPENDIX.

O 2

The following little piece has been con
stantly annexed to M. du Fresnoy's Poem.
It is here given from the former Editions ;
but the liberty has been taken of making
some alteratioris in the "Version* which, when
compared with the Original in French, ap
peared either to be done very carelessly by
Mr. Dryden, or (what is more probable)
to be the work of some inferior hand which
he employed on the occasion. M.

THE

SENTIMENTS

O F

CHARLES ALPHONSE DU FRESNOY,

ON THE WORKS OP

THE PRINCIPAL AND BEST PAINTERS
OF THE TWO LAST AGES.

THE
SENTIMENTS OF
CHARLES ALPHONSE DU FRESNOY,
OR THE WORKS OF THE
PRINCIPAL AND BEST PAINTERS OF THE TWO LAST AGES.

Painting was in its perfection amongst
the Greeks. The principal schools were at
Sycion, afterwards at Rhodes, at Athens,
and at Corinth, and at last in Rome. Wars
and Luxury having overthrown the Roman
Empire, it was totally extinguished, together
with all the noble Arts, the studies of Hu
manity, and the other Sciences.
It began to appear again in the year
1450, amongst some Painters of Florence, of
which Domenico Ghirlandaio was one, who
was Master to Michael Angelo, and had
some kind of reputation, though his manner
was Gothick, and very dry.
Michael Angelo, his Disciple, flourish-

zco DUFRESNOVS ACCOUNT OF
ed in the times of Julius II. Leo X. and
of seven successive Popes. He was a
Painter, a Sculptor, and an Architect, both
civil and military. The choice which he
made of his attitudes was not always beauti
ful ort pleasing ; his gusto of design was. not
the finest, nor his outlines the most elegant;
the folds of his draperies, and the ornaments
of his habits, were neither noble nor graceful.
He was not a little fantastical and extrava
gant in his compositions; he was bold, even;
to rashness,, in taking liberties against, .the
rules of Perspective; his colouring is .not
over. true, or very pleasant: he knew not
the artifice, of light and shadow; but he
designed more, learnedly, and better under
stood all the knittings of the bones, and the
office arid situation of. the muscles, than any
of the modern Painters! There appears a'
certain air of greatness and severity in his
figures, in both, whiph he has oftentimes
succeeded. But above the rest of hjs ex
cellencies,, was his wonderful skill in Archir
tecture, wherein he has not only surpassed all
the, moderns, but even the antients also;
the St. Peter's of Rome, the St. John's of

THE PRINCIPAL PAINTERS.

, 201

Florence, the, Capitol, the Palazzo Farnese,
and his own house, are sufficient testimonies,
of it. His disciples were, Mareello Venusti,
II Rosso, Georgio Vasari, Fra. Bastiano,
(who commonly painted for him,) and many
other Florentines v
Pietro Perugino designed with, suffi
cient knowledge of Nature ; but he is dry,
and his manner little; His Disciple was
Raffaelle Santio, who was born on Good-
Friday, in the year 148-3, and, died on
Good-Friday, in the year 1520; so. that he
lived only thirty-seven years compleat. He
surpassed all modern Painters, because he
possessed mpre of the excellent parts of
Painting than any other; and it is believed
that he equalled the antients, excepting only
that he designed not naked bodies with so?
much learning as Michael Angelo; but his
gusto of design is purer, and much better.
He painted not with so good, so full, and so
graceful a manner; as Correggio ; nor has, he
any thing of the contrast of light and shadow,
or so strong and free a colouring as Titian;
but he had a better disposition in his pieces,
without comparison, than either Titian,

iom DUFRESNOY'5 ACCOUNT OF
Correggio, Michael Angelo, or all the rest of
the succeeding Painters to our days.' His
choice of attitudes, of heads, of ornaments,
the arrangement of his drapery, his manner
of designing, his variety, his contrast, his
expression, were beautiful in perfection;
but above all, he possessed the Graces in so
advantageous a manner, that he has never
since been equalled by any other. There
are portraits (or single figures) of his, which
are well executed. He was an admirable-
Architect. He was handsome, well made,
civil, and good natured, never refusing tp
teach another what he knew himself. He
had many scholars; amongst others, Julio
Romano, Polydore, Gaudenzio, Giovanni
d'Udine, and Michael Coxis-. His Graver :
was Mark Antonio, whose prints are admi
rable for the correctness of their outlines.
Julio Romano ; was the most excellent
of all Raffaelle's Disciples : he had concep
tions which were more extraordinary, more
profound, and more elevated than even his
Master fiimself j he was also a great Archi
tect; his gusto was pure and exquisite. He
was a great imitator ofthe antients, giving a

THE PRINCIPAL PAINTERS. 203
clear testimony in all his productions, that he
was desirous to restore to practice the same
forms and fabricks which were antient. He
had the good fortune to find great persons,
who committed to him the care of edifices,
vestibules, and porticoes, all tetrastyles, xis-
tes, theatres, and such other places as are
now in use. He was wonderful in his choice
of attitudes. His manner was drier and
harder than any of Raffaelle's school. He
did not exactly understand either light and
shadow, or colouring. He is frequently
harsh and ungraceful; the folds of his dra
peries are neither beautiful nor great, easy
nor natural, but all of them imaginary, and
too like the habits of fantastical comedians.
He was well versed in polite learning. His
Disciples were Pirro Ligorio, (who was
admirable for antique buildings, as towns,
temples, tombs, and trophies, and the situa-
tiori of antient edifices,) iEneas Vico, Bbna-
sone, Georgio Mantuano, and others.
Polydore, a Disciple of Raffaelle, de
signed adrnirably well as to the practical
part, having a particular genius for freezes,
as we may see by those of white and black,.

2.04. PUFRESNQY'S ACCOUNT OF
which he has painted at Rome* Pie imitated
the Antients, but his manner was greater.
than that of Julio Romano; nevertheless
Julio seems to be the truer. , Some admirable
groups are seen in hjs works, and such as,
are not elsewhere to be found. He coloured
very seldom, and made landscapes , in a tele-}
rably good taste.
Gio. Bellino, one of the fjrst who? was,
©f any consideration: af Venice, painted yeryj
drily, according, to the mariner of his. time.,
He was very knowing both r in Architecture
and Perspective. He was Titian's fu;s#
master; which, may easily be observed; in.
the earlier works, of that noble Disciple; in
which we may remark that propriety of
colours which his» master has. observed.
About this time Georgione, the contempo
rary of Titian, came to. exceL in portraits, and
also in greater works. He first began tqmake
choice of glowing and. agreeable colours;
the perfection and entire, harmony of which
w.ere afterwards tp be found in Titian's pic
tures. He dressed his figures wonderfirlly
well: and it may be truly said, that, but for
him, Titian.had never arrived to that height

THE PRINCIPAL PAINTERS. 2oS
of perfection, which proceeded from the
rivalship and jealousy which prevailed be
tween therri.
Titian was ©ne of the greatest colourists
ever 'known : he defigned with much more
ease and practice than Georgione. There are
to be seen worrien and children of his hand,
which are admirable both for de%ign and
colouring ; the gusto of them is delicate,
charming, and noble, with a certain pleasing
negligence in the: head-dresses, draperies, and
ornaments, which are wholly peculiar to
himself. As for the figures of men, he has
designed them but moderately well : there
are even some of his draperies which are
mean, and in a little taste. His painting is
wonderfully glowing, sweet arid delicate.
He drew portraits, which were extremely
noble;, the attitudes of them being very
gracefuL grave, diversified, and adorned after
a very becoming fashion. No man ever
painted landscape in so great a manner, so
well coloured;, and with such truth of nature.
For eight or ten years' space, he copied^
with great labour and exactness, whatsoever
he undertook ; thereby to make himself an

zog DUFRESNOY'S ACCOUNT OF
easy way, and to establish some general
maxims for his future conduct. Besides the
excellent gusto which he had in colouring, in
which he excelled all mortal men, he per
fectly understood how to give every thing
those touches which were most suitable and
proper to them ; such as distinguished them
from each other, and which gave the greatest
spirit, and the most of truth. The pictures
which he made in his beginning, and in the
declension of his age, are of a dry and mean
manner. He lived ninety-nine years. His
disciples were Paulo Veronese, Giacomo
Tintoret, Giacomo da Ponte Bassano, and
his sons.
Paulo Veronese was wonderfully grace
ful in his airs of women, with great
variety of brilliant draperifes, and incredible
vivacity and ease ; nevertheless his composi
tion is sometimes improper, and his design
incorrect : but his colouring, and whatsoever
depends on it, is so very charming in his pic
tures, that it surprizes at the first sight, and
makes us totally forget those other qualities
in which he fails.
Tintoret was the Disciple of Titian ; great

.THE PRINCIPAL PAINTERS. 207
In design and practice, but sometimes also
greatly extravagant. He had an admirable
genius for Painting, but not so great an
affection for his art, or patience in the execu
tive part of it, as he had fire and vivacity
of Nature. He yet has made pictures not
inferior in .beauty to those of Titian. His
composition and decorations are for the
most part rude, and his outlines are incorrect;
but his. colouring, and all that depends upon
it, is admirable.
The Bassans had a more mean and poor
gusto in Painting than Tintoret, and their
designs were also less correct than his. They
had indeed an excellent manner of colouring,
and have touched all kinds . of animals with
an admirable hand ; but were notoriously
imperfect in composition and design.:
Correggio painted at Parma two large
Cupolas in fresco, and some altar-pieces,
This artist struck, out certain natural and
unaffected graces for his Madonnas, his
Saints, and little children, which were
peculiar to. himself. His manner, design,
and execution are all very great, but yet
.without correctness. He had a most free

io% TJUFRESNOY'S ACCOUNT OF
and delightful pencil ; arid it is to be acknow
ledged, that he painted with a strength,
relief, sweetness, and vivacity of "colouring,
which nothing ever exceeded. He under
stood how to distribute his lights in such
a manner, as was wholly peculiar to himself,
which gave a great force and great roundness
to his figures. This manner consists in
extending a large light, and then making
it lose itself insensibly in the dark shadow-
ings, which he placed out of the masses ;
and those give them this relief, without
our being able to perceive from whence
proceeds so much effect, and so vast a
pleasure to the sight. It appears, that in
this part the rest of the Lombard school
copied him. lie had no great choice of
graceful attitudes, or distribution of beau
tiful groups. His design oftentimes appears
lame, and his positions not well chosen:
The look of his figures is often unpleasing •
but his manner of designing heads, harids,
feet, and other parts, ' is very , great,, and
well deserves our imitation. Ih the conduct
and finishing of a picture, he has done
wonders ; for he painted with so much'
6

THE PRINCIPAL PAINTERS. zog
union, that his greatest works seem? to have
been finished in the compass of one day ;
and appear as if we saw them in a looking-
glass. His landscape is equally beautiful
with his figures. 07. •?.¦;'.:: :h".: ¦¦¦¦
At the same time with Correggioj lived
and flourished Parmegiano ; who, besides
his great manner of colouring, )L excelled
also both in invention and design : with a
genius full of delicacy and spirit, having
nothing that was ungraceful in his choice
of attitudes, or in the dresses of his figures,
which we- cannot say of Correggio ; there
are pieces' of Parmegiano 's very beautiful
and correct.
These two Painters last mentioned had
very good disciples, but they are known
only to those of their own province; and
besides, thdre is Kttl$ to be Credited of what
his" countrymen say, ' for Painting is wholly
extinguished amongst them."' ': i3o
I' say nothing c of Leonardo da Virici,
because Lhave seen but little of his ; though;
he restored the arts at Milan;, and had there^
many scholars. 7 >h
Ludovico Garracci, the Cousin Ger-
VOL. III. p

*lo DUFRESNOY'S ACCOUNT OF
mari of Hannibal and Augystmo, studied
&t Parma after Correggio; and excelled in
design and colouring, -with a grace and
Jclearness, which Guido, the scholar of
Hannibal, afterwards imitated with great
success. There are some of his pictures to
be seen, l which are very beautiful, and
well understood. He made his ordinary
residence at Bologna ; and it was he who
put the pencil into the hands of Hannibal
his cousin.
Hannibal, in a little time, excelled his
master in all parts of Painting. He imitated
Correggio,. Titian, and Raffaelle, in theitf
different manners as he pleased ; excepting
only, that you see riot in his pictures the
nobleness, the graces, aski the charms of
Raffaelle; and his outliries are neither so
pure, nor so .elegant as his. In ajl other
things he is vroriderfully accomplished, and
of an universal garaius.
, Augustino, brother to Hannibal, was
also a very good Painter, and an admirable
graver. He had a natural sou, caJle4
Antonio, who died at the age of thirty -
five j andr who (according to die f«aeral

THE PRINCIPAL PAINTERS* in
-opinion) would have surpassed his uriele
Hannibal : for, by what he left behind
him, it appears that he was of a more
lofty genius.
Guido chiefly imitated Ludovico Car-
racei, yet retained always somewhat of the
manner which his Master Denis Calvert,
the Fleming, taught him. This Calvert
lived at Bologna, and Was competitor and
rival to Ludovico Carracci. Guido made
the same use of Albert Durer as. Virgil did
of old Ennius, borrowed what pleased him,
and, made it afterwards his owrij that is,
he accommodated what was good in Albeit
to his own manner; which he executed With
so much gracefulness and beauty, that he
got more money and reputation in his time
than any ? of his Masters, and than all the
scholars of the Carraccis, though they were
of greater capacity than himself. His heads
yield no manner of precedence to thos6 of
Raffaelle. ..*.../•
Sistp; Badolocchi designed the best of all
his disciples, but he died young*
Domenichino was a very knowing Painter,
and very laborious > but of no great naturnL
* %-

ai2 DUFRESNOY!S ACCOUNT OF
•endowments. It is true, he was profoundly
'skilled in all- the parts of Painting, but
'wanting genius (as I said) he had less of
nobleness in his works than all. the rest who
studied in the school of the.Carraccis.
Albarii-was excellent in all the parts of
iPainting, and a polite scholar.
Lanfranc, a man of a great and sprightly
wit, supported his reputation. for a longtime
• with an extraordinary gusto of design and
colouring: but his foundation being only
on the practical part, he at length lost ground
in point of correctness, so that many, of his
¦pieces ; appear extravagant and fantastical ;
¦and after his- decease, the school, of the
Carraecis went daily to decay, in all the
parts of Painting. "—¦; , >.,.,.
Gio. Viola was very old before he. learned
landscape^ the knowledge of which was
imparted to him by Hannibal Carracci, who
took pleasure to instruct him ; so that he
painted many of that kind, which, are won
derfully fine, and well coloured. -»,£./
If we cast our eyes towards Germany and
the Low Countries ^ we may there behold
Albert Dure/, Lucas van Leyden, Holbein,

' THE PRINCIPAL PAINTERS. zi3
Aldegrave, &c. who were all contemporaries,
Amongst these, Albert Durer and Holbein
were both of them wonderfully knowing^
and had certainly been of the first form of
Painters, had they travelled into Italy; for
nothing can be laid to their charge, but only
that they had a Gothick gusto. As for
Holbein, his execution surpassed even that
of Raffaelle ; and I have seen a portrait of
his painting, with which one of Titian's
could not come in cotnpetition.
Amongst the Flemings, appeared Rubens,
who had, from his birth, a lively, free,
noble, and universal genius : a genius-
Capable not only of raising him to the rank
of the ancient Painters, but also to the
highest employments in the service of his
country; so that he was chosen for one of
the most important embassies in our time.
His gusto of design savours somewhat more
ofthe Flemish than of the beauty of the
antique, because he stayed not long at Rome.
And though we cannot but observe in all
his Paintings ideas which are great and
noble, yet it must be confessed, that generally
speaking, he designed not correctly ; but, .
i

i?4 DUFRESNOY'S ACCOUNT. Set.
for all the other parts of Painting, he was as
absolute a master of them, and possessed
them all as thoroughly as any of his prede
cessors in that noble art. His principal
studies were made in Lombardy, after the
works of Titian, Paulo Veronese, and Tin
toret, whose cream he has skimmed, (if you
will allow the phrase,) and extracted from
their several beauties many general maxims
and infallible rules which he always followed,
and by which he has acquired in his works
a greater facility than that of Titian ; more
of purity, truth, and science than Paulo
Veronese; and more of majesty, repose,
and moderation ^han Tintoret. To con
clude ; his manner is so solid, so knowing,
and so ready, that it may seem this rare
accomplished genius was sent from heaven
to instruct mankind in the Art of Painting.
His school was full of admirable Disciples;
amongst whom Vandyck was he who best
comprehended all the rules and general
maxims of his Master ; and who has even
.excelled him in the delicacy of his carna
tions, and in his cabinet-pieces; but his
taste, in the designing part, was nothing
better than that of Rubens,

THE
PREFACE OF
MR. DRYDEN TO HIS TRANSLATION,

CONTAINING A PARALLEL BETWEEN
Z
POETRY and PAINTING.

It was thought proper to insert in this
place the pleasing Preface which Mr. Dry
den printed before his Translation of M.
Du Fresnoy's Poem! There is a charm
in that great Writer's Prose peculiar to itself;
and though, perhaps, the Parallel between
the two Arts, which he has here drawn, be
too superficial to stand the test of strict Cri
ticism, yet it will always give pleasure to
Readers of Taste, even when it fails to satisfy
their Judgment, Mi

Mr. DRYDEN's.
P R E F A GE.
WITH A PARALLEL OF
POETRY and PAINTING.

It may be reasonably expected, that I
should say something on my behalf, in re
spect to my .present undertaking. First
then, the Reader may be pleased to know,
that it was not of my own choice that I un
dertook this work. Many of our most
skilful Painters, and other Artists, were
pleased to recommend this. Author to me, as
one who perfectly underM>od the rules of
painting ; who gave the best and most con
cise instructions for performance, and the
Surest to inform the judgment of all who
Joved this noble Art ; that they who before
were rather fond of it, than knowingly ad
mired it, might defend their inclination by
their reason ; that they might understand
those excellencies which they blindly valued,
so as not to be farther imposed on by bad
piepes, and to know whenNature was well

ziS A PARALLEL BETWEEN
imitated by the most able Masters. It is
true indeed, and they acknowledge it, that,
besides the rules which are given in this
Treatise, or which can be given in any
other, to make a perfect judgment of good
pictures, and to value them more or less,
when compared with one another, there is
farther required a long conversation with
fhe best pieces, which are not very frequent
dither in France or England : yet some we
have, not only from the hands of Holbein,
Rubens, and Vandyke, (one of them ad
mirable for History-painting, and the other
two for Portraits,) but of many Flemish
Masters, arid thosjyiot inconsiderable, though
fax design not eqiral to the Italians. And of
these latter also, we are not unfurnished with
some pieces of Raphael, Titian, Correggio,
Michael Angelo, and others. But to return
to my own undertaking of this translation ;
I freely own that I thought myself unea
table of performing it, either to their satis
faction, or my own credit. Not but that I
understood the original Latin, and the French
Author perhaps as well as most Englishmen;
but I was not sufficiently versed in the terms

POETRY AN0 PAINTING. #19
of art : arid therefore thought that many of
those persons, who put this honourable task
on me, were more able to perform it them->
selves, as undoubtedly they Were. But they
assuring me of their assistance in correcting-
my faults, where I spoke improperly, I was
encouraged to- attempt it, that I might riot
be wanting in what I could, to satisfy the
de&ires of so many Gentlemen who were
willing to give the world this useful work.
They have effectually performed their pro
mise to me, and I have been as careful on?
my side to take their advice in all things ;
sothat the reader may assure himself of a
tolerable translation ; not elegant, for I pro
posed not that to myself, but familiar, clear,
and instructive: in any of which parts, if I
have failed, the fault lies wholly at my
door. In this one particular only, I must
beg the reader's pardon: the Prose Trans
lation of the Poem is not free from poetical
expressions, and I dare not promise that
some of them are not fustian, or at least
highly metaphorical ; but this being a fault
in the first digestion, (that is, the original
Latin,) was notto be remedied in the second,

220 A PARALLEL BETWEEN ,
viz. the Translation ; and I may confidently,
say, that whoever had attempted it, must
have fallen into the same inconvenience, or
a much greater, that of a false versiori.
When I undertook this work, I was already
engaged in the translation of Virgil, from
whom I have borrowed only two months,
and am now returning to that which I ought
to understand better. In the mean time, I
beg the reader's pardon for entertaining him
so long with myself: it is an usual part of
ill manners in all Authors , and almost in all
mankind, to trouble others with their bu
siness ; and I was so sensible of it before
hand, that I had now committed it, unless
a\%
some concernments of the readers had been
interwoven with my own. But I know not,
while I am atoning for one error, if I am
not falling into another : for I have been
importuned to say something farther of this
art ; and to make some observations on it,
in relation to the likeness and agreement
which it has with Poetry its Sister. But
before I proceed, it will not be amiss, if I
copy from Bellori (a most ingenious author)
some part of his idea of a Painter, which:

POETRY AND PAINTING. 3ri
cannot be unpleasing, at least to such who
are conversant in the philosophy of Plato ;
and to avoid ted iousness, I will not translate
the whole discourse, but take and leave, as
I find occasion.
" God Almighty, in the fabric of the
universe, . first contemplated himself, and
reflected on his own excellencies ; from
which he drew and constituted those first
forms, which are called IdeSs: so that
every species which was afterwards ex
pressed, was produced from that first Idea,
forming that wonderful contexture of all
created ; Beings. ' But. the^ celestial Bodies
above the moon heing incorruptible, and not
subject to? change, remained for, ever fair,
and in perpetual order. On the contrary,
all| things which are sublunary, are subject
to charige, ito deformity, and to decay ; and
though Nature always intends a consummate
beauty in her productions, ¦yet, through the
inequality of the matter., the forms are- al
tered ; .and in particular, human beauty suf
fers alteration for the worse, as we see to
our mortificatiori, in the deformities and dis
proportions which are in us. ¦ For which,

zit A PARALLEL BETWEEN
reason, the artful Painter, and the Sculptor,
imitating the Divine Maker, form to them
selves, as well as. they are able, a model of
the superior beauties; and, reflecting on
them, endeavour to correct and amend, the
common Nature, and to represent it as it
was first created, without fault, either in
colour or in lineament.
" This idea, which we. miay call the
Goddess of Painting and .of Sculpture,
descends upon the marble and the cloth, and
becomes, the original of those Arts ; and,
being measured by the compass of the in
tellect, is itself the measure of the perform*
ing hand; and, being animated by the
imagination, infuses lif© into the image.
The idea of the Painter and the Sculptor.
is undoubtedly that perfect and excellent
example of the mind, by imitation of
which imagined form, all things are repre
sented which fall under human sight: such
is; the . definition which is made by Cicero,
in. his book of the Qrator to Brutus. : * As
'therefore in forms and figures, there is
'somewhat which is excellent and perfect*
'to which imagined species all things are

POETRY AND PAINTING. 223
* xeienred by imitation, which are the ob*
* jects of sight ; in like manner we behold
* the species of eloquenc-e in our minds,
1 the effigies, or actual image of which we
* seek in the organs of our hearirfg. This is
* likewise confirmed by Proclus, in the
'¦¦ Dialogue of Plato, called Timaeus : If,
• says he, you take a man as he is made by
' Nature, and compare him with another
' who is the effect of Art, the work of
* Nature will always appear the less beau-
' liful, because Art is more accurate than
. Nature.' But Zeuxis, who, from the
choice which he mad« of five virgins, drew
that wonderful picture of Helena, which.
Cicero, in his Orator before mentioned, set?
before us, as the most perfect exampte of
beauty, at the same time admonishes a
Painter to contemplate the ideas of the most
natural forms ; and to make a judicious
choice of several bodies, all of them the
most elegant which he can find : by which
we may plainly understand, that he thought
it impossible to fcd in any one body all
those perfections which he sought for the
accomplishment of a Helena, because Na«

324 A PARALLEL BETWEEN :
ture in any individual person makes nothing
that is perfect in all its parts. For thiS
reason Maximus Tyrius also says, that the
irriage which is taken by' a Painter from
several bodies, produces a beauty, which it
is impossible to find in any single natural
body, approaching to the perfection of- the
fairest statues. Thus Nature, on this account,
is so much inferior to Art, that those Artists
who propose to themselves only the imitatiori
or likeness of such or such a particular
person, without election of those ideas before
mentioned, have often been reproached for
that omission. Demetrius was taxed for
being'too natural; Dionysius was also blamed
for drawing men like us, and was com
monly called 'Ai/GpwTroVgafoj, that is, a
Painter of Men. In our times, Michael
Angelo da Caravaggio was esteemed too
natural : he drew persons as they were ;
and Bamboccio, and most of the Dutch
Painters, have drawn the worst likeness.
Lysippus, of old, upbraided the common
sort of Sculptors forfmaking men such as they
were found in Nature; and boasted of him
self, that he jriade them as they ought- to

POETRY AND PAINTING. «;
be; which is a precept of Aristotle, given
as well to Poets as to Painters. Phidias
raised an admiration even to astonishment,
in those who beheld his statues, with the
forms which he gave to his Gods and
Heroes, by imitating the Idea, rather than
Nature ; and Cicero, speaking of him,
affirms, that figuring Jupiter and Pallas, he
did not contemplate any object from whence
he took any likeness, but considered iri* his
own mind a great and admirable form of
beauty, and according to that image in his
soul, he directed the operation of his hand.
Seneca; also seems to wonder that Phidias,
having never beheld either Jove or Pallas,
yet could conceive their divine images in his
mind. Apollonius Tyanseus says the same
in other words, that the Fancy more instructs
the Painter than the Imitation ; for the last
makes only the things which it sees, but
the, first makes also the things which it
never sees.
" Leon Battista Alberti tells us, that we
ought not so much to love the Likeness as
the Beauty, and to choose from the fairest
bodies severally the fairest jparts. Leonardo
vol. in. c^

a26 A PARALLEL BETWEEN
da Vinci instructs the Painter to form this
idea to-himself ; and Raffaelle, the greatest
of all mddern Masters, writes thus to Cas
tiglione, concerning his Galatea : ' To
paint a fair one, it is necessary for me to see-
' many fair ones; but because there is so
' great a scarcity of lovely women, I am
' constrained to make use of one certain
* Idea, which I have formed to myself iri
* my own fancy.' Guido Reni sending to
Rome his St. Michael, which he had painted
for the Church of the Capuchins, at the
same time wrote to Monsignor Massano,
who was the maestro di casa (or steward of the
house) to Pope Urban VIII. in this manner:
* I wish I had had the wings of an angel,
' to have ascended into Paradisfe, and there
' to have beheld the forms of those beatified
' spirits, from which I might have copied
' my Archangel : but not being able to
* mount so high, it was in vain for me to
' search his resemblance here below; so
' that I was forced to make an introspection
4 into my own mind, and into that Idea of
* Beauty, which I have formed in my own
'-¦ imaginatioa. I have likewise created

POETRY AND PAINTING. 227
e there the contrary Idea of Deformity and
' Ugliness ; but I leave the consideration df
* it till I paint the Devil, and, in the mean
' time shun the very thought of it as much as
' possibly I can, and am even endeavouring
' to blot it wholly out of my remembrance.'
There was not any lady in all antiquity who
was mistress of so 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 called the
Beautiful Form. Neither is there any man
of the present age equal in the strength,
proportion, and knitting of his limbs, to the
Hercules of Farnese, made by Glycori'; or
any woman who can justly be compared
with the Medicean Venus of Cleomenes.
And upon this account the noblest Poets
and the best Orators, when they desired to
celebrate any extraordinary beauty, are
forced to have recourse to statues arid pic
tures, and fo draw their persons and face's!
into comparison : Ovid, endeavouring to ex
press the beauty of Cyllarus, the fairest, of
the Centaurs, celebrates him as next iri per-
fection to the most admirable statues : * *
0^2

zta A PARALLEL BETWEEN
Gratus in ore vigor, cervix, humerique, manusque,
Pectoraque, artificum laudatis proxima signis.
A pleasing vigour his fair face express'd -,
His neck, his hands, his shoulders, and his breast,
Did next in gracefulness and beauty stand,
To breathing figures ofthe Sculptor's hand.
In another place he sets Apelles above Venus :
Si Venerem Cois nunquam pinxisset Apelles,
Mersa sub asquorcis ilia lateret aquis.
Thus varied.
One birth to seas the Cyprian Goddess ow'd,
A second birth the Painter's art bestow'd :
Less by the seas than by his pow'r was giv'n ;
They made her live, but he advane'd to heav'n„
. " The Idea of this Beauty is indeed var
rious, according to the several forms which
the Painter or Sculptor would describe : as
one in strength, another in magnanimity;
and. sometimes it consists in cheerfulness,
and sometimes in delicacy, and is always
diversified by the sex and age.

POETRY AND PAINTING. 229
" The beauty of Jove is one, and that of
Juno another: Hercules and Cupid are per
fect beauties, though of different kinds; for
beauty is only that which makes all things as
they are in their proper and perfect nature,
which the. best Painters always choose, by
contemplating the forms of each. We
ought farther to consider, that a picture
being the representation of a human action,
the Painter ought to retain in his mind the
examples of all affections and passions; as
a Poet preserves the idea of an angry man,
of one who is fearful, sad, or merry; and
so of all the rest : for it is impossible to
express that with the hand, which never
entered into the imagination. In this man
ner, as I have rudely and briefly shewn yoU,
Painters and Sculptors choosing the most
elegant, natural beauties, perfectionate the
Idea, and advance their art, even above Na
ture itself, in her individual productions,
which is the utmost mastery of human
performance. " From hence arises that astonishment,
and almost adoration, which is paid by the
knowing to those divine remains of anti-

2so A PARALLEL BETWEEN
quity. From hence Phidias, Lysippus, and
other noble Sculptors, are still held in vene
ration ; and Apelles, Zeuxis, Protogenes,
and other admirable Painters, though their
works are perished, are and will be eternally
admired; who all of them drew after the
ideas of perfection ; which are the miracles
of Nature, the providence of the understand-?
ing, the exemplars of the Mind, the light
of the Fancy ; the sun, which, from its
rising, inspired the statue of Memnon, and
the fire which warmed into life the image of
Prometheus : it is this which causes the
Graces and the Loves to take up their habi
tations in the hardest marble, and to subsist
in the emptiness of light and shadows. But
since the Idea of Eloquence is as inferior to
that of Painting, as the force of words is to.
the sight, I must here break off abruptly ;
and having conducted the reader, as it were,
to a secret walk, there leave him in the
midst of silence to contemplate those ideas
which I have only sketched, and which
every man must finish for himself."
Iri these pompous expressions, or such as
these, the Italian has given you his idea ol]

POETRY AND PAINTING. 231
a Painter ; and tho' I cannot much commend
the style, I must needs say, there is some
what in the matter : Plato himself is accus
tomed to write loftily, imitating, as the
critics tell us, the manner of Homer; but,
surely, that inimitable Poet had not so much
of smoke in his writings, thqugh not less of
fire. But in fhort, this is the present genius
of Italy. What Philostratus tells us, in the
proem of his Figures, is somewhat plainer,
and therefore I will translate it almpst word
for word ; ' « He who will rightly govern
the Art of Painting, ought, of necessity,
first to understand human Nature. He
ought likewise to be endued with a genius,
to express the signs of their passions whom
he represents, and to make the dumb as it
were to speak : he must yet further under
stand what is contained in the constitution
of the cheeks, in the temperament of the
eyes, in the naturalness (if I may sp call it)
of the eye-brows ; and in short, whatsoever
belongs to the mind and thought. He who
thoroughly possesses all these things, will
obtain the whole, and the hand will exqui
sitely represent the action of every particular

232 A PARALLEL BETWEEN
person ; if it happens that he be either mad
or angry, melancholic or chearful, a sprightly
youth, or a languishing lover : in one word,
he will be able to paint whatsoever is pro
portionable to any one. And even in all
this there is a sweet error without causing
any shame : for the eyes and mind of the
beholders being fastened on objects which
have no real being, as if they were truly
existent, and being induced by them to be
lieve them so, what pleasure is it not ca
pable of giving? The antients, and other
wise men, have written many things con
cerning the symmetry, which is iri the art
of Painting; constituting as it were some
certain laws for the proportion of every
member; not thinking it possible for a
Painter to undertake the expression of those
motions which are in the mind, without a
concurrent harmony in the natural measure:
for that which is out of its own kind and
measure, is not received from Nature, whose
motion is always right. On a serious con
sideration of this matter, it will be found,
that the Art of Painting has a wonderfulaf-
flnity with that of. Poetry, and there is be-

POETRY AND PAINTING. a33
twixt them a certain common imagination.
For, as the Poets introduce the Gods and
Heroes, and all those things which are either
majestical, honest, or delightful; inlikeman-
ner, the Painters, by the virtue of their out
lines, colours, lights, and shadows, represent
the same things and persons in theirpictures."
Thus, as convoy ships either accompany,
or should accompany their merchants, till
they may prosecute the rest of their voyage
without danger; so Philostratus has brought
me thus far on my way, and I can now sail
on without him. He has begun to speak of
the great relation betwixt Painting and Poe
try, and thither the greatest part of this dis
course, by my promise, was directed. I have
not engaged myself to any perfect method,
neither am I loaded with a full cargo: it is
sufficient if I bring a sample of some goods
in this voyage. It will be easy for others to
add more, when the commerce is settled:
for a treatise, twice as large as this, of
Painting, could not contain all that might be
said on the parallel of these two Sister-Arts.,
I will take my rise from Bellori before I
proceed to the Author of this Book.

.234 A PARALLEL BETWEEN
The business of his Preface is to prove,
that a learned Painter should form to him
self an idea of perfect Nature. This image
he is to set before his mind in all his under
takings, and to draw from thence, as from a
storehouse, the beauties which are to enter
into his work; thereby correcting Nature
from what actually she is in individuals, to
what she ought to be, and what she was created.
Now as this idea of perfection is of little use in
Portraits, or the resemblances of particular
persons, so neither is it in the characters of
Comedy and Tragedy, which are never tp
be made perfect, but always to be drawn
with spme specks of frailty and deficience ;
such as they have been described to us in
history, if they were real characters j or such
as the Poet began to shew them, at theif first
appearance, if they were only fictitious, or
imaginary, The perfection of such stage
characters consists chiefly in their likeness
to the deficient faulty Nature, which is their
original; only (as it is observed more at large
hereafter) in such cases there will always be
found a better likeness and a worse, and the

POETRY AND PAINTING. 23J
better is constantly to be chosen; I mean in
Tragedy, which represents the figures of the
highest form among mankind : thus, in
Portraits, the Painter will not take that side
of the face which has some notorious blemish
in it, but either draw it in profile, as Apelles
did Antigonus, who had lost one of his eyes,
or else shadow the more imperfect side : for
an ingenious flattery is to be allowed to the
professors of both arts, so long as the like
ness is not destroyed. It is true, that all
manner of imperfections must not be taken
away from the characters; and the reason is,
that there may be left some grounds of pity
for their misfortunes: we can never be
grieved for their miseries who are thoroughly
wicked, and have thereby justly called their
calamities on themselves : such men are the
natural objects of our hatred, not of our com-*
miseration. If, on the other side, their cha»
racters were wholly perfect, such as, for ex
ample, the character of a Saint or Martyr in
a Play, his or her misfortunes would produce
impious thoughts in the beholders ; they
would accuse the Heavens of injustice, and
think of leaving a religion where piety was

236 A PARALLEL BETWEEN
so ill requited. I. say the greater part would
be tempted so to do; I say not that they
ought'; and the consequence is to odangerous
for the practice. In this I have accused
myself for my own St. Catharine; but let
truth prevail. Sophocles has taken the just
medium in his Oedipus': he is somewhat
arrogant at his first entrance, and is too in
quisitive through the whole Tragedy; yet
these imperfections being ballanced by great
virtues, they hinder not our compassion for
his miseries, neither yet can they destroy
that horror which the nature of his crimes
Kave exited in us. Such in Painting are the
warts and moles which, adding a likeness to
the face, are not, therefore, to be omitted;
but these produce no loathing in us : but how
far to proceed, and were to stop, is left to
the judgment of the Poet and the Painter.
In Comedy there is somewhat more of the
worse likeness to be taken, because that is
often to produce laughter, which is occa
sioned by the sight of some deformity; but
for this I refer the reader to Aristotle. It is
a sharp manner of instruction for the Vulgar,
who are never well amended till' they 'arc
3

POETRY AND PAINTING. 237
more than sufficiently exposed. That I may
return to the beginning of this remark, con
cerning perfect Ideas, I have only this to say,
that the parallel is often true in Epic Poetry,
The Heroes of the Poets are to be drawn
according to this rule: there is scarce a,
frailty to be left in the best of them, any
more than is to be found in a Divine Nature.
And if /Eneas sometimes weeps, it is not in
bemoaning his own miseries, but those
which his people undergo. If this be an
imperfection, the Son of God, when he was
incarnate, shed tears of compassion oyer
Jerusalem; and Lentulus describes him
often weeping, but never laughing; so that
Virgil is justified even from the Holy Scrip
tures. I have but one word more, which
for once I will anticipate from the author of
this book. Though it must be an Idea of
perfection from which both the Epic Poet
and the History Painter draws, yet all per
fections are not suitable to all subjects, but
every one must be designed according to
that perfect beauty which is proper to him:
An Apollo rmust be distinguished frpm a
Jupiter, a Pallas frpm a Venus ;(, and so in

23S A PARALLEL BETWEEN
Poetry, an /Eneas from any other Hero, for
Piety is his chief perfection. Homer's
Achilles is a kind of exception to this rule j
but then he is not a perfect Hero, nor so in*
tended by the Poet. All his Gods had some
what of hitman imperfection, for which he
has been taxed by Plato, as an imitator of
what was bad. But Virgil observed his
fault and mended it. Yet Achilles was per
fect in the strength of his body, and the
vigour of his mind. Had he been less pas
sionate or less revengeful, me Poet well
foresaw that Hector had been killed, and
Troy taken at the first assault; which had
destroyed the beautiful contrivance of his?
Iliad, and the moral of preventing discord
amongst confederate princes, which Was
his principal- intention: for the moral (as
Bossu observes) is the first business of the1
Poet, as being the ground- Work of his in-s
structioh. This being formed, he contrives
such a design! or fable*, as may be most suit
able to the Moral: after this he begins tc*
think of the persons whorft he is to employ
in carrying on his design, and gives them-
the manners which are most proper to their

POETRY AND PAINTING. 439
several characters. The thoughts and words
are the last parts which give beauty and
colouring to the piece. When I say, that
the manners of the Hero ought to be good in
perfection, I contradict not the Marquis of
Normanby 's opinion, in that admirable
Verse, where, speaking of a perfect charac
ter, he calls it
' A faultless monster, which the world ne'er knew:'
For that excellent critic intended only to
speak of dramatic character^, and not of epic.
Thus at least I have shewn* that in the most
perfect poerri, which is that of Virgil, a per
fect idea was required and followed ; and,
consequently, that all succeeding Poets ought
father to imitate him, than even Homer. I
will now proceed, as I promised, to the au
thor of this book : He tells you, almost in
the first lines of it, that " the chief end of
Painting is to please the eyes ; and it is one
great end of Poetry to please the mind.''
Thus far the parallel of the arts holds true ;
With this difference, that the principal end
of Fainting is to please, and the chief design
of Poetry is to instruct. In this the latter
seems toriavfc the advantage of the former.

*40 A PARALLEL BETWEEN
But if we consider the artists themselves or!
both sides, certainly their aims are the very
same; they would both make sure of pleasing,
and that in preference to instruction. Next,
the means of this pleasure is by deceit : one
imposes on the sight, and the other on the
understanding. Fiction is of the essence of
Poetry as well as of Painting ; there is a re
semblance in one, of human bodies, things
and actions, which are not real; and in the
other, of a true story by a fiction. And as
all stories are not proper subjects for an Epic
Poem or a Tragedy, so neither are they for
a noble Picture. The subjects both of the
one and of the other ought to have nothing
of immoral, low, or filthy in them ; but
this being treated at large in the book itself,
I wave it, to avoid repetition. Only I must
add, that, though Catullus, Ovid, and others,
were of another opinion, that the subject
of Poets, and even their thoughts and ex-*
pressions might be loose, provided their
lives were chaste and holy, yet there are no
such licences permitted in that art, and more
than in Painting to design and colour obscene
nudities. Vita proba est, is no excuse; for

POETRY AND TAINtiNG. z4i
it Wilf scarcely be admitted, that either a
Poet or a Painter can be chaste, who give us
the contrary examples1 in their writings and
their' pictures; We see nothing of this kind
in Virgil : that which cbmes the nearest to
it is the Adventure of the Cave, where
Dido and /Eneas were driven by the storm';
yet even there, the Poet pretends a marriage?
before the corisummation, and Jurio herself
was present at it. Neither is there any ex
pression in that story which a Roman matron?
might not read without a blush. Besides,
the Poet passes it over as hastily as he can,
as if he were afraid of staying in the cave
with the two lovers, and of being a witness
to their actions. Now I suppose that a
Painter WoUld hot be much commended,"
Who should pick out this cavern from the
whole Mneis, when there is not another in
the work. He had better leave them in their
obscurity, than let iri a flash of lightning to
clear the natural darkness of the place, by
which herhusf discover himself as much as
them. The altar-pieces, and holy decora
tions' of Painting, shew that Art may be'
applied to better uses as Well aslPdetry ; arid,
VOL. III. R

34.8 A PARALLEL BETWEEN
amongst many other instances^ the Farnese
jQallery,. painted by Hannibal Carracci, is a
sufficient witness yet remaining : the whole
work being morally instructive, and particu
larly the Hercules Bivium, which is a per
fect triumph of virtue over vice, as it is
wonderfully well described by the ingenious
Bellori. Hitherto I have only told the reader what
ought not to be the subject af a Picture, or
of a Poem. What it ought to be on either
side, our author Jells us. It must, in ge
neral, be great and noble; and in this the
parallel is exactly true. The subject of a
Poet, either in Tragedy, or in an Epic Poem,
is a great action. of some jllustrious hero*
It is the same in Painting : not every action,
nor every person, is considerable enough to
enter into the cloth. It must be the anger
of an Achilles, the piety of an /Eneas, the
sacrifice of an Iphigenia, for heroines as
well as heroes are comprehended in the rule.
But the parallel is more complete in Tragedy
than in an Epic Poem : for as a Tragedy
may be made out of many particular Epi
sodes of -Homer or of Virgil; so may a noble

PGET'RY -AnS PAINTING. z4S
picture be designed out of this or that parti
cular story in either authors History is also
fruitful of designs, both for the Painter and
the Tragic Poet : Curtius throwing himself
into a glilph, and the two Decii sacrificing
themselves for the safety of their country,
are subjects for Tragedy and Picture. Such
is Scipio, restoring the Spanish Bride, whom
he either loved, or may be supposed to love 5
by which he gained the hearts of a great na
tion, to interest themselves for Rome agairist
-Carthage : these are all but particular pieces
in Livy's History, and yet are full, complete
subjects for the pen and pencil. Now the
reason of this is evident : Tragedy and Pic
ture are more narrowly circumscribed by the
mechanic rules of Time and Place than the
Epic Poem: the Time of this last is left
indefinite. It is true, Homer took up
only the space of eight and forty days fo*
his Iliad; but whether Virgil's action was
comprehended in a year* or somewhat more,
is not determined by Bossu. Homer made
the place of his action Troy, and the Gre
cian camp besieging it. Virgil introduces
his /Eneas sometimes in Sicily, sometimes

244 A PARALLEL BETWEEN
in Carthage, and other times at Cumae, be
fore he brings him to Laurentum; and even
after- that, he wanders again to the kingdom
of Evander, and some parts of Tuscany, be
fore he returns to finish the war by the death
of Turnus. But Tragedy, according to the
practice of the antients, was always confined
within the compass of twentyi-four hours,
and seldom takes up so much time^ As for
the place of it, it was always one, and that
not in a larger sense, as, for example* a
whole city, or two or three several houses in
it, but the market, or some other publie
place; common to the chorus and alL the
actors : which established law of theirs, I
have not an opportunity to examine in this
place, because I cannot do it without di
gression from my subject, though it seems*
too strict at the first appearance, because it
excludes all secret intrigues, which are the
beauties of the modem stage ; for nothing
can be carried on with privacy, when the
chorus is supposed to be always present*
But to proceed : I must say this to the ad
vantage of Painting, even above Tragedy ,.
that what this last represents in the space ol

POETRY AND PAINTING. 24;
many hours, the former shews us in one
moment. The action, the passion, and the
manners of so many persons as are contained
in a picture, are to be discerned at once ia
the twinkling of an eye ; at least they would
be so, if the sight could travel over so many
different objects all at once, or the mind
could digest them all at the same instant, or
point of time. Thus in the famous picture
of Poussin, which repressents the 'Institu
tion .-df -the blessed Sacrament, you see our
Saviour and his twelve Disciples, all con
curring in the same action, after different
manners, and in different postures ; only the
manners of Judas are distinguished from the
rest. Here is but one indivisible point of
time observed ; but one action performed by
so many persons, in one room, and at the
same table ; yet the eye cannot comprehend
at once the whole object, nor the mind fol
low it so fast; it is considered at leisure,
and seen by intervals. Such are the subjects
pf noble pictures, and such are only to be
undertaken by noble hands. There are
other parts of Nature which are meaner, and
yet are the subjects both of Painters and of
Poets.

H6 A PARALLEL BETWEEN
For to proceed iri the parallel ; as Comedy
is a representation of human life in ' inferior
persons and low subjects, and by that means
Creeps into the nature of Poetry, and is a
kind of- Juniper, a shrub belonging to the
Species of cedar; so is the painting of clpwris,
the representation of a Dutch Kermis, the
brutal sport of Snickror-Snee, rand a thtfn*
' Sand other things of this mean invention,
a kind* of picture which belongs to nature,
but of the lowest form. Such is a Lazar
'< in comparisPn to a Venus ; both are drawn
in human figures ; they have faces alike,
though not like faces. There is yet a lower
sort pf Poetry and Painting, which is out of
nature ; for a Farce is that in Poetry which
Grotesque is in a Picture : the persons arid
action of a Farce, are all unnatural, and fhe
manners false; that is, inconsisting with
the characters of mankind. Grotesque
Painting is the Just resemblance" of this ;
and Horace begins his Art of Poetry, by
describing sucjb. a figure with a man ^s head,
a horse's neck, the7 wings of a bird, and a
fish's tail, parts of different species jumbled
together, according to the mad -'imagination

POETRY AND PAINTING. 24.7
of the dauber ; and the end of all this, as he
tells you afterward, is to cause laughter :
a very morister in Bartholomew Fair, for
the mob to gape at for their twopence.
Laughter is indeed the propriety of a man,
but just enough to distinguish him from his
elder brother with four legs. It is a kind
•fa bastard pleasure too, taken in at the
eyes of the vulgar gazers, and at the ears. of
the beastly audience. Church-painters use
it to divert the honest country-man at public
prayers, and keep his eyes open at a heavy
sermon; and farce-scribblers make use of
the same noble invention to entertain citizens ¦,
country gentlemen, and Covent* Garden fopsi
if they are merry, all goes well on the. Poet's
side. The better §ort go thither too, but. in
despair of sense and^the just images of nature,
which are the adequate pleasures of the
mind, Put the author can give the stftge
no better than what was given him by nature;
, and the actors must represent such things as
^they are capable to perform, and by which
both they and the scribbler may get their
5 living. After all, it is a good thing to laugh
at any ratej and if a straw can tickle a, man,

«48 A PARALLEL -BETWEEN
it is an instrument of happiness. Beasts
can weep when they suffer, but they cannot
la^ugh.;; and, as Sir William Davenant -ob
serves, in his Preface to Gpjadibert, '* It is
the wisdom of a government to permit plays,
(he might have added farces,) as it is the
prudence of a carter to put belk upon 'his
horses to . make rJhem carry their bur^ei^
fhearfully," I have already shewn, that one main end
of Poetry and, Painting is to please, and
have said something, of the kinds of both,
and of their subjects, in which they bear a
great resemblance tp each other. I must
now consider them. as they are great and
noble Arts ; and as they are Arts, they must
have, rules which rnay direct them to, their;
common end.
' - - - ' - - »
To all. Arts and Sciences ,.. but more par-*
ticularly tp these* may be applied what
Hippocrates says of Physic, as I find hiin
cited by an eminent French critic. * ' Medi^
cine has long subsisted in the world ; the
principles of it are certain, and it has a cer-?
tain way; by both which there has been
found, in, the Course of many ages, an infinite

POETRY AND PAINTING. 2*9
number of things, the experience of' which
has confirmed its usefulness and goodness.
All that is wanting to the perfection of this
Art, will undoubtedly be found, if able
men, and such as are inBtructed in the
ancient rules, will make a farther inquiry
jnto it, and endeavour to arrive at that which
is hitherto unknown by that which is already
known. But all, who having rejected the
ancient rules, and taken the opposite ways,
yet boast themselves to be masters of this
Art, do but deceive others, and are them
selves deceived j for that is absolutely im
possible." l":7[
This is notoriously true in these two Arts |
for the way to please being to imitate nature,
both the Poets and the Painters in antient
times, and in the best ages, have studied
her ; and from the practice of both these
Arts the rules have been drawn, by which
we are instructed how to please, and to
compass that end which they obtained, by-
following their example; for nature is still
the same in all ages, and can never be con
trary to herself. Thus, from the practice
pf JEschylus, Sophocles, and Euripides,

*jo A PARALLEL BETWEEN
Aristotle drew his rules for Tragedy,., and
Philostratus for Painting. Thus, amongst
the moderns, the Italian and French critics,
-by studying . the precepts of Aristotle and
Horace, and having the example of the
Grecian Poets before their eyes, have given
us the rules of modern Tragedy; and thus
the critics of the same countries, in the Art
of Painting, have given the precepts of
perfecting that Art. It is true, that Poetry
has one advantage over Painting in these
last ages, that we have still the rernaining-
examples both pf the Greek and Latin
Poets; whereas the Painters have nothing
left them from Apelles, Protogenes, Pan>
hasius, £euxis, and the rest, but only the
testimonies which are given of their iricom?
parable works. But instead of this, they
have some of their best statues, basso-
relievos, columns, obelisks, &c. which are
saved out of the common ruin, and are still
preserved in Italy ; and by well distinguish
ing what is proper to Sculpture, arid what
to Painting, and what is common to them
both, they -have judiciously repaired that
. loss ; and the great genius of Raphael and

POETRY AND PAINTING. 35 1
others, 'having succeeded to the times ^of
barbarism and ignorance, the knowledge of
Painting is now arrived to a supreme per
fection, though the performance of it is
much declined in the present age. The
greatest age for Poetry amongst the Romans,
was certainly that pf Augustus Caesar ;' and
yet we are told, that Painting was then at
its lowest ebb, and perhaps Sculpture Was
also declining at the same timer In the
reign of Domitian, and some who succeeded
him, Poetry was but meanly cultivated,^ but
Painting eminently flourished. I am not
here to give the history of thc-two Arts,
how they were both in a manner extinguished
by the irruption of the barbarous nations,
and both restored about the times of Leo X.
Charles V- and Francis I. though I might
observe, that neither Ariosto, nor any of
his contemporary Poets, ever arrived at the
excellency of Raphael, Titian, and the rest
in Painting. But in revenge,; at this ¦ time,
or lately in many countries, Poetry is better
practised than her sisterrart. To what
height the magnificence and encouragement
of the present King of France may carry

252 A PARALLEL -BETWEEN
Pointing and Sculpture is uncertain ; but by
what he has done before the War in which
he is engaged, we may expect what he will
do after the happy conclusion of a peace ;
which .is the i prayer and wish of all those
who have not an interest to prolong the
miseries of Europe. For it is most certain,
as our author, amongst others, has observed;
that reward is the spur of virtue, as well in
alLgpod arts, as in all laudable attempts;
and -emulation,, which is the other spur, wiH
never be Wanting either amongst Poets or
Painters, when particular rewards and
prizes r are proposed to the best deservers.
But to return from this digression; though
it was almost necessary, all the rules of
Painting are methodically, concisely, and
yet clearly delivered in this present treatise
which I have translated : Bassu has not
given more exact rules for the Epic Poerhj,
nor Dacier for Tragedy, in his late excellent
translatipri of Aristotle, arid his notes upor^
him, than our Fresnoy has made for Painting;
With the parallel of which \ must resume
my ; discourse, following my author's text,
though) with more brevity than k intended,
because Virgil calls me,

POETRY AND" PAINTING. 255
'* The principal and most important' part
of Painting is to know what is most beau
tiful in nature, and most proper for that art."
That which is the most beautiful is the most
noble subject; so in Poetry, Tragedy is more
beautiful than Comedy, because, as I said,
the persons are greater whom the Poet
instructs ; and, consequently, the- instruc
tions of more benefit to mankind : the
action is likewise greater and more noble,
and thence is derived the greater and more
noble pleasure;
To imitate nature well in whatsoever
subject, is the perfection of both Arts ; and
that picture, and that poem, which comes;
nearest the resemblance of nature, is the
best : but it follows not, that what pleases
most in either kind is therefore good, but
what ought to please. Our depraved appe
tites and ignorance of the arts mislead our
judgments, and cause us often to take that
for true imitation of nature, which has no
resemblance of nature in it. To inform our/
judgments, and to reform our tastes, rules
were invented, that by them we might1 discern
when nature was imitated, and how nearly.

i$# A- PARALLEL BETWEEN1 <
I have been forced to recapitulate these*
things, because mankind is not more liable
to deceit than it is willing to continue in a
pleasing error, strengthened by a long habi
tude. The imitation of nature is therefore
justly constituted as the general, and indeed
the only rule of pleasing, both in Poetry and
Painting. Aristotle tells us, that imitation
pleases because it affords matter for a reasoner
tp inquire into the truth- or falsehood of
imitation, by comparing its likeness or
unlikeness with the original : but by this
rule, every speculation in nature, whose
truth falls under the inquiry of a Philosopher,
must produce the same delight, which is
not true. I should rather assign another
reason: truth is the object of our under
standing, as good is of our will ; and the
understanding can no mpre be delighted with
a lie, than the will can choose an apparent
evil. As truth is the end of all our specu
lations, so the discovery of it is the pleasure
of thera j and since a true knowledge of
nature gives us pleasure, a lively imitation
of it, either in Poetry or Painting, must of
necessity produce a much greater : for both

POETRY AND > PAINTiNG, ajj
these Arts, as I said before, are not only
true imitations of nature, but of the best
nature, of that which is wrought up to a
nobler pitch. They present us with images
more perfect than the life in any individual s
and we have the pleasure to see all the
scattered beauties of nature united by ahappy
chemistry without its deformities or faults*
They are imitations of the passions which
always move, and. therefore consequently
please ; for without motion there can be no
delight, which cannot be considered but as
an active passion. When we view these
elevated ideas of nature, the result of that
view is admiration, which is always the
cause of pleasure.
This foregoing remark, which gives the
reason why imitation pleases, was sent me
by Mr. Walter Moyle, a most ingenious
young gentleman, conversant in all the
studies of humanity, much above his years.
He had also furnished me, according to my
request, with all the particular passages in
Aristotle and Horace, which are used by
them to explain the Art of Poetry by that of
Painting; which, if ever I have time to

s3'g A PARALLEL BETWEEN^
retouch this Essay, shall be inserted in tlieir1
places. Having thus shewn that imitation
pleases, and why it pleases in both these
Arts, it follows, that some rules' of imita
tion are necessary to obtain the~ end] for
without rules there can be no art, any more
than there can be a house without a door to
conduct you into it. The principal parts of
Paintirig and Poetry next follow.
Invention is the first part, and absolutely
necessary to them both; yet no rule ever
was or can be given how to compass it. A
happy genius is the gift of nature; it depends
on the influence of the stars, say the astro
logers; on the organs of the body, say the
naturalists ; it is the particular gift of heaven,
say the divines, both christians and heathens.
How to improve it, many books can teach?
us; how to obtain it, none; that nothirig
can be done without it, all agree :
Tu nihil invita dices faciesve Minerva/
Without invention a Painter is but a copier,
and a Poet but a plagiary of others. Both
are allowed sometimes to copy and translate;
but, as our author tells you, that is not the
best part of their reputation. " Jmitators

, POETRY AND PAINTING. 257
are but a servile kind of cattle," says the
Poet-; or at best, the keepers of cattle for
other men : they have nothing which is
properly their own ; that is a sufficient mor
tification for me, while I am translating
VirgU. But to copy the best author is a
kind of praise, if I perform it as I ought ;
as a copy after Raphael is more ,to be com
mended than an original of any indifferent
Painter. Under this head of Invention , is placed
the disposition of the work, tg put all
things in a beautiful order and harmony, that
the whole may be of a piece. " The com
positions of the Painter should be con
formable to the text of antient authors, to
the custom and the times;" and this is
exactly the same in Poetry : Homer and
Virgil are to be our guides in the Epic ;
Sophocles and Euripides in Tragedy : in
all things we are to imitate the customs
and the times of those persons arid things
which we represent: not to make new
rules of the Drama, as Lopez de Vega
has attempted unsuccessfully to do, but to
be content to follow our masters, who
vol. in. s

3S5? A PARALLEL BETWEEN "
uriderstood nature better than we,- But if
the story which we treat be modem* we
are to vary the customs, according to the time
and the country where the scene of action
lies ; for this is still to imitate nature
which is always the same, though in a dif
ferent dress.
As "in the composition of a picture*
the Painter' is to take care that nothirig
enter into it, which is not proper or con
venient to the subject ;"- so likewise is the
Poet to rtjject all incidents which are foreign
to his Poem, and are naturally no parts of
it : they " are wens, arid other excres
cences, which"belong not to the body, but
deform it. No person, no incident in the
piece or in the' play, but must be of use
to carry on the main design. All things
else are like six fingers to the hand, when1
nature, which is superfluous in nothing,,
can do her Work With five. " A Pain
ter must reject all trifling ornaments »,*
so must a poet refuse all tedious and unne
cessary descriptions. A robe which is- t©p>
heavy, is less an ornament than a burden.
In Poetry, Horace calls these things,;

POETRY AND PAINTING. • 259
Versus' inopes rerum,' nugaeque canorse.
These are also the lucus & ara Diana?,'
which he mentions in the same Art of
Poetry : but since there must be ornaments,
both- in Painting and Poetry, if they are
not necessary, they must at least be decent ;
that is, in their due place, arid but mode
rately -used. The Painter is not to take
so much pains about the drapery, as about
the face", where the principal' resemblance
lies; neither is the Poet, who is work
ing up a passion to make similes, which
will certainly make it languish. My Mon
tezuma dies with a fine one in his mouth,
but it is out of season. Where there are
more figures in a picture than are neces
sary, or at least ornamental, our author
calls them " Figures to. be left," because
the picture has no use of them : so I have
seen in some modern plays above twenty
actors, when the action has not required
half the number. In the principal figures
of a picture, the Painter is to employ the
sinews of his art, for in them consists
the principal beauty of his work. Our
author saves me the comparison with Tra-
#3

i6o A PARALLEL BETWEEN
gedy: for he says, that " herein he is t<3
imitate the Tragic Poet, who employs his
Utmost force in those places, wherein con
sists the height apd beauty of the action."
Du Fresnoy, whom I follow, makes
Design, or Drawing, the second part of
Painting; but the rules which he gives con
cerning the posture of the figures are almost
wholly proper to that art, and admit not any
comparison, that I know, with Poetry. The
posture of a poetic figure is, as I conceive,
the description of his heroes in the perform
ance of such or such an action ; as of Achilles,
just in the act of killing Hector; or of
/Eneas, who has Turnus under him. Both
the Poet and the Painter vary the postures,,
according to the action or passion, which
they represent of the same person. But all
must be great and graceful in them. The
same iEneas must be drawn a suppliant to
Dido, with -respect in his gestures, and hu-»
miiity in his eyes; but when he is forced,
in his Own defence, to kill Lausus, the Poet
shews him compassionate, and tempering the
severity of his looks with a reluctance tp the
action, which he is going to perform. He

POETRY AND PAINTING. 261
lias pity on his beauty and his youth, and is
loth to destroy such a master-piece of nature.
He considers Lausus rescuing his father, at
the hazard of his own life, as an image of
himself, when he took Anchises on his
shoulders, and bore, him safe through the
rage of the fire, and the opposition of his
enemies ; and therefore, in the posture of a
retiring man, who avoids the combat, he
stretches out his arrn. in sign of peace, with
his right foot drawn a little back, and his
breast bending inward, more like an orator
than a soldier; and seems to dissuade the
young man frprn pulling on his destiny, by
attempting more than he was able to perform.
Take the passage as I have thus translated it;
Shouts of applause ran ringing through the field,
To see the sun the vanquish'd father shield:
Alii fir'd with noble emulation, strive,
And with a storm of darts to distance drive
The Trojan chief j who held at bay, from far
On his Vulcanian orb, sustain'd the war.
^Eneas thus o'erwhelm'd on ev'ry side,
Their first assault undaunted did abide ;
And thus to Lausus,, loud, with friendly threatning
cry'd,

I

J62 A PARALLEL BETWEEN
Why wilt thou rush to certain death, and rage
In rash attempts beyond thy tender age,
Betray'd by pious love r
And afterwards,
He gtiev'd, he wept, the sight and image brought
Of his own filial love; a sadly pleasing thought."
But, beside the outlines of the posture, the
design of the picture, comprehends in the
next place the " forms of faces which
are to be different; and so in a Poem,
or Play, must the several characters of
the persons be distinguished from each
other. I knew a Poet, whom out of respect
I will not name, who, being too witty him
self could draw nothing but wits in a Comedy
of his ; even his fools were infected with
the disease of their author : they overflowed
.with smart repartees, and were only distin
guished from the intended wits, by being
called coxcombs, though they deserved: not
so scandalous a name. A-npther, whp had
a great genius for Tragedy, following the fury
of his natural temper, made every man and
woman too, in his Plays, stark raging mad;
there was not a sober person to be had for
love or money : all was tempestuous and

-POETRY AND PAINTING. z63
Clustering; heaven and earth were coming
(together at every word; a mere hurricane
from the beginning to the end; and every
actor seemed to be hastening on the day of
judgement !
*•' Let. every member be made for its own
head," says our author, not a withered hand
to a young face. So in the persons of a
play, Whatever is said or done by any of
them, .must be consistent with the manners
which the Poet has given them distinctly:
and even the habits must be proper tp the
degrees and humours pf the persons as well
as in a picture. He who entered in the first
act a young man, like Pericles Prince of
Tyre, must not be in danger, in the fifth act,
of committing incest with his daughter ; nor
an usurer, without great probability and
causes of repentance, be turned into a cutting
M°°rcraft. . -,
I am not satisfied that the comparison
betwixt the two arts, in the last paragraph,
is altogether so just as it might have been;
hut I am sure pf this whieh follows.
" The principal figure of the subject tnu&t
appear in the midst of the picture, under the

«64 A PARALLEL BETWEEN
principal light, to distinguish it from the rest,
which are only its attendants." Thus in a
Tragedy, or in an Epic Poem, the hero of the
piece must be advanced foremost to the view
ofthe reader or spectator: he must outshine
the rest of all the characters ; he must appear
the prince of them, like the sun iu he Coper-
nican System, encompassed witn the less
noble planets. Because the hero is the centre
ofthe main action, all the lines from the cir
cumference tend to him alone; he is the
chief object of pity in the drama, and of admi
ration in the Epic Poem.
As in a picture, besides the principal
figures which compose it, and are placed in
the. midst of it, there are less " groupes or
kriots of figures disposed at proper distances,"
which are parts of the piece, and seem to
carry on the same design in a more inferior
manner: so in Epic Poetry there are episodes,
and a chorus in Tragedy, which are members
of the action, as growing out of it, not inser
ted into it. Such, in the ninth book of the
JEneis, isthe episode of Nisus and Euryalus':
the adventure belongs to them alone; they
alone are the objects of compassion and ad-

TOETRY AND PAINTING, zflj
miration; but their business which they car
ry on, is the general concernment of the
Trojan camp, then beleaguered by Turnus
and the Latiries, as the Christians were
lately by the Turks : they were to advertise
the chief hero of the distresses of his subjects,
occasioned by his absence, to crave his suc
cour, and solicit him to hasten his return.
The Grecian Tragedy was at first nothing
but a chorus of singers ; afterwards one actor
was introduced, which was the poet him
self, who entertained the people with a dis
course in verse, betwixt the pauses of the
singing. This succeeding with the people,
more actors were added to make the variety
the greater; and in process of time the cho
rus only sung betwixt the acts, and the
Coryphaeus, or chief of them, spoke for the
rest, as an actor concerned in the business of
th^ play.
Thus Tragedy was perfected by degrees,
and being arrived at that perfection, the
painters might probably take the hint from
thence, of adding groupes to their pictures;
but as a good picture may be without a group,
so agood Tragedy may subsist without a che-

#6$ A PARALLEL BETWEEN i
rus, notwithstanding any .reasons . whicfj
have been given by Dacier to the . contrary.
Monsieur Racine has indeed used it in his
Esther, but not that he found any necessity
of it, as the French Critic would insinuate,,
The chorus at St. Cyr was only, tp give the
young ladies an occasion pf entertaining the
king with vocal music, and of commending
their own voices. The play itself was never
intended for the public stage; nor without
any., disparagement to the learned author,
could possibly have succeeded there, and
much less in the translation of it here. Mr.
Wycherley, when we read it together, was of
my opinion in this, or rather I of his; for it
becomes me so to speak of so excellent a
poet, and so great a judge. But since I am
jn this place, as Virgil says, il Spatiis exclu,-
sus iniquis," that is, shortened in my time,
I will give no other reason than that it is
impracticable on our stage. A new theatre,
much more ample, and much deeper, must
be made for that purpose, besides, the cost
of sometimes forty or fifty habits, which is
an expence too large to be supplied by a
company of actors. It is true, I should not

POETRY AND PAINTING, 367
be sorry to see a chorus on a theatre, more
than as large and as deep again" as ours, built
and adorned at a king's charges; and on that
condition and another, which is, that my
hands were not bound behind me, as now
they are, I should not despair of making such
a Tragedy, as might be both instructive and
delightful, according tp the manner of the
Grecians. *.1 To make a sketch, of a more perfect
model of a picture," is in the language of
poets, to draw up the scenery of a play: and
the reason is the same for both ; to guide the
undertaking, and to preserve the remem- l
brance of such things whose natures are dif
ficult to retain.
To avoid absurdities and incongruities is
the same law established for both Arts.
" The Painter is not to paint a cloud at the
bottom of a picture, but in the uppermost
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 sup
posed to sin so grossly against the laws of
nature and of art. I remember -only one

%6i A PARALLEL BETWEEN
play, and for once I will call it by its name
'Fhe Slighted Maid, where there is nothing
in the first act but what might have been said
or done in the fifth; nor any thing In the
midst which might, not have been placed as
well in the beginning or the end.
¦'* To express the passions, which are
seated on the heart by outward signs," is
one great precept of the painters, and very
difficult to perform- Iri Poetry the same
passions and motions of the mind are to be
expressed ; and in this consists the principal
difficulty, as well as the excellency of that
art. " This," says my. author, •" is the gift
of Jupiter ;" and, to speak in the same
heathen language, We call it the gift of our
Apollo, not to be obtained by pains or study,
if we are not born to it : for the motions
which are studied are never sp natural as those
which break out : in the height of a real
passion.. Mr. Ot\yay possessed this part as
thoroughly as any ofthe ancients or moderns.
I will not defend every thing in his Venice
Preferved ; but I must bear this testimonyto
his .<.memory, that the passions are truly
touched in it, though, perhaps there is some-

POETRY AND FAINTING. *%
what to be desired both in the grounds of
them, and in the height and elegance of
efxprssion ; but nature is there, Which is the
greatest- beauty.
" In the passions," says our author, "we
must have a very great regard to the quality
pf the persons who are actually possessed
With them."' The joy pf a monarch for the
news of a victory must, riot be expressed
like the exta3y of a harlequin on the receipt
of a letter from his mistress': this is so
much the same in both;the arts, that it is rip
longer a comparison. What he says of face-
painting, or the portrait of any one particu
lar pers pn, concerning the likeness, is also
applicable to .Poetry, : in the character of an
hero, as well as in an inferior figure, there
is a better or Worse likeness to be taken • the
better is a panegyrick, if it be not false, arid
the worse is a libel. Sophocles, says 'Aris
totle, always drew men as. they ought
to be ; that is, better than they Were:
Another, whose name I have forgotten, drew
them worse than naturally they were.
Euripides altered nothing in the character,
but made them such as they were represented

2?<i .A PARALLEL BETWEEN
by History, Epic Poetry, or Tradition. Of
the three, the draught of Sophocles is most
commended by Aristotle. I have fol
lowed it in that part of Oedipus which I
Writ] though, perhaps, I have made him
top good a man. But my characters of An
tony arid Cleopatra, though they are fa
vourable to them, have nothing of out
rageous panegyric; their passionS; Were" their
own, and such as were given them by his
tory, only the deformities of them were
cast into shadows, that they might be ob
jects of compassion; whereas, if I had
chosen a noon-day light for them, some
what must have been discovered, which
Would rather have moved our hatred than
our pity.
" The gothic manner, and the barbarous
ornaments which are to be avoided in a pic
ture," are just the same with those of an ill-
ordered play. For example; our English
Tragi-comedy must be confessed to be
wholly gothic, notwithstanding the success
which it has found upon our theatre ; and
in the Pastos Fido of Guarini, even though
Corsica and the Satyr contribute somewhat

POETRY AND PAINTING. 271
icy trie , main action : neither can, I defend
my Spanish Friar, as fpn.d as otherwise I
am. of it, from this imputation; for though?
the comical parts are diverting, and the se
rious moving, yet they are of an unnatural
mingle : for mirth and gravity, destroy each
other, and are no more to be allowed for
decent, than a gay widow laughing, in , a
mourning habit. . , -t., ,. . ,,
Ihad almost forgot one considerable re
semblance. Du Fresnoy tells us, " Thaif
the. figures of the groupes must not be all on
aside, that, is, with their faces and bodies-
all turned the same. way, but must contrast
each other by. their several positions."'
Thus in -a- play, some characters must be
raised to oppose others, and to set them off
the better,; according to the old maximt,
" Cpntraria juxta se posita, magis elucesi-
cunt-.''' ;Thus in the Scornful Ladyy the
usurer is sent to confront the prodigal ¦:
Thus in my Tyrannic Love, the Atheist
Maximin is opposed to the character of St..
: Catharine. Iamnowcome, though with theomissionof
many likenesses, to thethird part of Painting,

372 A PARALLEL BETWEEN
Which is called the Chromatic or Colouring*
Expression, and all that belongs to words,
is that in a Poem which colouring is in a
Picture. The colours well chosen, in their
proper places, together with their lights and
shadows which belong to them, lighten the
design, and make it pleasing to the eye*
The words, the expressions, the tropes and
figures, the versification, and all the other
elegancies of sound, as cadences, turns of
words upon the thought, and many other
things, which are all parts of expression,
perform exactly the same office both in Dra
matic and Epic Poetry. Our author calls
colouring, lena sororis ;'r in plain English,
the bawd of her sister, the design or draw
ing; she clothes, she dresses her Up, she
paints her, she makes her appear more lovely
than naturally she is, she procures for the
design, and makes lovers for her ; for the
design of itself is only so many naked lines.
Thus in Poetry, the expression is that which
charms the reader, and beautifies the design,
which is only the outlines of the fables. It
is true, the design must of itself be good ;
if it be vicious, or, in one word, un-

POETRY AND PAINTING. 273
pleasing, the cost ;of colouring is thrown
away upon it. It is an ugly woman in a
rich habit, set out with jewels ; nothing
can become her. But granting the design
to be moderately good, it is like an excellent
complexion with indifferent features ; the
white and red well mingled on the face,
make what was before but passable, appear
beautiful. " Operum Cplores" is the very-
word which Horace uses to signify words
a$d. elegant expression, of which he himself
was so great master in his Odes. Amongst
the ancients, Zeuxis was most famous for
hiscplouring; amongst the moderns, Titian
and Correggjo. Qf the two ancient Epic
Poets, who have so far excelled all the mo
derns, the invention and design were the
particular . talents of Homer. Virgil must
yield to, him in both ; for the design of the
Latjn was borrowed from the Grecian: but
the " Dictio Virgiliana," the expressiori of
Virgil, his colouring, was incomparably
the better; and in that I have always en
deavoured to copy him. -Most of the pe
dants, I know, maintain the contrary, and
VOL. III. T

274 A PARALLEL BETWEEN
will have Homer excel even in this part-.
But of all people, as they are the most ill-
mannered, so they are the worst judges,
even of words which are their province $
they seldom know more than the gramma
tical construction, unless they are born with
a poetical genius, which is a rare, portion
amongst them : yet some, I know, may
stand excepted, and such I honour. Virgil
is so exact in every word, that none can be
changed but for a worse ; nor any one re
moved from its place, but the harmony will
be altered. He pretends sometimes to trip";
but it is only to make you think him in dan
ger of a fall, when he is most secure. Like
a skilful dancer on the ropes (if you will
pardon the meanness of the similitude) Who
slips willingly and makes a seeming stumble,
that you may think him in great hazard
of breaking his neck, while at the same
time he is only giving.you a proof of his
dexterity. My late Lord Roscommon was
often pleased with this reflection, and
with the examples of it in this admirable
author. I have not leisure to run through the

POETRY AND PAINTING. 27j
Whole comparison of lights and shadows
with tropes and figures ; yet I cannot but
take notice of metaphors, which, like them,
have power tp lessen or greaten any thing.
Strong and glowing colours are the just re
semblances of bold metaphors, but both must
be judiciously applied ; for there is a dif
ference betwixt daring and fool-hardiness.
Lucan and Statius often ventured them top
far ; our Virgil never. But the great defect
of the Pharsalia and the Thebais was in the
design; if that had been more perfect, we
might have forgiven many of their bold
strokes in the colouring, or at least excused
them ; yet some of them are such as De- -
mosthenes or Cicero could not have de
fended. Virgil, if he could have seen the
first verses of the Sylvae, would have thought
Statius mad in his fustian description of the
statue on the brazen horse : but that Poet
was always in a foam at his setting out, even
before the motion of the race had warmed
him. The soberness of Virgil whom he
read, it seems to little purpose, might have
shewn him the difference betwixt " Arma
virumque cano, and Magnanimum aeacidem,
t a

276 A PARALLEL BETWEEN
formidatamqUe tonanti progeniem." But
Virgil knew how to rise by degrees iri his
expressions : Statius Was in his towering
heights at the first stretch of* his pinions.
The description of his running horse, just
starting in the funeral games for Archemo-
rus, though the verses are wonderfully fine,
are the true image of their author :
Stare adeo nescit, pereunt vestigia mille
Ante fugam j absentemque ferit gravis ungula
campum.
Which would cost me an hour, if I had the
leisure to translate them, there is so much
of beauty in the original. Virgil, as he
better knew his colours, so he knew better
how and where to place them. -In as much
haste as I am, I cannot forbear giving one
example : It is said of him, that he read
the second, fourth, and sixth books of his
/Eneis to Augustus Caesar. In the sixth
(which we are sure he read, because we
know Octavia was present, who rewarded
him so bountifully for the twenty verses
which were made in honour of her deceased
son Marcellus) ; in this sixth book I say,

POETRY AND PAINTING. 377
the Poet, speaking of Misenus, the trum*
peter, says,
— r-^ — Quo non prasstantior alter,
4£re ciere viros. 

and broke off in the hemistich, or midst of
the verse ; but in the very reading, seize4
as h were with a divine fury, he made up
the latter part of the hemistich with these
following words,
v7-r-. — — Martemque accendere cantu.
How warm, nay, how glowing a colouring
is this ! In the beginning of the verse, the
word <zs, or brass, was taken for a trum
pet, because the instrument' was made of
. that metal, which of itself was fine; but
in the latter end, which was made extem
pore, ypu see three metaphors, Martemque,
<  accendere,  cantu. Good Heavens !
how the plain sense is raised by the beauty
pf the words. But this was happiness, the
former might be only judgment. This was
the " curipsa felic^tas" which Petronius at
tributes to Horace. It is the pencil thrown
luckily full upon the horse's mouth, to ex
press the foam, which the painter, with all
Ju?s skill, could not perform without it.

i78 A PARALLEL BETWEEN
These hits of words a true Poet often finds,
as I may say, without seeking; but he
knows their value when he finds them, and
is infinitely pleased. A bad Poet may some
times light on them, but he discerns rtqt a
diamond from a Bristol stone ; and would
have been of the cock's mind iri iEsop? a
grain of barley would have pleased him
better than the jewel. The lights and sha
dows which belong to colouring, put me in
mind of that verse of Horace,
Hoc amat obscuram, vult hoc sub luce videri. .
Some parts of a Poem require to be amply
written, and with all the force and elegance
of words : others must be cast into shadows ;
that is, passed over in silence, or but faintly
touched. This belongs wholly to the judg
ment of the Poet arid the Painter. The most
beautiful parts pf the Picture and the Poem
must be the most finished; the colours and
words most chosen ; many things in both,
which are not deserving of this care, must
be shifted off, content with vulgar expres
sions ; and those very short, and left, as in
a shadow, to the imagination of the reader.
¦ We have the proverb, " Manum de

POETRY AND PAINTING. 279
tabula," from the painters, which signifies
to. know when to give over, and to lay by
the pencil. Both Homer and Virgil prac
tised this precept wonderfully well ; but
Virgil the better of the two. Homer knew
that when Hector was slain, Troy was as
good as already taken ; therefore he concludes
his action there : for what follows in the
funerals of Patroclus, and the redemption
of Hector's body, is not, properly speaking,
a part of the main action. But Virgil con
cludes with the death of Turnus ; for, after
that difficulty was removed, ./Eneas might
marry, and establish the Trojans when he
pleased. This rule I had before my eyes in
the conclusion of the Spanish Friar, when
the discovery was mgxle that the king was
living; which was the knot of the play
untied : the rest is shut up in the compass
of some few lines, because nothing then
hindered the happiness of Torismond and
Leonora. The faults of that drama are in
the kind of it, which is Tragi-cornedy.
But it was given to the people, and I never
writ any thing for myself but Antony and
Cleopatra.

z8o A PARALLEL BETWEEN
The remark, I must acknowlege, is not
so proper for the colouring as the design ;
but it wil! hold for both. As the words,
ccc. are evidently shewn to be the cloathV
ing of the thought, in the same sense as
colours are the- cloathing of the design ;
so the Painter and the Poet ought to judge
exactly when the colouring and expressions
are perfect, and then to think their work
is truly finished. Apelles said of Proto-
genes, that " 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 add-
jng to the polishing ; so that there remains
nothing but a dull correctness, a piece
without any considerable faults, but with
few beauties ; for when the spirits are
drawn off, there is nothing but a "caput
mortuum." Statius never thought, an ex
pression could be bold enough ; and if a
bolder could be found, he rejected the
first. Virgil had judgment enough to know
daring was necessary ; but he knew the
difference betwixt a "glowing colour and a
glaring ; as when he compared the shocking

POETRY AND PAINTING.

281

Of the fleets at Actium to the justlirig of
islands rent from their foundations and
meeting in the ocean. He knew the com-
parisPn was forced beyond nature, arid
raised top high ; he therefore softens the
metaphor with a credas. Yoti would almost
believe that mountains or islands rushed
against each other :
—  Gredas innare revulsas.
Cycladas ; aut montes concurrere montibus a?quos.
But here I must break off without finishing
the discourse.
" Cynthius aurem vellit, et admonuit,
&c." the things which are behind are of too
nice a consideration fpr an Essay begun and
ended in twelve mornings ; and perhaps the
judges of Painting and Poetry, when I tell
them how short a time it cost me, may make
me the same answer which my late Lord
Rochester made to one, who, to commend
a Tragedy, said, it was written in three
weeks: " How the Devil could he be so
long about it ? for that Poem was infamously
bad," and I doubt this parallel is little
better ; and then the shortness of the time
is so far from being a commendtion, that it

s82 A PARALLEL, &c.
is scarcely an excuse. But if I have really
drawn a portrait to the knees, or an half-
length, with a tolerable likeness, then I may
plead with some justice for myself, that the
rest is left to the imagination. Let some
better Artist provide himself of a deeper
canvas ; and taking these hints which I have
given, set the figure on its legs, and finish
it in the Invention, Design, and Colouring.

£ P I S T t E
OF
Mr. POPE,
TO
Mr. JERVAS S.

The following elegant Epistle has con
stantly been prefixed to all the editions of
Du Fresjnoy, which, haye heen, published
since Je'Rvas corrected the translation of
Dryden. It is, therefore, here reprinted,
in order that a Poem which does so much
honour to the original author may still ac
company his work, although the translator
is but too conscious how much so masterly a
piece of vgrsjfieatipn pn the subject, of Paint
ing, will, by being brought thus near it,
prejudice his own lines. M.

TO
MR. JERVAS,

WITH

FRESNOY'S ART OF PAINTING,
TRANSLATED BY MR. DRYDEN*.

This verse be thine, my friend, nor thou
refuse
This, from no venal or ungrateful Miise.
Whether thy hand strike out some free design,
Where life awakes and dawns at every line;
Or blend in beauteoustints the Colour'd rfrass,
And from the canvas call the mimic face :
Read these instructive leaves, in which
conspire
Fresnoy's close Art, and Dry den's native fire;
And reading wish, like theirs, our fate and
fame,
So mix'd our studies, and so join'd our name;
Like them to shine through long- succeeding
,age,
So just thy skill, so regular my rage.
* Jfirst printed in 1716.

m POPE'S EPISTLE
Smit with the love of Sister-Arts we came
And met congenial, mingling flame with
flame;
Like friendly colours found them both unitej
And each from each contract new strength
and light.
How oft in pleasing tasks we wear the day,
While summer suns roll unperceiv'd away ?
How oft our slowly-growing works impart,
While images reflect from art to art ?
How oft review ; each finding like a friend,
Something to blame, and something fo
commend ?
What flatt'ring scenes our wand'ring fancy
wrought,
Rome's pompous glories rising to our thought!
Together o'er the Alps methinks we fly,
Fir'd with ideas of fair Italy.
With t,hee, on Raffaelle's monument I mourn,
Or wait inspiring dreams at Maro's urn :
With thee repose, where Tully once was laid,
Or seek some ruin's formidable shade ;
While Fancy brings the vanish'd pile to
view,
And builds imaginary Rome anew.

TO MR. JERVAS. 2tf
Here thy well-study'd marbles fix our eye;
A fading fresco here demands a sigh :
Each heavenly piece unwearied we compare,
Match Raffaelle's Grace with thy lov'd
Guido's Air,
Caracci's strength, Correggio 's softer line,
Paulo's free stroke, and Titian's warmth
divine.
How finish'd with illustrious toil appears
This small, well-polish'd gem, the work of
years * !
Yet still how faint by precept is exprest
The living image in the Painter's breast ?
Thence endless streams of fair ideas flow,
Strike in the sketch, or in the picture glow;
Thence beauty, waking all her forms,
supplies
An Angel's sweetness, or Bridgwater's eyes.
Muse ! at that name thy sacred sorrows shed,
Those tears eternal that embalm the dead :
Call round her tomb each object of desire,
Each purer frame inform'd with purer fire :
* Fresnoy employed above twenty years in finishing
this Poem.

, 288 POPE'S EPSTLE
Bid her be all fhat chears or softens life,
The tender sister, daughter, friend and wife I
Bid her be all that makes mankind adore j
Then view this marble, and be vain no more !
Yet still her charms in breathing paint
engage;
Her modest cheek shall warm a future age.
Beauty, frail flower, that every season fears,
Blooms in thy colours for a thousand years.
Thus Churchill's race shall other hearts
, surprize,
And other beauties envy Wortley's ^eyes,
Each pleasing Blount shall endless smiles
bestow,
And soft Belinda's blush for ever glow.
Oh ! lasting as those colours may they shine,
Free as thy stroke, yet faultless as thy line!
* In one of Dr. Warburton's Editions of Pope, by
which copy this has been corrected, the name is changed
to Worsley. If that reading be not an error of the press,
I suppose the poet altered the name after he had quarrelled
with lady M. W. Montague, and being offended at her
wit, thus revenged himself on her beauty. M.

TO MR. JERVAS. 289
New graces yearly, like thy works display :
Soft without weakness, without glaring gay;
Led by some rule, that guides, but not
constrains ;
And finish'd more through happiness than
pains !
The kindred Arts shall in their praise conspire,
One dip the pencil, and one string the lyre.
Yet should the graces all thy figures place,
And breathe an air divine on ev'ry face ;
Yet shouldthe Muses bid my numbers roll,
Strong as their charm, and gentle as their soul;
With Zeuxis' Helen thy Bridgwater vie,
And these be sung till Granville's Myra die ;
Alas ! how little from the grave we claim ?
Thou but preserv'st a Face, and I a Name.

vol. 111. u

A
CHRONOLOGICAL LIST

OF

PAINTERS,

FROM THE REVIVAL OF THE ART TO^THE BEGINNING
Of THE PRESENT CENTURY.

U 2

Instead of the short account of the lives of
the Painters by Mr. Graham, which has been
annexed to the later Editions of Mr. Dr yd en's
translation,' I have thought proper to insert, at
the conclusion of this work, the following
Chronological List drawn up by the late Mr.
Gray, when in Italy, for his own use, and
which I found fairly transcribed amongst those
papers which his friendship bequeathed to me.
Mr. Gray was as diligent in his researches ag
correct in his judgment ; and has here em
ployed both these talents to point out in one
column the places where theprincipal works of
each master are to be found, and in another the
different parts of the art in which his pwn taste
led him to think that they severally excelled *,
It is presumed, therefore, that these two ad
ditions to the names and dates will render this
little work more useful than any thing of the
catalogue kind hitherto printed on the subject.
For more copious Biographical information,
the reader is referred to Mr. Pi lking ton's
Dictionary. M.
* See Memojrs of Mr. Gray, Note on Letter XIV. Sect. II.
6

29+

A CHRONOLOGICAL LIST

Names.

Iovanni Cimabue

G
Andrea Taffi
Giotto -

BuonamicoBuffalmacco
5 Ambj;ogio Lorenzetti
Pietro Cavallini - -
Simdn Memmi -
Andrea Orgagna - -
Tomaso Giottino
io Paolo Uccello
Massolino -

Studied under

Masaccio Fra. Giov. Angelicoda
Fiesole
Antonella da Messina
15 Fra. Filippo Lippi
Andrea del Castagno,
detto Degl' I mpiccati
Gentile del Fabriano
Giacomo Bellini .
Gentile Bellini 7
20 Giovanni Bellini j"
Cofmo Rosselli -
Domenico Ghillandaio
Andrea Verocchio
Andrea Mantegna

certain Greeks - -
Apollonius, a Greek
Cimabue

Andrea Taffi - .
Giotto • *
Giotto Giotto
imitated Giotto
imitated Giotto •
Antonio Venetiano
LorenzoGhibertr and
Gher. Stamina
MassolinoGiottino

Excelled lit

first revived Paint
ing
revived Mosaic
quitted the stiff
manner of the
Greeks

first who studied
perspective
gave more grace
to his figures
and drapery

John Van Eyck
Masaccio Domenico Venetiano
Giovanni da Fiesole
Gentile del Fabriano
C Giacomo their fa.
I ther
Alessand. Baldovi-
netti
Giacomo Squarcione

introduced oil Pa-
intingintoltaly
began to Paint
figures larger
than life
painted in oil first
at Florence

lively colouring
genteel designing
and good* airs.
observation ef per
spective

Painted

OF MODERN PAINTERS.

Country, Place, and
Year of their Death.

History HistoryHistory

History
5 History
History
Portraits HistoryHistory
jo Birds,
some His.
History

History
Hist.Mi-
niatures History
15 HistoryHistoryHistory
History History
20 History
History
History HiftoryHistory

Florence, Fior. 1300
Florence - 1294
Florence . 1336

Florence - 1340
Sienna - 1350
Rome . 1364
Sienna,Florencei 345
Florence . 1389
Florence - 1356
Florence - 1432

Florence

1418

Florence - 1443
Florence.Rome 1455

Messina

z9S
Principal Works are at

almost all perished.
unknown.Rome, St.Peter's, Arezzo—
Mosaics.
Pisa, Campo-Santo.
Rome, St. Paolo fuor della
Citta.
Florence, the Dome,

»47J 49

Florence,Rome 1488

Florence •
Verona

1412

Venice - - 1470
Venice - - 1501
Venice - - 1512
Florence.Rome 1484
Florence - 1493
Florence - 1488
Padua, Mantua 15 1 7

69 71 80 80
90 68 44 56

J

Florence, the Palace, in the
Apartments of the old
Pictures.

Florence, the Palace.

Rome, S. Giov. Laterano,
S. Mar. Maggiore.
Venice, in some Cabinets,

Rome, Capella Sistina.
Florence, Palace, Closet of
Madama,

Florence, Rome, Aparft

395

A CHRONOLOGICAL LIST

Names.

Studied under

Filippo Lippi

Pietro Perugino
Bernardino Pinturic-
chio ...

Francesco Francia

Bartolomeo Ramenghi,
detto II Bagnacavallo
Innocenzo Francuzzi,
detto da Imola - .
Francesco Turbido,
detto II Mauro
Luca Signorelli - .
* Lionardo da Vinci

10 * Giorgio Giorgione

'Antonio daCorreggio

Fra. Phjlippo his fa
ther, and Sandro
Boticelli
Andrea Verocchio
Pietro Perugino

M^rco Zoppo

Francesco Francia
Francesco Francia
Giorgione ?
Pietro dellaFrancesca

imitated Lionardo*s
manner

Excelled in

Mariotto Albertinelli
Baccio, detto Fra. Bar
tolomeo di S. Marco
Pietro di Cosimo
15 Raphaelino del Garbo

first considerable
Master of theBo-
lognese School
soft and fleshy co.
louring
correct drawing

exquis. designing

management ofthe
clair-obscure, &
colouring
divine colouring
and morbidezza
of his flesh ; an
gelical grace &
joyous airs of
his figures and
clair-obscure

Cosmo Roselli
Cosmo Roselli
Cosmo Roselli
.Filippo Lippi

Painted

OF MODERN PAINTERS, \ 297
CY°S'th2 D'eatfl Principal Works are at

History

HistoryHistory

History
5 History History
Portraits History
Hist, and
Portraits

Ip Hist. and
Portraits
Hist, and
Portraits

History
History
i. - Grotesq.
&rnonst.
"ij History

Florence

1505

Rnesia, Rome 1524
Florence,Sienna 1 5 1 3

Bologna - -
Bologna - -
Bologna -
Verona - -
Cortona -
Milan, Paris

1518

1541

1521
11/21
I517

Castle Franco nel
Trevigiano, Venice, iSn
Corijeggio nel Reg.
giano - - 1534

68

48

33

40

ments of InnoGent 8, at
the Belvedere Chapel.

Rome, Pal. Borghese, &c.
Sienna,Library of theDome,
Rome, Santa Croce •¦ in
Gierusalemme; Madonna
dell Popolo, ,&c.
Bologna,in severalChurches.

Florence Florence Florence Florence

1520 1521 1529

Bologna.
Bologna

Milan, the Dominicans, the
-Academy; Florence, Pal.
Pitti ; Rome, Pal. Bor,
ghese, Barberini.
Venice ; Florence, Pal.Pitti;
Rome, Pal. PamphiH,
Modena, the Duke's Col
lections ; Parma, the
Dome, Saint Antonio
Abbate, S. Giovanni del
monte, san Sepulcro ;
Florence, the Palace j
Paris, the Palais .RoyaL
&c. Naples, the King's
-"'Collections, -

29*

A CHRONOLOGICAL UST

Names.

Studied under

Excelled in

* Michael Angelo Buo-
narotta

* Raffaelle Sanzio d'
Urbino

* Titiano Vecelli -
Domenico Puligo
5 Tinjoteo Urbino - -
Vicenzo da San Gemi-
niano
Lorenzo di Credi - -
Balthazar Peruzzi - -
,JSiovanni Francesco
•J" Penni, detto il Fattore
io * GiulioRomano - -

Peligrino di Modena" » tf Rafaelle
Pierino Buonacorvi,det.
to Perin del Vago .
Giovanni da Udina ¦

Dominico Ghirlan-
daio

Pietro Perugino; cor
rected his manner
upon seeing the
works of Lionardo
da Vihci and Mi.
chael Angelo - -
Giovanni Bellini - -

Domenico Ghirlan.
daio ....
Rafaelle ....
Rafaelle ...
Andrea Verocchio
imitated Lionardo
da Vinci

Rafaelle

Rafaelle . 1

Rafaelle;^-* 0

* Andrea del Sarto

Rafaelle - - »
,A, ; ... -
Pietro. di Cosimo

great correctness)
of design, grand
& terrible sub
jects, profound
knowledge of
the anatomical
part
in every part of
painting, but
chiefly in the
thought, com-
pofition.expres-sion,and draw
ing
the clair-obscure
& all the beau
ties of colour
ing

the same as hit
Master

good imitation of
his Master, and
great dispatch
his Master's ex«
cellencies

animals, flowers,.
and fruits
natural and grace*
ful airland cor.

OF MODERN PAINTERS.

299

Painted

Country, Place, and
Year of their Death

History

Chiusi,presso d'Arez-
zo; Rome ^1564

Hist, and
Portraits

Urbino, Rome 1520

Hist.and Portraits

Cadore nel Friulese ;
Venice - 1576

History

Florence - - 1525

"5 History

Urbino - . 1524

History

S.Geminiano 1 J 27

History

Florence - 1530

History,
buildings History

Sienna, Rome 1536

Rome, Naples 1528

10 History

Rome, Mantua 1546

HistoryHistory

Modena - 1538
Florence,Rome 1547

Grotes

Udina, Rome 1564

ques
History Pork.

Florence - 1530

90

37

Principal Works' are at

Rome, Capella Sestina, Ca
pella Paulina, S.Giovanni
Latuano ; Florence, the
'Palace.

Rome, theVatican.S.Pietro,
in Montorio ; S. Agus-
tino, the Lungara, &c.
Florence, the Palace ;
France, Versailles, the
Palais Royal ; England,
Hampton-Court; Naples,
the King's Collection,
Venice;1 Rome; in many
Collections, &c.

Rome, Madonna della Pace*
Rome, the Vatican.
Rome, Madonna della Pace.
Rome, the Vatican; Lun
gara-
Rome, Vatican, &c. Man-
tua, the Palace Te. ,
Rome, Vatican ; Genoa,
i Pal. Doria.
Rome, Vatican, &c.
Florence, the Palace, Mo-
i nasterio de Scalzi, &c.

JOO

A- CHRONOLOGICAL LIST

Names.

Studied under

Francia Bigio ...

Mariotto Albertinelli

Sebastiano, detto Fradel

Giov. Bellini ; 11 Gi-

Piombo

orgione,M.Angelo

Orazio Sasnmachini

11 Bagnacavallo, In

nocenzo d'Imola

Lorenzetto Sabattini -

the same - - - -

5 Prospero Fontana - -

the same - - - -

Lavinia Fontana .

Prospero, her father

Pelestrino Tibaldi - -

11 Bagnacavallo, In

nocenzo d'Imola

Primaticcio,detto il Bo

the same ; Julio Ro

logna

mano

Nicolo Bolognese, detto

Primaticcio - - -

* Messer Nicolo

io 11 Dosso - - . -

LorenzoCosta/Titian

Bernazzano da Milano

Giov.Martino daUdina
Giov. Bellini -
Pelegrinoda san Danielo
the same . - -
Giovanni Antonio Re-
Giorgione - -
gillo, detto Licinio da
Pordenone
15 Girolamo da Trevigi
Polidoro da Caravagg"i6
Rafaelle - - . .
11 Maturino . „ .
-
Rafaelle - . . -
Excelled in
rect drawing; a
bright manner
of colouring
painted in compa
ny with & like
Andrea
painted in the
strong and cor
rect manner of
this last, and
coloured bettei
strong Michael
Angelo manner
gentilness
fine colouring
the correctness of
design and imi
tation of the an-
tique,chiefly in
chiaro-scuro
the same; they al
ways painted to.
gether
Painted

OF MODERN PAINTERS. 30%
YTShlirDeat^ °3 PrIndPal Worfts are at

History

History Portr.

Florence - — —
Venice, Rome 1547

History
History
5 His. Por.
His. Por.
History HistoryHistory
i
10 History, landsc,
Animals, landsc.
& fruits
HistoryHistoryHistory Portraits
15 History,
buildings History

History

Bologna Bologna Bologna Bologna Bologna,Milan 159
Bologna,France 1570
Modena - 1372

*577

1602 2

4*

Rome, Pal. Borghese,&c.
Naples, King's Collec
tion.

62 1 Rome, S. Pietro in mon.
totio.Gap.Chigi ; France,
Palais Royal.

45

Ferrara,Ferrara ¦
Milan

Bologna, the Academy ;
Spain, the' Escurial.
Fontainbleau ; Chateau de
Beauregard pres de Blois.
Fontainbleau.

1550

Udina, Venice 1564
Venice

Pordenone nel Fri-
tili, Venice 1540
11 Tniigiano, Engl
. ™'5-44
Caravaggio, Messina i"543

70 56 Venice*

Florence

15:27

36

S1

"37

Rome, Pal. Barberini, Mas.
chera d'Oro, Casa di
Belloni.

90?

A CHRONOLOGICAL LIST

Names.

Studied under

Excelled in

* Francesco Mazzuolo,

imitated Rafaelle -

great delicacy and

detto 11 Parmegiano

gentileness of
drawing
whom he always

Girolamo Mezzuoli

Francesco, bis cousin

imitated ,

Giacomo Palma, detto

Titian and others T

warm and mellow

11 Vecchio

',

tints

Lorenzo Lotto .<- - -

imitated Bellini and
Giorgione

5 Francesco Monsignori
Beljini - - - -
i
Domenico Beccafumi o
imitated Pietro Perur
Meccarino
gino
Giacomo Pontormo -
Lionardo da Vinci,
Albertinelli ; An
drea del Sarto
Girolamo Genga - -
Pietro Perugino - -
Giov. Antonio da Ver-
zelli, detto 11 Sodoma
io Bastiano Aristotile - -
Benvenuto Garofalo -
Baldini.LorenzoCos-
like Rafaelle
Girolamo da Carpi
ta
Garqfalo,he imitated
Correggio
Giov. Francesco Bezzi,
Pelegrino Tibaldi -
detto 11 Nosadella -
Ercole Procacciiii - -
the same - - - -
j 5 Bartolomeo "j
& V Passerotti
the same - - -
tre figli J
1
Francesco Salviati - -
Andrea del Sarto
Giorgio Vasari
the same - -
DanielRicciareHi, detto
11 Sodoma ; Ba'dasar
da Volterra
PerUzzi
Taddeo Zucchenr
studied Rafaelle - -
20 Frederico Zucchero r
painted with his
brother "
Bartolomeo Cesi - -
11 Nosadella - - -
Dionigi Calvart - -
Prospero Fontana -
OF MODERN PAINTERS.

303

Painted

History History
His. Por.
His.Por.
e Portraits History
History HistoryHistory
IO History
HistoryHistoryHistory History
1 j History
History His.Por.History His.Por.
30 His, Por.
History
History

Country, Place, and
Year til theirDeath.

Parma -
Parma -
VeniceVenice
VeniceSienna -
Florence

1540 1596 1544
1519
JJ49 1558

Urbino - - 1551
¦ Sienna 15 54

FlorfnceFerrara
Ferrara
Bologna Bologna Bologna

Florence Florence -
Volterra

l55* J559
1556 1571

»5631584 1566

Principal Works are at

Parma, the Dome, Mad onno
della Steceata; in many
Collections.
Parma, San Sepolcro.
Venice, and in several Col.
lections.

Sienna, Pavement of - thel
Dome.
Florence.

St. Angelo in Vado,
nell' Urbino Rome 1566
— — Rome 1 609

Bologna - — —
Antwerp, Bo
logna - 1 619

In a few Collections-.
Bologna.

Florence.
Rome, Santa Croce; Flo.
rence, the Palace.
Rome, S.TrinitadelMonte,
S. Agostino.
Rome, the Caprarola, Pal,
Farnese.
Rome, several Collections,

36*

A CHRONOLOGICAL LIST

' Names.

John of Bruges -

Albert Durer - . .
Quintm Matsys, called
--' the Smith of Antwerp
.Lucas Jacob, called
Luca d'Ollanda
r Peter Brueghel, called
Old Brueghel
•*J6hn Holben, Called
Hans Holben •
Roger Vandensyde
, John Schorel - -
Matthias Cock
IO Martin Heemskirke -

Studied under

Excelled in

Hubert Van Eyck -said to have in
vented Oil-
Painting
Nature, high fi,
nishing

Francois Floris, called
Franc-Flore
Francesco Vecelli - -
Orazio Vecelli
Nadalino di Murano -
15 Damiano Mazza - -
Girolamo di Titiano -
Paris Bordone - - -
Andrea Schiavone - -
Alessandro BonvifldnOj
ditto, Il Moretto
20 Girolamo Rotnanino
liMuttailO - - -

Hupse Martia -
Cornelius Engelbert>
Peter KoeK - .

John Van Eyck
Jacob Cornil

John Schorel -
Lambart de Liege

great Nature, ex»
trenie finishing

Pirro Ligotib -

Dom. Giulio Clovic - Giulio Romano

Titian, his brother .
Titian, his father
Titian
Titian Titian
Titian Titian
Titian, imitated Ra.
faelle
Titian Titian, Tad. Zuc
chero
Giulio Romano

chaste and gentile
colouring, sosne
w'hatofM.Ang.
in tlie drawing

Painted

His.Por.

His.Por,
His. Por
His. Por,

5 His.Por,

History
History Landscs.
Droll fi
gures
io History
PortraitsPor. His.
Portraits His.Por.
15 His.Por.
His.Por.
History
HistoryHistory
20 Landscs.Portraits
Antique rnonu-
ments&
buildings Miniature/History

OF MODERN PAINTERS. 30;
Principal Works are at

Country, Place, and
Year of theirDeath.

>

Venlo in Guelders,
Bruges 1470
Nuremberg Antwerp

Leyden

1528
1529
*533

Brueghel near Breda IJ7°
Basil, London C^Xd.
Bruges - - ,
Alcmaer, Utrecht 1562
Antwerp - 1465
Heemskirke, Haerlem '574
Antwerp - . 1570
Venice - . — .
Venice - - 1579
Murano, Venice — —
Padua - . .
Venice - . ¦
Venice - - 1588
Sebenieo, Venice 1582
Brescia . . 1564
Brescia - - 1567
Brescia, Rome 1 590

Naples -

lS73

Sclavonia, Rome 1 57 8

80

80

Ghent, the Cathedral.

In many Collections.
Antwerp, the Cathedral;
England, in Collections.
Leyden, Hotel de Ville,
many Collections.

Basil, Hotel de Ville ;
England in many Col
lections.
Brussels, Hotel de Ville.

Rome, Vatican Library ;
Florence, the Palace i
Naples, King's Col
lection.

VOL. III.

X

3ofi

A CHRONOLOGICAL LIST

Names.

II Bronzino, Angelo-
Allori
Alessandro Allori - -
Giacomo Sementi - -
Marcello Venusto - -
5 Marco da Faenza - -
Girolamo da Sermo-
netta
Battista Naldino - -
Nicolo del Pomerancio
Jean Cousin -
to Michael Coxis - - -
JohnBol - - - -
Peter Porbus - - -
Antony More - - -
George Hoefnaghel

15 Camillo Procaccini
Giulio Cesare Procac.
cini
Jude Indocus Van-Win-
ghen
John Strada .
Bartholemew Sprangher
20 Michael John Miervelt
* Paolo- Cagliari, detto
Paul Veronese

Carlo Cagliari
Benedetto Cagliari
Gabrielle Cagliari

Studied under

Giacomo Pontormo
Bronzino, his uncle
Dionigi Calvart
Perin del Vaga - -
Perin del Vaga - .
II Bronzino - - -

Van Orlay, Rafaelle

John Schorel

Ercole, his. father;
Prospero Fontana
Ercole, .his . father ;
Prospero Fontana
studied in Italy ,. -
studied in^Italy -i -
Ant. Blockland . .
Antonio Badiglio

Paolo, his father
the same
the same

Excelled in

commonly upon
glass

a dark, strong.ex-
pressive manner
a dark, strong, ex
pressive manner

rich and noble
composition ;
fine warm co
louring
imitated his man.
ner
the same - - -
the same -. . «

OF MODERN PAINTERS.

3°7

Painted

His.Por.History
1 History History
c History
HistoryHistoryHistoryHistory
10 History
Miniatu. Landsc.
Por.His.
Views of
Cities,
Landsc.
ic History

History

HistoryBattles, hunting
History
-20 Portraits History,Portraits

the same
the same
the same

Country, Place, and
Year of theirDeath.

Florence - - 1580

1607 i6zr
1*76

FlorenceFlorence
Mantua
Faenza Sermonetta Florence - 
Pomerancio - 1626
Soucy proche deSens;
Paris ic8g
Mechlin, Antwerp 1J92
Mechlin, Brussels >593
Bruges - - 1583
Utrecht - 1575
Antwerp - 1 600
Bologna,Milan 1626
Bologna, Milan 1626
Brussels,Germ. 1603
Bruges, Fior. 1604
Antw. Vienna 1623
Delft - 1641
Verona, Venice 1588

Principal Works are at

Vincennes, the Minims j
Paris.

78

Venice .
the same
the same

1596
15981631 x 2

26

Milan ; Genoa, the An.
nonciate St. Maria Ca-
rignano.
Milan ; Genoa, the Annon-
ciate St. Maria Garig-
nano.

Venice, and almost .every
where.

60 1
«3|

308'

A CHRONOLOGICAL LIST

Names.

Studied under

Excelled in

Battista Zelotti . - Ant.Badiglio.worked

Giacomo daPonte.detto
II Bassano

Francesco Bassano

WithPaulVeronese
Francesco, his father,
Bonifacio Veneti
ano, imitated Ti
tian
- Giacomo, his father

Leandro Bassano - -
c Giambattista Bassano -
Girolamo Bassano - -
*GiacomoRobusti,detto II Tintoretto

the same - - - •
the same - - - •
the same - - - ¦
Titian; in his draw.
ing imitated Mi
chael Angelo

Marietta Tintoretto
Paul Franceschi -
io Martin de Vos
John Rothenamer •
Paolo Farinato
Marco Vecelli - •
Livio Agresti - .
ic Marco da Sienna .
Giacomo Rocca - *
Frederico Barocci - -
II Cavaliero Francesco
Vanni
* Michael Angelo Arae-
rigi,detto, II Caravaggi

Tintoret, her father
Tintoret - - -
Tintoret - - - J
Tintoret - - - -
Antonio Badiglio -
Titian, his Uncle -
Perin del Vago - -
Dan. Volterra - -
Dan. Volterra - -
studied Rafaelle -
Fred. Baroccio - -
Cav. Arpino - -

much Nature, and
fine colouring

imitated his mare.
iter, and copied
his pictures
the same - - -
the same - - -
the same - - -
the strepitb and
mossa of his
pencil; variety
and correctness
of design; sei.
dom finished

tq * Lodoyico Caracci - Prospero Fontana

designed after hk
manner

finp gentile draw
ing
correct design and
agreeable co.
louring
a strong and close
I imitation bfNa.
ture, but with.
out choice ; ex.
quisite colour.
ing
exquisite design;
noble and pro.

Painted

History,
chiefly in
Fresco RusticFigures, Animals, Por.His
The same

the same
t the same
the same
History, Portraits

PortraitsLandscs.
to Landscs.
History History History
15 HistoryHistory His.Por.

History,
humorous figures

20 History

OF. MODERN PAINTERS. 309
Principal Works are at

Coiintry, Place, and
Year of theirDeatb,

Venice Vicenza Venice

VeniceVenice
Venice
Venice

15921592'594

1623
1613 1622
J*94

Venice .
Germany
Munich -
Verona - -
Venice - -
Forli - -
Sienna - -
Rome -
Urbino, Rome
Sienna, Rome

1590
15961604 1606 16061611 ic8o
1567 1612 1615

Caravaggio in
Lombardy,
Rome . - 1609
Bologna - • 1619

40

64

Venice, &c.

Venice, and every where.

Verona.

Sienna : Rome, St. Peter's;
Genoa, Santa Mafia in
Carignano.

Rome, Pal. Barberini ; se
veral Collections.

Modena, Pal. Ducale ; Bo.
logna, S. Michel in Bos.

¦MO.

A CHRONOLOGICAL LIST

Names.

Studied under Excelled in

* Agostino Caracci

* Annibale Caracci

Domenico Zampieri,
detto, II Domenicbi.

Ludovico, his cousin

Ludovico, his cousin

the Caracci

* Guido Reni

5 * Cav. Giov. Lanfranco

* Francesco Albani

Lucio Massari . - -
Sisto Badalocchio . .
Antonio Caracci . .
Io Giuseppe Pini, detto,
Cavalier' Arpino

Dionigi Calvart, the
Caracci

the Caracci .

Dionigi Calvart, the
Caracci

the Caracci . . .
Annibal Caracci
Annibal, his uncle -
Rafaelle da Rheggio

per compositi
on ; strong and
harmonious co
louring
similarly accom
plished
similarly accom
plished
correct design,
strong & mov.
ing expression

divine and grace
ful airs- and at.
titudes.gayand
lightsome co.
louring

great force, and
fulgore, Chiefly
¦ in fresco ¦
gentile poetical
fancy, beautiful
airy- colouring,
hisNymphs and
Boys are roost
admired

the furia & force
of his compo.
sitions

Painted

His. Por,
Landsc,
His.Por. Landsc.
History,
Portraits

History, Portraits

5 History

History

History
HistoryHistory
10 History

OF MODERN PAINTERS. 3il
Principal Works are at

Country, Place, and
Year of their Death

Bologna,Parma 1602
Bologna,Rome 1609
Bologna,Naples 1 641

Bologna - 1 642

Parma, Naples 1647

Bologna <- 1 660

Bologna - 1633
Parma . - — —
Bologna, Rome 16 18
Arpino, Rome 1640

68

66

82

co, S.Giorgio,LaCertosa,
&c.

Parma, Villa Ducale; Bo
logna, Pal. Magnani, La
Certosa.
Rome, Pal. Farnese, &c.
Bologna,S. Giorgio, &c.
several Collections.
Rome,-S. Girolamo della
Carita, Santa Maria Tras-
tavere, S. Andrea della
Valle, S.Andrea in Monte
Celio,Grotta Ferrata,Pal.
Ludovisio ; S. Peter's, S,
Carlo a Catinari, S. Sil-
- vestro, &c.
Rome, Pal.Rospigliosi, Pal.
Spada, Capucini, S. An
drea della Valla, &c. Bo
logna, Mendicanti, S. Do
menico, S.Michel in Bos-
co ; and in many Collec
tions.
Rome, S.Andrea dellaValle ;
Naples, S. Carlo de Cati
nari ; La Capella del Te-
soro.
The Dukeof Modena's, and
many other Cabinets.

Bolognap.Michel in Bosco.
Rome, Pal.Verospi.
Rome, S. Bartolomeo nell'
Ifola.
Rome, the Capitol, &c.

3i a

A CHRONOLOGICAL LIST

Names.

Studied under

II Paduano -
HCigoli - - - -
Domenico Feti
Cherubino Alberti
5 Cavaliere Passignano -
Orazio Gentileschi
Filippo d'Angeli,detto,
II Napolitano -
Paul Brill' - .- - -
Matthew Brill - - -
io Pietro Paolo Gobbo -
II Viola 

Roland Saveri - -. -
Bartolomeo Manfredi -
Carlo Saracino
15 II Valentino , - - -
Giuseppe Ribera, detto,
Lo Spagnuoletto

John Mompre - -
HenryCorneliusWroon, or Vroom
Agostino Tassi

Andrea del Sarto
Cigoli . . -
Frederic Zucchero
Aurelio Lomi -

Excelled in

after Titian and An.
nibale

Annibal Caracci

imitated Paul Brill
M. Ang. Caravaggio
imitated Caravaggio
M. Ang. Caravaggio
M. Ang. Caravaggio

studied Nature -
Corn; Henrickson -
Paul Brill - -

worked with Paul,-
his brother

much finishing,
but dry

dark strong
manner ; dis
mal and cruel
subjects

20 Fra. Matteo Zaccolino
Antonio Tempesta - -

John Strada .

OF MODERN PAINTERS,

3'3

Painted

Country, Place, and
Year of their Death.

og Principal Works. are at

PortraitsHistory History History
5 HistoryHistoryLandsc.,Landsc. Landsc.
10 Fruit, Landsc.
Lancscs.
- Landscs. History History
15 History
History

Padua -
Florence Rome -
Rome -
Florence Pisa -

1613 1624 1615 1638 1647

Rome, Naples 1640
Antwerp,Rome 1626
Antwerp ,Rome 1584

Cortona - - 1640
Rome - 1622
 . . 1639
Mantua - - ¦ 
Venice - 1625
France - - 1632
I Valencia - 1656

54 35
63 80 84
40 72 3460 5° 63

Florence, the Dome.

Rome, Vatican, Pal. Bor-
ghese, many Collections.

Rome, Vigna Montalta,
.VignaAldobrandina,.Vig-
1 na pia.

Landscs.Sea-ports Ships
Ships, Tempe
sts, Lan
dscapes, Fruit, Perspec
tives
20 Perspec. Animals, Battles,
, Huntings

Antwerp - ¦ 
Haeriem.Rome ; 
Bologna1 - 

Naples, &c.'many Collec
tions.

— | Genoa ; Leghorn; on the
outsides of house

Rom^ -
Florence

16301630

Rome, St. Silvestro.
Florence, &c.

354

A CHRONOLOGICAL LIST

Name?.

Studied under

Excelled in

Octavius Van Veen,
called Otho Vasnius
Jean Le Clerc - - -
Simon Vouet - - -
Peter Noejfs ; - - -
Henry Steinwick - -

Carlo Saracino -
Laurent,: his father •
Henry Steinwick
John De- Vries -

Theodore Rombouts - Abraham Jansens
Abraham Jansens

Gerard Segres

Sir Peter Paul Rubens

Otho Vasnius

Sir Anthony Vandyck

io Rembrandt .

Rubens - -

Cornelius Polembourg

Abraham Bloemart -

imitated M.A. Ca
ravaggio
admirable colour
ing; great mag
nificence &har-
mony of com-
jwsition; a gay
and lightsome
manner
his master's excel
lencies with
more grace and
correctness

great knowledge
and execution
of the Clair-
obscure ; high
finishing, some
times a very
bold pencil and
distinct colour
ing; vast Na-
; ture.

OF MODERN PAINTERS.

3'S

Painted

Country, Place, and
Year of their Death.

History
History His.Por.Perspec, Build ings,
placesillumin
ated by
fire and
candles
Low Life

History,
Portraits Lands.cape

Portraits,History

jo History, Portraits LowLife

Leyden - ¦
Nancy Paris; Paris
Antwerp
Steinwick -

Antwerp
Antwerp

Miniatur. Landsc. with fi
gures

Utrecht

l63416331641i6ci1603

1640
1651

Antwerp - 1641

Antwerp ; London 1641

 - . 1674

1660

78

42

68

74

Principal Works are at

Nancy, Les Jesuits.
Paris, in many Churches.

Flanders, Holland, &c. Dus-
seldorp ; the Elector Pa
latine's Collec. France,
Palais Luxemburgh, &c.
England, Whtehall, &c.
Genoa,St. Ambrosio, &c.
Genoa, Pal. Durazzo, Sec.
Flanders, Holland, &c.
France, Versailles, &c.
England, the Pembroke
and Walpole Collections,
&c.
France, King's and Mon-
. sieur's Collections, &c.
&c. Florence, the Palace,
Amsterdam, &c

Many Cabinets.

3*6

A CHRONOLOGICAL LIST

Names.

Studied under

John Brueghel, called Old Brueghel, his fa-
Velvet Brueghel ther

Moses, called the Little

F. Dan Legres
Gaspar Craes - - -
5 Bartholomew Briem-
berg
John Assejyn, called
Little John
Francis Snyders - -

Corn. Polembourg

Young Brueghel
Coxis - - -
studied at Rome
Esaias, Vander Velde
painted with Rubens

Ert Veest . - -
Lewis Cousin - - -
id Philip Vauvremans
Gerard, Daw - -
Pietro Francesco Mola
Giov. Battista Mola .
Giacomo Cavedone
j 5 Agostino Metelli .
Ang-eloMichaleColonna Giov. Benedetto Castig
lione, detto, II Ge
noc'sS

Excelled in

extreme neatness-
and finishing

John Wynants - -
Rembrandt - - -
Albani, Cav. Arpino
Albani - - - -
Ludov. Caracci

Ferrantino - .
Paggi, Vandyke

strong painting
the same

OF MODERN PAINTERS.

3>7

P^l n tpA 1

Country, Place, and

1 a 1 1 1 1 CJ..1

Year of their Death. '

Little

Brussels - .

162 c

Landsc.

with fi

gures,
animals
& flow
ers
Small
1 .
1650
Landsc.
with fi
gures
Flowers
Antwerp
1666
Brussels
1669
5 Landsc.
— 1- - -
1660
Landsc.
— . -
1660
Animals
Antwerp -
1657
dead Se
alive
Sea-fights
Brussels
, 1670
Tem
pests
 -
1670
10
Haerlem
1668
Little fi
Leyden
'474
gures
History
Como; Rome
1666
History
1
„___
Landsc.
History
Bologna •
1660
^Buildings,
Bologna; Spain 1660
Perspec
tive
v
Buildings
Bologna
1687
History
:-V • -
Genoa - .
Principal Works are at
Rome, Monte Cavallo ; Pal.
Costaguti, &c. .
Bologna, St. Michaeli in
Bosco, &c. . .
Bologna, &c.
Bologna, &c.
vt

A CHRONOLOGICAL LIST

Names.

Pietro Testa . -
Matthew Platten, called
ll"Montagna
FrancescoBafbieri, det
to, II Guercino da
Cento

Studied under

Pietro Berrettini, detto,
Pietro da Cortona

5 Antonino Barbalonga
Andrea Camaceo -

Andrea Sacchi

Simone Cantarini -
Cav. Carlo Cignani

io Pietro Pacini ...
Giov.AndreaDonducci, detto II Masteletta
Alessandro Tiarini -
Leonello Spada
Giov. Andrea Sirani
15 Elisabetta Sirani .
Giacomo Sementi -
Francesco Gessi -

Domenichino -
Asselyn - - -
the Carracci

Baccio Ciarpi
Domenichino
Domenichino
Albani - -

GuidoAlbani

Excelled in

Annibal Caracci
the Caracci - -
Prospero Fontana
| the Caracci - -
Guido - - -
Andrea, her father
Guido - -
Guido ...

capricious '< - and
strange designs

a medium be
tween , the Ca
racci and Cara
vaggio ; he has
two manners,
one a dark and
strong one; the
other more gay
and gracious
noble 'a composi
tions ; bright &
beautiful co
louring

a colouring more
languid than
Pietro Cortona,
but extreme de
licate & pleas.
ing
noble, bold man
ner and bright
colouring

good imitation of
his master

Painted

Country, Place, and
Year of their Death.

History, Whims
Searpieces History

History'
5 History
HistoryHistory

History History

io History,
History HistoryHistory History
15 His.Por
History
History

OF MODERN PAINTERS. 310,
Principal Works are at

Lucca . . 1650
Antw. Venice 

Cento nel Bolognese;
Bologna - 1667

Cortona; Romei669
Messina - - 
Bevagna; Rome 1657
Rome; Rome 1661

Pesaro; Bolognai 648
Bologna ; Bologna 1719

39

76

Bologna
BolognaBologna
Bologna Bologna Bologna Bologna
Bologna

160216C51668 1622
1670 16641625

Rome/Vigna.Ludovisia, St.
Peter's; Grotto Ferrata.

Rome, Pal. Barberini, Pal.
Pamfili, Chiesa nuova,St.
Peter's, St. Agnes ; Flo
rence, Pal. Pitti, &c.
Rome,St. Andrea della Valle,
Chiesa dei Theatini, &c.
Rome, St. Peter's, St.Giov.
in Laterano, Pal. Pales-
trina, Sec.
Rome, Pal. Barberini, Sec.
Chiesa di St. Romualdo,
St. Carlo di Catinari, Sec.

Bologna, Pal. Davia, Cer
tosa, &c.

Bologna, &c.
Bologna, Sec.
Bologna, Sec.
Bologna, &c.
Bologna, Sec.
Bologna, &c.
Bologna, &c.
-Bologna, &c.

320

A CHRONOLOGICAL LIST

Names.

Lorenzo Garbieri - -
G.Francesco Romanelli
Diego Velasquez -
Alessandro Veronese
Mario de Fiori - -
Michelangelo del Cam-
pidoglio
Salvator Rosa - -

II Cav. Calabrese - -
Ferramola Fioraventi

io II Maltese - - - -
Claude Gelee, called
Claude Lorraine

Nicolas Poussin

Studied under

Lud. Caracci -
Pietro Cortona -
Francesco Pacheco
Felice Riccio

Fioravante - - .
Spagnuletto and Da
niel Falcone

Guercino .

Godfrey Wals ; Ago.
stino Tassi

Quintin Varin -

Excelled in

great fire & force
a weak but agree
able manner

savage Se uncouth
places ; very
grcit and noble
style ; stories
that have some
thing of horror
or cruelty

rural and pleasing
scenes, with va
rious accidents
of Nature, as
gleains of sun
shine, the rising
moon, &c.
exquisite know.
ledge of the an
tique ; fine ex
pression ; skil
ful and well-
chosen compo
sition and de
sign. Scenes
of the country
with antient
buildings and

-OF MODERN PAINTERS.'.

3*}

Painted

Country, Place, and
Year of their Death.

HistoryHistoryPortraits History
5 Flowers
Flowers & Fruits
Landscs. History

History
Vases,In- strum-
entsCar. pets, &
Still-life
io the same
Landscs.

History, Landsc.

Bologna - 1654
Viterbo; Rome 1662
Spain . .1 660
Verona - - 1670

Rome -
Rome -

1656 1670

Naples; Rome 1673

Calabria Brescia

1688 1512

Principal Works are at

Bologna, &c.
France, &c. Rome, &c.
Rome, Pal.Pam'fili ; Fralnce,
Louvre* ¦ 1 '; -
France, Versailles', &c.

Rome,Pal.Palavicini ; Paris,
the King^s Collection J&c.

85

Toul; Rome 1682 82

Andilly; Rome 1 665

V

Ml:
Rome, St. Andrea della
Valle, &c._  *j
.m -:¦ '-. ¦ "1
- - :..-: :. 'J

Rome, Pal. Chigi, Altieri,
Colonna; many Collec
tions,

France, Versailles, Palais
Royal, &c. Rome, Cav.
Pozzo's Collection, and
in many more elsewhere.

VOL. III.

3»

A CHRQNQLOSICAL LIST

Narriesi' -

Studied under

Excelled; in

historical fig,
ure&intermixed

Gaspar du Ghet, called

Nicojas, (his brother*

a mixture of Ni.

Gasper Poussin

in-law

colas & Claude

- '.*,

. . ,

Lorraine'sstyle

Mustache Le Sueur - -

Simon Vougt ,

simplicity, digni
ty, and eatirecu

ness of styte, he
isj: oalled the
, t " , ' " ' ' ' ^
FreacMUftello
Michelangelo, delle Bat-
Mozzo of Antwerp r.
] ¦.-.;.... %. :.
taglie
Jaques Stella ...
his father ...
)
painted upon mar.
ble frequently
j. Carlo Maratti - - -
Andrea Sacchi - -
1
Luca Giordano - ,
Lo Sp&gnuoletto , .
...
Charles Le Brun ¦ - -
Simon VouBt ; Ni
colas Poussin .
Cav. Giacinto Brandi
Lanfranco - . .
Ciro Ferri - . - -
Pietito Cortona - -
I OF MODERN PAINTERS.

3«3

Painted

Landscs. Rome

Country, Place, and
YeatoftheirDeath.

History

BattlesHistory, Min.
5. History History HistoryHistoryHistory

Paris

1965

1655

Lyons; Paris 1647
Ancona; Romei7i3

Principal Works are at

Rome; Paris, Sec.

38 Paris, the Chartreuse and
Hotel iii the Isle Notre
Dame, &c.

NaplesPins

17051690

Poli; Rome 17 13
Rome - - 1689

5i

Lyons ; Paris, &c.
Rome; many Churches and
Palaces, &c,
Versailles. Rome, &c.
Rome, St. Agnes, Pal. Monte
Cavallo, St. Ambrogio,
Sec. Florence, Pal. Pitti.

Y %

LIST OFPAINTERS
Mentioned in the foiegqing Table, arranged in
ALPHABETICAL ORDER.

A
Afcrge. No.
GRESTI, Livio,  308 14
Albani, Francesco  310 6
Albert Durer. See D.
Alberti, Cherubino .  312 4
Albertinelli, Mariotto .  296 12
Allori, Angelo, II Bronzino .  306 1
Allori, Alessandro  306 2
Andrea del Castagno. See C.
Andrea Mantegua. See M.
Andrea del Sarto. See S.
Angeli, Filippo d'  ... 312 6
Angelo Michael, il Caravaggio  308 19
 Buonarotta  2:98 1
Antonella da Messina  294 14
Antonio da Correggio. Seet.
Aristotile, Bastiano  302 10
Arpino, Cavalier'. See Pini.
Asselyn, John  • 8*6 6

326 ALPHABETICAL LIST
B Page. No.
Bactfi& ..... y . . f  ,  296 13
Badalocchio, Sisto  010 8
Bagnacavallo, II,  $....-. 296 5
Barbalonga, Antonino  '. .', 318 g
Barbieri, Francesco  318 3
Barocci, Frederico  308 17
Bassano, II, 

Francesco ...
Leandro . .
GiambattistaGirolamo . . j

2

3
3°84 4.
56

Battaglie Michelangelg delle .  '. 322 3
Be'ccafumi, Domenico  302 " 6
Bellini, Giacomo "J : j* 19
 Gentile . > . .  '".... 294-4 20
 — Giovanni J 1,21
Bernazzano da Milano ............ 300 1 1
Berrettini, Pietro  318 4
Bezzi, GioV. Francesco  302 13
Bigio, Francia  300 1
Bol, John  306 11
Bologna, II,  300 8
Bolognese, Nicolo  300 9
Bonvincino', Alessandro  304 io
Bordone, Paris  304 17
Brandi, Cav. Giacinto  022 8
Briemberg Barth  316 c
Brill, Paul . . -i f 8

Matthew

}  ;  ¦•¦ ' *12{

OF;PAiNTERS. ,0u jt1
Page. No.
Brorizino Il> See Allori.
Bruges* John of ............. -  304 i
Brueghel* John  ; . - ' 3.16 - i
— — , ,.r .., Peter . ........... ........ . i .... 904. $
BuffalmaccQ, Buonamico ..  . «.:. 294 4
Buonaeorvi, Pierino  .......... 298 ib
Buonarotta Mich. Angelo  298 i
- t . . . ¦
'  * C
Cagliari, Paolo • • V" j"21
-^  --Carlo'. . I  0-)^
 Benedetto j | 23.
 Gabrielle -J U4
Calabrese, II Cav. ......'.,."..'.'.. 32b ?
Calvart, Didnigi .,.....'..'.  302 £2.
Camaceo, Adrfea ............... 318 _ 5
Campidbglid, Michelangelo' del; ....... 320 S
Cantarini, Simone ....'..  318 8
Caracci, Ludovico ...,,,,.....•• 3°^ 2°
 — Agostino "1 T I
 Annibale J- . . .  3104 a
— . — 7— Antonio J . L 9
Caravaggio, II. See Amerigi
Caravaggio, Polidoro da, ............ • 300 i(J
Carlo Maratti  322 5
Carpiv Girolamo da,  362 18
Castagno, Andrea del  294 16
Castiglione, Giov. Benedetto  316 if
Cavallini, Pietro  . . • 294 6
Cavedone, Giacomo  3*6 *4
Cento, Guercino da. See Barbieri
C<5si, Bartoloiheo  . 302 21
I

jz* ALPHABETICAL 3JST
...il ..>•» Page. No.
Cignani, Cav. Carlo ............. . -. v* 318 9
Gigol^-H . .  v'' 31B 2
Cimabue^ Giovanni ....... .  294 1
GJaude Lorraine . ..... .  . . 320 it
Giovio, Dom. .Giulio . .  '.  .304 23
Cock*. Matthias .  - . . . , 304 9
Golonnaji Angelo Michale • • •  ¦•»« 316 16
Correggio, Antonio da, . .  296 11
Cqrtona, Pietro da. See Berrettini ..
Cosimo, Pietro de  . -296 14
Cosmo'RoselH. ' See Ri • • • r . ;„
Coujsin, Jean  :....- ,-.306 9
—.  Lewis  316 9
Cqxis, Michael .  306 10
Craes, Caspar  316 4
Credi, Lorenzo di  298 . 7
>: ir.: ... D • •
D2nielo,jPekgri-noda san  .300 13
Da Ponte, Giacomo  308 a
Da Vinci, Lionardo. - See L. • • '¦
Daw Gerard  . . -- 316 11
Degl' Impiccati. See Castagno.
De Vos, Martin  -.  -. 308 , 10
Domenichino,- II  310 3
Donducci, Giov. Andrea %  318 11
Dosso, II . •..•.•.-.•.-. . . ¦ . .  300 10
Du Ghet, Gaspar ¦.  322 1
Durer, Albert- .¦ . t  , ...... -.- 304

' F

2

Fabriano, Gentile del  294 17

OF, PAINTERS. , 32q
Page. No.
Facini, Pietro , .  3xg 10
Faenza,, Marco. da ...... .,  ^o6 -ft. c <
Farinato.lPaolo  ...-;-. g0g .iz,,
Fattore, II  sg8 g
F«rri, Giro .,,,.,  ,  g22 9
Feti, Domenicp . ...,,..,...  „12 4,;, „
Fiesole, Fra, Giov. Angelico da . .,  2g4 ,,
Fiorayenti, £enamola  ,.....;. 320 q
Fiori, Mario.de , . .  020 «p
Eloris, Francois ,.,.....  o0. lt
Fontana, Prospero /) r ,-
 — Lavinia .J. . , . (.6
Fradel Piombo. Sse Sebastiano v
Franceschi, Paul  008 a
Frano -Flore, See Floris ,,...,-*
Francia, Francesco  206 4
Francuzzi, Innocenzo  2qg g
G
Garbierio, Lorenzo  020 t
Garbo, Raphaelino del  2a6 15
Garofalo, Benvenuto  302 11
Gelee Claude. See Claude Lorraine
Geminiano, Vicenzo da San  298 6
Gentile del Fabriano. See F.
Gentileschi, Orazio  gia 0
Genga, Girolamo  3©2 g
Gessi Francesco  318 Xj
Ghillandaio, Domenico  ¦ t . . . 294 22
Giordano, Luca  322 6
Giorgione, Giorgio  296, 10

336 ALPHABETICAL LIST Page. No,
Giottiflo, Tomaso . ......... ^ .. . 2^4 9
, Giotto . . . ¦ . ¦ . .• . .-..-..•. . . . . i, ." t S94 3
Giovanni da Udina ••• . >..>..»>»»,. 298 13
Giovanni Martino -da Udina* • See M» • >
Girolamo Romanino . i 1 , 1 <<•-><<< 1 304 So
Girolamo da- Sermonetta . » .• » » t 4 .-.'. . g&6- 6
X5irolaMO di Titiano .•  ,-..¦*, 304 16
Girolamo da- Trevigi . * < ....-.-..-. -j . 3&0 15
Giulio Romano  298 10
Gobbo, Pietro Paolo .*..<...*..... 312 10
Guercino da, Cento ... *  . . . . 368 21
Guido Reni  310 4
H
Hans Holben  f 304 6
Heemskirke, Martin-  ,  004 1Q
Hoefnaghel, George  306 14
Holben, John. See Hans Holben
I&J
Jacob, Lucas  30^. ^
II Begnacavalto. See B. and so of other names
with II prefixed
Imola da. See Francuzzi
Impiccatti Degl'. See Castagno
John of Bruges  g04 ',
L
Lanfranco, Cav. Giov  n10 c
Le Brun, Charles  „22 ~
LeClerc, Jean  gM 2

OF PAINTERS. &*
Page. No.
Legres, F. Dan.  316 3
Le Sueur Eustache .............. 322 2
Licinio da Pordenone  300 14
Ligorio, Pirro  304 22
Lionardo da Vinci  2g6 9
Lippi, Fra. filippo  .•  «94 15
 Filippo  296 t-
Little John. See Asselyn
Lorenzetti, Ambrogio  294 5
Lorenzo di Credi. See C.
Lorraine Claude. See C.
Lotto, Lorenzo  30a 4
Luca Giordano  322 6
Luca d'Ollanda . .  304 4
M
Maltese II, .  320 10
Manfredi, Bartolomeo  312 13
Mantegna Andrea  294 24
Maratti, Carlo  322 5
Marco Bart, di S. See Baccio.
Marco, da Sienna .  308 15
Martino, Giov. da Udina  300 12
Masaccio  294 12
Massari, Lucio  310 7
Massolino  294 1 1
Masteletta, II  318 11
Matsys, Quintin  304 3
Maturino, II  300 17
Mauro, II  , . . .' 29$ 7
Mazza, Damiano  304 15

33z ALPHABETICAL LIST Page. No.
Mazzuolo, Francesco  302 1
Meccarino  : • • 302 6
Memmi, Simon . .  294 7
Messer JNicolo. See Bolognese
Messina Antonella da. See A.
Metelli, Agostino  316 15
Mezzuoli, Girolamo  302 2
Mkhael Angelo Buonarotta  298 1
-  U4  ¦¦ — il Caravaggio^ See C
Michelangelo delle Battaglie  322 3
Miervelt Michael John . . •  306 20
Milano', Bernazzano da. See B.
Modena, Peljgrino di. See P.
Mola, Pietro Francesco  316 12
 Giov. Battista  316 13
Mompre, John  312 17
Monsigriori; Francesco  302 5
Mbntagria, II  •  318 2
More, Anthony . •  306 13
Moretto, II- ••  304 19
Moses the Little  316 2
Murano,' Nadalino de. See N.
Muttano, II  304 21
< - N
Nadalino di Murano  304 14
Naldino, Battista  306 7
Napolitano, II  312 7
Nicolo del Pomerancyo  306 8
Nicolo, Messer. See Bolognese
Noefs, Peter  314 4
Nosadella, II  302 13

OF PAINTERS. 335
O Page. N9,
Orgagna, Andrea  ....'..... 294 8
Otho VeiiIus  314 1

P
Paduano, II  312 " i
Palma Giacomo  302 3
Parmegiano, II  302 i
Passerotti, Bartolomeo & tre figli  302 15
Passignano, Cavaliere  312 g
Paul Veronese .  30$ 20
Peligrino dj Modena .  298 11
Peligrinoda San Danielo  '.. 300 13
Penni, Giovanni .Francesco  298 9
Perin del Vago  298 12
Perligirto Pietro  296 2
Peruzzi, Balthazar  ,  298 8
Pietro da Cortona  318 4
Pini, Guiseppe  310 10
Pinturichio, Bernardino :  296 3
Piombo, FpadeJ. . See Sebastiano
Platten Matthew,  , ,  318 2
Polembourg, Cornelius  314 xj,
Polidoro da Caravaggio  300 16
Pomerancio, Nicplp del. See N.
Ponte, Giacomo da . . ............ 308 2
Pontormo, Giacomo , . . .  302 . 7
Porbus, Peter  306 12
Pordenone, Licinio da. See L.
Poussin, Nicholas  320 12

334 ALPHABETICAL -LIST Page. No.
Poussin Gasper  . 322 : 1
Primatticcio  300 8
Procaccini, Ercole..  . 302 14
— ,  Camillo  306 15
—  Guilio Cesare  306 16
Puligo, Domenico  •  298 4
Q
Quintin Mafsys  : . . 304 3
R
Raffaglle Sanzio d'Urbino  ~. . . 298 2
Ramenghi, Bartolomeo  296 q
Raphaelino del Gaiho. See G.
Regillo, Giovanni Antomo  300 14
Rembrandt  ..,-..«.., 314 1Q
Reni, Guido. See G.
Riberi, Giuseppe  -  312 16
Ricciarelli, Daniel . . •  302 18
Robusti, Giacomo  308 7
Rocca, Giacomo .  308 16
Romanelli, G. Francesco  32b 2
Romanjno, Girokilro  304 20
Rombouts, Theodore  314 6
Rosa, Salvator. See S. -
Rosselli, Cosmo  294 21
Rothenamer, John  . ; 308 11
"Rubens, S, Peter Paul  314 8
S
Sabattina, Lorenzetto  300 4
Sacchi, Andrea  318 7

PF PAINTERS. 33$
Page. No.
Salvator Rpsa  gao f
Salviati Franpesco  302 17
gami$aehini,Ora.zip  , . . 300 3
§an Danielo.. See D.
$an Geminiano, Vincenzo da .. ,,,,.,, 298 6
Sanzjp, Raffaelle. See R,
Saraqino, Carlo  312 14
Sarto, An°Tea 4eJ • ••'.•'.•.  '- 29^ -*-4
Saveifi, Roland  312 12
Schiavone, Andrea. , . .  304 18
Schorel, John ....... . ,  , . : 304 8
Sebastiano  , . . . , 300 2
Segres, Gerard  314 7
Sementi Giacomo y  \ n ?¦
A C318 16
Sermonetta, Girolamo da. See G,
Sienna, Marco da. See M.
Signorelli, Luca ...... '. .  296 £
Sirani, Giov. Andrea 1 g f 14
 Elisabetta .J I 15
Snyders, Francis  , 316 ^
Sodoma, II • .  302 9
Spada/Leonello  3l8 *3
$pag8«oletto, Lo  312 l5
gprangher, -Bartholemew . .;....,.. 306" 19
Steinwick, Henry •  314 5
Stella,;>ques .  ' 322 4
Strada, John  306 18

. . T
Taffi,Andrea,  '-*94-

2

53o ALPHABETICAL LIST Page. No.
Tassi, Agostino .  •  • • 3*2 *?
Tempesta, Antonio . ....•..-.•.'-. . 1 31a 21
Testa, Pietro  • • •'• • •'•'•' 3l8 *
Tiarini, Alessandro  318 12
Tibaldi, Pelestrino .  : . . 300 7
Timoteo Urbino  • 29? 5
Tintoretto, II  308 7
_  Marietta  - - • 3°8 8
Titiano Vecelli  298 3
 Girolamo di  i  3°4 x&
Trevigi, Girolamo da  300 *<5
Turbido, Francesco  296 7
U
Uccella, Paolo  '. .-  294 *0
Udina, Giovanni da. See G.
G. M. de. See M.
Urbino, Raffaelle Sanzio d'. See R.
 Timoteo. See T.

~s

y .
Vago, Perin del  , . . . . 298 1a
Valentino, II  312 15
Vandensyde, Roger  304 7
Vandyck, Sir Anthony  314 9
Vanni, II Cavaliero Francesco  308 18
Van- Veen; Octavius . .  314 1
Van-Winghen, Jude Indocus ........ 306 17
Vasari, Giorgio  302 17
Vauvremans, Philip  316 IO
Vecelli, Titiano  298 3

OF PAINTERS, 337
Page. No.
Vecelli Francesco 7 r 12
 !n ¦ i  3045
¦  >• Orazio , J ^13
 Marco  ,.,«.., 308 13
Vecchio, II  . .  302 3
Veest, Ert  316 8
Velasquez, Diego ,  320 3
Velvet Brueghel ,  316 1
Venusto, Marcello  ,  306 4
Verocchio, Andrea .  <• • • 294 23
Veronese Paul  306 20
' Alessandro , . .......... 320 4
Verzelli, Giov. Antonio da . .,.,..., 302 9
Vicenzo da San Geminiano  298 6
Vinci Lionardo da, See L.
Viola, II  .,  - 312 "
Volterra, Daniel da . . ,  302 *8
Vos, Martin de . . ,  308 10
Vouet, Simon . ,  314 &
Vroom. See Wroon, W
Wroon, Henry Cornelius ,  r • - 312 18
Z
Zaccolmo, Fra. Matteo  . . . . , 312 20
Zampieri, Domenico ,  310 3
Zelotti, Battista ,...,....-•••• ? 3°^ 1
Zucchero, Taddeo - 7 ^  302 J*9
r-  Frederico 3 t s«»
VOL. HI* 3

GENERAL INDEX.

A
jl\.C ADEMY, the advantages, of, i, 9, 10, 1 1 . ¦¦
Academy Royal, Observations on its foundation, i. 5, 6, 7.
 peculiar advantages of, i. 10.
 particulars of the origin of, xxxvii— xl,
8c n. .
Accident, how far favourable to Painters, ii. 103 : iii. 82.
To Architects, ii. 103.
Action, the principal requisite in a subject for History-
painting, iii. 104.* — See iii. 124.
Affectation, a hateful quality, i. 111, . 2.58: iii. 133.
,  contrast to Simplicity, i. 259.
Agamemnon,— See Timanthes,
Albert Durer, — See D.
Allegorical Painting, defence of, i. 214. Some by Reu-
bens, condemned, ii. 256.
,  not adapted to Christian Churches,
«• 3°5 ; 355-
Amsterdam Pictures at, ii. 354,355 ; 369, 370 — TheStadt-
house, ii. 354— AVharf-Office, ii. 356-^Surgeon's-
Hall, ibid. — Mr, Hope's Cabinet, ii. 358. — Mv.
Gart's, ii. 363.
Anachronisms in CJhurch-pictures, how far excusable,
z 2

34e INDEX.
Analogy of the several Arts ; utility to be derived fromj
ii. ill.
Angelo Michael, — See M.
Antique, the Model tobe copied, iii. 48,
Antwerp, Pictures at, ii. 277-336.
Apollo, Statue of, criticism on, ii. 19, 20.
.... Drapery of, remarks on, ii. 28.
Apostles, Statues of, in St. John Lateran's Church, de
fects of, ii. 30.
Architecture, hints as to the principles of, i. ii. 136,8c seg,
Artist, the qualifications of, iii. 82 ; 86 — See Study ; imi
tation, &c.
Arts, one cannot be engrafted on another, ii. 334. ¦
. . . what is the object and intention of them all, ii. 142,
B
Back Ground, in Pictures, rules as to, iii. 71 ; 152 ; 154.
Bacon, an observation of his on Painting, disputed, i. 61.
Bad Pictures, in -what respect useful, i. 272 : ii. 379:
iii. 163.
Baroccio, his defect in colouring, iii. 178.
Bassano, his excellencies, i. 218. — See iii. 267.
Basso Relievo, improvement of the Moderns in, ii. 33.
Beauty, ideal ; what, and the notion of i£ how to be
¦'-¦./' pursued and acquired, i. 59: iii. 30, &c. ; 100,-103;
179; 223.
..* . . -.'! . - the foundation of, i- 59, 60, 61: ii.
237. 238.
. ,  its varieties,!. 62.
 of form alone, one gfeat excellence in
j Sculpture, ii. 16 : iii. 113. — See Nature. - ' "
Bellino, Titian's first Master, Anecdotes of, iii. 204.

INDEX. 34l
Bellori> his fanciful Idea of a Painter, iii. 220, &c.
Bernini, a fault of his Statue of David in point of .ex*
pression, i. 87. ; . ,
 his general faults, ii. 27. , .z.y .
Bishop's Ancient Statues ; an error in, corrected, ii. 200.
Black, its effect in Painting, iii. 6g.
Bologna, peculiarly worthy the attention of travelling
Painters, i. 39. — See Schools if Painting
 John de.— See Rape of the Sabin.es.
Boucher, Anecdote of, ii. 105.
Bourdon, Sebast. his Return ofthe Ark praised, ii. 168. '
Brueghel, (Old) his merits and defects, ii. 408.
Bruges, Pictures at, ii. 249—252.
Brussells, Pictures at, ii. 259—270. C
Candle-light ; See Colouring.
Caracci, Annibal ; his exactness in copying from Models,
i. 19.
 one of his best Pictures, ii. 387.
 his character, iii. 90 ; 210. .
 Augustino, and Antomo ; Anecdotes of,
iii. 210.
....... .Lodovico; the excellence of his style, i»
what pieces exemplified, i. 38.
.  how he employed the, ornamental style,
i. 122.
 his mode of colouring, iii. 155.
........ Anecdotes of, iii. 210.
Carelessness, discouraged, i. 74.
Carlo Dolci, a tolerable picture of his, ii. 388.
Carlo Maratti, his opinion as to Drapery, i. 90.

34* IND E X.
Carlo Maratti, his style of painting, artificial, i. 183.
........ his want of capacity, i. 171.
. . » .  his defect in colouring, i. 273.
Character, locality of, fault of introducing, i. 103.
#..'.... .. perfect, unfriendly to Painting and Poetry,
ii. 270.
Children, Sir J. Reynolds's opinion of their natural grace,
fulness, i. lxxxviii.
Chorus in a Tragedy, Dryden's observations on, iii. 266.
Chromatick part of Painting ; — See Colouring..
Churches^ arguments in favour of ornamenting them
with Paintings and Sculpture, ii. 338, &c.
Cignani, Carlo, his Ascension of the Virgin, condemned}
ii. 385.
Cologne, Pictures at, ii. 406 --409.
Colouring, the new method of, noticed, i. lvi, Ivii, & n.
See Reynolds, Sir Joshua, & V.
 art of, not tp be attained solely by copying, 1.33^
 the third. part of Painting, iii. 56.
..... .-rules with respect to, i. 88 : iii. 58, &c. — As
to the reflection- of Colours, iii. 65— ^Their union,
ibid. — Breaking, ibid. — The interposition of Air,
iii. 6j. — The relation of distances, ibid. — Of bodies
- distanced, ibid. — Contiguous and separated, iii. 68.
— Opposite colours not to be joined, ibid. — Diver
sity of Tints and Colours, ibid. — Practical Rules, iii.
70. — Vivacity of colours, iii. 71. — See Light.
 cautions as to excellence in, i. 101 : iii. 178.
—See Style, Splendour of; Rubens,
 essentially requisite in flower.painting, i. 107.
 advantage of candle-light to, ii. i<jij. — See
ii. 157,

INDEX. 34J
Colouring, of old pictures, how to be considered, i. 33.
 of the Venetian School, faults of, i. 96 ; ex
cellencies of, iii. 175, 6.
 of Le Brun, and Carlo Maratti, defects of,
i. 273.
 of a single figure, iii. 134.
 number of colours to be used, iii. 142.
 harmony of ; the various modes of producing',
in the Roman, Bolognian, and Venetian style, iii.
155, 6; 160.
 of modern Painters, defects of, iii. 162.
 compared to expression in Poetry, iii. 272.
Composition ; what, iii. 108. — See Invention.; Genius ;.
Whole.
Connoisseurs, mock, ridicule on, ii. 223. — See iii. 165.
Contrast, to be managed skilfully, i. 265 : iii. 43—46.
Copying, the use and abuse of, i. 31, 32, 33.
..... practice of, how to be regulated and made the
means of instruction, i. 35— 39 : ii. 147; 211.. — See
Raffaelle: Imitation.
 Liberty of, allowed in the Dusseldorp gallery,
"•375-
Correctness, the essential beauty of Sculpture, ii. 18.
 of design, the natural foundation of Grace,
ii. 18.
Correggio, contrasted with Rubens, ii. 123.
 „ his character, iii. 89; 178; 207.
Coxcis, his Christ mocked by the Jews, praised, ii. 264.
Coypell, his Picture of the Deity, censured, i. 256.
Crayer Gasp, de, a large picture of his in the Dusseldorp
gallery, condemned, ii. 378.

344 INDEX.
Criticism, falser instances of ; See Connoisseurs-; Bacon!
Duplies'; Felibien: Fielding; Plato; Pliny. :
 true; ground of, ii. 113: iii. 166.
Cuyp, a good Picture of his at Mr. Hojfe's, Amsterdam*
"• 359- D
Danoot, Mr. his Cabinet of Paintings at Brussels,
ii. 265.
Defects in great Painters, to he pardoned j not imitated,
or admired, i. 166.
Deity, personification of, iii. I79. — See CpypelL
 ,  by Michael Angelo, praised,
ii. 223 ; by Rubens, ii. 305.
Dense bodies, how to be painted, as distinct from pellucid ;
as in air or water, iii. 61.
Design, in Painting ; a matter of Judgment, . in which
facility is apt to produce incorrectness, ii. 83.
..... assisted by sketches, ii. 85. — See Sketches and
Copies, ii. 86. — See Copying.
..... the Second partof Painting, iii. 38.
De Vos, Simon, an excellent portrait-painter, ii. 30,3.
Dexterity in Painting, what, ii. 48.
 its value and effect, ii. 61 ; 309,
310: iii. jj; 164.
Diligence, requisite to perfection in painting, i. 13- 16;
40 5 46 : ii. 80, 81 ; 215 : iii. Si.
...... but under certain restrictions, i. 16: ii. 66.
 < false; instances of, ii. 66 ; 78: iii. 76. — See
Genius.
Discobolus, Statue of, compared with the Apollo, ii. 21.
3

Index, 34s
Discourses, Sir Joshua Reynolds's ; reason and origin of,
ii. 184. See Sir Joshua Reynolds.
Disposition, or GEconomy of the whole, in painting,
/ iii. 155.
Domenichino, his Susanna, in the Dusseldorp galleryr
ii. 385.
-  Anecdotes of, iii. an.
Dow Gerard, pictures by, ii. 362 ; 365.
 his Mountebank, in the Dusseldorp gallery,
condemned, ii. 382.
Drapery, art of disposing in painting, i. go: ii. 361 ; 392;
424: iii. 49; 52; 135.
..... in Sculpture ; remarks on, ii. 26, &c.
Drawings, See Sketches.
Dress, unfriendly to true taste, in the Painter or Sculptor,
i. 211 : ii. 35: how to be remedied, iii. 154.
.... of Taste in, i. 230 : its effect on painting, ,i. 232.
Dumb Persons, how far action is to be learnt from them,
iii. 41 ; 124.
Dupiles, instance of his false criticism, i. 255. ,
Durer, Albert ; cause of his defects, i. 71 : iii. 213,
Dusseldorp gallery, pictures' in, ii. 375—405.
Dutch School, See Schools of Painting.
E
EckhoUT, an imitator of Rembrandt, ii. 365.
Engravings, observations on their differing from the paint
ings they copy, in light and shade, ii. 316; 320; 323.
Enthusiasm, danger of, i. 35 ; 5^: good effect of, ii. 157
Euripides, a saying of his, i. 142.
Examples, See. Copying; Imitation.
Excellencies inferior, when necessary, i. 106, 7.

34« IN'DEX.
Excellencies superior, the greater object of attention,
i. 116; 141; 156: in what they consist, i. 120:
iii. 75.
.  various, union of, how far practicable, i.
112—122: iii. 167.
 contrary, absurd to suppose them to exist
together, i. 118.
 choice of, how to be made, i. 121 ; 156.
 subordination of, i. 122.
Exhibition of Paintings ; merit of the Royal Academy in
contriving and promoting, ii. 182.
Exhibitions of the Royal Academy, the average produce
of, from 1769 to 1780, i. xxxix, 8cn.
 from 1780 to 1796, ib.
 the year of the greatest receipt from them,
ib.
Expression, in Historical Paintings, how to be regulatedj
i. 87.
 in Sculpture, in what it consists, and why in
general indistinct, ii. 20, &c.
F
Facility, in drawing, how to be acquired, i. 41 : iii. 78;
— See Dexterity.
Falconet, his Criticism on the Agamemnon of Timanthes,
ii. 286.
Fame, love of, in Painters, how to be regulated, i. 141.
Feet, rules as to drawing, iii. 45.
Felibien, a false criticism of his, i. 269.
Feti, Domenico, a slight resemblance between his paint
ings and Correggio's, ii. 387.

INDE X.- 3+7
Field of a picture, what, and how to be coloured, iii. 71.
— See Back-ground.
Fielding, his. Compliment to Garrick, censured, ii, 131.
Figure, single, how to be painted, iii. 49; 133.
Figures, what number of, necessary in historical pieces,
• i. 96: iii. 44; 129; 259.
 disposition of, iii. 42. — See Principal Figure.
Finishing, in Painting, how far to be studied or neglected,
ii. 54, &c. ; 66, &c.
First thoughts, hever to be; forgotten, ii. 115.
Floris, his Fall of the Angels, at St. Michael's Chapel*
Antwerp, ii. 271 : his Nativity, praised, ii. 289.
Flowers, utility of painting, and the best painters of, i. 107;
ii. 173. — See Colouring.
Formality, to be avoided in painting, iii. 46.
Forman, Helena, (or Eleanor) portrait of, by Rubens, ii..
3365 345-
Frank, Francis, his Christ among the Doctors, ii. 286.
Fresco, principal works of modern art are painted in,.
i. 123.
Fresnoy, Charles Alphonse Du, life of, iii. 15, &c.
 Pictures by, iii. 20, 21.
G
Gainsborough, reasons for praising, ii. 149.
 eulogy on, and anecdotes of, ii. 152, &c.
 the peculiarity of his manner examined,
ii. 169.
 cause of the striking resemblance of his
portraits, ii. 174.
Gart, Mr. his Cabinet at Amsterdam, ii. 363-367.

S48 ilSftfEX.
Genius j not to be relied on, to the exclusion of diligence.,
i- 44-
 the child of Imitation in Painting, i. 151.
 what it is generally considered to be, i. 152.
 what it is ; exemplified by the progress of art,
i. 153; 192. — See Taste.
 assisted by Knowledge, i. 160.
 by judicious imitation, compared to Co
rinthian brass, i. 173.
..... a just notion of, how necessary, i. 1B6.
. * * . . of a Painter, what, and how to be considered,
ii. 42.
 to be directed to the expression of
any subject, as a whole in its general effect, ii. 43,
&c. ; 61, &c. ; 416—419: iii. 97.
..... mechanick, instances of, ii. 89. — See Dexterity.
Georgione, a rival of Titian, iii. 204.
Ghent, pictures at, ii. 253—259.
Ghirlandaio, Domenico, Michael Angelo's Master, iii.
*99-
Giordano, See Luca Giordano.
Guilio, See Julio.
Gothick ornaments, See Ornaments.
Grace and Majesty in Painting, iii. 52; 136.— See Cor-a,
redness.
Grapes, a bunch of, Titian's rule of light and shade, iii.
64; 158, 9, 160.
Groups, of introducing more than one in a picture, i. 83 :
iii. 58.
 rules for disposing, iii. 43, 4.
Guido, in what respects he failed, and why, i. 118: in
395-

INDEX. 349
Guido, anecdotes of, iii. 131; 211; 227.
.... his neatness and delicacy of colouring, iii. 158,
H
Hague, pictures at, ii, 343-353,
,  , at the House in the wood, all bad, ii.
35*-
 at Greffier Fagel's, ii, 351.
 at M. Van Hecherens, ii. 352.
Halls Frank, peculiar excellence of his portraits, i. 178.
Hamilton, Gapt.Sir J:Reynolds's early portraits of i. x, &»,
Hands, rules as to drawing, to correspond with the head,
ii. 145.
Hemissen, J. de, many of his pictures attributed^ tQ
Lionardo de Vinci, ii. 145,
Historical Painting;
......... locality of character, how far a defect
in, i. 103: ii. 300; 361 : iii. 110. — See Hogarth,
 distinction- between that and Portrait
painting, i. 106; 139: ii. 249; 332; 364: iii.
134- '
......... various styles of; the grand and the
ornamental, i. 108.
 how far they can be united,
ibid.
1 , ,  , causes of its decline in England, ii.
338, &c.
,  , . requisites to be observed in, iii. 107-,
110.
-  See Figures ; Subjects, choice of.
Historical Truth; what deviations from, justifiable in,
Painting, i. 86.

35o INDEX.
Hogarth, his failure in Historical Painting, and the reason;
ii, 1.63-
Holbein, his excellence in portraits, ii. 346; 347: iii,
213.
Honthorst, Ger ; his St: Sebastian, 11,354;
Hope, Mr- his Cabinet of Paintings at Amsterdam, ii..
358-363— See "• 374-
Hudson, Mr. Sir J. Reynolds's Master, i, viii. &j«. ¦ <
. '. .
I
Idler, No. jQ : ii, 221.— .No, 79: ii. 22g.-~*No, 82 ,;
ii- 235,
Imagination, how far to be preferred to, or regulated by,
reason, ii. 116. — See Genius; Imitation.
Imitation, the means and not the end .of Art, ii, 15.
 the pleasure produced by,;ho.w tobe accounted
for, ii. 46, &c. ; 119 ; iii. 108; 254. .
 in painting ; the subject of improper censure,
i. 148,
 absolutely necessary to a Painter, 1, 150 ;
158 : and continually, i. 182. — See Painting.
 avoiding, often the effect of. presumptkw,
i. 184 : iii. jg.
 excellence the proper object of, i. 151.
....... within what bounds, and how, to be practised,
i. 161, &C. — See'Rafaelle.
 not to be confined to the works of one Master,
i. 167 : ii. 147.
 in what case to be considered as plagiarism,
i. 174. . *
....... of finished Artists, , in inferior branches of
Painting, useful, i. 177.
6

INDEX, 3JI
Imitators, servile, names of, i. 170 : liberal, i. 170, &c.
Industry, See Diligence. .
Inspiration, falsely attributed to the Science of Painting,
Intellectual pleasure, necessary to happiness in a state of
Society, ii. 5,— rSee Painting.
Invention, what, i, 28; 80: iii, 108; 256,
,..,;, how to be acquired, i, 156; 159,,
,..,.. method, necessary to, ii. 100.
...... the first part of painting, iii. 35; B56,
Jordaens, his excellency in painting horses, ii. 316 ; 351
—his Crucifixion, condemned, ii. 330.
..... his Merry-making, in the Dusseldorp gallery,
praised, ii. 377. »
,,..... his character as a Painter, ii, 394. »
Jordano, See Luca Giordano.
Julio Romano* his peculiar merits, iii. 88; 173; 202*
,  anecdotes of, iii. 202.
K
Koeberger, his Entombing of Christ, praised, ii. 262.
 his Altar ofthe Archers at the Cathedral of
Antwerp, ii. 278.
 another picture of, ii, 326.
Knoy> thyself, a precept necessary to Painters, iii. 80.
L
La Fage, his genius, mechanick, ii. 89.
Lairesse, his Death of Cleopatra, ii. 361.
 defects of his manner, ii. 411.
Landscape-Painting ; practices of various Painters re-
Jating to, i. 105.

35* IN;DEX.
Landscapes, Gainsborough's models of, ii. 154.
 mythological figures in, improper, ii, 164,
......... ipstances pf the poetical style in, well exe*
cuted, ii. 168.
Lanfranc, anecdotes of, iii. 212.
Language of Painters, what, i. 94.
Laocoon, statue of, why naked, i, 212, 213.
 -. remarks on, ii. 23,
Le Brun, defect of his colouring, i, 273 ; good portraits
by, ii. 410.
Light, masses of; theproperest colours for, i, 273, 4, 5 J
iii, 151.
.... in a picture, where to he thrown, ii. 389.
.... not more than one principal one in a picture, iii,
62; 145.
". . . . choice of, in colouring, iij. 69.
. . . t and shade ; conduct of the tints of, iii. 58 ; 146-=.
*49- ,
'-,.,". to be adapted to the situation, a picture is to be
placed in, iii. 73, 4.
» . .  breadth of ; its excellence, iii, 151* .
Love of Art, the first requisite to excellence, ii. 157,
See Study of Painting. »
Literary Club, its institution, and the names of its deceased
and present Members, i, lxxxiii— v, & n.
Luca Giordano ; excellencies and defects of, ii. 88 ; 385,
,  , his and his father's portraits, ii. 388,
M
Manner Peculiar, a defect in Painters, i. 163,
Maratti Carlo, See C

INDEX. 3S3
Massaccio; excellencies and anecdotes of, ii. 93.
Mateis Quintin, Seeg.
Mechanical excellence, in what respects of importance,
i. 104 : ii. 193 ; 370, &c See Dexterity.
Mechlin, pictures at, ii, 270.
Metastasio, anecdote of, ii. 84.
Method, not always friendly to Study, ii. f6. . .
Metsu, one of his best pictures, ii. ^6§.
Michael Angelo, his grand style in painting, i. 126.
. . ,\. . '. . . . comparison between him and Raffaejle,
i. 127. — Their respect for each other, ii. 216.
...  cause of his superior excellence, i. 196;
231: iii. 88; 173.
 effects, on various Schools of Painting,
by adopting the grandeur of his style, ii. 200.
» . .  his caprices ; defence of, ii. 205.
.  study of his works recommended ; and
rules for pursuing this study, ii. 208.
 Fresnoy's character of him, iii. 201.
Minutiae, See Finishing.
Mirror, its use to painters, iii. 72.
Models, living; rules as to drawing from, i. 17: ii. .102:
iii. 131.
.  rules as to adjusting, i., 102.
Moonlight ; Rubens's mode of Painting, i. 279.
Moser, Geo. Michael, Sir Joshua Reynolds's Eulogy on,
i. jdvi— xlviii, & n.
Mudge, Rev. Zach. his Character, i. xxxiv— xxxv, & n.
,N
Nature, forms of; not to be too closely and servilely
copied, i. 52, 54 ; 204 : ii. 307 : iii. 33, See Taste;
Beauty.
VOL. III. A A

354 IND EX.
Nature, in what respects certain Arts excell by devi*
ating from it, ii. 121. — Instanced in Poetry, ii. 222.—
Painting, ii. 127; 229. — Theatrical performances,
ii. 130. — Gardening, ii. 135,
 imperfections of ; how to be remedied by the
Painter, i. 58: iii. 47; 130; 222.
. . . . . . habits of; tobe distinguished from those of
fashion ; not only in dress, i. 64,65,66 ; — but man
ners, i. 6y. See iii. 40.
 never to be lost sight of, ii. 103. See Rules.
—iii. 41547590; 179.
Night, See Colouring. o
OperAj Italian ; defended, ii. 124.
Orange, Prince of; his Picture Gallery at the Hague,
»• 3435 35°-
Orford,Lord, his encomium on Sir J.Reynolds, i.l,li,&7z.
Oiion, Mr. his Cabinet -of Paintings at Brussels, ii. 268.
Ornaments ; form the peculiar characteristicks of taste
and style, in all arts, i. 226.
 requisite in painting, in a moderate degree,,
i. 263: iii. 52; 135; 258.
 Gothick ; to be avoided, iii. 54.
Ornamental Style, See Style.
Otho Venius, Rubens's Master, anecdotes of, ii. 250. ¦
Outline ; should be firm and determined, i. 7^ — flowing,
iii. 39. See iii. 117. P
Painters, must be. the most useful writers on their own
Art, ii. 186.

INDEX, 35j
Painters, ancient; their diligence in the' Art, i. 15.
• *  their advantages, from the simplicity
of manners in their time, i. 68.
 their peculiar excellencies, ii. 409 ;
402.
 their probable excellencies and de
fects, iii. 140—1441
 Chronological List of.
Painting, low state of that Art, in England, in 1750,
i. xxii,. xxiii.
Painting, Art of ; should, be employed to reach the mind,
i. 70 — and hence derives its value, i. 80 : ii. 6 :
iii. 177 — -what intellectual qualities of the! mind
affected by, i. 247.
 its various departments, and their merits,
i. 72, &c.
,  is intrinsically imitative, i. 148. — See
Imitation-win what sense it is not an imitation oi
Nature, ii. 119: iii- *74--i77-
......... false opinions relating to, ii. 117.
 causes of its decline; ii. 213.
,  . Invention ; the first part of Painting,
iii, 3^ — Design, the second, iii. 38. — Colouring,
the third, iii. 56. See Poetry.
Parmegiano, his first work and his last compared, ii. 194.
. . .''. . . . anecdotes of, iii. 209.
Passions; rules as to expressing, iii. 53; 137 ; 139-
 mixed; undescribable in painting, i. 119.
Pasticcio, what; and its uses, ii. 100.
Paul Veronese, See V.
Pellegrino Tibaldi, founder of the Bolognese School ; his
merits, ii, 199.
a a a

^6 INDEX.
Perrault, the Architect, defended, ii. 142.
Perspective ; how to be regulated in painting, iii. 40 $
119, 120.
....... in Sculpture, See Scdlpturt.
Peters, Mr. of Antwerp, his Cabinet of Paintings, ii. 304.
Philopcemen, anecdote of, 1.44.
Phildsophy, assistant to Taste, i. 241^
Philostratus, his rules for painting, iii. 231.
Picture-cleaners, instances of their spoiling pictures, ii,
255; 259! i6li 279 5 305; 3285 85°5 399-
Pieta, what painting so called* ii. 288, &c.
Pietro Genoese, a bad painter, ii. 395.
Pietro Perugino, Raffaelle's Master, iii. 201.
Place of a picture, See light and Shade.-
Plato, his opinion of Painting censured, ii. 1 18.
Pliny, instance of his false criticism, i. 11,9.
Poetry, -its advantages over ' painting, i. 247.
* . . . how its excellence consists in a deviation front
Nature, ii. 122.
.... comparison between that and painting, at length,
iii. 27; g6; 176; 234, &c.
Politeness, general principle of the signs of, i. 226.
Polydore, anecdotes of, iii. 203.
Pope's Homer, a remark of Dr. Johnson on, iu&oi.
Portrait Painting.
 resemblance, the -chief excellence in, iii. 73.
See Guinsborottgh.
 historical, observations on, i. 339.
See ii. 354 ; 388. See Historital Planting.
Pott, Henry, pictures by, ii. 347.
s- . . - . .,'. anecdotes of, 347, & *.

|N D E X> 3S7
Poussin, N. his opinion as to colouring, i. 101 — his defect
in, i. 273,
 his correct style qf painting, i. i36r-rchange of
his style, i. 137,
 his love of the antique, i. 136, -
 his favourite subjects; and manner qf. treating
them, i. 138,
..... defects in certain pictures qf his, arising from
false reasoning, i, 207 ; 250. See Rembrandt.
Poussin, perhaps sometimes guilty of affectation, i. 258.
Practical Instructions relative tq Painting, i. 265, &c. : ii?
loo, & V.
Practice, how to. precede, or be combined with Theory,
iii. 33; 100.
Prejudice, how to be indulged px counteracted, i. 235 :
iii. 168,
Pride, an enemy to good Painting, iii. 79.
Principal light and figure, rule as to disposing, i. 268, &c«
 figure, in particular, iii. 42 ; 125,
. . . . , the colouring, ofi, iii, 72 ; 161,
Principal circumstance in a picture, to extend not only to
figure, but to colour, drapery, &c. iii. 144.
Properties of objects ; what they are as relates to Painting,
"¦47-
JProportions of the human, figure relative to Painting and
Sculpture, iii. 114,
prudence, rules of, relative to a Painter, ill. 7^; 80; 101,
Q.
Quellinus, Erasmus, a painting by, ii. 304.
Quintin Matsis, his famous painting in the ChapeJ of the
Circumcision at Antwerp, iit 288,

358 IN D E X.
R
Raffaelle, his improvements, in Consequence of study.
ing the works of Michael Angelo, i. 9.
 his Dispute of the Sacrament ; an instance of
his exactness in following his model, i. 18.
 ^. his style in Painting, i. 124: ii. 384, — See
Michael Angelo. ' '7
 his method of imitating others, i, 168: ii. 89;
97- ,
I  his excellence in drawing, and defect in.
painting, ii. 49.
 compared with Titian, ii. 52.
T  • to what excellence he pwes his reputation,
ii. 56: iii. 88; 173.
 his noble self-confidence, ii. 81.
....... his Holy Family, in the Dusseldorp gallery,.
ii. 384.
 ahecdotes of, iii. 201.
 the reason why his works are not impressive
in the first view, i. xii.
Rape of the Sabines ; John de Bologna's, anecdote of?
ii. 24.
. ;  , , Rubens's, ii. 337.
Relief, in painting ; its excellencies and defects, i. 276.
See iii. 64. -
Rembrandt, his faults, contrasted with those of Poussin,
i. 250 — of Vanderwerf, ii. 392.
 adefect in his'picture oi Achilles, i, 280.
....... his Susannah, at the Hague, ii, 344 : other-
pictures, ii. 346,

INDEX, 359
Rembrandt, his pictures at Surgeon's Hall, Amsterdam,
»• 356. 7-
 may be considered as belonging either to the,
Dutch or Flemish School, ii. 372.
 character of his style, ii. 392.
Repose, in painting, what, i. 250.
 its advantages, i. 252 : iii. 45 ; 129.
Reynolds, Sir Joshua.
 his birth, i. iv.
.  his early inclinations to, and essays towards
drawing, vi, vii.
 placed as a pupil to Mr. Hudson, viii.
 removes to Devonshire, ix.
....... his first celebrated portrait, x.
 death of his father, xi.
 goes to Rome, xii.
....... his plan of a discourse on the history of his
mind, respecting his art, xii.
 the impression made on his mind by the
s first view of Raffaelle's paintings, xiv, &c.
 . copies made by him at Rome, xix, & n.
,  the method taken by him to discover the
principles on which the great colourists wrought, xxi :
ii. 147, 8.
 his Caricatura on Travesty of Raffaelle's
1 School of Athens, xxi.
 returns to London, xxii.
..;,... soon attracts the publick notice by his ex
cellence in Portrait Painting, xxiii, xxiv.
....... several of his most excellent Portraits enu
merated, xxiv, & n.
,  commencement of his acquaintance with
Dr. Johnson, xxv.

36o INDE X.
Reynolds, advantage of that acquaintance to Sir Joshua
Reynolds, xxviii— xxxi.
...... Mr. Burke's sentiments on that subject, xxxii.
 and on Sir Joshua's early acquaintance with
Mr. Mudge, xxxiii— v ; xcvii.
...... appointed President of the Royal Academy
and knighted, xl.
 reason of his composing his Lectures or Dis
courses, ib.
,  an injurious calumny respecting them refuted,
xl— xiv, & n.
 present to him from the Empress of Russia^
xiv, & n.
 number of pieces exhibited by. him at thtj
Royal Academy, xlvi, & n.
¦a  his eulogy on Mr. Moser, xlvi—xlviii, & n.
 his ingenious account of his progress in his
profession, and of his defects, xlix-,-lvi,
:  remarks thereon, lvii— Ix.
 on his colouring, lx— lxi, & n-
 account of his painting for the. windows in
New College Chapel, Ixviii— lxx, & n.
 his landscapes, lxi.
 list of his Historical and Miscellaneous Pieces,
with the prices and purchaser's names, lxiu-lxx, & »,
 his fondness for the Metropolis, Ixiii — Ixviii.
 goes to the Netherlands, lxix— Ixxiii.
' , . . ... his Commentary on Dufresnoy*- a supplement
to his Discourses, Ixxiii, iv.
E . . . . : . appointed principal Painter to his Majesty^
lxxiv. «j

* * •

TNDEX. 3fit
Reynolds, presented with the freedom of the Painter's
Company, lxxv.
 his prices for painting portraits, lxxv.
...... compared with Vandyck's, lxxvi.
 his pupils, lxxvi, & n.
 his personal character, lxxvi, &c.
•  ' . account of Portraits of himself, and the Enj
gravings made from them, Ixxvii— lxxxi.
his acquaintance with Gainsborough, and that
Painter's conduct towards him, Ixxviii, lxxix, & n.
.... the elegant society at his house, Ixxxii ; c.
...» his love of literature and learned men, Ixxxii.
.... in conjunction with Dr Johnson, founds the
Literary Club, Ixxxiii.
.... his simplicity of manners, lxxxi. *
. . . . his turn for humour, ahd nice observation- of
characters, Ixxxvii.
.... his observation of children, Ixxxviii.
.... occasion of his deafness, Ixxxviii, & n.
.... Goldsmith's character of him, Ixxxix, & n.
... . . comparison between him and Laelius, xc-~
xcvii, & n.
.... his domestick habits, xcvii, &c.
.... his detestation of modern reformers, eii.
the last two portraits of gentlemen, painted
by him, cvi, cvii, & n.
. .-. . the last female portrait, cvi.
. loses the sight of one eye, cvi, cvii.
. is attacked by a disorder in his liver, cviii, ix.
. of which he dies, cix.
. buried in St. Paul's, ex.
. particulars of the funeral, cx-exvi, & rt.

9 .

......

...

36V INDE5L
Reynolds, his will, cxvii, & w.
 sale of his pictures, cxviii, &«.
...... Dr. Johnson's and Mr. Burke's eulogies on
him, cxix, &C.
...... Dr. J. Warton's encomium on his Discourses,.
cxxii, iii, & ' n.
Reynolds John, Sirjoshua's uncle, his portrait of,i. iv, &».
Rigaud, defects of his portraits, i. 256.
Rockox, portraits of, by Rubens and Vandyck, ii. 325,
326-
Romano, See Julio Romano.
Rombouts, a good picture by; at Ghent, ii. 258.
Roose, N. a, Painter of no great merit, ii. 257.
Rubens, uniformity of his style of Painting, i. 134;
defect? of it, ibid. & 135 : ii. 290.
- - . his excellence jn painting Animals, ii. 294 ; 402.
 in colouring, See iii. and the
criticisms on all his paintings, hereafter particularized.
. . . facility of invention and execution ; his pecu.
liaj characteristick, iii. 164; 213.
. . . his method of painting large pictures, ii. 265, 6;
272 : iii. 106.
... his particular excellence in large pictures, ii.
290 ; 302, 3 ; 256.
... his style of painting in the Luxemburgh, on
what principles laudable, i. 213. See Style; Splen~
dour qf.
... his pictures at Brussels ; at the Unshod Carme
lites, ii. 260, 261— at the Capuchins, ii. 261— rat Mr.
Orion's, ii. 269— at Mechlin ; his Last Supper, ii.
270, &c. — at . the Church of St. John, ii. 275-y
Augustins', ii. 277 — at Antwerp ; Cathedral— .Cha,.
6

INDEX. 363
pel of the Arquebuse Company ; his Descent of the
Cross, ii. 279—283 — and pictures connected there.,
with, ii. 284, 285 — at the Schoolmaster's Chapel,
ii. 286 — at the Altar of the Gardener's, ii. 2S9 — the
Great Altar, ii. 291 — the Church of St. Walburge;
Elevation ofthe Cross, ii. 291—297 — the Unshod Car
melites, ii. 299—301 — the Great Carmelites, ii. 301
—St. Michael's Church, ii. 302—304 — The Jaco
bins, ii. 305^-St, Augustin ; The Altar qf the Choir,
ii. 308: iii. 127 — RecoBets; The Celebrated Cru
cifixion, ii. 317—323; and other pictures, ii. 323,
&c. Capuchins, ii. 326 — Annunciation Nuns ; St,
Justus, ii, 328 — St. James's Church, ii. 330 — in
M. Peters's Cabinet, ii. 334 — Mr. Dash's ; Seleucus
and Stratonice, ii. 335 — other Cabinets, ii. 336, &c. — -
at the Hague, ii. 343: — in the Dusseldorp Gallery,
ii. 375—406 — his FaUen Angels, particularly excel,
lent, ii. 400 — at Cologne, ii. 406 — at Aix La Cha-.
pelle, ii. 410 — at Louvain, ii. 412,
... his Christ's Charge to Peter, ii. 175.
... his St. Bavon praised, ii. z^^y-St.Roek, ii. 258.
. . . sketches and pictures by him, at Mr. Danoot's
at Brussels, ii. 265,
. . , censurable pictures by, ii. 251; 257 ; 259 5
324-; 326,327; 332; 334; 336; 406; 410; 413.
. . , his Chair, at the Academy of Painting, Ant
werp, ii. 338.
... his Portrait, by himself, ii. 266 ; 331 ; 403.
... his general character ; excellencies, and defects,
ii. 413: iii. 213. l
. . . different effects of his paintings, in different cir
cumstances, i. lxvii, & n,

* *

• 1

3«4 I,N LVE Xi
Rules of Art, implicit obedience to.; necessary h^ YjQung
Students, i. 11,
. . requisite even to works of Genius, i. 155,
 not to be too servilely followed, i. 264 ;
iii. 33578; 164.
..... the reason of them to be considered, i. 281 ;
iii- 335 171'> l8a-
 formed on the works of those who, have
studied Nature most successfully; and therefore
teach the art of seeing Nature.,, iii. 179, &.c,
Rysdale, excellence ef his landscapes, ii. 37 3.
S
SALVATOR Rosa, his characteristlck style, i, 132.
,  his Jacob's Duam, praised, ii, 168.
{Schools of Painting, how to be classed ; Roman ; - Flo,
rentine ; Bolognese ; French ; Venetian ; Flemish ;
Dutch, i. 91 — their various principles, iii. 181.
, . . . . Venetian ; excellencies and defects of, i. 92 5
96: iii. 147 -K 156-
 subjects of, i. 97,
..... Dutch ; peculiar merits pf, ii. 369, &c. iii,
146; 156. — Painters of; their names, ii. 371.
. , . . . Dutch and Flemish ; excellencies suid defects
of, i. 102 : ii. 160— how to he distinguished, ii,
3?2-
 English ; difficulties in the way of establishing,
ii. 149.
 modern Roman; its degeneracy, ii. 150; 233.
 Bolognese, foundation of, ii. 199.
§chut^, his Martyrdom of St. George, ii. 227.
Sculpture; wherein, and in what manner, Its principles

I N D EX. jSj
:-• * and those of painting agree or differ ; what Is within
its power of performing; and- what ought to be its
great purpose, ii. 12, &c. See iii. 60.
.... . . an art of more simplicity and uniformity than
Painting, ii. 13; 37.
...... has only one style, ii. 12.
*  the character of ; to afford the delight result*.
ing from the contemplation of perfect beauty, ii. 15.
 ineffectual attempts, to improve, ii. 26 — in
drapery, z'$.— in making different plans -in the same
bas-relievo, ii. 32-^in perspective, ii. 34. , .
...... Dress of, ii. 35.
 causes of its decline in England, ii. 341.
Segers, his Adoration ofthe Magi, ii. 249 — Marriage ofthe
Virgin, ii. 301 — other pictures, ii. 328.
Self-confidence, necessary to an Artist, ii. 81 ; 419.
Simplicity in Painting,; what, and its effects, i. 254,- &c.
 in the Ancients, arofe from penury, i. 262,
See Style, the Grand. *
Sketches, to be painted in colours, rather than drawn
with the crayon, i. 42 : iii, 106.
 their beauty poetical, i. 284.
, . . . . reason of the effect of, ii. 57.
 their utility, iii. 82, 3; 106, See Design.
¦Snyders ; Observations on the nature of his paintings, ii.
. 35°-
Stein, Jean, his excellence ; and in what to be imitated,
ii. 181 ; 373, See ii. 366 ; 368.
Study of Painting ; hints for the course of, i. 24 ; 31 : ii.
92; 100; 287, &c. iii. 163; 170.
.... purpose of, to form the mind, ii. 67.
.... method of, remarks on, ii. 73, &c. iii. 87; 163.

Z66 I N D "fi X.
Study of variety, diligence and a passion forthe Art, re
quisite to, i. 75 ; 157.
Studio, anecdote of, a painter so nicknamed, ii. 58.
Style, in Painting ; what, and how to be acquired, i. 38.
.... the Grand; in what it consists, i. 52, &c. — the
chief requisites of, and means of attaining, i. 57-69
—principles of, i. 123—131 : ii. 312, 313 : iii. 126 5
128 ; 157 : (See Michael Angelo) — effect of, ii. 204.
.... splendour of, how far excellent or faulty, i. 94:
ii. 263; 332; 386.
• . . . ornamental, howand by whom disseminated, i. 100
— how far worthy attention, i. 122; 263. See
Ornaments.
.... composite, i. 108 — adopted by Correggio and
Parmegiano, i. 1 10.
.... perfect, what, i. 112.
. . . . distinction of, founded on general nature and par
ticular customs, i. 112.
.... original or characteristick, i. 131. See Salvatot
Rosa.
„ . . . uniformity of, i. 134, See Rubens.
. . . . modes of acquiring, i. 140. See Historical Painting.
Styles, various ; how far incompatible with each other,
1*9.5 ; 108.
Subjects, choice of ; how to be regulated* i. 80 : iii. 34 ;
75 > 103.
..... in what cases to be treated distinctly, i. 81 — or
minutely, i. 82 — faithfully, iii. 36.
; . . . . subordinate parts of; the art used in, must not
appear, i. 84.
Summary of the general doctrines in the several Dis«

I N.D.E X„ 367
Courses of Sir Joshua Reynolds, to the Academy,
ii. 189,
Symmetry, utility of, i. 64, See Grace; Correctness.
T
Taste ; reading, and conversation with learned men,
necessary to the formation of, i. 190.
....'. false opinions, relative to, refuted, i. 193, &c.
 distinction between that and Genius, i. 197.
.'.'.-. . capable of a real standard, i. 239,
...... true, and false ; definition and progress of,
i. 199, &c.
..... true ; founded on enlarged and general ideas
of Nature, i.' 204 — acquired by experience and a
diligent study of Nature, i. 222 : u\ 103 ; 207.
.... ; how to be exercised ; in appreciating the value
of different styles of painting ; according to their
real importance, and the perfection of the several
Artists, i. 214, &c.
 relative to the expression of the passions in
Painting, i. 219, &c.
. See Genius ; Ornament ; Style ; Dress.
Teniers, Old, ii. 267.
 Young, anecdote of, ii. 267.
 his excellencies, ii, 372.
Terberg, good pictures by, ii. 363.
..... portrait of, ii. 368.
Timanthes, the propriety of his hiding the face of Aga-
., - memnon, examined, i. 282.
Tintoret, Vasari's opinion of, i. 99.
 his excellencies and defects, i. 218 : iii. 207.
..... pictures by, in the Dusseldorp gallery, ii. 386.

368 r N D E X.
Titian, an exception to the Venetian School, i. 100.
.... character of his portraits, i. 255 ; See ii. 393.
. . . . his excellence of colouring, i, 274, 5 : ii. 505535
59 : iii. 89 ; 160 — in his Bacchus and Ariadne,!. 274
— in his portraits, i. 275. ^
»' .- . .- his defect in drawing, iraja.
.... compared with Raffaelle, -tu-giz.
 with Rubens, ii. 310—31,2^; iii. 127,
8. \
.... his St. Sebastian, excellencies and defects ofVSfc^Bv
.... his excellence in Landscapes, ifc^r"
. . . . his rule for light and shade, iii. 64; 150.
.... anecdotes of, iii. 182.
Torso, of M. Angelo, its excellence, ii. 17.
V
Vanbrugh, defended as a poetical Architect, ii. 138-=
140.
Van de Hende, his .patience in finishing, ii. 366.
Vander Heist, excellent pictures of portraits by, ii. 354-'
356-
Vander Heyden, character of his paintings, ii. 360.
Vandervelde, his View ofthe Port qf Amsterdam, ii. 356-*-
other pictures, ii. 360 — his excellency in colouring,
iii. 159.
Vanderwerf, his excellencies and defects, ii. 389— 393;
411.
Vandyck, the best Portrait Painter, i. 179.
 a pupil of Rubens, iii. 214 — and his successful
Imitator, ii. 379, 380.
...... his various manners of painting, ii. 381.
...... pictures by ; at the Prince de Ligne's, at

INDEX*, ^69
Brussels, ii. 267 — his Crucifixion, at Mechlin, praised,
"• 273> 4 — and otner pictures, ii. 275— his Crucifixion,
at the Jacobines, Antwerp, ii. 298 — his Christ bearing
the Cross, at the Jacobins, ii. 306 — his St. Augustin in
ecstacy,i\. 314— -RecolletS; aPietttjii.zz^, — Beguinage'
Church ; a Pieta, ii. 329 — Judas, ii. 337 — Assumption
of the Virgin, in Mr. Hope's Gabinet at Amsterdam,
ii. 36^rrhis Pictures in the Dusseldorp Gallery, ii.
377 — a bad one, ii. 378 — his Take up thy bed and
walk! ii. 379 — a Pieta, ii. 380, 38 1, 382 — a good
portrait, ii. 405.
Van-Eyck, Jean, not the first painter in oil, ii. 251.
Van-Heemsen, his Last Judgment, ii. 332.
Van-Orley, Bernard, pictures by, ii. 264 ; 277.
Variety, necessary to study, in a certain degree, ii. 75.
 in figures in Historical Painting, iii. 41.
 of attitude, iii. 43.
Venetian mode of colouring, how far discovered, i. lvi,
lvii, & n.
Veronese, Paul ; reason of a peculiar defect of his, i. 93.
 his excellencies and defects, i. 218:
iii. 206.
 , his picture of The Marridge at Cana,
praised, i. 270 : iii. 158.
 a bon mot of his, on the subject of light
and shadow, i. 278.
Viola, G. anecdotes of, iii. 112.
Virtue, necessary to the perfection of Taste, i. 224 :
iii. 241.
.... how far the effect of Taste, ii. 8.
Unity, in Painting ; in what cases a fault, i. 250.
.... of the limbs and drapery with the head of a figure,
iii. 41 ; 52 ; 122.
tOL. III. B 9

37o INDE X.
Voltaire, false taste shewn in a statue of him, i. 238.
Vos, See De Vos. W
WatteaU, his excellency in colouring, iii. 157.
Wax-work, why less agreeable than painting, ii. 46.
Weenix, his merit in painting dead game, ii. 364, 5 ;
378, 379 ; 407 — his defects in portrait-painting, ii.
408V ;> '
White, its effect in painting, iii. 64.
Whole, what is meant by, ii. 58. See Genius ; Rubens ;
and ii. 416 : iii. 78 ; 129. See also i. liii.
Wilson, defects in his Landscapes, ii. 165.
Wouvermans, merit of his paintings, ii. 343.
 one of his best pictures at Mr. Hope's,
Amsterdam, ii. 359.

END OF THE THIRD VOLUME.

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