— -^^.^^^ TREATISE ON ANCIENT PAINTING, CONTAINING O B S E R V AT IONS ON THE Rise, Progress, and Decline of that Art amongft the Greeks and Romans i THE High Opinion which the Great Men of Antiquity had of it j its Connexion with Poetry and Philosophy ; and the Ufe that may be made of it in Education : To which are added Some REMARKS on the peculiar Genius, Charaflcr, and Talents of Raphael, Michael Angelo, Nicholas Foujfm, and ether Celebrated Modern Matters ; and the commendable Ufe they made of the exquifite Remains of Antiquity in Painting as well as Sculpture. The Whole illuftrated and adorned with FIFTY PIECES of Ancient Painting ; Difcovered at different times in the Ruins of Old Rofne, accurately engraved from Drawings of Camilla Padsrni a Roman, lately done from the Originals with great Exaftnefs and Elegance. iBy GEORGE TURNBULL XL. Z). Efi etiam ilia Plalonis vsra^ tibi Catule, certe non inaudita vox, omnem dodlrinam harim hi- gemarum, & humanarum Arlium, uno quodam Societatis vinculo contineri-, ubi enim perfpe£la vis eji raiionis ejus, qua caiifa rermi, alque exitus cognofcuntur, merus quidam quafi omnium confenfus dcSlrinarum^ concentufque reperiiur. Cicero de Oratore, Lib. 3. Philoftrati Imagines. L O N'D O N : Printed for the Author; and fold by A. Millar, at Buchanan's Head, over-againft St. Clement's Church, in tlie Strand. M.DCC.XL. T d The Right Honourable HENRY Lord Vifcount Lonfdak^ &c. This TREATISE is humbly dedicated By his Lordship's, Mofl Devoted, and Obedient Servant^ GEORGE TURN BULL. SUBSCRIBERS NAMES. A. IJIS Grace the T>uke a/Arcylc. His Grace the "Duke of MhoL TheRjgbt Honourable the Earl of Ahcudccn. The Right Reverend Ifiac Lord Btfiop of St. Alaph. .The Honourable <5V> Johu Anflruthcr Bart. James Abcrcrombie Efq--, John Ai-mftrong M. T). The Advocates Library at Edinburgh. i^/r. William Adams, Architeti. B. The Right Honourable Earl of Bute. The Right Honourable Lord Bclhaven. The Right Honourable Lord Buook. The Honourable George Baillic. The Honourable William Bcrkely. Sir [ohu Baird Bart. Bell" Boyle William Briiiow Efq; tuuo Books. fohn Briftow Efq\ Jofiah BuL-chct Efq\ Secretary to the Ad- miralty. [amcs Baillie M. D. Robert Burd M. T>. Robert Barker M. T). Bcauprc Bell M. A. "^i Robert Blackwood Efq'y John Blackwood Efqs Alexander Blackwood Efqi Mr. Stephen Lc Bas. C. The Right Honourable Lord Cathcart. The Right Honourable Z,(7r^Combury. The Honourable William Cecil. The Honourable Br igadier]7imz% Campbell. Colin Campbell Efq^ John Cotton Efq--, John Cotton, Efq\ Evelyn Chadwick Efq-^ Thomas Calderwood Efq\ Alexander Cunningham M. T). Trinity-College, Cambridge. St. Johns-College, Cambridge. John Campbell, of Stack^ool-Conrt, Efq'^ D. His Grace the T^uke (^/'Devon.rhire. The Right Honourable the Lord Deskford. 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The Rt Honourable the Earl Stanhope. The Right Honourable the EarlofSait. The Honourable John Spencer Efq; The Right Honourable the Countefs of Shaftesbury. The Right Honourable Lady Anne Strode. AVilliam Strode Efq; two Books., Samuel Strode Efq; William Stuart Efq; The Honourable Edviitd Southwell Efq; Richard Sommers Efq; Commiffwner ofliis Majeft/s Cnftems. Alexander Strahan Efq; George Sinclair Efq; Sir Hans Sloan Bart. M. T). Sir Brownlow Sherrard Bart. Sir Hugh Smithfon Bart. Alexander Sruart M. B. The Reverend Mr. Jofeph Spetice. Mr. Stephen Slaughter. Alexander Stuart Efq; Mr. ■ Serjeant. T. The Mofl Honourable tlie Marquis of Tweeddale. The Right Honourable LordT-iXhot. Sir Edmund Thomas Bart. The Reverend |ohn Taylor LL. T). The Reverend Mr. Thomas TurnbuU. Jofeph Townfhend Efq; James Thomfon ii/J- U. Alexander Udney Efq; W. The Hon. Thomas Watfon Efq-, fix Books. The Right Reverend Benjamin Lord Bijbop oy Winchcflcr. Andrew Wauchopc Efq; 13 Books. James Wauchopc Efq; Willi.im Wauchopc Efq; Colonel Ed\\'3id Waucliopc. Sir James Weemyfs. Air. Robert Wccms, two Books. The Reverend Mr. Robert Wallace. W^illi.™ Wyndham Efq; Y. Hitch Youngc.E/g'; Z. il/r. John Zachary. A N EPISTLE TO THE RightHonourabletheLordVifcountIo;/y^/3;/^» Upon Education, and the Defign of this Effay on Painting, My Lori), I Should not have adventur'd tb dedicate tliis Sffay to youf Lordlhip did it aim at nothing higher (as fome may imagine from the Title) than merely to recommend to our Youth a Tafte in Paintmg as an ingeni- ous and innocent Amufement. That Art is indeed difcourfed of at great Icneth in this Treatife ; but in fuch a manner as affords ine full room to eive my Sentiments, ot rather the Sentiments of fome of the greateft Men of Antiquity concerting Education. A Subjeft, my Lord, of the higheft Importance, and to the mature Confideration of which your real Love of Mankind, and fincere Concern for their Happinefs, muft have often led your penetrating Mind. IN fliewin^ wherein the teal Excellence of Painting confifts, and the happy ufe that was or might be made of it in forming Youth to Virtue and a sood Tafte of all the Arts ; I am naturally led to animadvert upon feve- ralMiftakes in Education; and to fhew the neceflity of combining in it all the Liberal Arts and Sciences, in order to accomplifh moft fuccefsfully its acknowledged End ; which is to form and improve betimes in young Minds the Love of true Knowledge, and the Love of Society Mankind and Virtue ; and to inftil into them at the fame time a right Notion of the better ways of explaining, recommending, embelliihing or enforcing upon the Mind any Truth, or any Virtue ; one or other of which muft be the End of Language of whatever fort ; that is, of every Art that pre- tends to inftruft or move us. SO thoroughly, my Lord, am I convinced of the Ufefulnefs of the Defign that runs'throughout the whole of this ElTay which is humbly oflered to your Lordfhip by a Heart that often indulges itfelf with the higheft delight in admiration of Parts and Virtues united together which I am not liere allowed to be fo particular upon as I could w.fh : So fully, my Lord, do I feel the Importance of the Scope that is chiefly kep in view throughout the following Treatife, that I would gladly take advantage of the nobfe Image now before me ; and entering upon that Subjeft here make an Experiment on myfelf of a Rule prefcribed by many ancient WAers as verify'd in their own Experience. Would you, lay they attain to a kind of Infpiration in handling any Subjca ; imagine you are fpeakmg EpiJIle on Education, and or writing to one who thoroughly underftands it ; has it fully at heart ; and like whom you would chufe to be able to think aird exprefs your Sen- timents : And then let your Thoughts flow freely, as you are warm'd and diredled by that pleafing, elevating Fancy. I am fufliciently authorifed, my Lord, by ancient Examples to fet forth the Moment of my Delign j and the Truth of the Principles upon which it is built, in this kind of Dedica- tion : And I dare not prefume to addrefs your Lordfliip in the modern way of Panegyrick, though I am fure every one will fay, that in order to draw the mofk amiable Charafter, all that is neeeflary on this occafion is to hit, tfie Likenefs, and to paint a true one. 'TIS impoffible, my Lord, to refleft one moment upon Human Nature without perceiving, that its right or wrong State depends as neceffarily upon Education, as that of a Plant upon proper Culture. Though Man be ef- fentially different from every merely mechanical Being that never afts, but is in all cafes paffive, or moved by Springs and Caufes abfolutely indepen- dent of it ; becaufe Man hath an adive Principle in his Frame, and a cer- tain Sphere ot Power or Dominion afligned to him by Nature, in virtue of which, many Operations and Effefls, both within and without his Mind, are dependent as to their Exiflence or Non-exiftence upon his own Will : Tho' this be as certain as Confcioufnefs can render any Faft ; yet our ailing Well, or ill, the right or wrong Exercife of our fevcral Powers muft depend upon the Principles and Habits we have early imbib'd and contrafled, for thefe make us what we are ; thefe conftitute our Temper and Difpofition ; by them we are moved and influenced in all our Choices and Purfuits. Where- fore not to think of modelhng thefe aright in Education, is to negleii: the only End it pretends to have in view, which is to mould us ipito a good Form or Temper. To give a wrong Caft to them by Education is to em- ploy the forming Art to miftiape, and deform or deprave us. The Bufi- nefs of Education is by cultivating and perfeding all our Powers and Af- feflions, all our Faculties, and all the Movements by which we are fet to work, to make Man fuch as he ought to be ; that is, fuch as his "reateft Dignity and Happinefs require he fliould be : Or, in other words, to inftil into him fuch Principles, and to form within him fuch Defires, Affeflions and Habits as will lead him right in all his Purfuits and Employments ; and to inure him to fuch Exercifes of his Powers and Faculties as will ren- der them moft vigorous ; moft; ferviceable to himfelf and to Society on every occafion. RIGHT Education, if it be not the one thing needful, it is at leaft abfolutely necefl"ary to private or publick Happinefs. The beft Laws with- out proper care about it are Mockery : They may enfnare Men, but thev tan go but little way in reftraining them ; and none at all in formincr or mending them : Whereas proper Education would in a great meafure pre- vent the necefllty of Laws and their Sandions, by framing betimes a right Difpofition in us that would naturally, and as it were neceflarily produce what good Laws can only command. If the moving Powers, or Springs of Motion, and all the Wheels be found and right, all muft go well m moral Nature as well as in Mechanifm. EVERY one who hath the Perfeflion and Happinefs of Mankind fo fincerely at heart as your Lordfliip, muft have often refleded upon the great End of Education, and the proper Methods of gaining that End • and eorifequently muft have wondered to find a very powerful and exceed- mg ufeful Principle in our Make intirely overlooked in it, as if it had no- thinff the Defign of the Essay on Painting. tiling to do with our Conftitution ; and that is, the Influence of Habits early formed. This is the more furprizing, becaufe the Reality and Strength of this Principle in our Natures is fo univerfally acknowledged, that in every Nation it is and always has been a vulgar Proverb, That Cuftom is a fecond Nature. The Power of Habit is readily owned by all : But what is done, my Lord, in the forming Art that is founded upon this Principle ; or what proper means are'ufed conformably to this acknowledged Truth, early to effablifh good Habits in young Minds, either in refped of Inftruc- tion or Difcipline ? THE Whole of Education muft confift in the Formation of right Habits : For what we call Temper is nothing elfe but natural Propenflons formed by repeated Exercifes into ftrong and lafting Habits. Every Afl^eflion, every Power, and every Propenfion muft be originally of iSIature : Art cannot create : All it can do is to cultivate and perfeft what Nature hath planted : But 'tis Art and repeated Exercife that work natural Powers into Strength, or natural Aftedions into Temper. Some proper Difcipline or Regimen is therefore neceflary to accomplifh the principal Scope of Educa- tion, if to produce virtuous Habits be fuch. And what can be juflly cal- led cultivating and improving Underftanding or Reafon, but forming one by proper Exercife into the confidcrative Temper, or the Habit of delibe- rating and computing before one chufes or afts 'Tis certainly Pleafure and Pain that move us : Nothing can be the Objed of AfFeilion or Defire but ■ Pleafure ; or, on the other hand, the Objed of Averfion and Diflike but Pain. Pleafures of Senfe, of Contemplation, of Sentiment, of Self-appro- bation, and their Oppofites, are all but fo many different forts of Pleafures and Pains. And let Metaphyficians debate and wrangle as long as they will, this muft neceffarily be true, and be no more than an identical Propo- fition, that what is pleafing is pleafing, and that Pleafure alone can be plea- fant. But it is Reafon's Bufinefs to examine, compute and ballance Plea- fures and Pains of all kinds : And then is Reafon well formed ; or formed into a really ufeful Principle, when the Mind hath acquired the Habit of computing before it ads ; and of computing readily as well as truly : Which Habit or Temper can only be attained by inuring the Mind betimes to think and reafon before it afls, that is, to compare and ballance Pleafures and Pains before it chufes. NOW in forming this Habit, which not only conftitutes the wife but the free Man, there are two things to be taken care of One is to inure Youth to reafon, or compute from Experience only ; that is, from Fads afcertained by Obfervation, and not from abftrad, imaginary Theories and Hypothcfes. The other is to inure them to imploy their Reafon chiefly about thofe Objeds and Connexions in Nature, which have the neareft rela- tion to human Life and Happinefs. In order to both which 'tis manifeft, that they ought to be taught to take a juft View of human Nature, and to confider Man as he really is, neither as a merely fenfitive Being, nor as a merely moral one ; but as a compound of moral and fenfitive Powers and Affedions. For in the human Make thofe Powers and Affedions are fo blended together, that it is impoflible to avoid Errors concerning Man's Du- ties sr Interefts, if any of them are confidered feparately, that is, inde- pendently of the reft. IT were eafy, my Lord, to point out feveral falfe Dodrines that take their Rife from dividing thofe conftitucnt Parts of our Frame from one an- other, which are really infeparable in the Nature of things. To mention no Epiftle on Education, and no other Inftance at prcfent : Hence, I think, it is tliat fome have railed in fuch a vague, undetermined manner againft Luxury, as if all Plcafures ought to be defpifed by wife and good Men, and therefore baniflied human Society, but thofe that are abfolutely neceffary to our Subfiftence ; or thofe that produce Enjoyment and Satisfadion of the very nobleft kind. In the general, confufed way of declaiming againft Luxury, ail the Pleafures of Imagination, and all the ornamental Arts are damn'd as abfolutely fuper- fluous, and as unworthy of our Attention in any degree : Nay Clcanlinefs, not to fay. Elegance, is condemned and interdided, as if Nature had given Man Eyes, Ears, and other Senfes, with a natural Tafte and Rellfh of Pro- portion, Beauty, and Harmony, to no purpofe. THE happy Confequence of inuring Youth to reafon from Experience alone ; and to reafon firft and chiefly about thofe things tliat have the nearcft relation to Life, and with which it is therefore our Intereft to be very early acquainted, would be, that the natural Defire of Knowledge, which is implanted in us on purpofe to impel us to feek after that Science, which is as neceflary to guide our Condufl, as Light is to fhew us our Road, would not be mifled into a way of gratifying itfelfby Enquiries quite remote from the praftice of the World. And I am apt to imagine, my Lord, that more arc ignorant of Life, and quite Strangers to the World and human Affairs, in confequence of employing their Minds about Objefis that have little or no concern with Men and Things, than through mere Stupidity or Want of Capacity. It is falfe Learning that is the moft dangerous Enemy to the true, or that moft effeSually fupplants it. Nothing therefore is of greater Importance in Education, than to render Youth betimes capable of diftin- guifliing ufeful Enquiries, from thofe that ought only to have the place of Amufements, like a Game at Chefs or Piquet : And for that reafon it would be of more confequence to exercife young People in often reviewing, with attention, a well-calculated Table of Arts and Sciences, in refpeft of their different degrees of Utility, than any other Categories or Arrangements of Ideas whatfoever, that are called Logick in the Schools, though fuch like- wife may have their ufe. BUT at the fame time that the Habit of rcafoning well and readily is formed by inuring Youth to Reafon ; the Faculty of expreffmg known Truths clearly and ftrongly may be likewife acquired. It is neceffary that a Teacher fhould take the moft gradual, regular, clear, and full Method of explaining and proving Truths ; or that he fhould proceed ftep by ftep with his Scholars : And therefore that didaclick Art will of courfe be learned by them at the fame time that Knowledge itfelf is acquired in that way. But there is an Eloquence of another kind that ought not to be neg- lefled in the Formation of Youth ; and that would foon be attained by them, were but this one Rule obferved in Education, to inure Students after they have been led to the Knowledge of any Truth in the didaclick way, to find out the propereft Methods of expreffmg it concifely and ftrongly; or of giving a convincing, emphatical View of it in few Words. This lafl would be teaching them the Language in which Men ought to fpeak to Men about the fame Truths that can only be conveyed into raw, unformed Minds in a more flow and tedious manner. After young People under- ftand any Truth, it is neither unpleafant nor unprofitable ; but on the contrary it is very fit to employ them in confidering how feveral celebrated Authors have chofen to reprefent it in diflerent Lights, each according to his own Genius ; or in order to adapt it to fome particular Caft of Under- ftanding ; and then in vying with them in finding out other ways of I expreffing the Defigfi of the EssaV on Painting. exprefflng the fame Truth with due Force and Perfpicuity. But we corri-i monly herein iii'Educatioii with Words, as if there were any other way of trying or judging Words and Phrafes, or Signs of any kind, but by exami- ning whether they are proper Expreffions of the Truths they are intended to fignify ; whether they are equal, fuperiour, or inferiour to other Ex- preffions of the fame Truths in refpeft of tlie fole End of Language, which is to convey Sentiments with Clearnefs and Efficacy. The chief thing indeed is to have juft or true Sentiments ; that is, to have right Apprehen- fions of Nature : But that Knowledge may take faft hold of our Minds, dwell with us and afford us variety of delight ; and that we may be capa- ble of imparting it to others, fo as to render it the Source of manifold Entertainment, as well as of Information to them ; the various proper Iviys of proving, embellifhing, and enforcing Truths muft be taught and ftudied. And therefore in proportion as one acquires Knowledge, he ought likewife to learn Languages ; or to be made acquainted with all the better ways of evincing and impreffing any Truths on the Mind. I may be thought by fome perhaps to take Language in a very uncom- mon Senfe. But that I have ufed it in its jufteft, as well as its moft com- prehenfive Meaning, will be obvious to every one who but reflefls, that there can be but two Objeds of human Inquiry, Truths themfelves, that is, real Connexions in Nature or Fafls ; and the various manners of ma- king Truths underftood and felt. Whence it plainly follows, that the di- daftick Style, Oratory, Poetry, and likewife all the Arts of Defign, Painting, Statuary and Sculpture, foil properly under the Idea of Language. And therefore if right Education ought to teach and inftruft in Truths, and in the various good Methods or Arts of conveying Truths into the Mind ; no fooner is one led into the Difcovery of any Truth, than he ought to be imployed in comparing and examining feveral different ways by which it may be unfolded, proved, embelliffied, and enforced by Oratory, Poetry, or Painting. For to apply this general Obfervation to Painting, which is commonly reckoned fo remote from Philofophy ; nothing is more evident than, that Pidures which neither convey into the Mind Ideas of fenfible Laws, and their Effeds and Appearances, nor moral Truths, that is, mo- fal Sentiments and correfponding Affedions, have no Meaning at all : They convey nothing, becaufe there is nothing elfe to be conveyed. But, on the other hand, fuch Pidures as anfwer any of thefe Ends, muft for that reafon fpeak a Language, the Ccrrednefs, Strength, Purity and Beauty of which it muft be well worth while to underftand as a Language : More efpecially fince there is indeed no other way of trying the Propriety, Force and Beauty of a poetical Image, but by confidering the Pidure it forms in the Imagination, as a Pidurs. ALL the inftruding or moving Arts confidered in this light, that is, as fo many Methods of conveying Truths agreeably or ftrongly into the Mind ; or of exciting our Affedions by means of Ideas fitted to move them, muft belong to Education, and ought to be employed by Philofophy every ftep it makes. For feveral fuch Arts being compared together, muft natu- rally confpire to give a jufter Notion of the fupreme Beauty and Excellence Cf any Language, in confequence of the fole End common to all Lan- guages, than can be acquired by any of them, if feparately ftudied : And being combined, they muft neceffarily have a multiplied Force in impref- fing any piece of Knowledge on the Mind. b ONE Epijlk on Education, and ONE great Error then in modern Education confifts in iniaginin?, that Philofophy, Rhetorick, Poetry, and the other Arts ouglit to be taught feparately ; whereas in reality it is Philofophy or the Knowledge of Na- ture that ought to be taught ; and the proper way of giving a juft Notion of Oratory, Poetry, and the other Arts of illuftrating, erabclhftiniJ and impreffing Truths, is by fhewing every flep Philofophy advances,°what thefe Languages bare done, or may do to exhibit and enforce any Truth with all its EfFefls and Confequences. And this, my Lord, is what I have endeavoured to illuftrate in the following Eflay. BUT, my Lord, if to feparate the inftruaing or moving Arts from Philofophy be a very detrimental miftake in Education, fince it divides Languages from Things ; muft it not be yet a more pernicious one to fe- ver moral from natural Philofophy ; or not to carry on our Enquiries about iWan and his Relations and Connexions in Nature (which is moral Philolb- phy) in the fiime manner, and conjundly with our Enquiries into the Laws and Connexions of the fcnfible World, (the Knowledge of which is called natural Philofophy) as one continued Refearch into Fad and Truth, or into real Connexions in the fame united Syftem : And that with a pradti- cal View, or in order to obferve what ufeful JVIaxims and Rules for human Life and Society may be inferred from any Difcovery made in that Science ? On the one hand, every Difcovery in Nature that may be rendered fub- fervient to the Ufe or Ornament of Society really adds to Man's Property and Dominion in Nature : And whatever Knowledge is conducive to the good of Mankind, is in cffeft moral Science. On the other hand, every Enquiry about the Conftitution of the human Mind, is as much a queftion of Faa or natural Hiftory, as Enquiries about Objeds of Senfe are : It muft therefore be managed and carried on in the fame way of Experi- ment ; and in the one cafe as well as in the other, nothing ought to be admitted as faft, till it is clearly found to be fuch from unexceptionable Experience and Obfervation. He who hath the real good of Society ever before his Eyes in his Studies, certainly imploys his Underflanding to a very ufeful Purpofe, and from a very laudable Motive : Such a one will let no Truth, he may find out, efcape him, without enquiring moft ftriclly what advantage may be derived from it to Mankind ; and he will value his Dif- coveries proportionably. And Man being a compound Creature, ,iexus utriufque mundi, (as he is called by fome Philofophers) the Knowledw1jo had thefe Arts from Greece, gave any attention to them. HENCE likewife appears the ncceffity of treating Morals in another way than Puffendorf, Grotius, and moft other celebrated modern Doftors of moral Philofophy have done ; fince their Conclufions (tho' they be ge- nerally true) are neither deduced from a right, that is, a full View of the human Conftitution, and our Relations and Connexions in Nature ; nor are moral Dodrines explained and enforced in their Writings by the pro- pereft Terms of Expreffion : On the contrary, all infinuating, beautify- ing, and captivating Lights in which moral Truths may be reprefented, that at once enlighten and warm the Mind, are rather avoided by them. I can't help, my Lord, obferving one thing farther on this Subjeca, that if one may reafon at all from Authorities in Morals, as thofe Writers chiefly do, the propereft way of reafoning from Authorities about Morals would be by fhewing ; that almoft all the Truths which relate more immediately to human Life and good moral Conduft are fo evident, that in all Ages and in all Countries they have been converted into Proverbs or familiar Sayings ; and, which is very furprizing, they have been ex-prelTed very nearly by the fame Images in all Countries, notwithftanding all the Diverfities of Genius, Temperament, and Language that have prevailed in the World. Whence it would appear how common, how univerfal o-ood Senfe is, and always hath been. ANOTHER Error in Education is no lefs manifeft from what hath been faid, which is, that it is not contrived in order to explore, and give free Scope and fuitable Culture to all different Genius's. Education is ge- nerally carried on in the fame uniform way, without any regard to the natural variety of Genius amongft Mankind ; as if it were done on pur- pofe to difappoint the kind Intention of Nature in diverfifying Men's Dif- pofitions and Talents : At leafl:, proper Meafures are not taken in Educa- tion to invite different Genius's to difclofe themfelvcs ; or after they are known to give fuitable Culture to each that appears, in order to improve it to its natural Perfeftion and ufeful End. Diverfity of Genius amongft Men is however no lefs neceffary to the Enlargement of human Happinefs and Perfeflion in the Sum of things, than variety of Herbs and Plants is to the Beauty and Utility of the fenfible World. And fure it is not more abfurd to propofe one way of training and forming all young People, than to, think of one fort of Culture for all kinds of Vegetables. T H E R E is another Diverfity among Mankind that is as little attended to in forming Youth as that juft mentioned ; the remarkable variety amongft us in refpeft of different Propenfities to certain Affeftions. And yet this later Diierfity, if it be not quite infeparable from the former, is no lefs rcquifite than it to the End of Nature in making Man, which is the ge- neral Good of the Kind. Some are naturally hot and fiery, others are cold and phlegmatick ; fome are prone to Anger, fome to Love, fome to Ambition, and others to Quiet and Eafe ; fome, in one word, to one Paf- fion, and fome to another : And all thefe Varieties are fo many different Seeds that require each its peculiar Culture ; and which might, each by proper the Defgh' of the EsSay on PAiNtiNG. xiii proper Methods of Education, be improved into that iifeful Temper of tehieh it is the natural Seed or firft Principle. Nature doth nothing in vain, whether in the material or moral World : Whatever Foundations it hath laid for Art to work upon, are well intended. And as Art and Cul- ture can only perfeft what Nature hath begun ; fo the Improvement of natural Faculties and Difpofitions being wifely left to ourfelvcs, to negled the due Culture of any Power, Quality, or Alfeflion Nature hath formed in human Breafts, is to defpife, or at leaft to over-look its kind and gene- rous Provifion for our extenfive Happinefs in the beft way of providijig for us ; which is by furnifhing us with a proper variety of Materials and Talents for our own Cultivation and Improvement into Goods. FROM what hath been faid, it is fufficiently evident in genera), what ought to be the chief Aim of Inftruflion ; and how it ought to be ma- naged in order to perfeil our Faculties of Reafon and Imagination, and to produce betimes in our Minds good and ufeful Habits. And at the fame time it is obvious, that teaching cannot be fufHcient, but that fome early Difcipline or Regimen is abfolutely neccfliiry to gain the prin- cipal End of Education ; iince it is by proper pradlice alone that any Virtue can be rendered habitual to the Mind ; or be early confirmed into Temper. HAVING thus, my Lord, laid open fome Errors in Education, I wlfli I were able to propofe a proper Scheme of it : But that requires a mafterly Projeftor, a very expert moral Architefl. All I am capable of doing is to throw afide fome Rubbifli ; and fhew the Foundations upon which the noble Building muft be raifed : That Building which would ef- feftually make human Society happy ; or at leaft without which it is im- poffible, Men can arrive at that Perfection and Happinefs Nature plainly intended them for ; but left to themfelves to build, that they might have the Satisfaftion of confidering it as their own Acquifition. We are cer- tainly defigned by our Maker for whatever Dignity and Happinefs we are qualified to attain to by the proper E.xercife of our natural Powers and Afiiaions. And as that alone, which is fo acquired, is moral Perfedion, Virtue or Merit, and alone can aiford the Pleafure of Self-approbation ; fo Mankind's being made able to arrive at their higheft PerfeSion and Hap- pinefs only by their united Force, is the neccffary Bafis of fecial Union, and of all the noble Enjoyments refulting from fecial Intercourfe and well- form'd Government. IF any one thinks meanly of our Frame and Rank, let him ferioully con- fider the Riches and Fullnefs that appears in Nature as far as we can ex- tend our Enquiries ; and how every Being in the Scale of Life within our Obfervation rifes in due degree : Let him then confider how necelTary the Exiftence of fuch a Species as Man is to the afcending Plenitude of Nature; to its Fullnefs and Coherence ; and let him impartially examine our Con- ftitution, and the Provifion made for our Happinefs ; the Excellence to which our natural Powers and Difpof^ions may be improved and raifed by good Education and proper Diligence ; or the Dignity and Felicity to which we may attain by the Study of Wifdom and Virtue, efpecially in well-regulated Society ; for he will plainly fee, that though there be good reafon to think that there are various Orders of rational Beings in the Scale of Exiftence, the loweft of which is fuperiour to Man, yet he is crowned with Glory and Honour, is well placed, and hath a very confiderable Domi- nion allotted to him: Let him attentively confider feveral glorious Charaflers G in xiv Epljlk on Education, &c. ill Hiflory : Or rather let him turn his Eyes with me towards a living Ex- ample of Worth and Greatnefs, to have a place in whofe Efteem is indeed Merit, that cannot be reflefted upon, without feeling a noble Ambition more and more to deferve it ; nor declared to the Publick without bring- ing one's felf under the ftrongeft Obligations to take particular care of one's Condufl. I am. My Lord, Your Lordjhip's Mojl Obedient, Humble Servant, London, Ap. 25. 1739- GEORGE TURNBULL. A PREFACE, CONCERNING Education, Travelling, and the Fine Arts. A Preface is now generally expeSied, and I fall in more readily isiiih that eflahliped Cttflom, becaiife it gives me aji opportunity of pre- mijing fomething to the following Treatife that is by tio means improper or unnecejfary. "THOUGH one of the principal Ends I propofd to niyfdf i?i this Eflay on Painting, & c. he to prepare young Travsilurs for feeing Statues, Sculp- tures, and Pitlures to better advantage than ttev can poffhly do if thev have not previoufy turned their Thoughts a littls that way ; Yet I am far from thinking it the chief Defgn of Travel to examine the PrcduBions of the Fine Arts even -with the greatefl Accuracy, or in the mof intelligent, philcfo* phical manner ; and much left in order to become an Antiquary or Virtuofo, in the common Acceptatio?i of that CharaBer ; or to fee the Remains of an- cient Arts very Jitperf daily, and to fet up for a Critick of them upon fo fight a Foundation. THERE are SubjeBs of a more import a-nt Nature than Paintings and Sculptures, in 'whatever light they are coifidcred, that ought principally to employ the Thughts of a Traveller, who has it in his View to qualify himfelf for the Service of his own Country, by vifting foreign ones. But one Point aimed at in this Treatife is to fl.-ieiD how mean, infipid, and trifling the fine Arts are nhen th;y are quite alienated from their bitter and t.obler, genuine Purpojes, which, as well as thofe of their Sifter Poetry, are truly p.hiiofophi- cal and moral : that is, to coitvey in an agreeable mamier into the Mind the Knowledge of Men and Things ; or to inflruB us in Morality, Virtue, and human Nature. And it neceffarily follows, that the chief Defign of travelling niuft be fomewhat of greater moment than barely to kam haw to diftinguijh an original Medal from a counterfeit o?te, a Greek from a Roman Statue, or one Painter s Hand from another s ; find it is here proved, that even with regard to the Arts of Defign that hind of Knowledge is but idle and trivial ; and that by it alone one has no better tith to the Charac- ter of a Perfon of good Tafte in them, than a mere verbal Critick hath to that of a polite Scholar in the Claffcks. LET us confider a little the pretended Reafons for fendiiig yowtg Gentle- men to travel : They may be reduced to thefe two. " That they may fee the " Remains of ancient Arts, and the beft Prod'.iBions of modern Sculptors and " Painters ;" " That they may fee the World and fludy Manlinel" NOW as for the frft, how it Jl.'Ould be offered as a Reafon for fending young Gentlemen abroad, is indeed very unaccountable, uhen one confider s icfon what footing Education is amongfl us at prefent ; unlefs it cotdd be thought that one may be jolted by an Italian Chaife into the Knowledge andTafie that are evidently prerejuifite to travellingwith advantage, even in that view; or that fuch xvi PREFACE, concerning E n u c at i o fuch Intelligence is the necejfary, mechanical EffeSi of a certain Climate upon theUitderfianding; and -will be injlantanecully inftifed into one at his /Irrival on ClaJJick Ground. For in our frefent Method of educating young Gentle- men either in publick Schools or by private Tutors, uhat is done that can in any degree prepare them for making proper and i/feful' Reflexions upon the fne/lrts, and their PerformancesP Are not the Arts of Defgtz quite lever d i7i modern Education not only from Philofophy, their Connexion with it-hich is not fo obvious, or at leaft fo gencrallv acknowledtred ; but lihew fe from clajfical Studies, where not only their Ufefulnefs mufi be readily owned bv all who have the f'gheft Notion of them, but where the want of proper Helps from ancient Statues, Bas-reliefs and Paintings for underflandimr ancient Authors, the Poets in particular, is daily felt by Teachers and Students ? It is not more ridiculous to dream of one's acquiring a flrange Languao^e merely by fuctijig in foreign Air, than to imagine that thofe who never have been direEted at home into the right tnanner of confdering the fine Arts ; thofe who have no Idea of their true Beauty, Scope, and Excellence fnot to mention fuch as have not the leafl notion of Drawing) that fuch fould all at once fo foon as they tread Italian Soil become i?nmediately capable of underfianding thefe Arts, and of making jujl Reflexions upon their excellent ProduBions. And yet this is plainly the cafe with regard to the greater part of our yomta- Tra- vellers. And for that reafon I have endeavoured in the following Effay to lead young Gentlemen and thofe concerned in their Editcation, into a jufler No- tion of the Fine Arts than is commonly entertained even by the Plurality of their profeffed Admirers ; by difiinguijhing the fine Tafle of them from the falfe Learning that too frequently faffes for it ; and by fhewinr in what re- fpecls alone the Study of them belongs to Gentlemen, whofe high Birth and Fortune call them to the mofl Important of all Studies ; that, of Men, Man- ners and Things, or Virtue and publick Good. And this I have attempted to do by fetting to view the Opinions which fame of :he greatefl Men of all Ages have had of their truefl Excellence and befi Scope ; a?id not by Arguments of my own Devije ; or for which I have no better Authority than my own judgment. AS for the other principal End of Travel, cojnman.ly comprehended tinder the general Phrafe of feeing the World, and acquiring the Knowledge of Mankind, it is a SubjeEl that requires a much more comprebenfive Knowledge of the World than I can pi-etend to, to treat it as it ought to be. Having however in the following Difcourfe on Painting fhewn, what Notions fome very great Men, of ancient Times in particular, entertained of that Art ; and having made the befl ufe I could of their Sentiments and Reafotrinirs about the fine Arts, to Jet them in a due light ; I fliall jtifl remark here, with re- gard to travelling, that ancient Philofophers, Legiflators, Patriots and Po- liticians thought Travel necejfary, and accordingly travelled. But why did they travel ; or at what titne of Life did they fet about it ? Tlxy travelled after they were Men of Reading and Experience ; and they travelled to fee different States and to acquire more Experience in human Affairs ; or a more extenfive Knowledge of Mankind. And indeed he who hath bee-n in the World, and rightly tniderflands what knormng the World means, he, and he alone is qualified for travelling. Seeing the World is a very familiar Phrafe; It is altnofi in every ones mouth. But how few difiinSly comprehend its full Import and Signification f The Ancients travelled to fee different Cou?i- tries, and to have thereby Opportunities of making f olid Reflexions upon va- rious Governments, Laws, Cufloms and Policies, and their EffeBs and Con- fequences with regard to the Happinef or Mifery of States, in order to im- port with them into their own Country, Kn(mkdge founded on FaB and Obfervation, Travelling, and the Fine Arts. xvii Obfervation, from which, as from a Treafure of Things new and o'J, furi and folid Rules and Maxims might be brought forth for their Country's Be- nefit on every Emergency. For this is certain, that the real K?iowledge of Mankind can no more be acquired by abflrati Speculation without ftudyiyig human Nature itjelf in its many various Forms and Appearances, than the real Knowledge of the material W 'jrld by f raining imaginary Hypothefes and Theories, without looking into Nature itjelf : And no lefs variety of Ob- fervations is necefary to infer or eflabiip general Rtdes and Maxims in the one than in the other Pbilofophy. But how can one be Juppofed ft for fuch ferious and profound Employment, before he hath very clear and diflinSt Ideas of Government and Laws, and of the Inlerejls of Society ; or who by previous Education hath not been put into the way oj making Reflexions on thofe ufefid SubjeBs P I have often heard a very young Nobleman (the Advantage of wbofe un~ common Parts, and equal V irtues, may his Family, his Friends, and bis Country long continue to enjoy J remark abroad, " 'That though all our young " Gentlemen of Fortune are fent to travel at a certain Are, promifcuoujly " or without diflinBion ; yet it is very eafy to find out whether one be ft for " travelling or not ; fince he alone is fo, who takes pleafure /?z reading Hi- " ftory, not merely for bis Amufement, but itt order to lay up in his Mind " truly ufeful Knowledge ; and who, after having been inured for a con- " fderable time to fuch a ferious atid profitable Train of deep-thinking about " Men and Things ; and having thus conceived a clear Notio?i of the things to be obferved and enquired into his Travels in any foreign Country, is " able to form to himjelf a proper Plan of Travels, in order to accomplifb " fome manly, rational Defign." Such only are qualified to travel : Be- fore fuch a Turti of Mind be well eflablifiied by Reading, Converfation, and fome PraBice in the World, it is as abfurd to fend 07ie abroad to Jiudy Man- kind, as to think of comijig at PerfeBion in any Science without the Know- ledge of its Elements or firfl Principles. It is really like employing one to ineajure without a Standard, or count without Arithmetick. IN order to travel with Advantage through a?iy foreign Country, one ought to have not only a very full Knowledge of the Laws, Conftitution,HiJlory and hiterefls of his own Country, (which is feldom the cafe ) ; but he ought likewife to have as full and thorough a Knowledge of that foreign Country he intends to vift, as can be learned at home from Books and Converfation : And he ought certainly to have very jufl and well-digefled Notions of Government, and civil Policy, and its Ends : Otherwife he goes indeed abroad not know- ing whither he goes, or what he goes to fee ; without any Scheme ; and ab- Jolutely unqualified to conipare, or make right Judgments of Men and Tidings. IF Parents fend their Sons fo young abroad, for no other reafon but jnerely that they may be for fome time out of their fight, ( I wifh it could he likewife faid, that they fent them out of Harms way ) fuch a cafe is it to be wondered at, that yotcng Gentlemen go abroad without any other view but to make ufe of their Diftattce firom all Checks, to fling themfelves head- lo?ig into Pleafure, and give full fming to their Appetites ; and that thus they bring back with them broken Conftitutions, and a worfe Habit of Mind? IF young Gentlemen are early fent abroad for any ofi the inferiour Parts of LiberalEducation, there muft be great DefeBs in our own at home, which ought 'd tQ xviii V R E F A C E, coruer.vJug Education, to he retneelied, in order to put an end to a Necejfity Jo rifquous, in what- ever View we take of it. If the Exercifes are fo necefjary to cjupleat Education, that young Gentlemen are fcnt very young into France on that account, [and certain genteel, manly Exercifes are undoubtedly requifite to form a fine Gentleman) why have we them not in our own Schools and Uni- verftties in their proper Place and Seafon ? IT cannot be faid, that it is to learn Good-manners and a polite Mien and Carriage, that our young Gentlemcti mufl he fcnt fo early into France without doing injufice to our own Fair Sex, by Converfation with whom they would quickly be polifhed into a Behaviour far preferable to that con- trasted abroad- 'Tis no doubt owing^ to our fending our Youth to be poliflxd in France into genteel, pretty Behaviour (as it is called) a Complement that has been paid to that Nation by the Britifli in particular, too, too lontr that the French are the only People in the World who have the very extraordi- nary Politenefs to tell all Strangers, that thy alone underjtand Le fcavoir vivre ; and the Commerce de la vie. That furely cannot be the rcafon for fending young Gentlemen betimes into- Country-Towns in France, fmce it is well known how awkard the People of the beft Fafiion at Caen, Anders or Befancon, for inflame, appear to the Court-bred at Ver/iiilles or Paris the Center of Frcncli Politenefi. 'Tis the Fair Sex in every Ciuntry that 'is the Source of good Breeding, and that regulates genteel Manners : And thanks to our untravelled Ladies for their better Notion of a fine Gentleman ; fnce it is chiefly by their means that any of our young Travellers who return from France Fops and Coxcombs, are ever recovered from their French Flutter- ing, V olatility, and Impertinence, and reflored to that native Plainnefs and Serioufnefs of the Britifh ; of which, if ever we become generally afiamed, all that is Grave and Great amongft us, andth at exalts us above every flavifl} Country, mufl be on the Brink of Ruin. IF it is /aid, that they are fent early into France to learn the French Language, ^ that they may have a Tongue to travel with afterwards ; I fljall only fay, that very many have acquired in canfequence of a ri0 it-- markablc Ages of it, tiiat Ape lies and that o{ Raphael ■■, and for many othci- rca- fonsrthe Advancement' of that Art in Greece to aw Aj)clles, is compared with its later Improvements after its Revival in Italy to a Raphael. - And the Art is found to have advanced in both in the lame manner ; or by fimilar Means and Stcp.'^; p. \ %- Thc Art was at its hij^hcft Perlcclion amongif the Creeks in Apelles^ as it is owned to have been in the laft Age of Painring amont;ft the Itnlians in Raphael. Now there is a rc- marieable Likcncfs of Temper, Genius, and Talents between thcic two -ireat Mailers : They were both highly cllcemcd for the fame good perfonal Qiiahtics ; and the W^orks of both excelled in the lame analogous good Qiialities of Painting;, that is, in Grace and Greatnefs: And tltey were both deficient in the lame rcfpcds. Thcv were both formed in the fame manner by Maflers of like Genius, Temper and Talents, as appears by comparing the Characlcr of 'Pamphilus, Maffcr to the one, with that of Leonardo da Vinci^ Maftcr to the other. 'Tis remarkable, that the two iaft were skilled in Ma- tllematicks, and not a httlc improved Painting by the help of that Science, p. i(),2o,2 1. But rhcy too were educated in the fame manner by Malkrs of \'ery like Charaftcrs and Abilities, as is plain from comparing the Account gi\'cii of Eiipo'i'ipus, Mailer to Tam- philns, with that Andrea P'errochio, Maftcr lo Leonardo : They were both great Studicrs of Nature, and llrongly recommended that Study to their Difciples. 2 i. Zenxis the bclf Coloutill among the Ancients, excelled ^i-Z/M in colourins;, 2sTitia?i- did Raphael. And thefe two tanlous Colourirts had the lame Turn of Mind and Ge- nius : They were indebted in like manner, the one to the Aftirtancc oi Apollodorus, and the other to x.h.zx. o'tGiorgione, two Maftersthat were likcwife very like to one an- other in their Characters, and made funilar Improvements in the Art : They are alio cenfnrcd for the fame Faults or rather Defecls. They came (hort in Drawinii. and £x- prefllon, which are deemed by ancient Criticks the two moll eflcntial Qiialities of good Painting, by Ariftotle in particular. 22, 23, 24. 'Parrhafins and Correggio were \-ery like to one another in fcveral rcfpccls ; they both ex- celled in rounding off the Extremities, and giving relief to their figures, liut the for- mer fecms to have excelled the latter in Correclncfs, and perhaps in Exprcilion. As he had the lame Talent of drawing Characters to the Life by his Pencil, for \\'hich Socrates is fo famous in his Convcrfation and Ledurcs i fo he was in all probability not a little obliged to the Aflillance of that celebrated Philofophcr, who had been bred a Sculptor in his Youth j continued to be a great Lover of the fine Arts, and was frequently with Painters and Statuaries, with ^ arrhapns \\\ particular. ^. 2 j, Tarrhafius was furpalfcd by Timanthes in what may be juftly called the Sublime in Paint- ing, which is dclcribed by Tlmy, jull: as the Sublime in Writing is by Longinns ; but may be better undcrftood from the Worlcs of Raphael Nicolas 'PoiiJJin, than from any Definition. — — _ . - ■ p.26, zy. N. 'Pouffin is greatly praifcd for his Skill in exprclling thcPaflions; and this was the diftin- guilhing Talent of Ariftides j and is indeed a principal part in Painting, fincc it alone can render the Art inftruclivc in human Nature, and ferviecable in Morality. p. 27. Trotogeyies^ who was likewile Cotemporary ys'ixhApelles, was mnchloved and ironourcd hjAriJlotle^ who took great pains to perfuade him to employ his Pencil on high and noble Subjcds : He was gencroully broughr into Reputation by Apelles, of whom ha fell fhort only in Grace, through his over-diligence to finifh, and his not knowing when to give over i as was Correggio, who came fo near to Raphael even in Grace and Great- ncfs, among the Moderns, by certain Painters of elbblilli'd Fame. Thofctwo had no Waftets, and lived at firll in a \-ery mean and obfcurc way j but having furprizing Ge- nius's, they produced very grcar Works, even in tlicfe Circumftanccs lb unfavourable to the Mufcs. The Tranquility oi'^Protogenes in continuing to paint quite eafy and undi- fturbcd in the very Camp of an Encm\', is celebrated: And wc have a like inlfanee in 'Farmeggiano, a Painter of the fame Chatadcr, and who did Pieces that excelled in the fame Softnefs, Gentienefs, and Swcctnefs for which thole of Protogenes are fo much praifcd by ancient Authors. ■ . ^d. 28, 2(j. Micomachus and "Rhiloxenus painted faft, but had fine Pencils, and did not dcfcrvc' the Rebukes Apelles and Zeuxis gave to certain Painters, who boafted of finifhing Pictures in a very lliort time. Eafy Painting however, as well as cafy Writing, requires much Time and Study. The Perfedion of Art lies in concealing Art, and is very difficult to be attained to. . p %o Nicopbanes is commended for the high Notion he had of the Art, and the Care he took to make it really ulcful. Several Moderns were remarkable for painting fart : But none among them made a liner Choice of Subjects, or employed the Pencil upon nobler and more ufeful Argimicnts than Annibal Carrache^ who Icems to have excelled in the fame "way with Nicophanes. ■ ^ . p Perfeus, nor none oi Apelles s Scholars came near to their Mailer : Nor did thofc of Ra- phael approach to his Pcrfedion. So true it is, that though right Education be ncceftarv it muft have a good Genius to work upon. . ; p_ ^q! Eitphra-iior I Digejled into a Regular Sumiviary. xxiit Euphranor is a Painter of a furprizino; Chataclcr among the Ancients ; he liaJ many won- derful Talents : And juft Inch a one was Michael Angela amonj; the Moderns. They had both the fame Excellencies ; and they both erred in the Cimc manner; that is, on the fide of Grcarnefs. - — — — ■ /-^o- AntidotuSj Scholar to Euphranor, was a Painter of the fame Genius and Charaiflcr w irh Andrea del S art Scholar \o Michael Angela : They were both heavy but uili'j;enti they had l\ot enough of the poetical fire equally rcquifire to Painting and to Poetry- Midas had excellent QLialifieations, and a very high Idea of the Sublimity and Ufefulnefs to which the Art might be brought : he confidercd Painting as a Species of Poctrv; And indeed all the great iMafters had the Htme high Notion of the Art, and ftrove ac- cordingly to catry it to its utmofl: Beauty and Strength, by proper Methods of Study ; and thus it was that the Art was brought amongft them to fo great Pedection. This we learn from Socrates^ from Maxirnus Tyrins, from Cicero and QTtintilian. It was lii Hkcwifc with ixgard to the beil modern Mafters, and thus was the Art pcrfeiflcd by A. Carrache by his juft Notions of Painting iaved or rather reflored the Art from filic Taflc and Ruin : He formed fcvcral excellent Painters, who by his Inllriiclions be- came able to oppofe with fuceefs a falfeTalb that had already gained a ereat Afcen- dant at Royne^ Gnido iii particular. ■ P-3i- ^au/ias. Scholar to 'Fa??ip/jilus, painted chiefly in tlic cncauftiek way ; and he had much the fame Taftc with Giov. da Udina, Scholar to Raphael, who excelled ni grotcfquc Decorations. ■ ■ - — - 33- Athenian is greatly praifed by the Ancients for the fame Excellence, as Ginlio Rama?io amongft: the Moderns; that is, for Erudition : and thele twd were dehcicnt in Colouf- ing hi the fame rcfped. ■ ■ p. 5^. 'pyreicus painted low Subjedts, like the Ba£ans among the Moderns, and had as well as they his Admirers. - — - p. Callicles znS>6. It was in a very bad way in the time of Claudius and JVero j nay it began to be diicoioured and to degenerate in the time of Aiigiijttis. This is evident from what Cicero and Ttio- ■ny fills HalicaY7iaJfeiis fay of modern and ancient Paintets in their time, and the remark- able diifeixnce between their Performances. P-97- In (hort, even from tiic Days of Angufius, ancient Writers are full of Complaints of the Decay of all the Arts; of Painting in particular. It therefore only remains to be en- quired, what ancient Authors have faid of the Pxogrcfs and Decline of all the Arts. All the greatefl; Men of every fort in Gr^ Did not Plato banim'theni from his Ideal Rcpublick ! If he banifhed Painting from his Commonwealth, he fervcd Poetry in the fime manner > And fure none who are acquainted with that Att ate diipofed to follow his Example in that particular > But in reality the Dcfi-^n of his ideal State is to fhcw where Laws can have no effcd, bur mull rather be pernicious ■ and what muft be left to the Magiftratcs, and other Men of Power and Authority to accomplifh by their good Example. — ^ ^ ^ Pericles is ccnfured by fome, not for encouraging the fine Arts too much ; but cither " for employing publick Money in that way, which was dcftined to other purpofcs ; or for not ufing, at the fame time, other proper Methods to promote virtuous Manners.' Plu- tarch fets him fotth as a Pattern worrhy of the imitation of great Men in relpcfl: of the Encouragement he gave to Ingenuity and Arts. Cicero gives him a grear Character; and alio Ihcws how great Men ought by their Example ro encourage ufcful and ingenious Arts. The Arts did not contribute to the Ruin of the Roman State ; it fell as Polybiusl^Kmn phcficd. . There was a great Tendency towards the Diffolution of their Government before the'finc Arts came amongft them, or about that time ; and corrupt Manners Ibon corrupted the Arts, which for that rcalbn never came to very great Perfeftion amon"- them The Romans were at bcft but Copiers after the Greeks in the fine Arts, as has been already oblcrved. ' Cicero gives a glorious Charadcr of thofe who firft brought Statues and Piflures and'^he fine Arts, \aio Rome, not to adorn their own Houfes,' but The Arts flourilhed nioft under the good and frugal Emperors. And they did not effeminate a Socrates a Xenophon, a Scipio, a Cicero, a Poly bins, &c. ^ j ' Cato, whofirll oppofcd the Introduction of G'rff;4LcarninK, aft:erwards chan'^- 1. The inkparablc Connexion thtoughout all Natutc, of Truth and Beauty with Utility. Both thcie arc much infilled upon by the Ancients. f - 139. 3. Who tell us alfo in their way of explaining the Beauty and Perfeaion of rhe imitative Atts ; that thclb Arrs oughr not too (Iriaiy to adhctc to any patticular Objcft of Nature, but to take their Idea. of Beauty from Natute in geiretal, and to endeavour to do as Nature does, ro make a good Whole; becaufe thefe Arts cannot t.akc in all Natm-e, but a parr only ; therefore whatever they tcprcfcnt ought to be a pcrfca Whole, as Nature itfelf, where all is managed for the bell, with pctfeft Frugality and juft Rcferve ; its wife Author being profufe to none, but bountiful to all ; never einploying in one thing more than enough ; but with exaft Diftribution and Oeconomy rerrenching rhe Super- fluous, and adding force to what is principal in evety thing. This feems to be Ctcero\ Meaning when he'is fpcaking of Zeuxis, and giving the Rcafon why he eoUeacd Beau- ties from many different Originals, to make one pcrfca Piece. 140. In order to fuch Imitation of Nature, 'tis obvious that Arr muft fet off' what is principal by proper Conrrafts ; for thus in N.lture itfelf is evety thing heightned or ftrengthen'd. 4,. It is likewife worth Obfervatiou in the 4.th place, that the chief Pleafutes excited in us by ingenious Imitations of human Life and Mannets pre-fuppofe a moral and publick Senfc": They could not otherwife have an agreeable Effed upon usi or give us firch cxquifite Touches of ]oy. And reciprocally, if rhe reality of a moral Senfe and focial Affcclion in our Natures be owned, it muft lacecA'arily follow, that the chief Pleafurcs \vc e.m receive from Imitations or Fiftions, muft be of a moral and focial kind. f. 14.2. 5-. To thefe Obfetvations it may be juftly added, that Man is fo made as to be gteatly de- ' lighted with whatever ptcl'cnts him with a Irigh Idea of tlie Perfcftion to which human N°atnrc may be improved by due Culture. And for this rcafon all the Improvements of the fine Atts mull be exceeding delightful to human Contemplation. 142. i The xxxviii PRINCIPAL CONTENTS, The Conclufions that naturally follow from thofe Prmciplcs that have been laid down concerning our moral Make and Conllitution ; and that were inferred from them bv the better Ancients, are, ■ ■ ■ ■ - ■ p.ijg.z. That Man is fitted and qualified by Nature for a very noble degree of Perfeclion and Happinefs : not merely for fenfitive, but chiefly for rational Happincfs. And Happi- ucfs is not unequally diftributed by Nature upon fuppofition, that our chief Happincfs is from the Exercifes of Rcafon and Virtue. Per all Men may have the PlcUures of Reafon, Virtue, and Religion to a very high pitch ; that is in every one's own power. And in a good and wcU-conltitntcd Government, even the lower Ranks of Men will have the Plcafares arifing from the Sciences, and from well-improved Arts, in a very confiderablc degree. -■ . p, ij^-^. Wc may juftly infer from the preceding Account of human Nature, that our Author muft have a moft: perfect moral Difpofition, or be infinitely good and benevolent, fincc he hath made us capable of difcerning and delighting in moral Order, Ceauty, Truth and Goodncfs. — — p_ Eiit the Conclufion which chiefly belongs to our prcfent purpofe regards Education ; namely, that it muft be its chief End to improve to due perfedion our Underftandini^ our Imagination, and our Scnfe of Beauty natural and moral : And that the propcrcft Method of accompUHiing that End rnufl: be by combining together in Education all the Liberal Arts and Sciences agreeably to their natural Union, Connexion, and De- pendency. ^ ■ ^ p. 14.3, 14.^. To illuftratc this 'tis only neceflary to refleft upon the ancient Method of teaching Ora- tory and Poetry, and of explaining the cflTential Qualities of good Paintinc;. All thcfe Arts arc truly philofophical ; and as the Confideration of them ncccflarily leads to a moft profound Examination of Nature, of human Natute in particular, fo Philolbphy cannot advance one ftcp without bringing Examples from them : And the true Delign of genuine Logick is to point out the common Union and Connexion of all the Liberal Sciences and Arts, in order to furnifl: us with a proper Directory for ourri!;ht Procce- dure in qucft of Truth and Knowledge. ■ ■ — j}. i^^^ i^.^. But the Ufefulnefs of the Arts of Defign will appear more clearly if we confider what Philofophy is, and how it ought to be taught ; for Pidlurcs are plainly Samples either in natural or in moral Philofophy : And the beft: way of teaching the one or the other Phi- lofophy is by Samples or Experiments. Landfcapes or Views of Nature's viable Ecau- ties are Samples or Experiments in natural Philofophy j whether they are Copies after particular Parts of real Nature, or imaginary Compofitions. They are Samples of the Beauties or Harmonies which rcfult from Nature's Laws of Light and Colours; for by thefe all the vifible Beauties of the fenfible "World are produced : And thus they arc proper means for forming and improving our Eye, or our Senfc of vifible Beauty in the lame way that mufical Compofitions are the proper means of improvins; an Ear for Mufick. So Tlutarch and other Ancients have juftly remarked. ■ -p. i^^. Now as for moral or hiftorical Piftures, they arc plainly Samples or Experiments in tlic Philofophy which teaches human Nature, its Operations and Pafiions, and their Effeds and Confequenccs. It is acknowledged that Poetry by its hnitations affords very proper Samples to the moral Philofopher's Contemplation. And it is no lefs evident that moral Pictures muft likewife furnifli equally proper Samples in the lame way. The imitative Arts are for that reafon recommended by Ariftotle as better teaching human Natute than merely didadick Philofophy ; nay, than Hift:ory itfelf : They are,^faith he, more Catholick or Um-verfal. That all moral Pidurcs are Samples of human Life and Manners, is too evident to be infified upon. And the Advantage of teaching moral Philofophy by means of fuch Samples confifls in this. The Mind is highly de- lighted with the double Employment of comparing Copies with Originals; and is thereby rendered more attentive to Nature itfelf than it can be without fuch Helps. And which is more, as certain delicate Veflels in the iiuman Body cannot be percei\'ed by the naked Eye, but muft be magnified in order to be difccrned ; fo without the help of Magnifiers not only would fevcral nice Parts of our moral Frame efcape our Obfervaiion ; but no Eeaturcs or Charaders of the moral fort would be liiffieiently at- tended to. Now the imitative Arts become Magnifiers in the moral way by means of reprefenting Alfedions, and their Workings, and Confequenccs in fuch Circumftances as are moft proper to fet them in the ftrongeft, the moft aff^cding and moving Lights. p. 146, 147. Poetry hath its Advantages above Painting,- and Painting hath its Advantages above Poetry. But without entering into a very idle Qiieftion about the Precedency of thofe two excellent Arts, which naturally go hand in hand with Philofophy, and mutually afiift and fet off^ one another to great advantage i it is e\'idcnt that both have this mani- feft pre-eminence in teaching human Nature above Philofophy itfelf, as it proceeds in the dry way of mere Definition and Divifion, that they find eafier accefs into the Mind and take firmer hold of it. And which is yet more, whereas Philofophcrs moft com- monly have fome favourite Hypothefis in view, the Imitators of human Life, Poets and Painters, exhibit Aff'edions and Characters as they conceive, or rather as they feel them, without fuffering thcmfclves to be biafled by any Scheme. They follow the ^ Impulic Digefted into a Regular Summary. xxxix Impulfe of Nature itfclf, and paint as Ihc diftatcs to them, or ratlier as flic moves them. How proper Samples moral Piftiires arc in teaching moral Philolbphy, that is, in exhi- biting human Nature to view, and in recommending Virtue, and dilcountenancing Vice, will be evident, if v/c call to mind the noble Effcfts of feverai excellent Pic- tures ; or the Influence which thofe have naturally and ncceflarily on every Mind : i^ijy^j/j/^f/'s C^irtoons in particular, and his 'Parnaffus^ Sdaoo{ Athe7is, and Battle of Conjiantine^ &c. ■ ■ 14.8, 14.9, Hence wc may fee, that the Liberal Arts ought nor to be fever'd from Philofophy in teach- in? it. In whatever View Education is confidercd, the Alliftance of the Arts of Dc- fign is ufeful, nay neceflary: whether we confider it as intended to improve our JVeafon, our Imagination, or our Temper j all the liberal Arts combine naturally together to cfFcftuate any of thefe excellent Purpofes in the bcft, that is, the moft agreeable and fuccelsful manner. And the reafon is, becaufe, as Ivath often been obferved by the Ancients, Beauty, Truth and Greatnefs are the fame in Nature, in Life, and iit Arts. Virtue Is every where the fupreme Charm or Beauty ; And the moral Venus dreft by the fine Arts (which are properly the Hand-maids to Philofophy, or its beft Miniftcrs) glows with double Charms. Whilft ancient Philofophcrs taught and recommended Vir- tue, taking the Arguments of their moral Difcourfes from moral Pidures, the living Leffon Jtole into the Heart ui-ith more prevailing Force than divells in Words % and round fuch lage lnfi.ruftors the Brcafts of their noble Difciples glow'd with an ar- dent Flame, Philofophy not animated by Jiving Examples cannot kindle. p. 15-0. This Scheme of Education, as comprchenfive as it appears, and really is, may be ealily put in praciice. It only fuppofes the Principles of Defign to be early taught ; which, as Arijiotle wifely obferved, is not more necelfary to liberal Education than to the Im- provement of mechanick Arts. ■ — iji. The Education of the ancient Greeks is well worth our Confidcration and Imitation m every refped : Their Mufick was quite a different thing from what now paflcs under that name. And with the Liberal Arts and Sciences they conjoined in Education cer- tain manly genteel Excrcifes abfolutely neceflary to the Formation of truly fine Gentle- men i or to fortify againfl: Effeminacy ; to give Grace and Vigour at once to the Body and to the Mind; and thus to qualify Youth early for the Service of their Country in the Arts of War or Peace. ■ • • p. if2. But I have accomplifhed my principal Defign if what I have faid of the Ufefulnefs of the Arts of Defign in Philofophy and Education, be found in any degree conducive either to • i f 7, i 5 S, i fj, 1 6o. Michael Angela, who is compared wrth the Poet D.jy/r,?. Francefco Sebajtiano del Tionibo, Andrea delSarto. " Correggio, Titian. • ■ ■ ' Taolo Veronefe, Tintoretto, Hannibal, Lowigi and Augnflino Carrache. Gni.do, Albano, 'Dmiinichino, Salvator Rofa, Tietro da Cortona, Reubens. f. ifil f. \6l. f. 162. p. 161. p. 16+. Vandyck, Carlo Marratti, Nicolas Toufpn. • i6f,iStf. The Methods Loniaa:,o takes to defcribe the different Charaders of feveral Painters arc taken notice of 1^7- Another Method is attempted, by afllgning to each of them a Subjeft fuitable to his pecu- Har Genius. '- ' 167, 168, 169. Hence it appears that Painting admits the fame variety with Poetry, and may be employed to many very noble and ufi:ful Purpofes. 169. This Chapter concludes with fome K.cmarks upon the ancient Paintings annexed to this Eflay, ihewing the Sizes of the Originals, v.-here rhey were found, where they now are. Several Reafons are given for publifhing them. And a few Obfervations are offered, in order to Ihew the t/fc that may be made of fuch ancient Remains in explaining ancient Authors, the Poets in particular. from/. 170, to 175. lit the Conclufion, the chief Principles are recapitulated, which it is the Dcfign of this Ell'ay to confirni and iUuftrate i or upon which all the Reafoning in it depends : That is, the Fitncls of combining together all the Liberal Arts and Sciences in Education, in order to >'ain its Ends, which arc to produce early a good Temper and a good Tafte, is urged from feveral Confiderations : from the natural Union and Dependence of all the Arts and Sciences ; from the natural Union and Dependence of thofc Faculties, Ca- pacities and Difpofitions of our Minds, which it is the chief Scope of Education to im- prove and perfect ■ /.i79,l8oi8i. Prom the Confidcration of our natural Delight in Copies ; and of the double Satisfaction of the Mind in comparing Imitations with Originals : Imitarions by Painting and Poetry bein" Copies of Nature, are ufeful asExpcrimenrs or Specimens in the Study of Nature. ° /.i8l,i82. And laftly, from the Confidcration of the Advantages that are allowed to Poetry in re- Ipcft of inftruding or moving ; all wliieh do equally belong to Painting, p. 1 82, 1 83. The Conclufion aimed at throughout this Eflay is bticfly this. That Virtue is the Jlt- freme Charm in Nature, in Aff'eBions, in Manners, and in Arts. ERRATA. ^. ill the Notes [zO read di.r!p. 1 5, inlkad of ««'J read^w^. in the lail Qaotadon from ViijH read fpeluxca. in the Notes (71) inllead of Uefiadum read H-ftoiiiiim. ill the Notes (76) read duhitas inftead of dahith. in the Notes (lO) read aufas inllead of aitjui. l.uk. read ha-ve in canfequeme af our Frame and Coiijlitution a ue/y great Ipjiiience upon oar Minds, and aihur intelkaml ar moral Povjers. And in the Notes [60) read co'itngu conlngne. And I.5. read priinum jm inftead of after fo Maiiilius, read .r, pr.fufi. 143. l.pen. read ar^wj inliead of wnVfj, l.i. Foltipta. Read in feveral places thoje inftead of ihefc, and 'vke versi And be pleafed to excufc feveral other fuch-iikc Errors, HIKHHBiHIil mm A N ESSAY On the Rife, Progrefs, and Decline of P A I N T I N Among the Greeks and Romans. CHAP. I. Obfervations iipott the Antiquity of the Arts «/ D e s i G N, 0/ Pa i N t i N g !?2 particular ; and the jiijt Notions which we are led to form of their Dignity and Ufeftilnefs, by many Defcriptions of Sculptures W Pictures in Homer and Virgil. T HAT the Art of Painting was in hitih ixputc, and brought to a con- fidcrabie degree of Perfeftion m very ancient Times, is tlie unannnoris Opi- nion of Vofflus, "Dati, Junius, Bulcngerus, Fragmcr, and ahnoft all the Learned wlio have written on that Subjeft : many Arguments arc brought to prove it (i). 'PLATO and other ancient Authors tcU us, it was the Sun, the firft and ablcft of Pain- that tau"ht Men to dedcn and paint. And what elfc can thcfe Writers mean; w :an that known Story of a Slicphcrdefs circumfcribing her Lover's Sliadow m order (l) See Ger. Job. Vaffim in quahior artibus popular i- hus; ^raphices (ta. 4- I'-'*^!" 3- '^"/'■^S- origine & progrejfu Itiohlairin; docet pifl-umm ( quae cslaturam etL:uii, fculpturamque coini>leaitur) antiqui- orem elfe temporibus Illacis, contra cjuam a Plinio pio- ditum eft. See alfo Francifci Junii Cntnkgnm pimrimi, allorum- que artificiim., in ariiculo Aaron. Safari's Lives of ihe Painfers, torn. i. p. 64. proe'mio dcUe vile, & torn. 2. littera di M. Gio. Battijia, &c. The Teftimonies cited by thefe Wi iters from ancient Anchors, fiicrcd and profane. Scia;irap!iia quidem in- venta eft a Sauria, equum in fole circumfcribente : Gra- phicen imenltCrato, in tabula dcalbata umbra.-i viri ac miilieris inungens; a Virgiiie v«o inventa eft Coropl.-if- tice ; fiquiclem amore alicuiiis capu, circumfcripiit dor- mientis quafi umbram in parictc ; pater deinde multiim obleaatus ftmihtudine, ufquc adeo indifcreta (figulinain enim cxercebat) Hneamenta cxculpca opplevit argiUa : Is typus ctiam nunc aflcrvatur Corlntlii. His fnccedcntes DiCiialns h Thcodorus Milefuis, Statuariam Plafticen Thai Painling_ v^ry ancient, is ihi unanimous 0 pinion of thf Learned ; cmlfmnl Arg,,- Vicnti are brought la prove it. From anciou Fahhst tcrSj prefove hirimagcV'and fuch hke Pablcs concerning its Origin, fignify ; but that this imitative Art which is equally ufcful and plcafaiit, and to which Nature points and in- vites us fo ftrongly, by retracing or copying her own Works in various manners, muft have been very early attempted. Man is made prone to Imitation for many wilc and kind Rcafons. By this Principle he is at once qualify'd and excited to ftudy Nature, and copy after her, and thereby to learn feveral Arts. And the Stones ApoUo, Mi- nerva Vulcan, the Muits and Graces, fuppofc the Arts already invented ; and therefore th.- Arts of Defign arc older than thefe very ancient Fables, and conlcqucntly than the Story of Dicdalus. " THE ingenious Abbe Fr^?«/>r (2), in hisDifcourfc on the Antiquity of Painting, fays, - he was led by the Confideration of the near Refemblance and ftrid Alliance between " Poetry and Paintins:, to enquire which of the two is moft ancient. Tis agreed they arc " Sifters their Intention and Scope is the fame ; and the Means they employ for attaining ' " then- adinveneriint. Athemgoras Legat. pro Chrifiiams, k Fran. Jun. de piiiura veterum in Catalogs. Cratopieiar. (2) Dijerfalion de Vanciennete de la Feiniure, par M. I'Abbe Fraguier, tians VHijloire de 1' Academie Royale des Infcriptio'is ^ Belles Lettres, torn. I- p. 75.~L'honjmc qui dt lie imitateur, & dans qui I'incHnation a imitcr n'eft, pcut-etrc, pas une -veriu, ft: porta naturellemcnt a I'imitation. Tout aidoic en luy ce penchant. L'lgno- rancele fortifioit, commeellele fortifie encore aujourd'huy dans !es cnfans.— Les ObieCs qn'il avoir fous ks yeux fern- bloicnt rinviler au plaii'.r de I'iniitation, h la nature elle-mefmc, qui par le moyen des jours & dcs ombres, peint toutes choks, ou dans les caux, ou fur Ics c^rpi doiic la furfice eft polie, luv apprcnoit a fatisi;Uie fon gouft pour I'imitation. II le fati=fuifoit doublenicnt tout a la fois, puifqu'en imitant les corps & les retracant, il imitoic auffi in nature, qui \e? retrace h ks imite en tajit de farons differentes. Ainfi leSolell, que Platnn noaimc ingmieufement le plus habile de tous ies peintre?, appnc aux homines les commencements dc la ptintuie.— -On dit, B par frcm the Nature From Hijhry. An Essay on the Rife, Progrefs, " their common End arc extremely like. But which is cldcft .' 'Tis natural (faith he) to " imagine that a certain rude way of delineating Objeas, preceded the Invention of thofc " arbitrary Marks by which Writing is fotm d ; and Writing is not improbably fuppofcd to " be mote anticnt than Poetry. It was not to draw Letters that the Pencil was Krft taken " up: Men had certainly cllay'd to rcprefcnt Objcfts by tracing their forms i that is, to " paint them, before they thought of combining Letters into Words in order to fi'mify " Ideas, Natutc leads firft to that which is cafieft and moft obvious; it advances bv^low " Steps to what is mote remote from In\-cntion. Wc may therefore pronounce in favour " of Painting, and gi\'c the precedence to it ; but luch a Precedence (as often happens in " gteat Families) is only due to it in point of Antiquity. For Poetry, according to the " nature of things, niuft have been the Fruit of gradual Refinement, of Politcnefs eultii'atcd' " by means of Writing; whereas Painting might have taken its Rife in very unimproved' " times, and while Manknid had no notion of Letters." TO this cfFccI the AbbiFraguier rcafons. And what appears fo probable inTheorv and is, as he obfervcs, not obfcutcly intimated to us by feveral ancient Apologues, many 'con- curring Tcftimonics of Hiflorians put beyond all doubt (3). A S far asHiftory reaches back, it prefcnts us with manifefl: Proofs of the Antiquity of all the Arts of Defign. The fitft AVriters of Hiftory were not a little indebted to thc'fe Arts for their beft M.ttcrials and furcft Vouchers in compiling their Records : Painting, Sculpture and othei Monuments, having been employed in the moft ancient Times to™ relervc the Memory of Facis, and likcwhe to rcprefcnt teligious and philofophical Opinions. BUT not to dwell long on Arguments from which nothing can be learned but bately the Antiquity of a ruder fort of Painting ; I fhall only add, that one of our own beft Authors fcems to be of the fame Opinion with rcfpcft to the Antiquity of that Art. " Defcription faith he, runs further from the things it reprefcnts than Painting, for a Pidure bears a I' near refemblance to its Original, which Letters and Syllables are wholly void of. Colours 2 (peak all Languages; but Words are underftood only by fuch a People or Nation. For II this rcafon, though Mens Ncceflities quickly put them on finding out Speech, Writing II is probably of a later Invention th.in Painting; particularly we are told that, ia'jmerica when the Spmiards firft arrived there, Exprefles were fent to the Emperor 'of Mexico in II paint, and the News of this Country delineated by the Strokes of a Pencil ; which II was a more natural way than that of Writing, though at the fame time much more im- perfcd ; becaufe it is impoftible to draw the little Conneftions of Speech, or to "ive the " Pifture of a Conjunftion or an Adverb (4)." ' ° I T will be more inftruflivc as w-cU as entertaining, to give my Readers a View of fomc other Reafonings on this SubjecT: ; which, at the fame time that they prove the very ancient Praftice and Efteem of Painting, aftord no inconlldcrablc Infight into its chief Rules and Beauties. And luch are the Atgumcnts btought from the Wtitings of Homer the beft and moft anticnt of Authors ; and who is likewil'c very juftly called by Goto ( <) Lucian 16) and others, the beft of Painteis. par exemple, qu'une bergere, &c. il y a mille petits contes lemblables, qui, vrai^ ou faux, ne fervent qii'a confirnier ce qu'on vient de dire, & ne font que des applications paruculicres d'un principe geiierale, it comme des apo- logues invcnrez pour rex[ili:-tion d'une verite. Piduram, Ca;laIuram,Statuariam ab infima Antiquitate repeti pofle ollendi, cum Scruch Abrahami avus Statuarius & ' MJeiavromiat fuerit. Memnon fitit antiquiffimus in Mmta Piaor & Statuarius. F,,!. Kidtr. Slmlum, lib.2. d/ Simt.nt!ii Rfg'u .'Fg:ptii S^uHra, tujui anihilus milltare UKUm empk.yis eJL Sculptus Jeinde eminens ceteris Rex variis coloribus, erant deinceps j'Egypti deorum omnium Imagines. Sequcbatur Eibliotbeca in qua infcriptum, Animi Medicamentum ; port quam Domus erat in qua 20 LefliHernia Jovis & Junoni.s. Ibi pifla Animalia fa- cris apta. Eulaigirtis J, P!{lm, he. lib. J. cap. 9. (3) Afferunt /Egyplii, literas, aflrorum curfus, Geo- metriam, artefquc plurimas ab fe fuilTe inventas ; non- iiulb has m /Egypto inveniffe quendam nomine Memno]ta affirmant: fed apud eos Animaliuin Effigies locolitera- rum erant. DiaJ. S/V. fib. I. See two Diflcrtations in tiieM'mff;V« ile Uttirature tirez (hi r,'g,Jlns df 1' Acadcmu Rr^yoh dts hifa iptions. Sec. par M !■ AbbS yt„fil,„r. The firll is in the 4th tome, p.380. J he other, tome 6, page iirlt. Sur ies monumens qui ont fervi de memoires aux premiers Hifloriens ; where lie fays —Lea cvcnemens fameux eftoient reprefentez fur les bafes des llatues, des trepicds, des autcls, dans lea portiques, dans Jes temples ; & I'on pent dire que les ancicns ont peint fuc- ceffivemcnt toute I'hilfoire, d'abord groffieremci^, & dans lafu.teavecplusdedehcatefle. Many Teftimonies are brought from Htriditus, Diedirm Skulm, and other an- cient Authors, to prove the Antiquity of the dcfi^nin^ Arts ;— and jikewife from the facred Writings the Com- mand of God forbidding tJie Worlhip of Images —The able Artifts employed to wort about the Tabernable in Gold, and Silver, and Brafs, Bad. xxxi. 2. And the account that is given of the Origin of Images and Ido- latry, m the Book of chap. xiv. vcr. r( 16 17 18, &c. For a Father afflifted with untimely mourning when he hath made an Image of hi,. Child foon taken away, now honoured him as a God, which was then a dead Man, and delivered to thofe tliat were under him Ceremonies and Sacrifices. Thus in procefs of time gra- ven images were worlhipped by the commandments of Kings : Whom Men could not honour in prelbnce be- caufe they dwelt far off, they took the counterfeit of his Vilage from far, and made an exprefs Ima»e of a Kine whom they honoured.— Allb the lingular diligence of thi Attihcer did help to fet forward the Ignorant to more Superllition : lor he — forced all his Skill 5 Ti> Chap. I. a?id Decline of Pa i N T i N G. 'Z'L/iYT'exprcmy fays, that the Art of Painting; was unknoN™ in the times dcfcribcd by the Ihad : But, acording to that Autlior, the Art of Carving was in ufe at the Sieijc of Troy ; and confequentiy Dcfii^n, which is the moil: cflcntial parr of Painting, was then undcrifood ; And wlicn he obfcrvcs, that Painting does not appear to have bctn known at that timc^ he wonders how an Art (7), beginning fo late, came fo foon to its Pcrfeclion. HOMER is reckoned fo rigidly exact indefcribingthcCiiftoms, A4anners, andPrafticesof Times, and Countries, that aiicicm Hiftorians pay a very great regard to his Authority, and fcruplc not to buiid upon it (8). And therefore we can hardly doubt but that Painting was pra£lifcd even at that early Period, fuicc he rcprefents it, or fomerhing equivalent to it, to have been then in ufe. But whether rhis Art was arrived to any degree of Excellence at the time of the Trojan Ws-r or not, Homer himfclf muft be allowed by every one who underflands the many lively and elegant Defcriptions of Carvings, Statues, Sculptures, Tapc- ftries, Pidures and Ornamenrs of all kinds, that occur in that di\ inc Poet, to have had very pcrfed Ideas of all the Arts of Defign, not only of Statuary and Sculpture, but of Painting. Tho' the Name of the Art is not to be found in his Writings, yet the Arc itfelf is plainly dcfcribcd as it confifts in Defign and Colouring. So highly was he charmed with thefe Arts, that he has enriched his Poems with an infinite variety of Beauties derived from that delightful Source. Itisindcedimpoflibleto give a more pcrfed Notion of their End, Ufe, Power, and Excellence, than he hath done by his Defcriptions of fevcral Works of an cxquilltc, mafterly Taftc. Hence as he is univerfally owned, by all Criticks, ancient and modern, to be the Father of Poetry and Oratory, infomuch that all the Precepts and Examples of thefe Arts are taken from him; fo he was likcwifc regarded by the bcft ancient Painters as their Infpirer, Teacher and Diredor. Were certain ancient Treatifcs on Painting ftill in be- ins, of which we hardly know any thing but their Titles, it is highly probable we Ihouid find their Authors paying no lefs Homage to his Authority rhan the bcft Criticks on Elo- quence and Poetry have always done. For this we are fure of, that the beft ancient Statua- fies and Painters ftudicd him conftaiitly {9) : from his Writings they took almoft all their Ideas and Subjcds: whatever Alfcdions, Paflions, Virtues, Vices, Manners, Habits or At- titudes they drew ; whatever Charaders of Gods, Demi-Gods, or Men and Women they reprefcnted, they had Homer always in their view as their beftParrern to copy after. Zenxis was confidercd by the Painters as their Legiflator with refpcd to Divinities and Heroes, be- caufe he had followed Homer as his; fo a very good Author tells us (lo). It was Homer'?. Paintings, fay fcveral other AVriters (11), that awakened and kindled the Conceptions of the moft eminent Sculptors and Painters, wiiilc they ftrovc to keep up to the Truth, Beauty, and Grandeur of the Ideas he had impreflcd on their Imagination. His Defcriptions became the Charaders which were purfued by the great Maftcrs, and in all Works of a good Tatle. Now, what the Roman Orator liiys oi Homer (12) with refped to Poetry and Rhctorick, holds equally good with regard to Painting : All thefe Arts muft have been greatly improved, and in high eftcem, before, or in his time, othcrwifo he could not have had fuch a confum- matc Idea of them in all their Parts and Qiialities. No Art or Science ftarts all at once into Pcrfedion : ail things, natural or moral, advance to Vigour and Maturity by gradual fteps. Can therefore rhcfe Arts, of which Homer Ihews fo pcrfed a Tafte and Knowledge, be fiip- pofed to have been but in embryo and hardly known in his time j or to have as yet produced nothing truly beautiful and elegant ! Can any one confider his Defcriptions of Mineri-ds ^gis, AchUlessS\\ic\d, x\\zV>\xck\cr: Agamemnon {i'^), and feveral other fuch AVorks of the (7) NuUam artium celerlus confummatam cum Iliacis tcmporibus non fuiffe cam appareat. Pl'm. 35. (8) Siraho in the firft Book of his Geography, near the beginning, has thefe Words, o( ('Qjj.t)^i) m /AOKsvt'j t? ^TW r«v mlymv affr?. K- T- A.) Qui non folum univerfos priores ac poftcriores virtute poetica fuperavit ; fed ctiam ipfa ferme rcrum civilium, qu:c ad vitam fpeiSant, cx- perientia. And in the fame Book, afterwards, he adds. Tui/ jap if.'.i Illius enim poefin fapicntiffi rtudium elTc, acPhilofophiam univerfi reftimant, non ut inquit Eratofthenes, qui, ad intelligentiam & mentcm pocmata judicari non debere, jubet, nec uUam ex Poetis Hiftoriam elle petenJam. So Pajifamas in fcvL-ral places. (9) Strabo, lib. 8. 'Art^uvnuor-yJov^ j -ji OuJiov. K.r.h-) Unum dc Phidia niemorire proditum eft, ab eo Pandxno refponfuni, qui cum Phldiam iiiterrogaret, quodnam ad exemplar Jovis ftatuam faiturus eflet, ad Homeri refpon- dit Imaginem, quam liifcc verfibus expHcavit : (10) ^ihitih'an, lib. I2. Nam Zeuxis plus membrls corporis dedit, id amplius atque augufiius ratus, atque, utexiftimant. Homer um fecutus, cui validifTima qusque forma eciam in faiminis placet. Ille vcro ita circum- l^ripfit omnia, ut eum Legumlatorem voccnt, quia deo- rum atque heroum effigies, quales ab eo funt tradits, cx:cfi tanquam ita necefte fit, fequuntur. PlinyT^'wrf wasmi kiis-vun (It the timi: of the Trojan Ifcn- : B:-f owns that Sculpture was^ and llxr.f.r, D,f,gn tins. He winders at its quick Pr^grefs on thntfuppafmon.^ Homer makes it Jh old, and is rigidly exa£t in his Accounts of Manner! and Arts. TVliatcver be as to that,hehimfelf cer- tainly had Vfry per- ffi't ideas of the Art. He was regarded by ancient Criticks as the Father of Poetry and Oratory. And by ancient Painters as their Jnfpirer and Legif- lator. Ckerd's Argument with regard to the ether Arts, will hold equally goodwith rc- fpe^ to Paintiug. Several Defcriptions in Homer referred (11) Straba ut fiipra. Vitie Junius ds Pitlura vete- rurn. Phidias. Phidias Homeri verfibus egregio didlo al- lufit, (inquit Va!. Maxinius lib. 3. cap. 7. exemplo ext. 4.) fimulacro enim Jovis Olympii perfefto, quo nullum pra^ftantiiis aut admirabilius humane fabricEE manus fe- cit ; interrogatus ab amico, quonam mentcm fuam diri- gens, vultuni Jovis, propemodum ex ipfo ccelo petitum, eboris Lineamcntis eflet ampicxus : iilis fe verfibus, quafi lagiftris, ufumrefpondit: foMacrobius, Saturnal.l.5.c.i4. (12) Cicero dc Clar.Orat. cia\:iO. Neque enim jam Troicis temporibus tantum laudi^; in dicendo Ulyili tri- buiiTet Homerus, & Neftori, — nifi jam turn eiiet honos EloquentiK, &c. ibid. cip. 18. At in Aetione, Nico- macho, Protogene, Apelie, jam perfedla funt omnia, & nefcio an reliquis in rebus omnibus idem cveniat. Nihii elt enim fimul & invcntum & perfcctum. (13) The beaming Cuirafs next adorn' d his Breejf, Tlu Jame which once King Cinyras poffifl : Three glittering Dragons to the Gorget rife, J^iofe imitated Scales againfi the Skies RefeSled various Light, and arching boiv'd. Like coloured Rainbows o'er a jhaufry Cbud. (Jove'r wondrous Bow, of three celrjlial dyes, Plac'd as afigntoManamidtheSkies.) Iliad E.ii. I. 25, His Buckler's mighty Orb was next difplay'd. That round the IVarrior cafl a dreadful Jhade ; Tremendous Gorgon frown'd upon its Field, And circling Tirrors fWi th' tx^rejfive Shield : Jlfr. Pope hath con- fideredthe Shield as a piece of Fainting. IVhich uuas never dons before by any msdern Critick : And therefore his Obfervaiians are in- ferted hen. An Essay cn the Rife, Progrcfs, the moft pcifca Dclii;ii, and ionbt of Homers having Itcn fomc rerformaaccs of that kind, that had helped to raife his Imagination to ihch noble Conceptions of what the fine Arts ht tli'cir hinheft Pcrfeclion can produce ! But if all fhould be afcvibcd to tltc iinafliftcd Strength of an extraordinary Genius ; yet fcarcc any one can read thel'e Defcripiions v, itliout feehiig the eharmin'T Power of tlicingenious Arts, without faUing in love with them, and expatiating moft a£;reeably in his own Fancy upon the manifold wonders they arc capable of peiiorming. THE Paflagcs of thatarcrclerredtoby the AM'o Fr.-.gnin, are infcrtcd in the Notes. INDEED Mr. Tofe fcems to h,ivc put this quite out of difputc in liis ObldN aliens on the Shield of Achilles Monficur Boivin (14.) had entirely removed tlic main Obieflion made "by Ibme Criticks a^ainft this Buckler, that it is croudcd with fuch a multiplicity of Pigures, as could not pollibTy be reprefcntcd in the compafs of it. But Mr. 'Po/f has confidcrcdit as a piece of P.iinting wluch was never done before by any modern Cntick ; and by io doing lias fully proved Homer i perfcd Knowledge of Painting, and fet the Art itlelf in the fined li-»ht As it would be vain to attempt any thing after him s fo it would be an unpar- dSnable injury ro the Art, in fuch a Colleaion as I have propofed, of the beft Oblervations on its Antiquity and Ufcfidnefs, not to give that excellent Difcourle at its full length. " THERE is rcafontobelievcthat ffowfrdidintliis, as he has done in other Arts, (even " in Mechanieks) that is, comprehend whatever was known of it in his time i if not (as " is hi"hly probable) from thence extend his Ideas yet farther, and give a more enlarged " notion of it Accordingly, it is vety obfervable, that there is fcarce a Species or Branch " of this Art which is not hete to be found; whether Hi (lory, Battle-Painting, Landskips, " Atcliitcaurc, Fruits, Flowers, Animals, 6'C. " I think it poflible that Painting was atrivcd to a greater degree of Perfcclion, even " at that early Period, than is generally fuppofed by thole who have written upon it. " 'Pliny expreffly fays that it was not known in the time of the TrojanWir. The lame " Author and others) reprefcnt it in a Very imperfeft State in Greece, in or near the " Days of Homer They tell us of one Painter, that he was the firft who begun to ihadow; " and of another that he fiU'd his Out4ines only with a fingle Colour, and that laid on " every where alike : Cut we may have a higher notion of the Att, from thofe Dclcrip- " tions of Statues Carvings, Tapcftries, Sculpmrcs upon Armour, and Ornaments ot all " kinds which every where occur in our Author ; as well as from what he fays of that " Beauty the Relievo and their Emulation of Life itfelf. If we confider how much it is " his content praaiee to confine himfelf to the Cuftom of the Times whereof he writ, it " will be hatd.to doubt but that Painting md Sculpture miift have been then in grear pradice and repute. "THE Shield is not only defcribed as a piece of Sculpture, but of Painting : the Out- " lines may be fuppofed engraved, and the reft enamel'd, or inlaid with vaiious-colour'd Il'lthin its Concave hung a filver Thong, On which a ?nlmick Serpent creeps along. His azure Length in cafy JVaves extends, - Till In three Heads ih' embroider dMonJUr ends. lb. I.43, &c. SeealTo his Dercrlption of PffnVs Armour, II. iii. 1- 4io- O'er her hysad Shoulders ksrgs his horrid Shield-, Dire, black, tremendous ! round the Margin raU'd, J Fringe of Serpents hlffmg guards the Gold : Here all the Terrors of grim War appear. Here rngci Force, here tremble Flight and Fear. Here /iorm'd Contention, and here Fury frozvnd, jind the dire Orb portentous Gorgon croiund. Il.v, 1. 911, Two rows of /lately Dogs, on either hand. In fculptrtfdGold and laboured Silver Jland. Thefe Vfilcan fonnd with Art divine, to wtiit immortal Guardians at Alcilious' Gate; Jlivc each animated Frame appears, And 0ill to live beyondihepow'r of Tears. Od.B.vii.l. 1 1 8 A'c ^Meantime, to beauteous Helen, from the Skies 1 C If of the Ralnboiu files : J-iiir :)i tnc Fiuac; ai her Loom Jhe found; n fad Story crowned, T \ Jl (he wcav'rl (hcrfclfihe Prize) f I I T pi of her fatal Eyes. Iliad B. iil. I.l6g. Jrotind her next a heav'nly Mantle Jlow'd, Tuat rich with Pallas" laboufd Colours glow' d ; l^arge l^lajps it Kjoia the Foldings gather' d rounds A golden Zone her fivclUng Bofoin bound. Far beaming Pendants tremble in her Ear, Each Gem )ll.niiud with a triple Star. Tljcn o'er ha- Head fl:e cafi a Veil more white Than ncw-faU'n Smw, and dazzlin? as the Light. Lafi her fair Feet cclrfiial Sandals grace. II. B.xiv. I 207, Metals. TVhilc Jhe with PP'ork and Song the time divides. And thro' the Loom the golden Shuttle guides. Odyf.B.v.l.78. -With e. lefi vait s of State; Seek thou the ^ueen along the 1 Her royal Hand a ivond'rous Work defigns. Around, a Circle of bright Damfels Jlnncs, Part twifi the Threads, and part the Wool dlfpofe, IPliile with the purple Orb the Spindleglows.Odyf B.vi.l.365. (14.) This Author fuppofes the Buckler to have been perfeitly round : He divides the convex Surface into four conccntrick Circles. The Circle next the Center con- tains the Globe of the Earth and the Sea in miniature : he gives this Circle the Dimeiifioii of three Inches, The fccond Circle is allotted for the Heavens and the Stars : he allows tiie Space of ten Inches between this and ihe former Circle. The third (hall be ei^lit Inches diftant from the fecond. The Space between thefe two Circles fliail be divided into twelve Compartiments, each of whicli makes a Picture of ten or eleven Inches dc^cp. The fourth Circle makes the Margin of the Buckler: and the Interval between this and the former, being of three Indies, is fufficient to reprefent the Waves and Currents of the Ocean. All thefe together m:ikc but four Foot in the whole in diameter. Ti)c Print anncx'd to it will ferve to prove, that the Figures will ntithtr be crouded nor confufed, if difpofcd in the pioper Place and Order. See Mr. Pope's Obfervations on tiie Shield. The Argument for the Antiquity of Painting from //iw;n"'s Defcription of this Shield, is thus Hated by lengerus, lib. i. cap. 3. dePiSlura, Sic. Nulla ars celerius coiifummata eft, cum Iliacis tem- poribiis non fuiffe apparcat, incjuit Plinius, Imo Iliacis teniporibiis fiiilTc apparet, ex clypeo AchilHs apud Ho- merum, Excipies Homerum ^equulem jion fuille Iliacu excidio. Chap. I. and Decline of Painting. " Metals. The vai'icry of Colours is plainly diftinguifh'd by Homer, where he fpcaks of " the Bkickncls of the new-opcn'd Earth, of the feveral Colours of the Grapes and Vines; " and in other places. The diilcrcnt Metals that Vulcan is feign'd to cafl into the Furnace, " were fufficient to afford all the ncccflary Colours : But if to thofe which arc natural to the " Metals, we add alfo thofe which they arc capable of receiving from the Operation of " Fire, we fhall find that Vulcan had as great a vatiety of Colours to make ufc of as any " modern Painter. That enamelling or fixing Colours by fire, was pra£lifed very an- " cicntly, may be conjeftur'd from what Tfiodorus reports of one of the Walls of Babylon, " built by Sefniramis, that the Bricks of it "j^ere painted before they iL'ere burnd^ fo as " to reprefent all forts of Animals^ lib. 2. chap. 4. Now it is but natui-al to infer, that " Men had made ufc of ordinary Colours for the Rcprefentation of Objeifts, before they " learnt to reprefent them by fuch as are given by the Operation of Fire ; one behig much " more eafy and obvious than the other, and that fort of Painting by means of fire being " but an Imitation of the Painting with a Pencil and Colours. The fame Inference will be *' farther enforc'd from the Works of Tapeftry, which the Women of thofe times inter- " weaved with many Colours ; as appears from the Dcfcription of that Veil which Hecnba " offers to Minerva in the fixth Iliad, and from a Paflage in the twenty-fecond, where " Andromache is rcprcfented working Flowers in a Piece of this kind. They muft ccr- " tainly have known the ufc of Colours thcmfclvcs for Painting, before they could think " of dying Thtcads with thofe Colours, and weaving thofe Threads clofc to one another, " in order only to a more laborious Imitation of a thing fo much more cafdy performed " by a Pencil. This Obfervation I owe to the Abbe Fragiiier. " I T may indeed be thought, that a Genius fo vaft and comprehenfive as that of Homer, " might carry his Views beyond the reft of Mankind ; and that in this Buckler oi Achilles he rather dcfign'd to give a Scheme of what might be performed, than a Dcfcription of " what really was fo : And fmce he made a God the Artift, he might cxeufe himfelf from " a ftricl Confinement to what was known and praftifed in the time of the Trojan War. " Let this be as it will, it is certain that he had, whether by Learning, or by Strength of Genius, " (though the latter be more glorious for Homer) a full and cxaft Idea of Painting in all its " parts ; that is to fay, in the Invention, the Compofition, the Expreflion, ^c. " THE Invention is Hicwn in finding and introducing in every Subjed, the greateft, the " moll fignificant, and moft fuitable (Dbjecls. Accordingly in every fingle Picture of the " Shicld,'^ //£j»/fr tonftantly finds out cither thofe Objefts which are naturally the principal, " thofe which moft conduce to ITiew the Objed, or thofe which fet it in the livelicft and " moft agreeable Light : Thefe he never fails to diipofe in the moft advantageous Manners, " Situations, and Oppofitions. " NEXT, we find all his Figures differently characterized, in their Expreflions and At- *' titudcs, according to their feveral Natures : The Gods (for inftance) are diftinguifh'd in " Air, Habit and Proportion, from Men, in the fourth Picture ; Mafters from Servants, in " the cigiith ; and fo of the reft. " NOTHING is more wonderful than his cxaft Obfervation of the Contraft, not only " between Figure and Figure, but between Subject and Subject. The City in peace is a " Contraft to"^the City in war ■. Between the Siege in the fourth Picture, and the Battle in " the fixth, a piece of Paifagc is introduced, and rural Scenes follow after. The Coimtry " too is reprcfentcd in war in the fifth, as well as in peace in the feventh, eighth, and ninth. " The very Animals are Ihcwn in thefe two diff'erent States, in the tenth and the eleventh. " Where the Subjects appear the fame, he cdntraftcs them fome other way : Thus the firft " Piclure of the Town in peace having a predominant Air of Gaiety, in the Dances and " Pomps of the Marriage ; the fecond has a Character of Earneftnefs and SoUicitude, in the " Difpute and Pleadings. In the Pieces of rural Life, that of the Plowing is of a diff'erent *' Charader from the Harveft, and that of the Harveft from the Vintage. In each of thefe " there is a Contraft of the Labour and Mirth of the Country People : In the firft, fome " arc Plowing, others taking a Cup of good Liquor ; in the next, we fee the Reapers " working in one part, and the Banquet prcpar'd in another ; in the laft, the Labour of " the Vineyard is reliev'd with Muftck and a Dance. The Perfons are no lefs varied, old " and young, Men and Women : There being Women in two Piclures together, namely " the eighth and ninth, it is remarkable that thofe in the latter are of a different Charaftcr " from the former tlicy who drefs the Supper being ordinary Women, the others who " carry Baskets in the Vineyard, young and beautiful Virgins : And thefe again are of an " inferiour Charaftcr to thofe in the twelfth Piece, who are diftinguifh'd as People of Con- " dition by a more elegant Drefs. There are three Dances in the Buckler ; and thefe too " are varied. : that at the Wedding is in a circular Figure, that of the Vineyard in a row, that " in excidio. In ipfo clvpco Vulcanus fecit fcienter artificiofa qua; utrseque pedetentim, h per gradiis, non uno tem- multa, Terram, C'celum, Mare, Solcm indefeffum, Lu- pore abfolutionem confecutEe funt. Excipics Piiluram nam orblculatam. Idem apud Hdlodiim ex clypeo Her- fuifTe ^tate Hefiodi non Hcrculis. Scd aiiie Herculem cutis apparet, u enim erac Cffilatura, erat & Pi£tura, piiiura fuit !ub Mofe, & ante Mofem Tub Abraiiamo. An Essay on the Rife^ Progrefs^ in the laft PiftLirc, a mingled one. Laflly, there is a manifeft Contraft in the Colours j nay, even in the Back-grounds of the fcveral Pieces : for example, that of the Plowin"- " is of a dark tincl, that of the Harvefl yellow, that of the Pafture green, and the reft iS " like manner. " THAT he was not a Stranger to aerial Pcrfpcdivc, appears in his cxprefTly markino- " the diftance of Objctt from Obieft : He tells us, for inftance, that the two Spies lay a " little remote from the other Figures ; and that the Oak under which was iprcad the " Banquet of the Reapers, ftood apart. What he fays of the Valley fprinkicd all over with " Cottages and Flocks, appears to be a Defcription of a large Country in perfpedivc. And " indeed a general Argument for this may be drawn from the number of figures in the " Shield i which could not be ail exprefs'd in their fuU Magnitude : And tliis is therefore " a fort of proof that the Art of Icflcning them according to Pcrfpeclive was known at that time. " WHAT the Criticks call the Three Unities, ought in reafon as much to be obfcrvcd in a Piclnre as in a Flay i each ihould have only one principal Adion, one Inrtant of " Time, and one Point of View. In this Method of Examination alfo the Shield oi' Homer " will bear the tcft : He has been more exaft tlian the grcatcft Painters, who have often " deviated from one or other of thefe Rules ; whereas {when we examine the Detail of " each Compartiment) it will appear, " FIRST, that there is but one principal Adion in each Pidutc, and that no fuper- " numerary Figures or Adions are introduced. This will anfwer all that has been faid of " the Confufion and Croud of Figures on the Shield, by thole who never comprehended " the Plan of it. flKfe Pleiures the Shield are ih. of Painting. " SECONDLY, that no Adion is rcprefcntcd in one Piece, which could not happen " in the fame inftant of time. This will overthrow the Objedion againft fo many different Adions appearing in one Sliield ; which, in this cafe, is much as abfurd as to objed againft fo many of Raphael's Cartons appearing in one Gallery. " THIRDLY, it will be manifeft that there are no Objeds in any one Pidurc which could not be fcen in one point of View. Hereby tht Ahhi Terr afforh whole Criticifm " will fall to the ground, which amounts but to this, that the general Objeds of the Hea- " vens, Stars and Sea, with the particular Profpeds of Towns, Fields, ^c. could never be " fecn all at once. Homer was incapable of fo abfurd a Thought, nor could thefe heavenly Bodies (had he intended them for a Pidure) have ever been feen together from one Point j " for the Conrtcllations and the Full Moon, for example, could never be feen at once with the Sun. But the celcllial Bodies were placed on the Bofs, as the Ocean at the Margin " of the Shield : Thefe were no parts of the Painting, but the former was only an Orna- ment to the Projedion in the middle, and the latter a Frame romid about it : In the fame manner as the Divifions, Projedions or Angles of a Roof are left to be ornamented at " the Diferetion of the Painter, with Foliage, Architedure, Grotefque, or what he pleafes- " However his Judgment will be ftill more commendable, if he contrives to make even thefe cxtrinfical Parts, to bear fome allulion to the main Dcfign. It is this which Homer has done, in placing a fort of Sphere in the middle, and the Ocean at the border of a " Work, which was expreftly intended to reprefent the Univerfe. " I proceed now to the Detail of the Shield ; in which the Words of Homer bcin^- firft " tranllatcd, an attempt will be made to fhew with what exad Order all that he defcribes Pieces " niay enter into the Compofition, according to the Rules of Painting." ylnd therefore in- frted here. The Shield of Achilles divided into its several Parts. The Bofs of the Shield, i. Verfe483. "Ei' fj.h yxTdv, e>-£-.] " HERE Vtdcan rcprcfented the Earth, the Heaven, the Sea, the indefatigable Courfe of the Sun, the Moon in her fidl, ail the celcftial Sio-ns that crown Olympts, tlie 'Tleiades, the Hyades, the great Orion, and the Bear, commonly called the Warn i the only Conftellation, which, never bathing itlclf in the Ocean, turns about the Pole, and obferves the Courfe of Orion." THE m'd; 1. Then frjl he form'd tFiimnenfe and folid Shield i Hich, -uarmis Artifice embla%'d ilie Field j hi utmof Verge a threefold Circle bound ; A fiver Chain ftifpends the majfy round. Five ample Plates the broad Expanfe compofe, Jnd godlike Labours on the Surface rofe. There Jho7ic the Image of the Mafter Mind : There Earth, there Heav'n, there Ocean he defign'd ; Th' umueary'd Sun, the Moon cempleatly round ; Tlie farry Lights that Heav'n's high Convex c The Pleiads, Hyads, with the northern Team ; jind great Onon's more refulgent Beam; To which around the Axle of the Sky, The Bear revolving, points his golden Eye, Still Jhlnes exalted on th' etherlal Plain, Nor bathes his blazing Forehead In the Main. 3 Chap. i. and Decline of Painting. THE Sciilptoi-c of thcfc rcfcmblcd fomcwhat of our tcrrcllrul snti cclcftial Globes, and took up the Ceutci- of the Shield : 'Tis plain by the huddle in which Homer cxpreflcs this, that he did not defcribc it as a Pidure for a point of Sight. THE Circumference is divided into twelve Compartiments, each being a fepatate Pic- ture ; as follow : First Compartiment. A To^j^n in ^eace. i. "Ep Si Sijw TToi'nffg TOMti, ^cS] "HE engraved two Cities ; in one of them were re- " prefented Nuptials and Feftivals. The Spoufcs from rhcir Bridal-chambers, were conduftcd " thro' the Town by the light of Torches. Every Mouth fung the hymeneal Song : The " Youth turn'd rapidly in a circular Dance : The Flute and the Lyre refoundcd : The Wo- " men, every one in the Street, Handing in the Porches, beheld and admired." I N this Pifture, the Brides preceded by Torch-bearers are on the Fore-ground : The Dance in circles, and Muficians behind them : The Street in perfpcttive on citlier fide, the Women and Spedators in the Porches, O'C. difpers'd thro' all the Architefturc. Second Compartiment. An Affembly of the Teople. 2. Aast cT' (IV ayo^y, &c.'\ " THERE was feen a number of People in the Market-place, " and t\YO Men difputing warmly : The oecafion was the payment of a Fine for a Murder^ " which one affirm'd before the People he had paid, the other deny'd to have reeeiv'd ; both " demanded, that the Affair fliould be determin'd by the Judgment of an Arbiter : The Ac- " clamations of the Muhitude favour'd fomerimes the one Party, fomctimes the other." HERE is a fine Plan for a Maftcr-piece of Exprcffion ; any Judge of Painting will fee our Author has chofen that Caufe, which, of all others, would give occafion to the greateft va- riety of Exptcffion : The Father, the Murderer, the Witnefl'es, and the different Paflions of the Affembly, would afford an ample Field for this Talent even to Rafhael himfelf Third Compartiment. The Senate. 5. Kj!puK£5 tT' Ax^V fpTT/fic, erf.] " THE Heralds rang'd the People in order : The " reverend Elders were feated on Seats of polillfd Stone, in the facred Circle ; they rofe " up and declared their Judgment, each in his turn, with the Sceptre in his hand : TwoTa- " lents of Gold were laid in the middle of the Circle, to be given to Irim who fhould pro- " nounce the moft equitable Judgment." THE Judges are feated in the Center of the Pifture ; one (who is the principal Figure) (landing up as fpeaking, another in an Aftion of riling, as in order to fpeak : The Ground about them a Profpcft of the Forum, fill'd with Auditors and Speftators. Fourth Compartiment. A To\2;n in JVar. 4. TnV(l^* erg/ijjp tj-o'Aic, drf.] " THE other City was befleged by two glittering Armies : " They were not agreed, whether to fack the Town, or div-ide all the Booty of it into two " equal parts, to be fhared between them : Mean time the Belieged fccretly arm'd themfelvcs " for an Ambufcadc. Their 'Wives, Children, and old Men were pofled to defend their " Walls : The Warriors march'd from the Town with Tallas and Mars at their head : The " Deities were of Gold, and had golden Armours, by the Glory of which they were diftin- " guilh'd above the Men, as well as by their fupcriour Stature, and more elegant Proportions." THIS Subjca may be thus difpofed : The Town pretty near the Eye, a-erofs the whole Pifture, with the old Men on the Walls : The Chiefs of each Army on the Fore-ground : Their I. Tiaa Cilia radiant on the Shield appear^ On Seals of Stone, within the facred place, 1h Image me of Peace and one of JVar, The rev' rend Elders nodded o'er the cafe ; Here facred Pomp and genial Feajl delight, Alternate, each th' attejling Scepter took, Andjolemn Dance, and hytnenaal Rite ; Jnd rifing fclemn, each his Sentence fpoke. Jiang the Street the new-made Brides are led. Two golden Talents lay atnidfl, in fight, JVith Torches flaming, to the nuptial Bed : The Prize of him who hefl adjudg'd the right. The youthful Dancers in a Circle bound To the foft Fhtte, and Cittern's fiher Sounel : /liiolher part [a Profpta differing far) Thro' the fair Streets, the Matrons in a row, Glow'd with refulgent Arms, and horrid War, Stand in their Portions, and enjoy the fhmo. Two mighty Rojis a leaguer' d Tcrwn embrace, n. There, in the Forum fmarm a num'rous Train : f/ "f. """!'' ff'lp ""'^ TliefubjeCt of Debate, aTownfman flain: Meantime the T.wnfnen armd with fttent care, One pleads ih, Fine difcharg' d whici me denjd, r/'w5/" "f/" 'r, ,1 ^'*°"/,t. , ,.r , „ J And bad, the Piiblict and the Lams decide : S" Children, and the watchful Band The mtnefs is prodiic'd on cither hand ; Of trembling Parent, on theTurretsJland p *i ■ ,1, > J. t- I D rs J I iH-^ march ■. by i's.llas and by Mais made iold ; Fcrtks, orthaU the farUal People fand. cJi were the Gods, their radiant Garmmts Gdd, 3. 77/ appQintrd Heralds Jlill the noify Band^, And Gold their Armour : Thefe the Squadron led. And form a Ring with Scepters in their hands ; Aiigufi, divine, fuperivur by the head. I y An Essay on the Rifcy Progrefs^ Their different Opinions for putting the Town to the Sword, or fparing it on aceount of the Booty, may be cxprcfs'd by Tome having tlieir Hands on their Swords, and looking up to the City, others flopping them, or in an aftion of perfuading againft it. Behind, h\ profpcd, theTownlmen may be feen going out from the Back-gates, with the two Deities at their head. HOMER here gives a clcar inftance of wliat the Ancients always pradifed ; the diftin- guilliing the Gods and Goddeflcs by Charafters of Majcrty and Beauty fomewhat fuperiour to Nature ; wc conftantly find this in their Statues, and to this the modern Mafters owe their grand Tafte in the Perfection of their Figures. Fifth Compartiment. j^n Ambufcade. 5. 0'/3-' org p' 'l->La.vov, &c.'\ " BEING arrived at the River where they deiigned their " Ambufh {the place where tiie Cattle were water'd) they difpofed thcmfelves along the Bank, " cover'd with their Arms : Two Spies lay at a diftance from them, oblerving when the Oxen " and Sheep lliould come to drink. They came immediately, followed by two Shepherds, " who were playing on their Pipes, without any apprehenfion of their danger." THIS quiet Picture is a kind of Repofe between the laft, and the following a£live Pieces. Here is a Scene of a River and Trees, under which lie the Soldiers, next the Eye of the Spec- tator ; on the farther Bank are placed the two Spies on one hand, and the Flocks and Shep- herds appear coming at a greater diftance on the other. Sixth Compartiment. The Battle. 6. Oi iJifv TO. Trepi^o'i'TEf, c/r.] " THE People of the Town rulh'd upon them, carried oif " the Oxen and Sheep, and kill'd the Shepherds. The Bcficgers fitting before the Town, " heard the Outcry, and mounting their Horfes, arrived at the Bank of the River ; where " they ftopp'd and encountered each other with their Spears. Difcord, Tumult, and Fate " raged in the midft of them. There might you fee cruel Deftiny dragging a dead Soldier " thro' the Battle ; two others fhc feiz'd alive 5 one of which was mortally wounded ; the " other not yet hurt : The Garment on her Shoulders was ftain d with human Blood : The " Figures appeared as if they lived, moved, and fought, you would tliink they really dragged " off their dead." THE Sheep and two Shepherds lying dead upon the Fore-ground. A Battle-piece fills the Pifture. The allegorical Figure of the Tarca or Deftiny is the principal. This had been a noble Occaiion for fuch a Painter as Rubms, who has, with moti: Happinefs and Learning, imhatcd the Ancients in thefe fidlious and fymbolical Perfons. Seventh Compartiment. Tillage. 7. "^v iT' eT^'^•^^ mov fiaXaKvi', &C.'} " THE next Piece rcprefented a large Field, a deep " and fruitful Soil, which feem'd to have been three times plow'd ; the Labourers appear'd " turning their Plows on every fide. As foon as they came to a Land's end, a Man pre- " fcnted them a Bowl of Wine ; cheated with this, they turn'd, and worked down a new " Furrow, defirous to hafl:en to the next Land's end. The Field was of Gold, but look'd " black behind the Plows, as if it had really oeen turn'd up ; the furprizing effect of the Art " of Vulcan" THE Plowmen muft be rcprefented on the Fore-ground, in the aftion of turning at the end of the Furrow. The Invention of Homer is not content with barely putting down the Figures, but enlivens them prodigioufly with fome remarkable Circmnftance : The giving a Cup of Wine to the Plowmen mult occafion a fine Expreilion in the Faces. Eighth 5. A place for Amhvjh fit, tbty found, and flood Cover'd with Shields, bijide a fiver Flood. Iiuo Spies at diflami lurk, and watchful ftem If Sheep or Oxen feek the winding Stream. Soon the whits Flocks proceeded e'er the Plains, And Steers fow-moiving, and two Shepherd-Swains ; Behind thcm^ piping on their Reeds, ihey go. Nor fear an Ambttfi, nor fufpeSi a Foe. 6. In Arms the gUtt'ring Squadron rifing round, Rujh fudden ; Hills of flaughter heap the Ground, IVhole Fhcks and Herds lie bleeding, on the Plains, And, all amidfl them, dead, the Shepherd-Swains. The bellowing Oxen the Bcfiegers hear ; TI>ey rife, take horfe, approach, and meet the War ; They fight, ihey fall, befide the filver Flood ; The waving Silver feem'd to btujh with Blood, 'there Tumidt, there Contention flood poffefs d ; One rear'd a Dagger at a Captive's Brsafl ; One held a living Foe, that frefijly hied With new-made Wiunds ; another dragged a dead ; Now here, now there, the CarcaJJes they tore : Fate Jlalk'd amidfl them, grim with human Gore, And the whole War came out, and met the Eye ; And each bold Figure feem'd to live, or die. 7. A Field deep furrow' d, next the God defignd. The third time labour'd by the fweating Hind ; The jhining Shares full many Plowmen guide. And turn their crooked Yokes on ev'ry fide. Still as at either end they wheel around. The Mafler meets 'em with his Goblet crown'd ; The hearty Draught reivards, renezus their Tiil ; Then back the turning Plaw-Jhares cleave the Soil : Behind, the rifing Fai th in ridges roU'd, And fable bok'd, tho' form'd of molten Geld. m Chap. r. and Decline of Painting. Eighth Compartiment. The Har-vefi. 8. E» tT" eW^-Et tef^ev^, ^c.'} " NEXT he rcprcfcnted a Field of Corn, in which the 1^ Reapers work'd with fliarp Sickles in their Hands; the Corn fell thick along the Furrows " in equal rows : Three Binders were employed in making up the Sheaves r'^The Boys at- " tendiug them, gather'd up the loofe Swarths, and carried them in their Arms to be bound : *' The Lord of the Field landing in the midJl of the Heaps, with a Scepter in his Hand re- " joices ill illencc : His Officers, at a diftance, prepare a Feafl: under the Shade of an Oak " and hold an Ox ready to be faaificcdj while the Women mix the Flower of Wheat for the " Reapers Supper." THE Reapers on the Fore-ground, with their Faces towards the Spcftators ; the Gatherers behind, and the Children on the farther Ground. The Mafter of the Field, who is the chief Figure, may be fct in the middle of the Pidure with a firong light about him in the Aaion of direding and pointing with his Scepter : The Oak, witluhc^Servanrs unde'r it the Sacrifice, &c. on a diftant Ground, would all together make a beautiful Groupe of great variety. Ninth Compartiment. T/je Vintage, p. "Ev S^' 6Tl^■e^ rapfAeo-i, &cj " HE then engraved a Vineyard loadcn with its Grapes: " The Vineyard was Gold, but the Grapes black,~'and the Props of them Silver. A Trench " of a dark Metal, and a Palifade of Tin cncompafs'd the whole Vineyard. There was one " Path in it, by which the Labourers in the Vineyard palVd : Young Men and Maids carried " the Fruit in woven Baskets : In the middle of them aYouthplay'd on the Lyre, and charmed " them with his tender Voice, as he fung to the Strings (or as he fung the Song of Lims :) " The refl- ftriking the Ground with their Feet in exad time, follow'd him in a Dance and " accompanied his Voice with their own." ' THE Vintage fcarely needs to be painted in any Colours but Homer's. The Youths and Maids toward the Eye, as coming out of the Vineyard : The Enclofure, Pails, Gates, e^r. on the Fore-ground. There is fomething inexpreflibly riant in this Piece, above the reft. Tenth Compartiment. Animals, id. "E;- lykXw Tolwe BaMf, &C.'] " HE graved a Herd of Oxen, marching with their " Heads eredcd ; thcfe Oxen (inlaid with Gold and Tin) feem'd to bellow as\hcy quitted their Stall, and run in halle to the Meadows, thro" which a rapid River roU'd with refound- " ing Streams amongft the Rufhcs : Fom- Hcrdfmen of Gold attended them, follow'd by " nine large Dogs. Two terrible Lions feizcd a Bull by the Throat, who roai-'d as they " dragg'd him along ; the Dogs and the Hcrdfmen ran to his rcfeue, but the Lions havin[^ torn " the Bull, devour'd his Entrails, and drank his Blood. The Hcrdfmen came up witlf their " Dogs, and hearten'd them in vain ; they durfl not attack the Lions, but ftanding at fome " diftance, bark'd at them, and ihun'd them." ^ WE have next a fine Piece of Animals, tame and favage : But what is remarkable is that thcfe Animals arc not coldly brought in to be gazed upon : The Herds, Do^s, and Lions are put into aftion, enough to cxcrcife the Warmth and Spirit of Rubens^ or the ^reat Tafte of Julio Romano. ^ THE Lions may be next the Eye, one holding the Bull by the Throat, the other tearin"- out his Entrails : A Herdlinan or two heartening the Dogs : All thefe on the Fore-'n-ound^ On the fecond Ground another Groupe of Oxen, that fecm\o have been sone bcfore,%oflin'^ their Heads and running ; other Herdlmcn and Dogs after them : And beyond them, a Pro"^ fpecT: of the River. ' 8. jinother Field rnfe high luhh lUaving Grain ; H^ith bended Sxcklfs fiaml the Rcaptr-train : Hire Jlretch'd in Runks thf leveird Swarths are found. Sheaves heafd m Sheaves, here thicken up the Ground. If'lth Jweepiiig Stroke the Mowers Jlrow the Lands i The Gnth'rcrs fallow and ealle£i in Bands ; Jnd laji the Children, in -whofe Arms are bom (Tao fmrt to gripe them) the brcwn Sheaves of Corn.. The rujiick Monarch of the Field dcfiries fVith fdent Glee, the Heaps around him rife. A ready Banquet on the Turf is laid. Beneath an ample Oak's expanded Shade. The Viaim-Ox the fturdy Touth prepare; The Reapers due Repaft, the Womcns Care. g. Ne-'t, ripe in yellow Gold, a Vineyard Jhlnes, Bent with the pand'rous Harvejl of its Vines ; A deeper dye the dangling Chtflers Jhaw, And curPd on fiver Props, in order glow : A darker Metal niix'd, intrenched the place ; And Pelcsof glitt'ring Jin th' Enclofure grace. Eleventh To this, one Path-way gently winding leads^ JVhere march a Train with Baskets on their Heads, {Fair Maids, and blooming Youths) thai fmilmg bear The purple ProduEl of tU autumnal Tear. To thefe a Touth awakes the warbling Strings, Tfljofe tender Lay the Fate of L\ms fings ; In meafur'd Dance behind him move the Tratn^ Tunefaft the Voice, and anfwer to the Strain. JO. Here Herds of Oxen march, ereil and bold. Rear high their Horns, and feem to lowe in Gola^ And fpeed to Meadows on whofe founding Shores A rapid Torrent thro* the Rujhes roars : Four golden Hcrdfmen as their Guardians Jland, And nijie four Dogs compleat the ruflick Band, Tivo Lions rvjhing from the IVoed appear'd. And feix'd a Bull the Mafler of the Herd : He roared, in -vain the D'^gs, the Men withfload, Tluy tore his Flefh., and drank the fable Blood. The Dogs {aft' chear'd in vain) defert the Prey, Dread tbs grim Tirrors^ and at dijianct bay. O at. JO Jn on the Rife, Progrefi, Eleventh Compartiment. Sheep, II. 'Et S-t Cff.] " THE di\iiic Aitill then engraved a larec Flock of white Slicep, " fecdin? alon? a beautiful Valley. Inuumcrable Folds, Cottages and cnclos'd Slicitets, were fcattcr'd thro' the Profpctl:." THIS is an entire Land.skape without human Figures, an Image of Nature folitary and undifturb'd : The dccpcft Rcpofe and Tranquiility is tliat which diftinguilhes it from the others. Twelfth Compartiment. The'Dance. 12. "E, H x-e'', ei"^-] " THE skilfid riilraa tlien dcfign'd the Figure and various Mo- " tions of a Dance, like tliat which D.trlalus of old contrived in GmJIus for the fair " Arinine. There the young Men and Maidens danced hand in hand ; the Maids were " drefs'd in linen Garments, the Men in rich and fhining Stufts : The Maids had flowery " Crowns on their heads ; the Men had Swords of Gold hanging from their fides in Belts " of Silver, Here they feem to run in a ring with adivc Feet, as fwiftly as a Wheel tuns " round when tried by the Hand of the Potter. There, they appeated to move in many " Figures, and fometimcs to meet, fomctimes to wind from each otlicr. A multitude of " Sp°caatra-s flood round, deliahted with the Dance : In the middle two nimble Tumblers " exercifed tlaemfclves in Feats of AdiVity, while the Song was carried on by the whole " Circle." THIS Piftiu-e includes the greatell number of Perfons : Homer himfelf has group'd them, and mark'd the manner of rhc Compofition. This Piece would excel in the diffe- rent Airs of Beauty which might be given to the young Men and Women, and the grace- ful Attitudes in the various manners of dancing: On which account the Subject might be fit for Guido, or perhaps could be no where better executed than in our own Country. The Border of the Shield. 13. •E, S-' x.T«f.o?», &C.1 "THEN laftly, he reprefentcd the r,ipid Courfe of the " great Ocean, which he made to roll its Waves round the E.xttcmity of the whole Cir- " , cumferencc." THIS (as has been faid before) was only the Frame to the whole Shidd, and is therc- ■ fore but lightly touch'd upon, without any mention of particular Objcfts." ■Th:,Shl,id-u.m,„, 'TIS not improper to add to this beautiful Diffcrration, that the Shield o{ Achilles \\'3S r,d«,dintb, {.,m, confidered by the Ancients in the fame light, as a Mailer-piece of picturefc^c Sculpture. Vuw J> ih. An- jhis appears ftom a Paifagc of the cldcfl: 'Philoftratiis in his Life of Jfoltomus Tyanens (1+) : cimtu A«dih,s ^^^^ ^^^^^ ^^^^[^g^. ji^is of Painting was very anciently praclilcd. In tZl,rT,n!lm. a P.aurc dclcribed by the youngeft 'Philoftmtm, called Vyrrhiis or Myfi (if), Vyrrhus^ Shield is painted according to Humeri Defcription, bccaufe Vtlkarii Armour was yielded to him by Ulyffes : On which occafion Thiloftratus fhcws us its feveral Beauties confidered as a Piaiire. ' How right an Idea the Ancients h,ad of Homers grand and comprchenfivc Defign, which was no" lefs rhau to draw the Piclure of the whole AVorld in the compals of this Shield, may be judged, as Mr. Vope obfervcs, from rhat Verfe of Ovid; where he calls it Clyfeus vajlo cieUtns imagine immdi. Met. 1. 13. AND J I , Ne^t Ihii, Iht Eye, ihi Art Vulcan leads 1" Img Silvirfiem'd tin IVavis u nil. Dap tbr,- fair F,r,Jls, ami a Lmgth of M,ad, ; Aiidhat tbi Bi^ckh'i Virgi, and liwid Ihi whdi. AndStaU,, andFtlds, and fatto'iCxsbtKmn; (lili/ia 22. 3 « A.'^;. «■ t. «) Ma And flmy Finks that whim all tbtSceni. autem, O bami. Fori juITu artificiofe elaborata opera, , , , , „ , J c. I r non iirariDt artis Ibkm elTe Jicemus, nam piaorum inllar A fpir dDan,, faceds : S„cb miwasjai, habent i nepuc piSa duntaxat, quoniam arte sraria funt a virun &/.//), Gnoffus >r »;« Crean a,™, concinnata. Verum indultrie ea Hamanaus unu... Bnnd hy Dxdakan ^rt. A cmmly Band ^^^^^ ■ ^ p,,it„„,_ ,p„j Ho- Of •tmtbs andMaidns, b.und.ng band m hand; ^^^^ ^^^^ ^chillis clypeo teprafentatur. Tlx Mmds tn MI Lymatstf L,mn drift ; p,^,^^^ ^^.^^ ^ -^^ imerficientium atquc interfcttoruiTi, Ih, IMb, all graafal m Ih, gMy I ,JI ; terramnue majcre Ibnguiue diceres, quanivis sre fit da- Of ,/„ L.its -a.t hfl^ ry lPr.atb. .nrol d. 'i jy^^ t ^ ^^^^^^ , ^ Of tbife lb, Sides admd with Swords, f Gold, ^.^^^ ^ ^ ^. Taxila urbcm mai>nitudinc ab an- llia, rhn-nng gay, frmii fihir Bills deprnd. ^ ^.^^^ mll. lanes 10. Chap. and Decline of Painting. 11 AND it is indeed aftomlhing, (faith he) how, after this, tlic Arrogance of fomc Moderns could unfortunately chufe tlie nobleft Parr of the noblefl: Poet for the Obicd of rheir blind Cenfurcs. Their Criticifms, whatever elfed they may have on fome other parts, yet when aimed againft this Buckler, are quite weak 'and impotent. ■ Voftquat?! arma dei ad Vukania. ventiim eft Mortdis mucro, glacies ceu futilis, iila T>t£Umt. VIRGIL has imitated Homer in every thing, and abounds no lefs in beautiful De- fcriptions of Statues, Sculptures, Carpets, Vcllments, and other Pieces of curious Defign and exquifitc Workmanfhip He was charmed with thole of Homer, and therefore would aive the fame Ornaments to his Poem. And 'tis no fmall Coirfirmation of the Ar- gumciit for the Antiquity of Painting taken from Homer's Writings, that Virgil, who is juftly faid by Criticks to be the moll exatf and judicious of all Poets, fpeaking of the fame Times has not fcrupled to fuppofe Painting as well as Sculpture to have been then at its higheft Pcrfedfion. THE Armour of c^Kf«; his Shield particularly, with all its prophctiek Sculptures, re- prefenting tire future Annals of Italy, arc dcfcribed with the gtcateft Elegance; and the De- fcription is with good reafon introduced by the Hero's Admiration and Joy at the fight of them (17). •Troud of the Gift, he ro'jjtd his greedy Sight Around the IVork, and gazd with vaft delight. He lifts, he turns, he poizes, and admires The crejted Helm, that -vomits radiant Fires : He fiakes the pointed Spear s and longs to try The plated Cuifies, on his manly Thigh, But mojl admires the Shields myfterious Mould, And Roman Triumphs rifing on the Gold ; For thofe, embofsd, the heavenly Smith had wrought (Not in the Rolls of future Fate untaught) The IVars in order, and the Race divine. Of IVarriors iffuing from the Julian Line. Drydcn, ^n. 8. " 'TIS (18) happy that Virgil has made a Buckler for tySneas as well as Homer for " Achilles. The Latin Poet, who imitated the Greek one, always took care to accom- " modate thofe things which time had chang'd, fo as to render them agreeable to the Pa- " late of his Readers ; yet he hath not only charg'd his Shield with a great deal more work, " fince he paints all the Aclions of the Romans (lom Afcanius to Aiiguftus; but has not " avoided any of thofe Manners of Exprelllon which offend the Criticks. We fee there " t\\i^N o\( of Romulus and Remus, who gives tliem licr Dugs one after another. They fiiclid fecure, while bending back her Head, She lick: d their tender Limbs, and form' d them as they fed. " TheRapeof the Jai/BM, and the War which followed it ; Jl/ff/f« torn by four Horfes, and " Ttillus who draws his Entrails thro' tire Forcft: Vorfenna commanding the Romans to " receive Taraui", befieging iJoMe : The Geefe flying to the Porches of the Capitol, and "ivin- notice by their Cries of the Attack of the Gauls. We fee the Saltan Dance, " and the p'^ains of the Damn'd; and farther off, the Place of the Elels'd, where Cato pre- " fides - Wc fee the famous Battle of AStium, where we may diftinguilh the Captains: " Aerippa with the Gods, and the AVinds favourable ; and Anthony leading on all the " Fotccs of the E.ift Eg^pt, and the Baetrians. The Figlit begins, the Sea is red with " Blood Cleopatra gives the Sianal for a Retreat, and calls her Troops with a Siftrum. " The Gods or rather the Monfters of Egypt, fight againft Neptune, Venus, Minerva, " Mars aai Apollo : We fee Anthonys fleet beaten, and the Nile lorrowfully opemn! Vid. ibid. lib. 7. vcr. 657, & 785. (16) ArteUmIre vcpi, tjlnqut piftrh : hgtm arg;nium mmfu ; cxlataqice m auro Fnrua faaa pnlrum, ferUi iTugiffima rerum P.T tut du£la viral untiqua ah Grig'mt gtntis, £5'ir.iEn.I.64I. Fintrt chhirrjdtm (luraiam, quam phrima cmtm Purpura MMndn duplm Mditata cuctirrit Imtxlufqiii puir, frmhslt rtpm Mi, Vtbcit jactih ca-JSi c^rfuquc fahgat, Acer, anhdans 'i ftmilii ; qutm proves ab Ida SiiUimm pidibu, rapiiit Jnis armig'r mi. Longavi palmai mquicquam adfiihra tendunt Citjhdei, favilque tamm latraius in auras, 'J'f. 250. ^linttiam vettrum ijjigiit ardine auarum Jntiqua e cedro, Italufque paterque Sabinut Fitifiitor, curmni fcfjans fub imagine falani ; Saturrafque fenex, Janique bifrmtis mago Vtfib'dt ajlatant : 'aliique ab erigini rrgts, Martia^ui abpatriamp-ugnanda miners paJp,^t.Jhn 7.177. Virgil Ukiwifi a' lieunds in Dejcrip- tians of Senlptures and PiEiures : And afa ibei the fame Aniiquity to Paint- ing as Homer. Some of Virgil'f Deferipiions refers red to Sculptures, his (17) llle decsdonit y tanto Itetus hmore, Expleri ncquit, atque ocnhs per firgula volvit .- Miraiurquc, interque manus y brachia verfat Terribilem crijlis galeam fammafque vmetilem, Faliferumque enferh, Loricom ex cure rigentem, Sanguimam, ingentem : qaalis cum ceerula mbes Soils inardefcit radiis, kngequs rcfulgit. Turn leves ocreas ele£lro auroquc recoilo, Haftamque ^ clypei non enarrablle textum. lilic res Italas, Romanorumque triumphos, _ Hand vatum ignarus vcnturique Infeius avi, Feceral ignipotens : illic genus omne futuree Stirpis ab Afcanio, pugnalaque in ardine bella, Fecerat, &c. 'En. 8. 617. (18) This Dercrlption of the Shield is given in Mr. Pope's Words. See hii Obiervations on the ShieU of AcUlUs. Iliad 18. \^ An Essay on the Rifcy ProgYefs^ his Bofom to 'nccivc the Conqucr'd. Cleopatra looks pale and .ilmofl: dead at the thought " of that Death Ihe had aUxady detcirmined ■■, nay we fee the very Wind lapys whieh haltcns " het Flight : fee the three Triumphs of Avgiijt'.is; that Prince confccrates three hun- " drcd Temples, the Attars arc filled w ith Ladies offering up Sacrifices, Aiignftns jitting at " the Entrance of Apollo's Temple, receives Prefents, and hangs them on the Pillars ofW " Temple ; while all the conqucr'd Nations pafs by, who ipcak different Languages, and " arc differently cquipp'd and arm'd." p'lRGI L not only dcfcribes Sculptures butPidures. The whole 7>fl/W« War is painted Tmpu'cf Juno at in the Temple oijimo at Carthage. And thefe Dcferiptions arc fo much the more worthy- Carthage, of Q,^,^ particular attention, that in all probability, (as there will be occafion to fhew after- wards) they were taken from real Pictures at Rome in Virgihixmc. r^^^NEAS faw the whole Hiftory of the Tr^'izre War' painted in order on the M^all. And what Opinion the Poet had of the Power and Excellency of theArt, is delight- VmrEffeP. m fuhy l^t forth to US by the Effed which they had upon his Hero. He feeds his Mind with iEneas. pictured Story, conceives Hopes, and is moft tenderly moved. Servius very well obicrves on the Paflagc, that 'tis only a humane, generous People, that can delight in fuch Reprcfen- tations ; and that fuch Piftures as Virgil dcfcribes, muff needs have a very humanizing In- fluence upon all who have the Seeds of Virtue and Generofiry in their Hearts. The Pictures are thus defcribcd : Sidonian Dido here 'with folemn State 'Did luno'j Tefnple build, and confccrate : Enrich' d with Gifts, and ijjith a golden Shrnie ; But more the Goddefs made the "Place divine. On brazen Steps the Marble Threfiold rofe. And brazen '^Plates the Cedar Beams inclofe : The Rafters are with brazen Cov'rings crowrCd^ The lofty Doors on brazen Hinges found. What firft j£neas in this place beheld^ Remvdhis Courage, and his Fear ex^el'd. For while^ expeBing there the ^een, he rais'd His wond'ring Eyes, and round the Temple gaz'd$ Admird the Fortune of the rifing To'-jvn, The (IrivingArtiJis, and their Arts renown : He Jaw in order painted on the IVall^ Whate'ver did unhappy Troy befall : The Wars that Fate around the World had blown.. All to the Life, and ev'ry Leader known. , " There Agamemnon, Priam here he fpies. And fierce AchiUes who both Kings defies. He fiopd, and weeping faid, O Friend .' ev'n here The Monuments of Trojan Woes appear ! Our known Difafiers fill ev'n foreign Lands : See there, where old unhappy Priam fiands ! Ev'n the mute Walls relate the Warrior's I And Trojan Griefs the Tyrians Tity claim. He faid, his Tears a ready Tajfage find, " , , Devouring what he faw fo well defign'd And with an empty TiBurefed his Mind. For there he faw the fainting Grecians yield. And here the trembling Trojans quit the Fields Turfu'd by fierce Achilles througto the Blain^ On his high Chariot driving o'er the Slain. The T ?nts of Rhefus next, his Grief renew., By their white Sails betray d to nightly View. And wakeful Diomcde, -whofe cruel Sword The Gentries flew ; nor fpar'd their fiumb'ring Lord. Then took the fiery Steeds, e'er yet ihe Food Of Troy they tajie, or drink the Xanrhian Flood. Elfewhere he faw where Troilus defy'd Achilles, and unequal Combat try'd. Then, where the Boy difarm'd with loofen'd Reins, Was by his Horfes hurry d o'er the Tlains : Hung by the Neck and Hair, and drag'd around. The hoflile Spear yet flicking in his Wound j With tracks of Blood infrib'd the dufly Ground. Mean time the Trojan Dames opprefs d with Woe, To Pallas' Fane in long Proceffion go. In hopes to reconcile their heav'nly Foe : They Chap. I. and Decline (9/" Paint ING. t% They weep, they beat their Breafts, a7id rend their Hair, j . - ' < And rich embroider'd Vefis for Vrefents bear : s But the (iern- Goddefs fiands unmov d with 'Pray'r. j Thrice round the Trojan Walls Achilles drew The Corps (7/"Hc£tor, whom in Flight he (lew, , ■ Here Priam fues, and there, for Sums of Gold^ The lifelefs Body of his Son is fold. So fad an Ohje^l, and fo well exprefs'd, T>rew Sighs and Groans from the grte-v'd Hero's Br eaft : To fee the Figure of a lifelefs Friend, And his old Sire his helplefs Hand extend. Himfelf he faw amidjl the Grecian Train, Mix'd in the bloody Battel on the Blain, And fjjarthy Mcmnon in his Arms he knew His pompons Enfigns, and his Indian Crew, Pcnthifilca there, with mighty Grace, Leads to the IVars an Amazonian Race ': In their right Hands a potyited "Dart they wields The left, for Ward, fuftains the Lunar Shield. Athwart her Breaft a golden Belt fie throws, Amidjl the 'Trefs alone provokes a thoufand Foes ; And dares her Maiden Arms to Manly Force oppofe. Thus, while the Tm)^^. Trine e employs his Eyes, Fix'd on the Walls with Wonder and Surprize ; The beauteous Dido, with a nutdroiis Train, And Tomp of Guards, afcends the facred Fane. IF thofc charminy; Dcfcriptions do not fully prove, that the deiTgning Arts wece arrived Tiiefs D^fcrlptions at a vtry great pitcii of Beauty, and Perfection, in the moft ancient Times j they Ihew at "viTlMY^rn'^^^ XzT^Homer's and Virgil's exaft Knowledge, and thorough good Tafte of them ; what high Jdcfof'the"vj{l Conceptions they had fornVd of their Power and Dignity, as well as Agreeablenefs. And Pawer, and End of indeed thcfc mafterly Paflagcs have been quoted here, not merely to prove the Antiquity P^'"''''g' of the ingenious Arts, but chiefly to give a juftView, in the beginning of this Difcom-fc, of their End, and Extent or of what they are able to perform and ought principally to aim at. Every one who is capable of underftanding and rclilhing thofe delightful Defcrip- Thus we are led tb tions, mull be naturally led by them, to many plcafant, and ufeful Rcflcftions, upon the ^"''^ipoie the main Beauty and Ufefulncfs of Painting and Sculpture. He will immediately reflcft upon the ^nThhEffaf"''^ Elegance, Grace, and Tafte, thofe Arts, when duly improved, muft give to himian Society. Not flopping there, he will enlarge with plcafurc in his own fancy, upon the many happy Eifcfts they would produce, if skilfully employed in Education, at once to form and enrich the Imagination, and to hmiianize and improve the Heart. And thus he will anticipate the Conclufion, which it is the main Defign of this Ellay to contirm and illuflj"atc by fevcral Confide rations. ARTS, that are able to produce fuch Works as have been defcribed, muft certainly be 7he Tajltand acknowledged capable of furnilhing the moft worthy Amufements to rcafonable Beings, and ^^.'-fl^^ ^'''^ the moft becoming graceful Ornaments to human Life. *Tis indeed thefc Arts alone, that, taking a right turn, and being duly promoted, can effectually difcountenance, and banilh all that brutilli Scnfuality, which is the Difgracc and Bane of Mankind. A tich Soil, if liot fown ^\■ith good and wholcfome Seeds, and duly cultivated, will foon be over-fprcad with tii,e moft noxious Weeds; and in opulent States, if the elegant Arts are not care- fully chcriflied and encouraged, grofs Voluptiioufnefs will fpring up in their room, and they will quickly be over-run with Vices not more pernicious than abominable. BUT this is not all : Thofe Dcfcriptions of Paintings and Sculptures ilicw us, that the Arts of Defign ought not to be confidered merely as ornamental : There is hardly any ufe- ful Truth, or important Lcflbn in Philofophy, which may not be moft agreeably infinuatcd into young and tender Minds by good Piftures. For what is it that this Ait cannot re- prefcnt, in the moft cxprcillve, touching manner ? Cities delightful in peace, or formid- able in war ; the Labours of the Country, or the Fruits of thofc Labours in the Harvefts and Vintages ; the paftoral Life in its Pleafurcs and Dangers ■■, and in a word, all the Occu- parions, all the Ambitions and Diverfions of Mankind, were painted on Achilles's Shield : For, all this, the Poet well knew, the Art was able to perform. And what a variety of Charadlers, Pailions, and Actions in like manner doth /^/r^?7reprcfcnt, as painted in T>ido\ Temple, or engraved on the Buckler and Armour of i:,^_/Eneas ! There is no Beauty in the natural World, no Pallion in the human Breaft, no ViciiTitude in Life, no Blefting, no Calamity, no Virtue, no Vice, which thofc ingenious Arts, Painting in particular, cannot exhibit to our Sight, the moft powerful of our Senfes, in the moft lively affeding manner. E IF X4 Essay on the R'-f:^ Progrcfs^ IF therefore our Schools for Education were iuitably furniihcd with i:ood PrLinnn[;S and Sculptures, what cqu:\Uy profitabie and delightful Leflons miejit be gi\-en from thcin, on the moft philofophical, momentous Subjcds, and, at tlie l/ime time, upon the teal Ul'eful- nefs and Excellence of the fine Arts ! Wcare told, that the Schools at Athens^ in which the Youth were inftruclcd and formed, being adorned with Sculptures and Paintings, the Pliilofophcrs often took the Arguments of their Letliures from tliem ; and fo at tlie fame time explained fomc moral Truth, and pointed out the Beauty and Elegance of the inge- nious Pifture or Sculpture reprefenting it. Thus Zerm (19) and feveral other Philofophers arc faid to have taught moral Philofophy ; or to have firongly inculcated upon the Youth, who flock'd to hear them with Delight, Benevolence, Fortitude, Temperance, the Love of Society, Liberty, Mankind, and c\-cry truly ennobling Virtue, with all their happy Con- fequenccs, and Effefts in the Breafts which they adorn, and in human Society. To this manner of teaching '^Perjiits alludes : Hand tibi inexpertum curvos deprendere nwres^ Glnaque docet Sapiens braccatis illita Mt'd'is 'Portkm^ infomnis (juibus <^ detonfa jttvejitus Invigilat, filiquis^ O" grandi pafta poUenta. Et tibi qu£ Sumios didv.xit litem ramos, Siirgentem dextro monjiravit limite calle?th Sat. 3. SO Cicero^ when he tells us that the philofopliical Portico^ [fapiens'Porticns) taughir, that Virtue and Virtue only is true Happineis. We find Socrates {20), the bcft of Pliilo- fophcrs, who had been a Sculptor m his Youth, frequently giving Lclfons to tlic Painters and Statuaries, upon the Knowledge of human Nature, that is requifitc, in order to imi-' tare Manners, and exprefs Paflions in their Works ; and often making ufe of thole Arts, for inltru£ling the Youth in Virtue, correcting their Manners, and gi\ ing them juft Notions of moral Beauty. He was wont to fay, that, from hewing and polilliing a Block of Marble into the Pigure of a Man, he had learned what muft be done in order to reform and poliQj Mankind into their becoming, lovely Shape. In fine, one of the moll agreeably inftrudive Pieces of Morality left us by the Ancients, is an Explication of a Picfure, the allegorical Picture of Cebes. 'Tis exceeding pleafant to obferve, in reading the Hiilory of thofe times, with what eagernefs and fatisfadtionthe noble Grecian Youth followed and heard a Socrates ; and perhaps one of the chief rcafons why Philofophy now-a-days hath fuch a forbidding and rugged Afpeft, and doth not produce the fmic happy Effects it is faid to have done in thofe ancient Times, is, its being now fever'd in Education, by a fatal Error, from thq ingenious fprightly Arts, as if they were too light and airy to bear it company. Hence thofe heavy Complaints of the Dronithnefs and infipidity of Pliilofophy, which formerly was wont to delight and charm as well as to inftruft. Whence clfc is it, that philofophical Education is found to ftand fo much in need of Redrefs, and Amendment from that ex- cellent School we call the World, and from the polite Arts ? Nor ha^x the Arts fuffer'4 Icfs by this unnatural Separation, for if they do not receive their Subjetts and Rules, theic Materials and Indructions, from true Philofophy, they mult become infipid, and trilling, if nor corrupt, mere Tinfel ; they may flatter the Senfe, but they cannot give any Employ- ment, nor confequenrly any Entertainment, to the Reafon and Undcrftanding. ONE who has not been a little converfant in Pictures, Statues, and Bas-reliefs, will not be able to enter fully into the Beauties of thofe defcrib'd by Hofner and Virgil, and far iefs to underfland this Conclufion. But let any one, who doubts of the Power of thofe Arts to inftrud and mo^'e, or to awaken plealiug and ufeful Reflections in the Mind, make the Experiment on himfelf at Hampton-Court ; let him but give that attention to Raphael's Raphael'! Cnrtcm Cartons, which it is hardly poflibie to with-hold, if one chances to caff his Eye on them : a prof of thu. fQ^. however unacquainted he may be with Pictures, if he is not an utter Stranger to Na- ture, to Humanity, he fhall foon feel Inch noble and virtuous Sentiments arife in his Mind, as may fully comiuce him of the Aptitude of this powerful Art to tell an inflructive or mov- ing Story, in the mofl agreeable and lively manner, and to infpirc Men with the belt: Ideas and Difpoiitions. The excellent Reflc6t:ions (21), which are naturally, and, as it were, nc- ceflarily called up, by thofe beft Performances of the beft of Painters, in the Breaft of every heedful Beholder, are elegantly defcribcd by an excellent Author, in one of the Spectators, to prove the fitnefs of the Art to teach Morals, move the Affedions in awholcfomc way, and to inftil the belt Principles into the Mind, with the molt lifting Impreflion. AND, left any onc^, whether Virtuofo, or Philofopher, may have raihly conceived a prejudice ngainft my Intention, of ftiewing the Ufefulncfs of the Arts of Dcfign in Educa- tion, as a whimftcal fmgular Conceit, unagining that they are quite remote from Philo- Xbphy, (19) Sl-c Diogenes Laertius in Zemne. t^iere is a long Account of ihe Pacile at Jthcm, and its Orn:imeDts, where the Pliilofophcrs often taught. (20) This PafTage from Xenophon is given at full length in the beginning of the fourth Chapter. {21) Thcfe Reflcflion? arc quoted in the feventh ^^cJummsMcHrfn Aihcncs Attica, Ub.i. f«/p. 5, where Chapter. ^Ic Bncuni?h\hp- phers made ufe of them in teaching Morals. Zeno, Socrates, Ccbcs. Chap. r. and Decline of Painting. fopiiy, and merely foi" Amufcmcnt : It may not be improper to mention here two other modern Authors, who fcem to have had the very fame Ideas of the Ufefidnefs of all the Liberal Arts in Education, which, as it hath already appeared, and will be more fully proved afterwards, the beft ancient Poets and Philofophers had conceived of them. THE firft I lhall mention is Milton^ who, in his moft inftruftivc Dialogue on Educa- Milton f^s^Shafcofr tion (22), clearly proves the abfolute neccility of imitingthc fine Arts and\hc manly £x- ^^^iSNlt£T^ crcifes with Phiiofophy, in order to render the Education of young Gentlemen truly liberal mtwhimfualV and complete. fmguiar. THE other is my Lord Shaftesbury (23). He is uiiivcrfally acknowledged to have had a very martcrly Tafte of all the polite Arts, and to have trc.ited the moil; important Subjoth in moral Phiiofophy, in the moft agreeable manner; and how often do wc find him, in his Writings, regretting the unhappy Confequcnces that arife from fcparating the ingenious Arts, and the liberal Exercilcs, from Phiiofophy in the Formation ot our Youth. Both thofc great Men had formed themfelves by the Study of the beft Ancients, whofc conftant Doc- trine it was, that ail the liberal Arts and Sciences arc clofcly bound and connefted toge- tlicr by a ftrid, natural relation ; that they have all one Objcft, one End, one Rule and Meafure ; and that good Tafte in them all muft be the fame, bccaufe tiie Principles upon which Beauty and Truth in Nature, in moral Conduift, and in every Art depend, are the fame. They have but one common Enemy, Luxury, or a falfc Tafte of Pleafurc; and to guard, defend, and fortify againft the Diforder and Ruin which that introduces into the Mind, and brings upon Societ}', ought to be the main Dcftgn of Education: Which can only be done, by eftablilhing early, in the tender, dociie Mind, a juft Notion of Pleafurc, Beauty, and Truth, the generous Lo^'C of pubiick Good, and a ri_Lht Tafte of Life, and of all the Arts which add to the Happincfs or Ornament of human Society. Thus alone can the Youth be qualify 'd for pubiick Ser^^ice, and for delighting in it; and thus only can they learn at the fame time how to recreate themfelves at hours of Icifiux, in a manly virtuous way, or without making one ftep towards Vice. cient manner of ex- plaining the Sciences t BUT having taken notice of the high Opinion which feveral of the grcatcft Men of A prelhninary Re- Antiquity, and fome who ate owned to have come the neateft to them among the Moderns, """'^ the an- had of Painting, and of the excellent Ufes to which it might be rendered conducive ; it is fit to inquire a little into the Progrcfs this Art is faid to have made at any time ; what it hath ever been really able to accompliih; or to what Perfedion it hath aftually been brought, that we may fee whether Painting ever came up to thcfe great Ideas of its Power and Ex- tent; or whether this Art hath not been carried in Speculation, by Men of fine Imagina- tions, far beyond rhe Life, Power and Beauty, to which it ever really attained. But before I enter upon that Subjeft, it feems rcquilTte to premife an Obfervacion on that ancient man- ner of teaching and explaining the Liberal Arts and Sciences, in confcqucnce of which it is that Painting is fo fully handled by feveral ancient Authors in their Writings on other Subjefts. This is ncceffary, bccaufe the moft ancient Writers on Painting being loft, it is commonly imagined that very little mote can be known of ancient Painting but what is prefervcd to us in Tliny. And the Ufefulnefs of Painting in liberal Education, which is the Point chiefly aimed at in this Eftay, will evidently appear, before wc advance any fur- ther, from rhe very Conlideration of the Nature of thofe ancient Treatifcs, from which the following Account of Painting is chiefly brought. THE great Error in Education, or in teaching the liberal Arts and Sciences, amongft the Moderns, fas Lord Vcrnlam harh obfervcd (24)1 is the not keeping tlic clofe Union Zur^ Vemlam'j and ftrift Connexion of all the Arts and Sciences in view. " After the Diftribution of Objerv^tian^on an- " particular Arts and Sciences Men ha^'e abandoned Univerfality : They forgot the natural * " and neceflary Coherence of all the Portions of Knowledge ; the intimate Relation and " Dependancc of all Truths. But let this be a general Rule, and let it be always remcm- " bcr'd, that all Partitions of Knowledge be accepted rather as Lines and Veins, than for " Scfl-ions and Separations ; and that the Continuance and Entirencfs of Knowledge be " prefervcd. For the contrary hereof hath made particular Sciences become barren, fhallow " and erroneous, wiiilc they have not been noui'ifh'd and maintained from the common " Foun- (22) Thefe Authors do not iiiJced exprefsly mention Pifturfs. But their Scheme of Education confifls in uni- ting all the fine Arts with Phiiofophy and the manly Ex- ercifes. See the whole Treatifc of MUtan on Education, and what he fays there of l.ogick and Poetry particu- larly. (23) In fcveral parts of his Charaflerlfticks, partlcu- hrly in his Advice to an Author, p. 333. " It feems " indecj fomcwhat improbable, that according to mo- " dcm Erudition, and as Science is now diftributed, our " ingenious and noble Youths fhould obtain the full ad- " vantage of ajufi and liberal Education, by uniting the *' Sclwlar-part with that of the real Gentleman and " Man of Reading. Academies for ExerclTes, To ufeful " to thp Pubiick, and cliential in the Formation of a " genteel and liberal CharaiStcr, are unfortunately neg- " lc6ted. Letters are indeed banifb'd, I know not where, " in diftant Cloifters and unpraflifed Cells, as our Poec " has it, confined to the Commerce ^nd mean Feliow- " fliip of bearded Buys. Tht: fiiiightly Arts and Sciences " are fevcr'd from Phiiofophy, which confequentl)^ mujt *' grow dronifli, infipid, pedantick, ulelefs, and directly *' oppofite to the real Knowledge and Practice of the " World and Mankind, ts't." (24) Framifci Ba:am Opera, Vol, 2. Qf tlie Aiivance- Kiejit of Learning. 1 6 Essay on the Rife^ Progrcfs^ '■'^ Fountain. So we fee Cicero the Orator complained of Socrates and his Sc:lioo] (ly), " that he was the firft that feparated Philofophy aiid Rhetorick ; whereupon ilhetoiick bc- came an empty, verbal Art." 'TIS indeed (according to all the Ancients) by giving a large Profp eft into the vafi and extenfivc Continent of Knowledge, and by prcfcnting, in due time, to the Mind, a clear View of the great Aim and Scope of alt Study and Science i of the plain and obvious way, by which alone the Knowledge of any part of Nature can be acquired ; of the Commu- nity, (fo to fpcak) of all the Liberal Arts and Sciences ; and of the Samcncfs of [rood Tafk in them all; it is by thefc Methods alone that Education can open and enlarge the Mind as it ought, or fit and flrengthen it for fucccfsfully purfuing, and improving any particular Branch of Science, to which one may be afterwards determined chiefly to betake himfeif. And therefore, the fame Author jultly holds it to be a great Error, that Scholars, in " Univcrfitics, come too foon and too unripe to Logick and Rhetorick, Arts fitter for " Graduates than for Children and Novices : For thefc two taken rightly, arc the graveft " of Sciences, being the Arts of Arts, the onefor ludgment, the other for Ornament : And " they are the Rules and Direftions how to fet forth and difpofe Matter : And therefore, " for Minds empty and unfraught with Matter, and which hath r.ot gathered that wliich Cicero calleth { [yl-va & fnpellex) ftufF and variety; to begin witn ti.ofe Arts {aj. if one " fhould learn to weigh, meafurc, or paint the Wind) doth work but this Effed, that the " Wifdom of thofe Arts which is great and univerfal is almoft made contemptible, and " is degenerate into childifh Sophiftry and ridiculous Affeftation. And farther, the un- " timely learning of them hath drawn on by confequence the fuperficial and unprofitable " teaching and writing of them, as fitteth indeed to the Capacity of Children." fheLi<'khf?hto's LOGICK or Dialcftick is called rational Philofophy, becaufe it hath Science, Know- ScLsl'' ^ ledge and good Tafte for its Objeft. Now, according to T/at&, after Students have been for fome time practifed in Geometry, natural Philofophy, and moral Reafonings ; after their Minds are richly furnifhed with a great variety of Ideas, clear Conceptions, and folid Judg- ments from various Reading and Inflruftion, this Science is of ufe to give them an united View of the Confent, Harmony, and Dependanee of all the Arts and Sciences ; of the Ana- lo2;y and ftricl Relation of all Truths. To fet young mifm-niihed Miixls, fays Vlato, to furvey the Materials of Knowledge, and to range them into order, according to their diffe- rent Relations, Dependencies, and Analogies : To fet them to form and collect Rules for their future Progrefs in Science, and their Security againlt Error ; or to examine and criticize the teaching and adorning Arts with that view, is no iels ablurd, than it would be to em- ploy one to review, clafs, and difpofe houlhold Furniture and Utenfils, who is utterly un- acquainted with their Ends and Ufes, or with the domcftick Arts. It is the fame as to bid one count without Arithmetick, or meafure without a Standard. The Habit of Reafoning can only be acquired by various prafticc in it. Till one is acquainted with different ways of Reafoning, and every fort of Evidence, how can he make Rcafon, Knowledge, Evidence, and Enquiry into Truth, or the feveral Manners of teaching, perfuadlng, and refuting, the Objedts of his Speculation and Criticifm Itsirfrfuhifs. TILL the Mind hath been cxercifed by manifold ufc about different Truths, and hath laid up by due Information a large Stock of Knowledge, the Houle is very empty : There are no Materials to be furvey'd, inventoried, and ranged. But after Students have been taught to inquire into feveral parts of Nature, after they have been inured to reafon about different Connections and Relations of things, and ha\-e imbibed Infiruction from every particular Art ; from Hiftory, natural and moral, from Poetry, Philofophy, and even from the Arts of Dcfign : Then it is highly proper to give them a large and comprehenfive View of the vaft Extent of Philofopy ; and of the Unity of all the Arts and Sciences that inquire into Nature, and pretend to explain its Laws and Appearances, or to imitate and emulate them : Then it Is time to prcfent them with a Map of the Sciences, (hewing their Diviilons and Partitions, and the Reafons for which they are fo diflributed and divided ; and, at the lame time, the Unity, the Continuance, the Entircncfs of the whole Body of Science. This is the Eu/inefs of Logick ; and this was the ancient Method of Education in the belt Schools {26). HENCE {25) Wc find the PafTagehe fpeaks of in C/«t-(j de Ora- omnes a nobis commemoratas adhibuimus, hoc padto tore, //^.3. 16. where he is giving an account of the dift't;- conftitucndum: A mulua illaruni communitas atque coz.- rtnX. FainiUis PhUofopborum^ as he tails them. Inventi natio re£le componatur, h qu^ conrentanee ex ipfarum fuiit, qui cum ipfi doilrina, & ingeniis abundarent, a natura conficiantur, pcrite colii^^ciciur, futurum indc re autem dvili, & a negotiis, animi quodam judicio ut proprie qu^dam rationed cx hi.=, clici;intLir, qua: ad In- abhorrerent, hancdicendi exercitationem exagitarent at- flicuti arguinenti cogiiiiloncm fint collatur^ : Nequi;i/i- que contemnerent : Hinc diffidium illud extitit quafi anem in illii operam, fed h utllem h opportunam adhi- Lingiire atque cordis, abriirdum fane & inutile, & repre- bitiim iri : Sin miiiu.s infruiSuofam plane tuCuram llla- liendendum, ut alii nos fapcre, alii dicere docercnt, &c. . rum rcrum confidLTacionein. H^c vero Diaicdices ra- tio fola ita progreditur, ut lublatis hypothefibus ad ipfuin (26).Nonne igitur tibi videtur DialciSlica elTe veluti Uniplex impermixtumque piincipium pergat, ut ?f firnium Culmen & Apex'iTi fummo faftigio collocata ? Nequc fibi tundamentum fubfternat, oculumquc animi cceno ulla Difciplina hac elTe fuperior, fed ilia omnium Difci- quodam Barbarico revera demerfum atque deloflum fcnfuji plinarum finem in fc omnino habere, Arbitror quo- traliat, dcducatque furfum, earum artium quas fupra ex- (jiie & de univerfo illo orJine quern ad eas res omnino pofuimus, vcluti fttciarum & famukrum prsefidiis atque adjumencis Chap. I. and Decline of Painting. J7 HENCE it is, (as all who arc acquainted with the better Ancients muft have obferved) The auchfit Mmmsr that, in explaining; any particular Art whatlbever, they have carefully laid the Foundations ''.f^^^'P^'-''"'t"S '^^^ of univcrlal good Tarte, in all the Arts. They are at paiiii to flicw on every occalron, by proper Comparifon, that the moft cflential Rules of Oratory, Poetry, or of any other Art whatfocvcr, extend to all the Arts, and produce fimilar good Elfefts in them all. They feem always to have it in their Eye, to point out the Unity, or Samcncfs of good T;if!-e, to whatever Subjed it is applied ; the Samenefs of die Principles on which it e\'cry where depends ; and in general the ftrid Union and Connedion of all the Liberal Arts and Sciences. iory explains the other Arts. "their philofophica! Difcourfcs, on the intimate Relation, and Ikiiif Alliance of all the liberal cernlngtheUnityVf Arts and Sciences ; and recommending it fo llrongly, to all the Lovers of Science, to keep the Sciences -, ^tnd that Union and Harmony always before their Minds ; And in the Books of Cicero on Ora- ''''^''({"s ^fOra- tory, we have a remarkable Inilancc of this -ancient Vv'ay of handling any particular Art ; for, whether he is giving the Hillory of Eloquence, and its Improvements ; or explaining its Scope, Foundations and Ptecepts, he conllantly brings his lUuftrations from the other- Arts, from Painting and Sculpture particularly. So that however remote from one another thefc Arts may fcem to be at firft %ht, they are foon found, in his way of ttcating them, to refleft very great Hght upon one another, and to have a very clofe and triendly Correfpon- dence. And thus every Reader is moft agreeably, as welt as advantageoully, inftrufted by him, at the fame time, in the principal Rules and Beauties ; nnd Fauhs and Imperfedions of almoft all the Arts. From Cicero we learn, how Eloquence was improved, and per- feded, in a manner very analogous to the gtadual Progrefs and Advancement of Painting and Sculpture 5 how they fct our, as it were, in the fanie way ; and went on, acquiring, ftcp by ftep, new Force and Beauty by hke means ; till, at laft, they were brought very nearly, each to its true Dignity and Perfedlion. HE and other ancient Authors fhew us whence this muft proceed, by very proper Re- marks on the Analogy of thcie Arts in feveral rcfpefts; on the common Caufes and Means of Improvement and Perfeftion, or of Degeneracy and Corruption in all tiac Arts. They fhew us, that, as diftinft as their feveral Provinces arc, the Rules belonging to them all are the fame; all their Beauties and Perfections arc rcfolvable into the fame Sources; they arc fupported, nourilhed and perfeded by the fame means ; and they fink, are corrupted, or take a wrong turn, thro' the fame bad Influence, and in the fame manner : When one .is tainted, the Infeclion foon fprcads over all the reft; no matter where it begins, they ail quickly ihcw the Symptoms and Marks of the fame Contagion. GipiNTILIAN imitates Cicero in tliis agreeable way of difcourfing on Rhetorick; Q\yinx\\hn filhyjs and hardly moves one ftcp, without bringing, in like manner, apt Comparifons and Simili- his Example, tudcs to iilufttate its Rules and Principles, from the other Arts, from Painting and Sculp- ture in particular. ARISTOTLE had led the way, having taken the fame Method iu explaining Rhcto- Ariftotle hadkd rick and Poetry. And, in general, wc find the ancient Philofophcrs mixing their Criticifms the way, and all on the Arts with their profoundcft Pieces of Philofophy, to the mutual advantage of Plii- "''"Tcfi^dfm lofophy, and of the Arts ; as well as with their other politet Treatifcs occafionally wrote for J^'J^'"£;V ^mlraP publick ufe. So Tlato in many of his Dialogues, as for inftance in \\v=,^Phedriis^ where and other Pieces. an entire Piece of the Orator Lyjias is criricized in form. Such an Author was Varro ; and adjumentis utcns. Nonne haec prudens caiitio eft ut juniores, videlicet homines illas miiiime trafteiit ? Neque enim le latet, Arbitror ubi primum, Adolelcentcs dille- reiidi illam artem alque racionem capcilunt, ea cogiii- tione continue) ad contradiftiones abiiti, imitantes eos qui banc artem adhibcnt refiitando mendacia, & veri- tati illuftrandtE. Ipfos vero viilere eft ilia facultate exul- tantiores conari ut alii alios retlarguant, vclini catiili, iis cum quibus res eft, difputatione diftrahcndis & (Jilcerpen- dis. At vir state proveftior atque matuiior ab hac infania declinabit ultra : Ac hominem inveftigandse ve- ritatis gratia diOerentem imitabitur potius quam eum qui jocandi caufa vcrfutiis decipulifque dat operam : Quin & ipfe moderatior cric & hanc artem ex infami illuftrem rcdiiet. Plata de Rep. /. 7. p. 533, 534, 539. Edit. Steph. It belongs not to my prelent purpofe to jnfift long on this Subject ; but the Logick delineated by Plato in his Books dc Republica, iind his other Treatifcs, well deferves the mature Confideration of thofe who are concerned in Education, and teaching the Sciences; fo very different IS it from that Science which commonly takes the name of Logick. See what Miltmi fays on this Subjetft in his Treatife of Education, vol. i. of his Works, p. 139, " And now laftly will be the time to read with them *' thofe organick Arts, which enable Men to difcourfe " and write perfpicuoufly, elegantly, and according to " the fitted Stile of lofty, mean, or homely. Logick " therefore, fo much as is ufeful, is to be referred to this " due place, with all her well -coucht Heads and To- " picks, untilit be time to open her contrafled Palm into " a graceful and ornate Rhetorick taught out of the " Rule of Plata, Aripth, Phalercus, Cicero, Herma- " genes, Longimts. To which Poetry would be made " fubfequent, or indeed rather precedent, as being lefs " fubtle and fine, but Diore fmiple, fenfous and paffioa- " ace, i^c" (27} Ac, nequis a robi.s hoc ita dici forte miretur, quod alia quEdam in hoc facultas fit ingenii, neque h^c dicendi ratio, aut Difcipiina : ne nos quidem huic cun6ti Audio penitus unquam dediti fuimus. Etenim omnes Artes, qu:e ad Humanitatem pertinent, habent quoddam commune vinculum, & quafi cognatione quadam inter fe continentur. Ciaro pro Archia Pacta ab inilia. Ed etiam ilia Platonis vera, Et tibi, Catule, certe non in- audita vox, omnem Doitrinam harum ingenuarum, Sf humanarum artium, uno quodam Societatis vinculo con- tineri, ubi enlm perfpeita via eft rationis ejus, qua caufc rcrum, atque exitus cognofcuntur, mirus quidam om- nium quafi confenfus Doflrinatum, conccntufque repe- ritur. Cic. de Orat. B. 3. 6. 1 8 y^/if Essay on the Rife^ Prcgrefs^ and ill this mannec do Tlutarch, T>ionyfins HalicarnajJ'ens, Ltician, and fcvcral others^ alfo write on various Subjects. The Defign of ihh Efay., Is, to calhSl end difpife into pro- per Order the Ob- fervaiims that lie fcatter'd thro' many ancient Treaiifes on Painting, and to addthf/etaVVmy's Jccsimt of the Art. NOW hence it comes about, that, tho' none of the more ancient Treatifcs on Painting are extant, yet we may gather a great deal concerning the Perfection to which that Art was brought amongft tlie Ancients ; and the Opinion which the greatcll Men of Antiquity had of its true Dignity and Excellence, from Authors wiio have, not exprcflly, written of it. It is therefore by difpoiing under proper Heads, the Oblervations witii relation to Painting, which are fcatter'd thro' many Authors, and adding them to Tlhiy's Ihorc Hillory of this Art, that it is now propofcd to give a juft Idea of it, of its Connedion with Poctrv Oratory, and Philofophy, and of its Ufefulncfs in Education; a fair Reprefentation oftlic Ferfeftion it had arrived at amongft the Greeks, and of the Eftcem in which it was held by the beft Judges in ancient Times. CHAP. ir. ObfervatioTis upon the PerfeSimi- to 'which Pa i n t i n g was brought in Greece, mid Jonie of the Means and Caujes of its Improvement. A Parallel propofcd bdniecn two Ages of Painting, as the v'.ojl agreeable way Df Jhewing to what Ferfeaim the Art uias brought in Apelles ani/ Ra- phael compared. A Likenef cj Genius. LET US then inquire a little into the State of Painting in Greece, while the Arts flourilh'd there, and into the principal Caufes and Means by which it was fo highly improved in the moft ancient Age of it defcribcd to us. NOW perhaps it may not be a difagreeable way of purfuing that Defign, to attempt it by way of parallel ; that is, by comparing the Charaders, Talents and Accompliihments of the chief Mailers in Greece, about the time oi Apelles, with thofe of the more diliin- guilh'd Painters about that oi Raphael : Or in general by comparing the Accoimts that are given of the Progrefs and Perfedion of the Art in that latter Period of it, with thofe that are tranfmitted to us, of its Improvcmciits and Advances in the other. Nothing is more entertaining and profitable, than to compare Men with Men, and Times with Times ; or the State of an Art at one Period, with its Condition and Circimiftances at another. Similarity in moral EfFeds, is not lefs agreeable and fatisfadory to the Mind than in natural ones : Nor is it more the natural Philofophcr's Bufuiefs, to trace Analogies of Appearances in the one, than it is the moral Philofophcr's, to obfervc them in the other. There is indeed a Likcnefs between thcfe two Ages of the Art in many CircLmiftanccs, wliich is very furprifing; and it is by itfelf fot that rcafon a Pha;nomenon well worth the Pliilofophcr's Attention. It cannot be unplcafing to fee two Ages of the Art at one view. And there is yet an- other Advantage that arifes from giving this Hiiiory by way of Parallel, for it being very difficult to convey clear Ideas of the Talents of Painters merely by AVords, fuch as are at a lofs to underiband any of the ways of fpeaking about the Abilities of ancient Malfcrs, may be fatistied by having recourle to the Piftures (or good Prints of them) of modern Mailers, to whom the like Qiialifications are afcrib'd. FIRST of all, there is a very remarkable Likencfs in Genius, Abihtics and Chara£ler, between the two noted Chiefs of the Art, Apelles and Raphael, by whole Works it hatii acquired its highcft Glory. For tliis reafon, the Lift is commonly called the fccoiid Apelles, or Apelles revived. They are dcfcrib'd to have been of the fame Temper, Turn, and Difpofition of Mind (i). And therefore 'tis not to be wonder'd, that thePiaures of the former, are laid to have been of the ilime Character with thofe of the latter, or to have had the fame diftinguifhing Excellencies. " Effects are always proportional and fimilar to " their Caufes." Like Caufes will produce like Effects in the ijioral as well as in the natu- ral World; and therefore as Works are to one another, fo are their Authors. Or, in other Words, if Authors are of a like Temper and Genius, their Performances will likcwife bear a very ftrong rcfcmblance; for the Charaftcr of the Author will always difcover itfelf in his Productions. RA'PHAEL ^\\.^. in Poleniime. m\a.vb>iii h laye^.ziii -ntf mei i'^y^et?!- K«( ipna) Whatever Zeuxis painted was the thing itfelf, with fuch Propriety, Union Ten- dernefs, Harmony of Colours, and fuch a chaririing Relief was it cxprefl'cd All he did was Nature; but beautiftd Nature; the moft pcrfeft Nature : So that by him Paintino- was rcn dred a coiriplcatly deceiving and enchanting Art. This is the Subfl:ance of what is faid in Iris praife. So Til fan ammgjl tile Msdcrns. Fl am mhm tcanud Art. NOW the fame Excellencies arc juftly afcribed to Titian : His Colouring is wonder- fully glowing, fweet and delicate ; it is real Life ; but Life feldom feen : for "in fuch great Maftcrs Art really excels Nature ; or at Icaft Nature in her moft common EiFefts. HERE again we fee Art advancing to Perfeaion by gradual fleps, as all things in Na- ture do, from Infancy to Vigour and Ripencfs (13). Many Improvements had been already made in Colouring ; and it was Titians Fellow-Scholar and Rival, who firft found out tire admirable Effeds of ftrong Lights and Shadows, and began to make choice of the warnr glowing agreeable Coloiu-s, the Perfeaion and entire Harmonv of which were after- wards to be found in Titians Piftures. His firft, were in a dry meaii manner ; and it may be juftiy faid, that he improved more by the Emulation that was between him and his FcUow-Difciple, than by all the Inftruaions he had received from Bellini their Mafter ; m like manner as the great Improvements Zeuxis made in the fame part of Paintin.' are attributed chiefly to the Rivalftiip betwixt iiim and Apollodorus, and his Contefts"with Tarrhajius (n). ZEUXIS plunmum arti addideriint. Quorum prior lumiiium um- brarumque rationem inveni/Ie, fecundus examinalTe fub- tilius linea? traditur. ^mitil. hjl. Uh.ix. c.lo. Zeu- xidis aut Polygnoti aut Euphranoris tabula!, feaantur op-icum quid, a;: fpirans, & recedens aliquid & emiuens. PUf- dr ml. Jpil. a. 2. c. 9. Eqnidem refpondet s Homerum in pangendis carminibus epicis ? luni maxime : In Tragcedia Sophoclem : In Po]ydetum: InPiiiura Zeuxin. Xenop.Apm- Jiem. f. 4. An pateretur hoc Zeuxis, aut Phidias, aut Poiycletus, nihil fe fcire, cum in his cffet tanta folertia ' C,c. Acad. I. 2. ISi, Oral. lib. 3, Nam & Zeuxidis ma- nus vjdi, nondum vetuftatis injuria vi6tas, & Protogenis rudimenta, cum ipfms Naturas verita:e certantia. Pe- trai. Satyr. make Remarks on every Sub]e£l, £5>. — p. 34. among other things I Iball not fcruple 'to deliver a new Method, ^c. — p. 50. takenotcsof thcMafcles, i^c. — p. 67. when you underftand Anatomy and Perlpe£live, take all occa- fions of obfervingdifferent Attitudes and Geflures of Men in different Ailions, tsV. (n) Ab hoc (Apollodoro) fores apertas Zeuxis Hera- cliotes intravit. Audentenique jam aliquid, penecil- lum, ad niagnam gloriam perdiixit. P/Zw. 35. He fpcaks often in the fame Stile of other Artifts, Eveda fupra hu- manam fidem ars eff fuccelTu, mox & audacia. Hi:. 34, c. 7. Apollodorus Athenienfis primus fpecies exprimere inftituit, primufque gloriam penecillo jure contulit. In luminibiis artis primus refulfit, neque ante eum tabula ullius odenjitur qua: teneat oculos. Plin. 35. Apollodo- rus pi£for qui morcalium primus invenit rationem com- mifcendi Colores, U exaftam umbrarum exprelTionem, Athenienfis erat. Plutarch. Bcllonc anpace, &c. (12) Zeuxis atque Parrhafius, non multum a-tate di- ftantcs, circa Pcloponneiiaca ambo tempora (nam cum Parrhafio fermo Socratis apud Xenophontem invcnitur) Ariltodemi admitatus Sti (13) Nihil eR in Natura rerum omnium, quodfe uni- vcrfum profundat h quod totum repentc evolet ; lie om- nia qua: hunt, qua:que aguntur acerrime, lenioribus prin- cipiis Natura ipla prstcxuit. Cic. de Oral. lib. 2. (14) In eum Apollodorus verfus fecit, artem ipfi abla- tam Zcuxin ferrc fccum. DcfcendilTe Parrhafius in cer- Chap. 2. a^d Decline Painting. 23 ZEUXIS is cenfurcd by fomc for making his Heads, and all the Extremities too big. 1'hey an cenfured ^intilian fays, he was thouglit to have madc^ his Bodies always larger than Life ; and to ^f''J'"£p'' f have imitated Homer in tliat refpcd, who has been obferved to give even his Women a ' Largencfs approaching to mafculiac. And doubtlcfs {faith this Author) lie imagined by fo doing, that he d;avc more Dignity and a nobler Air to his Figures {l 5-). But the grcatcft Fault with which this Painter is charged, is his not Iiaving painted Manners. Tho' '^Fliny men- tions a Tenelnpe Zeuxis, in which he {16) fecmed to have cxprefled her modcft, foft Character and Mamicrs 5 and fome other Pieces that do not dcferve that Cenfure : yet Ari- fiotlezixA others have remarked that Dcfcd in this renowned Colourift (17.) NOW the fame Fault is found with Tztian, and with all the Painters in general of the Venetian School, who fo eminently excelled in Colouring. And thus it hath been ob- ferved in ancient Times as well as modern, that as the beft Colourifts have failed in that other moft elfential part of Painting; fo, on the other hand, thofe who excelled in correct ■Delign and juil: Exprcflion, were dctcttive in Colouring : So limited is human Perfeftion, or fo extremely difficult it is to excel in many things, as an excellent ancient Author ob- ferves on this Subjecf (18.) IT is however entirely a modern Difpute which of thcfe Parts is the moft excellent. From what is faid of Zenxis, on account of his not having ftudicd Expreffion enous^h, by that excellent Critick of all the polite Arts, the Stagyrite^ (at the fame time that hisYwcet, harmonious, enchanting Colouring is fo exceedingly praifed) and from a Converfation of S How very unvaluablc muft a Pidure of Tenelope have been, if it did not rcprefent her as Homer hath done, in comparifon of one that did ? tamen cum Zcuxide tr.idl'ur ; Et cum llle cletulifTet Uva5 piclas taiito fucccflu ut in fcenam Aves devolareiit. There is a Greek Epigram, aliuding to thefe Grapes, in the Ajithol : thus tranflatcd by Gmiu!. Fix eft ab tivis his ut abjiiiuarn manum, Ita me Golorum forma deceptum trahit, (15) Zeuxis plus membris corporis dedit, id amplius atque auguftius ratus ; atque (ut exiiiimant) Homerum fc- cutus : cui validiffima forma, etiam in fceminis placet. J^int. In/},!, 12. c. 10. So PZ/wj', Depreheiiditur tamen Zeuxis ceu grandior in capitibus arciculifque ; aliotjui tantus tiiligentia, &c. Flin. 35. {j6) Mores pinxilTe videtur. Ibldnn. (ly) Pluriinorum juniorum Tragcedlas funt fine mori- bus, fii multi prorfus poei^ funt tales : Ita quoquc inter Pictures Zeuxis fe habet ad Poiygnotum. Polygnotus cnim eft bonus morum pidlor, at Zeuxidis pitiiura nullos habet mores. Ariji. Pod. c, 6. (iS) Dir,dorus Sicului, /ill. 26. makes tliis Obfervation, Fieri nc-quit ut Natura mortalis-, etiamfi fcopum fibi pro- polltum aliequatur, comprehenfioncm omnium line ulla reprehcnfione obtlneat. Neque enim Phidias, in magna habitus admiratione ob fimulacrorum eburneorum fabri- cationem ; neque Praxiteles qui lapidi;is operibus eximie admifcuit affedtiones animi ; nct]ue Apelles aut Parrha- fius, artem pifloriam expcrienter temperatis coloribus ad fummum faiHgium provehentes, tantam in fuis operibus experti funt felicitateni, ut peritis fus efFeitum prorfus irreprchenfibilcmcxhiberent. Cum enim homines tflent, ac primas obtinerent in iis qux Wbi agenda fufceperant, jiihilominua tamen propter imbecillitatcm humanam in multis a propofito fibi fcopo aberrarunt, (19) Xeii. Apmnem. c. 10. Ergo Statuariam, fubjecit Socrates, animi aiSiones, per formam, repra:femare oportet. (20) Zeuxis Piflor in magna erat admiratione apud Crotoniatas. HuicHelenam pingenti, miferunt pulcher- rimas quas penes fc habebant Virgines, ut eas infpiceret nudas : Ex multis itaque partibus, pulcherrimum quodque in animo comprehendens ars, conftruxit opus perfedtas pulchritudinisldeam reprKfentans. Dion. Haltc. So Ci- cern de In-ocntione. Valerius Maximus tells us. Cum pinx- iflet Helenam, quid de eo opere homines cenfuri elTent, expeflandum non putavlc, fed protinus hos verfus adjeciE ex Iliad 3. ver. 156. Ofthe Difpute about Ccbiiring, Dejign, and Expreffion, to which the prcferenct is due. The Sentiments of ancient Criticks about it. £4 2eiixis and Titian exceU'd in Colour- ing., but net in cx- prejjing Manners. tfhat Painting pro- perly fo called is., end its Exeelkncs. An Essay on the Rife^ Progrefs, Swift from above defcends the royal Fair ; Her beauteous Cheeks the Blujb of Venus wear Chajhn'd with coy Diana' j- ^enjlve Air. Odyf. B. 17, SOME Criticks, being aware of this, have endeavour'd to reconcile what ^ry?(??/£' fays of Zeuxis, with the Praifes given to him by others ; Tliny in particular, by means of that Bivifion of Affedions very generally received amongft Pliilofophers, into foft and rough, . fmooth and boiftcrous (11). And it hath indeed been remark'd at all times, that fomc Painters have excelled in reprefenting the one kind, and fome in exprefling the other. But this Diftinftion between Paflions, tho' ^liny himfclf ufcs it afterwards m his Charader of Ariftides, is not fufficient to reconcile what he fays of Zeuxis^ with the Account of his Piftures given by Artjhtle, who had much better Opportunities of being acquainted with their Perfections or Imperfections : For, according to ''Pliny, he had not only painted the Manners of 'Penelope, that is to fay, the foft, tender, modeft Virtues that make her Cha- rader in the OdylTcy ; but likewife other Subjeils in which he had exprefled the violent Pallions ; as for example, Hercules yet an Infant ftrangling the Serpents before his trem- bling Mother {22) : But Arijlotle cxpreflly fays, on the other hand, that there are no Man- ners in his Pidlurcs. WHEN therefore all the Accounts that are given us of Zeuxis are compared together, what is faid by Arijlotle, with rcfpeft to the want of Manners in his Piftures, muft be underflood in the fame way as the like Charge againft Titian or the Venetian School in general, that is, in a comparative Scnfc, or iji relpeft of other Maftcrs who chiefly ftudied Expreflion, and eminently excelled in it ; as the beft Maftcrs of the Roman and Florentine School among the Moderns : And, amongfl: the Ancients, Apelles^ Ariftides, TimantheSy and others. It fcems manifcft that Zeuxis, like Titian, far excelled all in Colouring, but was like liim alfo inferiour to many in Exprellion. BUT whatever may be determined with regard to this Cenfure of Zeuxis, it was, in the Opinion of the Ancients, but the lowclt Attainment of a Painter, to be able to give the truclt Appearance of Flefli and Blood, or a fine natural Colouring to Bodies, however rare and difficult a Talent that may be: Correctnefs of Dcfign, and Truth of Exprcilion, arc, according to them, the chief Excellencies ; for the fake of which. Defects in Colour- ing will be eafily forgiven and over-looked by the moft underfl:anding ; that is, by thofc who feek from Pictures not merely Gratification or Plcafure to the Senfe, but Employ- ment and Entertainment to their Undcrfl:anding, and agreeable wholefome Exercife to thcir Atfedions : In order to gain which great Ends of Painting, Pictures mult be animated by Minds ; they muH: have Souls j Charadlers and Manners muft be painted. ON the other hand, however, it is owned, by the fame Ancients, to be by the skilful Management of Colours, that the fpecious Appearances of Objctfls are reprefcnted, and that the Pencil afpires after compleat Deceit, and a full Command over our very Senfe : And confequcntly, it is not mere Drawing, however corred, and exprellive, but Painting, by the united Force of different Colours, that can be called the tluoughly imitative and illufive Art (23). THO' Apelles could not have given Beauty and Grace to his Pidures, nor have dcferved the high Praifes that are beftowed upon him by the confenting Voice of all ancient Writers, had he not undcrftood Dcfign, Proportion and Expreflion extremely well yet he was ex- celled in Symmetry and Proportion by Afclepiodorus, as he himfelf gcneroufly acknow- ledged : And Arifiides fecms to have furpalfed him in reprefenting the Paflions. As for Symmetry and Proportion, it was Parrhajius the Contemporary of Zeuxis who lirfl; fully undcrfl:ood and obfcrv'd it. Parrhafius'j Skill in Symmetry, in Rsunding off the Extremities, and in painting Charac Urs. HE is highly commended for the Softnefs, Delicacy, and Elegance of his Out-line. T'liny expatiates with delight upon his excelling eminently in rounding oif his Figures, fo as to detach them from the board, and to male them ftand out with great Strength and Relief This (21) Sec this Divifion explained at large, /. 10. c. 2. ^iint. InJ}. (22} Fecit & Penelopen, in qua pinxifTe mores vide- tur; h Athletam ; Et Hercules infans, Dracones ftrangulans, Alcmenamatre coram pavente & Amphitry- one, Plin. lib. 35. As for the reading amores inftead of mores in Pliny, it not only implies that Zeuxis did not paint the Penelope of Homer, (but another Penelope of a lafcivlqus proftituted Charader: which cannot be admitted.) But it fuppofes Amoroufnefs and Lafcivioufnefs painted, and yet no Manners expreffed, which is manifeftly abfurd. Mores in Poetry is always undcrftood in a general Senfe, com- prehending not only the good AfFcaions and Manners, but all the Affeftions aiid Manners of whatever kind. whether good or blameable, A Chara£ter either in Painting or Poetry is faid to be bene morata, or to have Manners, if it is a probable, confiftent, well-drawn Chara£ler, whether it be moral or immoral, as we call it. Cicero de Off. lib. I. f . 28. Sed turn fervare illud Poetas dicimus, quod deceat, cum id quod quaque per- fona dignum eft & fit, & dicitur, %o Horace, Interdum fpectofa locis, morataque re£!c, Fabula.- Art. Poet. 319. (23) EC yfaescif mvimKai^^v cri yjaiio. y^ai^«{, J'ta. dvit'ftixiihov 1(0.1 d.7ia.n]hov. Pint, de Poet. Aui. Apol- lodorus is called the firft great Light among the Pain- ters, becaufe thofe before him only underftood Drawing; he is the firlt who began to -colour agreeably. Chap. 2. and Decline of PAiNTiNb. 25 This is indeed a very maftcrly part ; and as Tliny fays of the ancient Painters, fo it may be Ukewife faid of the Moderns, " Tho' many have fuecccdcd very well in Painting the Prmjd. " middle Parts, very few have been able to come up to the througlily illufive way of termi- " nating the Extremities, lb as to give them a jnH degree of Roundnefs, and make them fly " off, inviting the Eye to look behind them, and promifing as it were to difcover what " they hide (24)." But this wonderful Art ought rather to be called the Subtility than the Sublimity of Painting (25-), which Lift belongs more properly to the poetical Part of it, confifting in Greatnefs of Invention and Compolition ; Noblenefs of Ideas i Energy of Exprcfllon, and a grand Tafte joined with Beauty and Grace. He may he compared with Corregio in foms refpe£ls, tho* the latter was not equal to the former in CorreSinefs of Deftgn. Corregio'j Excel- lence, THE liinic Tarrhafins is alfo much commended for the fprightly, fignificant Airs of his Heads, and the Comelincfs and Sweetnefs he gave to his Countenances. Now Corregio amongfl: the Moderns excelled in many of thefe QuaUties : He Avas nor correct in De%n ; but his Pencil was wonderfully foft, tender, beautiful, and charming : He painted with great Strength and Heightening, and there was fomething truly grand in his Manner : He underftood how to diftribute his Lights in a way wholly peculiar to himfelf, which gave an extraordinary Force and Roundnels to his Figures. This Manner is faid by fome Artifts (26) to have confifted in extending a large Light, and then making it lofe itfelf infenfibly in the dark Shadowings which he placed out of the Maifes. It is this Art, fay they, that gives his Pidures fo great Roimdnefs, without our being able to perceive from whence fuch Force proceeds, and fo vaft a Plcafure to the fight : And in this part the reft of the Lom- bardy School copy'd him. His Manner of dcfigning Heads, Hands, and Feet, (fay they) is very great, and well defervcs Praife and Imitation : He had alfo found out certain natural and unaft'edlcd Graces for his Madonna's, his Saints, and little Children, which were proper to them, and are wonderfully pleafing. IN feveral other Circumftanccs there is a great Affinity and Likenefs between this emi- How much Parrhz' ncnt modern Painter and 'Protogenes^ Contemporary oi Afelles^ and one of the greateft ^fiuJT^ h'"!: ■ ancient Mafters, as we fhall afterwards obferve. But with regard to Tarrhajiits, it is worth yJiiml with ^io-'^' our attention, that Socrates the Philofopher was often with hifn (27) ; and, no doubt, this crates. Painter had received very great Inftrudion and Affiftance from one, who together with his Knowledge of Nature, that of human Nature in particular, muft have had a very good Idea of Defign, having been bred to Sculpture in his younger Days (28). To his Conferences with this Philofopher, ir is not unreafonable, in fome meafurc, to afcribe his Skill of Sym- metry and cxad Obferyance of it ; but more efpecially his admirable Dexterity in Painting fuch a variety of flircud, fly, quaint, entertaining Looks ; For in this he is faid to have made great proficiency (29), and to have fhcwna vaft Fcrriliry of Genius and Imaginarion. This ap- pears fufficicntly from the Defcription that is given of his Pifturc of the People of Athens, reprefenting by feveral wcU-diftribured and judicioufly-managcd Groupcs in one Piece, a very confiderablc Diverfity of Humours, Tempers and Charaftcrs. NOW Socrates is famous for his deep Infight into Human Nature, and his vaft Com- prchcnfion of Men and Manners; for his ironical humorous Turn, and the wonderful Faci- lity with which he could afiume any Mien, or pur on any Charafter, in order to accom- plifh more fuccefsfully, his truly phiiofophical Defign of ftripping all falfe Appearances of Wit, Learning or Virtue, of their artificial Varnhh, and expofing tiicm in their native Co- lours. {24) Primus (Parrhafius) fymmetriam Pi£hjr£e dedit : (27 ) Xen. Aporri. cap. 10. PrEcterea fiquando cuni ali- Primus argutias vultus, elegantiam capilli, venuftatem qulbus colloqucretur, qui artificia noilent, etiam his pro- oris ; confeflione artificum, in liiiels extremis palmatn derat. There follows a Converfation oi Socrates with adeptus, Et hsc eft in Piitura fumma fublimitas. Cor- Parrhafius, and another with a Stauary, pora ciiim pingcre & media rerum, eft quidem magni operis ; fed in quo multi glorlam tulerint : Extrema cor- poriim facere & defmentis pifturas modum includerc, ra- rum in facceilu artis invenitur : ambire enim debet fe extremitas ipfa & fic definere, ut promittat alia poft fe ; oftendatque etiam qus occultat. PUn, 35, Ludo-uicus Demantiofiui fays. Sic malim legere {extrema corporum facere, & dcfinentis Piiturs modo illudere ra- rum in fucceft'ii artis invcnitur.) Nam definentis Pic- (28) Socrates filius erat Sopbronlffi lapidarii, U Phce- naretes obftetricis, (quemadmodum & Plato in Thexteto ait) genere Athenienfis, Pago Alopecenfis. Duris vero & fervlfle eum ac lapldes fculpfifle tradit : EfTe veto illiua etiam gratlas illas quse funt in arce, veftibus indut^. Ti- mon in Syllis dicitur eum vocafie ai-So^ooj'. ^iog. Laer. lib. 1. in Vita Socratis. In ipfoarcis Athenienfis introitu, Mercurium, quetn Propyla^um vocaiit, & gratias fecifte turce modum inciuderc quid fit nefcio, fed defmentis Pic- ^icunt Sophroniffi filium Socratem, cui inter homines tur^ modo fpe£tantibus illudere, hoc artis eft. Lud. Dei}wil. Comment, de Sadp. tsf Pi£J. Jntiq. (25) This is called by others Sublilltas. Parrhafius ex- aminaffe lineas fubtilius, traditur. ^int. Infl. lib. 12. c. 10. Tanta enim fubtilitate extremitates imaginum eraiit ad fimilitudinein prsecifK, ut crederes etiam animo- ri:m elTe pifturam. Pelron. Jrb. Satyr. And PHny him- felf afterwards, Feruntartificem protinus, contemplacum fubtilitatem, difciife, i^c. The Sublime in Painting is that which he defcribes afterwards in the CharaiSer of 7'tmanlhes, and what Farrs afcribes to Euphraitor. Apollinis Delphici oraculum fapientiee prlmas detulit. Paufan. lib. 1. Suidas inSocrat. Muxhnus Tyi'iut, Dif- fert. 22, (29) ^las aut Parrhafius protulitf aut fccpas ; Hie faxo, Uquidis iUe colorlbm Solcrs miic hominem paii£i-eiiiu?icDeum.Hor.\.^.0d.8i Et eum Parrhafii tabulis, fignifque Myronis, Phidiacum vivebat ebur. — Juvenal. Sat. 8. Date mihi Zeuxidis artem, & Parrhafii Sophifmata. Hymmerius apud Pbotium, Pliny commends Myron fof the fame Quality, Myron numerofior in arte quam (26) See ^f//i/'ff! and Mr. ominichin amongft the Moderns. While G'?«Vf's Pictures, by the Beauty and Swcetnefs of his Pencil, charm the Eye; the natural, and ftrong Expreflion of Pallions in the other's violently move and agitate the Heart, which (as i^f/z^/Vw juftiy obferves) is one of the nobleft Effects of Painting (36). 'PROTOGE NES was Contemporary with Apelles 2Xi6l ATtfiides, and he is clafled amongft the beft ancient Painters. Arifiotle^ that excellent Judge of all the fine Arts, and whofe Talent indeed was more towards polite Learning and the Arts, than the more pro- found, abftrufe Parts of Philofophy, highly eftcemed the Genius and Abilities of this Pain- ter. He out of his regard to the Dignity and Excellence of the Art, as well as to the Re- putation of this Painter, would gladly have perfuaded him to have employed his Talents more worthily than in painting mere Portraits, Hunters, Satyrs, and fuch inferiour Sub- jects (37); to have try 'd nobler Arguments, fuch as the Battles of ^/i'.vaWi'r, which the Phi- lofophcr (33) Oumi ya.f TTHi — Bj.HfBTO/ XH?-^ *} (iiya.\ix.u-xia.u lai Diftinfiion is exp'ained by ^'mtitian, and in what he places the Excellency of Oratory, the Ancients made that of Painting likewife chiefly to confift; as it is well exprelied by Martial ; Ars utinam mares animumque effingcre pojfet : Pukhrior in terris nulla tabella forei. & Sculpteurs de i'antiqui' ... ce que dans fes ouvrages on y voit toutes ies belles expref- fions qui ne fe rencontroient que dans dlfferens maitres. Car Timomachus qui reprefenta Ajax en colere, ne fut recommendable que pour avoir bien peint Ies paflions les plus vehementes. Le talent particulier de Zeuxis, etoit de peindre des affeflions plus douccs & plus tranquilies, comme il fit dans cette belle figure de Penelope, fur le vifage de hquelle on reconnoiflbit de !a pudeur & de la fagelTe. Le fculpteur Ctefiias fut principalement confi- dere pour k-s expreffions de douleur. Mais— le Pouflin les polfedoil toutes, Fdibien. (35) Is omnium primus animum pinxit & fenfus hu- maiios expreffit, qus vocant Grsci nS" i idem pertur- batioiies : durior pauIo in coloribus. Plin. 35. Phn/i He fame in Paint- ing. It may be beji un~ derjfood fmn Ra- phael iiWPouffin's Piilures, PoufTui praifedfor hisUillinexpreffing the Pajpuns. And this the Talent of Ariftides. Protogenes Cen- ieinporary with Apelles.' His CharaRer and Ttirn, and ho\u Ariftotle endea- voured to pcrfuade him to paint high and noble Subjeil!. (34) This is the Charafter FeUbien^ BeUoriy &c. give of Nicolas Poiifftn. Je I'ai deja dit, que ce f^vant homme a meme furpaffe en quelque forte ies plus fameux Peintres Hue igitur incumbat orator, hoc opus ejus, hie labor eff, jteurs de I'antiquite qu'ils'eft propofe d'imiter, en fine quo cetera nuda, jejuna, infirma, ingrata funt. Adeo velut fpiritus operis hujus atque animus eft in af- feftibus. ^int. lib. 6. c. 3. (36) Si la Beaute de pinceau & la Grace qui paroit ■dans les tableaux du guide cliarmoit Ies yeux : les fortes & naturelles expreffions du Dominiquin touchoient beau- coup I'efprit, & emouvoient davantage les paflions de ceux qui les confideroient : ce qui eft un des plus beaux eflets de la Peinture. Felibien tells us, that Nicolas Poujfm fpoke in this manner of Guido and Dominichin, tom. 4. p. 16, (37) Et matrem Ariftotells philofophi ; qui ei fuadebat ut Alexandri Magni opera pingeret, propter Kternitatem rerum- Impeius auimi, U qusdam artla libido Pfotogenes bm/ght into Reputation very gensroujly by Apel- Jes. As Corregia wos kf ceytahi Paiilers efejiablijh'd Fame. Protogencs and Corregio had no Majiers, and lived in a poor obfcure way* The TraaquiUily with which Proto- S,enes painted ill the Ca>/!p of the Enemy. Jnd a like hjlance in Parmegiano, luho had like-wife a ftveet tranquil Pen- cil. Ji77 Essay on the Rife^ Progrefsj i-ofophcr thought more fuitablc to the Art, giving it occafion to cxprefs a great Variety of lofty Ideas, inftruclive Charafters, and intercfting, moving Paffions and Adiions. Bui; it fccms his natural Genius and Inclination led him to otlier Subjefts. What he moft dehghted in appears to have been of tlie paftoral kind, things of a quiet and gentle Cha- radcr. He lived at firft in great Poverty and Obfciirity, and for a long time only painted Galleys and Ships, and mere Still-Life (38) : But afterwards he applied himfclf to higher Subjeds, with iijch good Succcls, that tho' he had ftill but little Reputation in his own Country, yet his Merit had come to the knowledge oiApelles^ who being thereby in- duced to vilit him, was the firft who raifed him a Charader at home (39). Apelles be- ina; charmed with his Works, payed him greater Prices for them than he asked > and then gave out that he defigned to pals them for his own. This, as it was faid, on purpofe to procure a Name to one who lb well defcrvcd eftecm, fo it had the defign'd EfFccl:. The Rhodians then began to value him and his Works, and to be jealous of their Honour ; and therefore were glad to keep his Pictures in their own Country upon any terms. Thus was Trotogenes very generoufly brought into Reputation by Apelles, wdio faid of him that he was equal to himfclf in every refped, excepting only that not knowing when to give over, by too nice Corrednefs, and too laborious Finiihing, he flattened Iiis Pieces, and rendered them ftiff, lifelefs, and ungraceful. WHAT is very remarkable with regard to '^rotogenes is, that he feems to have had no Mafter ; or at leaft it is not known whofe Difciple he was (40). He appears to have arrived at the high Attainments Apelles fo much admired, by mere Strength of natural Genius, and that under a Load of Poverty and Obfcurity that naturally finks and difpirits one (4.1) ; juft as Corregio did in \\xt latter Age of Painting, under the fame difadvanta- gcous Circumftances ; who is however univerfally acknowledged to have come the neareft of any to the modern Apelles^ in his peculiar Talents and Excellencies : He was in like manner brought into Reputation at home by the Praifes his Works received from Painters of eftablifhed Fame, fo foon as they faw them. All the Writers on Painting, and of the Lives of the Painters, juftly admire the Force of thofe natural Parts in Corregio, which with little or no help from any Mafters, and without any opportunity of fludying the antique Remains of Painting and Sculpture ; without the Afliftancc of a liberal Education, and in a Situation the moft imfavourable to the hnprovcments of Imagination and Genius, could arrive to fuch a pitch of Perfection, and produce Works but a very little inferiour to thofe of Raphael i who with the beft natural Genius for Painting, had all the Advantages and Encouragements that are moft conducive to cultivate it, and make it perfect ; This is likewife the very Language of Antiquity with refpeft to Trotogenes. TO mention but one Circumftance more in 7rotogenes\ Charadler and Life; the Tranquillity with which he poflefs'd himfelf at Rhodes, continuing to work while it was bcfieged ; and the ingenious Reply he gave to thofe who were fent by Demetrius to ask how he had the Courage to paint even in the very Camp of the Enemy, are much cele- brated (4.2) : He anfwcr'dwith aneafy Smile, that he knew very well the Prince was not come to make w'ar againft the fine Arts. Now we have almoft a parallel hiftance of the fame Command of Temper in a modern Painter {parmegiano) who likewife had one of the gentled, fweeteft, and moft gracious Pencils in the World. When Charles the Fifth had taken Rome by ftorm, fome of the common Soldiers, in facking the Town, having broke into his Apartments, and found him, like Trotogenes of old, intent upon his work, were fo libido in hasc potliis eum tulerijiit. Plifi. ^S- Upon qua mala confuetudine a;gmm in nieliorem traducit ; whicli Paflage Mr, Diirand well obl'erves, Le confeil etoit cjuare reprehendendus lit, qui orationem minus valentcm, bon, il faifoit honneur a Alexandre, a Ariftote, a Pro- propter nialam coniuetudinem traducit in mellorcm ? togene, alaPeinture, & c'etoit lemoyen d'immortalizer Plctores Apelles & Protogenes, fic alii artifices cgregii un auffi beau pin^eau que le fien. Cependant, (continue ncn reprehendendi, quod confuetudinem Myconis, Dio- notre auteur) impetus animi & qusdam artis libido in ris, Arymnee, & aliorum fuperiorum non funt I'ecuti. hKC potius eum tulcre, c. a. d. fi je ne me trompe, que Protogene, au lieu de fuivrc I'avis du Philofophe, fe fen- tit plus de penchant, ou plus de gout pour !es fujets men- tionnez ci-deffus, comme le Parale, I'Hemionide, I'lalyfe, le Salyre, life. See his Notes on tiiis Book of Pliny. (38) Summa ejus paupertas initio, artifque fumma in- tentio ; & ideo minor fertilitas — quidam h navispinxiiTe ufque ad annum quinquagefimum, Plin. 35. (39) Septem annis dicitur Protogenes haiic pi^^uram (lalyfum) perfeciile ferturque Apelles, opere confpedto, tam vehementer obftupuifle, ut vox eum deliceret : Tan- dem vero dixiiTc, grandem laborem atque opus admiran- dum clFe, non tamen habere gratias, propter quas a fe picta ccelum coiitingercnt. Hitc tabula una cum pluri- bus aliis Romam deportata, ibi quoque cum reliquis ab- fumpta eft incendio. Plutarch, in Apeph. Regum, &c. £3* in Demetri^. /Elian. variteHip. lib.12. c.4.1. AulusGcl- liis Noel. Att. lib. 15. f. 3. Floruitcirca Philippum, l^c. nam cura Protogenes, ^dnt. Inji. lib. 11. c. 10. Protogenis rudimenta cum ipfius naturse veritate certan- tia non fine quodam borrore traftavi. Petran. Arbit. Satyric. Cum culpandus non fit medicus, qui e longin- , lib. 8. de L. L. (40) Quis eum docuerit non putant conftare. Plin.^S' {41) Summa ejus paupertas. Plin. ibid. Hunc, quale?/! nequeo monjirare, fs" fentio tanlum, Anxietate caretis animus facii^ iminis accrbi ImpatieTii, Cupidus Sylvarum-, aptufque bibendis Fontibus Aontdum : usque enim cantare fub antra Pierio, Tljyrjumve potefl c-mtingere mcejla Paupertas, atque arls inops, quo no£ie disque Ceipus aget. . Juv. Sat. 7. (42) Accitus a Rege, interrogatufque, qua fiducia ex- tra muros ageret ? Refpondit, fcire fe cum Rbodiis illi bellum cfle, non cum ariibus. Difpofuit ergo Rex in tutelam ejus ftationes ; gaudens quod poffet nianus fer- vare, quibus jam pepercerat: & ne fepius avocatet, ultro ad eum venit hoftis, reli^tifque vi£iori^ fuce votis, inter arma & multorum iclus fpefljvit arcificem : fequiturque tabulam iJIius temporis base fama, quod eam Protogenes fub gladio pinxerit, Phn. ibid. See F(libien\ Account of Parrnfgiaiio. Chap. 2. a?jd Decline (5/'Paintixg. %<) fi-j aftonifh'd at the charming Eeauty of Iiis Pieces, that inftc.id of Plunder and Dcfli'udion; w liich was then their BurmcfSj they refolved to protCLl as they afccrwarus did, from all manner of Violence. 'PROTOGE NES was not only famous for Painting;, but likcwifc for many Fif;urcs which he made in Erafs {4.3) : And it is worth obfcrving;, that in thefe two Ages of Pahir- jng I am now comparing, ieveral of the moft eminent Painters in both, were alfo excellent Statuaries and Sculptors : They found their account not only in conrulting the good Sta- tues and Bas-reliefs of renowned Artills ; but likewile in making Models to thcmleh'cs of Clay, or other fuch Materials, and in frequently viewing them in different Situations ; as Tintoret in partieular among the Moderns (44.). NICOMACHUS is juftly praifcd for the great Lightnefs and Freedom of his Pencil, and the vaft Facility and Quicknefs with which he executed fomc very good Plclures : And yet 'Philoxsnus his Scholar is laid to have been ftill more expeditious (45-). They both painted excellent Pieces; and, though they painted very fait, they do not feem to have defer\'ed tiie jull and very inftrudive Reproofs, Afclles and Zeiixis are laid to have given to certain Painters, who boafted of their having hnifhed feveral Pictures in a very fhort time (46). U is however very remarkable, that Petronms fpeaks of a certain quick and eompcndious way of Painting, which, coming into vogue, was one great caufe of the Ruin of the noble Art (47). And good Pii3:urcs, like all other Works of durable Merit which conceal Art the moft, require the gteateft fhare of Study, Time, and Labour to their Produdion. No- thing is more difficult and attful than to hide Art. How accurately proportioned and skil- fully laboured muft the Building be, which, tho' flrong and folid, appears light and cafy ! The happy Thought fwims not on the Surface, but lies deep in the Mind ; and is found out by profound and fevere Search. It is with rcfpedl to cafy Pictures, as it is with regard to eafy Writings, when fuch Works (to ufc the Words of an excellent (48) Author) fall under the perufal of an ordinary Genius, they appear to him fo natural and unlaboured, that he immediately rcfolves to compofe, and fancies that all he hath to do is to take no pains. Thus he thinks indeed fimply, but the Thoughts not being chofen withjudgment, are not beautiful ; he it is true cxprelfes liimfelf plainly, but flatly withal. So true is it that Sim- plicity of all things is the hardelt to be copied, and Eafe to be acquired with the grcatcft Labour. Nicomac!iu5 anj Phiioxcnus bad fine ei'fv Per/cili, arid piiitited fdji i hut did not defsrve thi tain Painlers who hadfled of finijhin^ Piiiures in a Jhsri time. A Rfmark on Eaje in U htirig and Paiiui'ig. Nation hi had of the Art, andthd care hi took ta make uJcfuL NICOPHAN ES d Painter of the fimc Age is celebrated for the Elegance of hfs Nicophanes csm- Defign, for his grand Manner, and the Majefty of his Stile : hi all which, it'is laid, few "If ^."^ fir the high Mailers were to be compared to him. And he, like one of a truly noble Tafte fenfiblc of the Force of his Genius, and of the Dignity of his Art, delpifed low Subjefts. He thought Painting was capable of being really ufcful to Mankind, and of fomething more than merely innocent Amufcment : And therefore he employed has Talents in paintin<^ hiftorical Subjcds, tragical ones chiefly ; fo that he dcferved to be called the Tragedian in Painting. His Manner, with all its Weight, Gravity, and Majclly, was however Vcrj- "ra- cious, pkafant, and ealy (49). THE modern Mailers that are mofl renowned for the Facility with which they executed Several Modems their Works, are ehiefiyGVo v.'Pn/K/, covamoi\\y cz[\i:A 11 Fattore, Tintoret, Ternpefia, and pointed faji. Pietro da Cortona. And none amongft the Moderns ever took more delight, or fuccceded better in painting great and noble Subjefts taken from Hiflory, Poetry, ancient Fables and Allegories than Annibal Carrache ; who, having fludi'cd the Sweetnefs and Purity of Carrache made a Corregio at Parma ; the Strength and Diftribution of Colours of Titian ■■> and at Rome the fi'^' ^f^"^' Correchicfs of Defign and the Bcautifulncfs of the Antique, made it appear by his won- derful Paintings in the Farnefe Palace, that he had acquired all thefe Ieveral Perfeclions to a very great d'egrce. He was indeed as grand, -and yet as graceful in his Stile, as Nico- phanes is dcferibcd to have been ; inferiour to Raphael alone in either, as the tatter was (+3) Fcdt & figna ex ^re ut di\imus. Plin.ibtd. & accel'eratio non addit operi durabile pnndus, iS% He gives an account of his Works ot' that kind, lib, £ii^i^xy : Tempus vero robur addit Plut inPeride 34. ^- S. (4-7) Piftura quoque non alium exilum fecit, poftquam (44} See Fehbien, torn. 3. ^, 158. iF.gyptiorum audacia tarn magn^ artis compfciidiaiiam invenic, Petron. Satyric. Nicomachi vero tabulis, Sc (45) Nicomachus celeritate atque arte mira. Pliiloxfi- carminibus Humeri, prater rellquam vim, Vcneremaue, iius cckritatem pnecepturis coiilecutus, breviores etiam- ciiam hoc adclt, quod expedite & cum fumma faciiicate nuni quafdam piauta; vias & compendlarlas iiivenit. faaa videantur. Phitar. in Ttmakonts. Viiruviin ranks PU ■35- him with thofc Painters, Quos neque induftria, neque artis ftudium, neque (blertia defecit. Lib. 3. in Prccem. (46) Apelll piclor iiieptus tabulam a fc pidtam oficn- deiis, hanc, inquit, Cubito pinxi. Et itle : Etiam te Ca- cenK video feltinanter piaam. Miror autcm quod iion pliires alias iflhoc temporis elaboraveris. Plut. de lib. ___ . Educ. Memorant Zeuxin, cum piaorem Agatharcum cinnus, ita utvenuftate ei paucicomfaren: audiviflet, gloriantem quod cito & facile tabulaa piiigeret, ei & gravitas artis, Plin. 35. dixiffe, ego vero longo tempore, Facilitas enim efficiendi I (48) Guardian, N". 15. (49) Adnumeratur his h Nicophanes, elegans h con- Cothiirnus Apelki'j Sch'Aai s ■catne near their Essay on the Rife^ Progrefsy rc Apelles only : And in order to do jiifticc to his Art, he was ever takuig affiflancc from his learned Friends ^//g-7(/?^7?(?, Agnaccio^ and others -(fo). WE had occafion to remark, fpeaking oi Apelles, that the bcft Genius, hkc the fincft Soil, requires proper Culture ; and the Neccflity of Genius appears evidently in the Cha- racter of 'Per feus. He liad all the Advantages of ftudying under ilix Apelles, who compofed three Volumes on Painting ehiefly for this Difciple's Ufc; but he eanie not near to his Mail:cr in Delicacy, Charms, Noblenefs and Grace of Drawing ; nor did he, in Colouring, approach to tlie Truth and Sweetncfs of Zeiixis (5-1). He is placed however amonglt the PaintcL's of tlie firll: Clais, bccaufe he was of Apelles's School : Though his Piclures liad not any great Beauties, yet they had, it fcems, no conftderable Faults : If they did not llicw Genius, they fhewed, at leaft, tliat he was bred in a School where nothing that was bad eould be learned, and where Genius mull have made wonderful Progreis. This fcems to be the Meaning of the Cliarafter ^Fliny gives him: And it is in like manner obfervablc, that few Raphael's Scliolars equalled their Mailer j and yet their Works bear manifclf Marks of the excellent School in which they were formed. BUT Euphranofs is a very furprizing Charafter amongft the ancient Painters ; He was fo univetfal a Genius ; fo great a Mafter of feveral Arts and Sciences ; fuch an equally good Sculptor and Painter. His Conceptions were great and noble i tiis Stile grand and mafculine. But he is faid to have fallen into the fame Fault with Zeuxis, of making his Heads too large. He was the firft who dillinguilh'd himfelf by rcprcfenting Gods and Heroes in their ttue Charafters, and with becoming proper Majefty (52). Few were able, faith an excellent Judge, to afcend to his Sublimity and grand Tafte {5-3). He flouriih'd about the time of Apelles (5-4). Now juft fuch a vail Genius was Michael Angela : He excelled in Sculpture, Painting, and Architecfure ; and was well verfed in feveral other Sciences and Arts ; in Anatomy particularly, of which, it is agreed, no Painter hath been a greater Mafter. In all his Works he was like Eiiphranor, ever equal to liimfelf; the fame great Tafte, the fame bold, alpiring, mafterly Genius appeared in them all. His Ideas were noble and elevated ; and he always chote Subjetls fuitable to the Grandeur of his Imagi- nation, which was fertile, and daring almoft to extravagance : For if he erred, it was, like Euphranor, in being rather too great in his Manner. ONE of the moft famous of thofe who were bred up under Eiiphranor was Antidotus. He was extremely diligent and induftrious, but very (low at his Pencil. He was very cor- rcd in Proportion and Symmetry, upon which his Mafter had writ an excellent Trcatifc; but he was not of a lively, fertile Imagination; and his Colouring was harlh and dry (ff). Many of tXiz Florentine School, and its great Mafter iVf/V^iZif/^K^^/i? himlelf, arc reckoned very deficient in the colouring parr, tho' they are highly praifed for their Corrednefs of Deiign. And the fame Fault afcribed loAntidotns is found ■^diiticxA-^irXy m Andrea del Sartor Piclurcs, which generally want Strength and Life through the natural Timoroufnefs and Anxiety of their Author, his Oveir-carefulnefs and Diligence about them (5-6). BUT AntidoUis was more famed for having formed a Nicias than for his Piftures i the Nicias fo celebrated for painting tineAVomen, and for his wonderful Dexterity in re- prelcnring all forts of Animals beyond any Mafter of his time ; which yet was but the leaft of his Accomplifhments. For no Painter is more highly extolled for the great Variety and noble Choice of his Subjeds ; for his Skilfulnefs and Dexterity in the Diftributlon of Lights and Shadows ; for the Roundnefs, Relief, and Morbidczza (as the Italian Painters call it) KisfuUhm Ideas of ^^^^ Figures; and his Intelligence of the Keeping (5-7). But what is chiefly worth our the Art, and excel- noticc with relation to this excellent Mafter, is the high and juft Notion he had of the lent Qualifications. \xt nor did tUJt vf Rapliael approticl/ to his Perfc£ii'.n. Eiipliranor had ■mmderfulTalmts. Such a nm was Mi- chael Angelo a- moii^ lbs Msdci ns. AT\t\i.\Qtus Schntar /flEupliranor. Compared -with Andriia del Sarto. Both too diligent and heavy. Nicias Scholar to Antidotus. (50) See reliiicn and Jofari. (51) Multum a Zeiixide & Apelle abeft, Apeliis dlf- cipulu!, Perfciis ad queni de liac arte fcriplit. Plin. -^i^. feliiien is much milfaken when he fays of Pcrfeus, Qu'd ecrioit un traite de (on art qu'il dedia a fon maicre. (52) Eiiphranor Ifthmius dociUs, &labonoriis ante omncs, & in tjuocunque genere excellens, ac fihi iequalis. Hie primus videtur & cxpreflifle dignitates heroiim, & ui'urpalle fymmetriam : fed fiiit univerfitate corporum cxilior; capitibus aiciculiique grandior, Voiumina quo- que compofuit de fymmetria & coloribus. Pliri. 35. Euphranoreni admirandum facit qaod & caterls omnibus ftudiis inter prsecipuot, & pingendi fingeiidique mirus •irtifex fuit. ^liiil. 12. 10. (53) Neque ille Callicles quaterniim dlgitum tabulis nobilis cum effet, lamen in pingendo afcendere potuit ad Euphranoris altitudiiiem. hiiTO de vit. pop. Rom. apiid Sufipairum^ lib. i. (54) He was Scholiir to Arijlides fhehanus [Apdlis Mqualis] already mentioned. And PHny places him in the time of Alexander, kern & Alexandrum & Philip- pum in quadrigis, lib. 34. i this Book often cited. See the French Notes upon (55) Euphranoris autcm difcipulus fuit Antidotus. Ipfe diligentior quam numerofior, & in coloribus feve- rior. Plin. 35. (56) See Fellhien and Vafarl. This is the Fault ^in- iilian fpeaks of in other Works of Genius. At plerof- que videas hserentes circa fingula, & dum inveniunt, ac dum inventa ponderant ac dimetiantur ; quod etiamfi id- circo fieret, ut femper opiimis uteientur, abominarda tamen hasc infxlicitas erat, qiias curfum animi refrcenat, h calorem cogitation!? cxtinguit mora ac diflidentia. ^eint. lib. 8. in Procemio. (57) Euphranor niaxime inclaruit difcipulo Nicia A- thenienfi ; qui diligentiffime niulieres pinxit ; lumen & umbras cuftodivit, atque, ut eminerent e tabulis piftura; maxime curavit. Plin. 35. Nicias pidor fitius Nicome- dis in pingendis animahbus, Eetatis fuae longe prasftaatiffi- muj, habuit fcpulchrale monumentum, inter eorum tu- niulos, quibus publicae fepulturx honorem impertiendura judicabant Athcnienfcs. Paufanias, lib. i. Chap. a. and Decline o/" Pa i N T i N G. %X Art, and the noble Subjefls he chofc to rcprefent in order to do jiifticc to it, and employ- it iiiitably to its Excellence and Dignity. Zeuxis, Tarrha/iiis, 'Famphllus, Apelles^ Eupbranor^ as wc are often told by ancient_ Authors, by Maximiis Tyrhis in particnlarj and ai! the greatcft ancient Mafters were great Admirers and Copiers of Homer ; and lb was he likewifc. He often laid, that Painting ought not to be proliitiitcd to adorn trifling, low, unworthy Objcfls ; but that it ought to be employed to rcprclcnt great Adions, Battles, Viiftorics, Triumphs, Gods, Heroes, Virtues, and fuch like fublinie Subjeds, in which its Beauty, Power, and Majefty miglit be diiplaj ed. A Pidurc (faid he) oughr to IJicmfideredPaht- bc confidcred as a Species of Poetry^ for fo it really is, being capable of the llime Invcn- '^^ apetkal tion, and Sublimity. The lame Spirit is required to animate, and the f^ime Judgment to condud: both : What is. below the Dignity of Pocfy, is no Icfs unworthy of Painting : There is no Subjed of the former too great for tlie latter, or that may not be as much ennobled by the one as by the other (5-8). INDEED not Nlc'ias only, but all the great Painters in any Age of Painting have So all the great had the fame true Ideas of their Art : And fuch Conceptions of it alone can produce a ^^{lZu^'"^And'^ great Artift: Without fuch a juft Notion of the Scope, Aim, and Extent of that Art, thJchUfi^ was tht all Attempts will be but low and groveling, far beneath the Sublimity it is capable of ^rt perfesied by riling to, and by wliich its Merit and Excellence ought to be meafured. IN order to become an Orator, fays Cicero (^9), one muft have conceived a juft Idea ^^^-^^ Socrates, Ci- of the high Perfedion Eloquence may attain, and ought to afpire at ; he Ihould keep that Pidure or Model always before his Eye to animate and infpire him as well as to dircd liim in his Studies s in like manner as one who defires to become a Mafter of the Art of Paintin?, muft endeavour firft to have a juft Notion of the principal End and Excellence of that Art, and keep that ever in his view. Thus it was in fad that the beft Mafters, ancient and modern, arrived at Perfedion. They had firft formed a juft Conception of the Ex- Cicero, cellence and Merit, to which a good Genius by due Application, and a right Courfc of Study might advance the Ait : And that Idea being always prcfent in their Minds, in- flamed their Imagination, exalted their Conceptions, and pufti'd them on vigoroully to the Studies and Eft'orts in which they had fuch happy fuccefs : And in proportion as they fueceeded they became more bold and daring, and aimed at liigher Marks. Having the Truth, the Probability, the Sublimity, Majcfty, Beauty and Grace, at which Painting ouglit to afpire, deeply imprelTcd on their Minds ; they were at due pains to rcplcnifli their Un- derftanding, expand and enrich their Imagination, corred and chaftife their judgment and Tafte, by reading the beft Hiftorians and Poets ; but chiefly by the Obfervation and Study of Nature, whole Rival they confidcred their Art to be. This is the Advice Leonardo da Vinci gave to all his Scholars, " Above all to be afliduous in contemplating Nature, in " order to emulate and rival her } to let none of her various Appearances cfcape their Obfervation, and to give all diligence to form a juft Tafte of her Simplicity, Beauty, " and Majeftv'." And 'Pamphilus who had been at fo much pains to-improve his Mind by every Art and Science, and had formed an Apelles, who ft-icwed fo pcrfed a Tafte of beautiful Nature, no doubt had received, early, the fame excellent Advice imm Eupompus his Mailer, wiio was (as has been obferved) a bufy Student of Nature, and look'd upon it as the Painter's beft Guide, to whidi all others ought to fubmit. This was the conftant Language of all the great Painters, ancient and modern (60), concerning Painting aiid the good Tafte of Nature requifite to excel in that Art. Thus it was that the Art improved, and that the Painters became able to be Poets or Creators ; able to chufe from Nature with Intelligence and Tafte, and to form by the power of their own Fancy great andbeautiftil Works. This excellent Art can only be advanced and improved by calling in ail the other Arts and Sciences to nourilh, and invigorate it; and by fuch a juft Conception of its true Excellence and real Beauty, as direds and prompts to proper Study, in order to attain to (58) Nicias piflor etiam hoc ftatim ab initio non par- alios fortafTe rarius. Sed ego fic ftatuo, nihil elTe in ullo vam efle pistons artis partem cnntendcbat, uc artifcx genere tarn pulchrum, quo non pulchrius id fit, unde I'lHiipti materia fatis copiosa pingeret, neque arteni in mi- illud, ut ex ore aliquo, quaft imago, expi imatur ; quod nutias concideret, veluti aviculas aut floras ; verum earn ncque oculis, neque auribus, ncque ullo Itiifu percipi pu- potius navalibus equefiribufque prasliis impenderet : Ubi teft : Cogitalione tantum & mente complcffimur. Itaque varia; equorum formi. lib. cap. II. Encaufto pingendi duo fuifie an- gr^tefque Decira~ tions. the fame Tafte as Gio-vanfii d'Udina, one of He had much the Variety and Richncfs of his Fancy, and his /-^'"^ T^fi" ■'■^'^''^ peCUhar Gio. d'Udina/.r tiquitua genera conftat : Cera, & in Ebore, ceftro, id eft, veruculo, donee claftes pingi ccepere. Hoc tertiutn ac- ceilit, refolutis igne ceris, penecillo utendi; quEc pictura in navibus nec fole, nec fale, ventifque corrumpifur. Ceftrum eft veruculum, feu fcalprum ignitum, a jtaiw uro- Ccr^ tabulatis navium, aut liminibusjanuarum af~ figebantur, extendebantur, deindc igne refolvcbantur, & veruculo ignito inurebantur, incidebantur, pingcbantur, ut fpecies qufelibet piciura exprimi polTent. Cerie iila: variis coloribus eraiit incofts, tandem penecillus adliibe- batur, ut ceras liquefaiSs; diff'underentur, &coJoribu3 im- bucrentur. Biilevgcrus de Piclura, &c. Ub. i cap. 6, and 7. See likewife P. Harckuiris Pliny upon this place, the French Notes upon this Book of Pliny, and the Com- mentary on Boileaii dans I' Art Poctique^ k Cornmemement du Chant, 3. K 34 Athenian greai/y pratfid by the An- cient if or his Erud'i- timi. j^iGiuIioTlomano among Moderns. Jn 'EsshY on the Rife, Progrefs, ■peculiar Happincfs in cxprcfling all forts of Animals, Fruits, Flowers, and the Stili-I.ifc, both in Baflb-rclicvo and Colours, acquired the Reputation of being the bell Maftcr in the World for Decorations and Oiiianients in Stucco and Grotefque (^t>). ATHE NION, Difciplcto Glaucion aPaiiiter of Corinth, is likewiie highly praifcd by the Ancients, and by fome equalled to Nicias. 'Tis faid that in all probability he would have been left bcliiud by none, if he had lived to improve thofe Talents, which the Works he did when very young difeovetcd. His Colouring inclined rather to the harlh arid difagree- aWc ; but he is greatly celcbtatcd for his Learning and deep Science, for the Erudftion that appeared in his Pifturcs. So is likcwifc Giulio Romano amongil the Moderns who not undciflanding exatlly the Liglits and Shadows, or the Harmony of Colouts is fte- qiiently harfh and ungraceful, and had a harder and drier manner than any of Raphad'% School. They were both very converfant in the Poets, afllduous Students and hnitators of Homer in partieolat ; and great Matters of the Qiialifications required in a grand De- ligner (70), ° Pyreicus painted Imv Subja^i lih the Callicto. Aiid Calades. theW Taltnts fir CrmiSy and Tragedy in Fainting. AMONGST the Ancients 'Pyreicus got the nick-name of Rhyfarografhtis, from the fordid and mean Subjefts to which he applied himfelf, fuch as Barbers or Shoe-makers Shops, Kitchms, Animals, Herbage, and the Still-Life (71) : Like the Bajfans amongft the Mo- detns, whofe Performance is alfo admirable, tho' the Subjects are low. Such Pieces in all Ages have had their Admirers. The fmallcft Pictures of Pyreicus were more efteemed by fome, and bought at higher Rates, than the nobler Works of many other Mailers. 'Pyreicus chiefly painted little Pieces. CALLICLES alfo excelled fo exceedingly in Mignature Works, that he was reckoned but little inferiour to the gtcat Mafters. And tho' the Invention of Calades was more noble, he too preferred Comedy to Tragedy ; that is, he chofe rather to paint mean, com- mon Subjects than great Events. 'Sm Antiphihs, wholikewifc painted fmall Pieces' only, knew how to reprcfcnt both high and low Life. He had a delicate Pencil, and a very great command of it (72): When he attempted Tragedy, orfublime and elevated Subjefts ; or to move Pity, Horror, or the greater Paffions, he had excellent fuccefs. And the comical Hnmout he (hewed on other occafions in painting fantaftical, ludicrous Ideas, hath made him very famous, for having amufed himfelf in painting one very ridieulou'fly dreflcd ■ he was highly dchghtcd with that Figure, and called it his Gryllus ; whence ever afterwards grotefque Figures, and Cliimxras were called amongft the Painters by that Name. It is the fame Antiphihs who was juftly punifhed by Ttolemy for calumniating the innocent and generous (73) ; He was originaUy Egypt, but bred up under Ctefidemiis an ex- cellent Greek Painter. BUT not to take notice of any others at Mignature, 1 [hall juft mention a few more, (69) Pinxit & ipfe penecillo Parietes Thefpiis, cum reficerentur ; quondam a Polygnoto pifli : multumque comparatione fiipcratus exiftimabatur, quoniam non fuo genere certafTet, Idem &Lacuiiaria primus pingere infti- tuit & cameras ; nec ante eum taliter adornare mos fiiit. Amavit in juventa Glyceren, municipem fuam, in- ventricem coronanim ; certandoque imitatione ejus, ad numeroffifllimam florum varietatem perduxit artem illam. Poftremo pinxit ipfam fedentem cum corona, quas c iio- bililTumis tabula, adpellata eft St^c-zi-htJism!, ab aliis 5;Tfao:'JD7JB>>;f quoniam Glyccre coronas venditando luften- taverat paupertatem, Hujus tabuls exemplar, quod Apographon vocant, L. Lucullus duobus talentis emit Dloiiyriis, AthcnisPaufias autem fecit & grandis tabuias, &:c. Pl'tn. lib. 35. 21. lii the ancient grotefque Paint- ings at^jwf upon the Vaults and Walls, Girls with Gar- lands of Flowers, or carrying Bafkets of Flowers in their Hands were common ; and other Figures Hkc tliofe Atht- man Virgins called the Canephora, often mentioned by Paufmias, end called bjr PZ/kj-, lib. 36. Cijlifens ; Erafs Statues of which Virgins, by Polychtus, are thus de- fcribed by Cicers. .Snea prEcterea duo figna, non maxima, verum eximia venuftate, virginali habitu atque veliicu, qus manibus fublatis facra qusdam more Athenienfium virginum repofita in capitibus fuftinebant, Canephorie ipfa; vocabantur. Cic. in Verrem, Ub. 4, 3. There are fevera! fuch Figures in the CoIk-£tion of Drawings after the antique Paintings at Reme, bv the elder Bartoli, that formerly belonged Co the Majfnn Family, and is now in Dr. Richard Mead's. Library. _ (70) Niciae comparatur & alitjuando pra:fertur Athe- iiion. Aufterior colore, & in aufteritate jucundior, ut in ipfa piaura eruditio eluceat. Qui nifi in juventa obi- liTet nemo ei conipararetur. PUn.^S- 21- See the Notes in French ; and with regard to Giulio it is faid : Ju/ius a puers nmfarum eduiUis in antris^ Aanias rrferavit opes, graphicaque poefi prcfent amongft thofc who only painted in who did great Works, and excelled in the bcft .^as mn vifa prius, fed lanium audita poetis. Ante ocuhs fpeSlanda dedit facraria Phwbi : ^uofque coronatis complevit bdla irlumphis Hcrmim forluna potens, cafufque dccoros^ Nohilius reipsii antiqua pinxijje vidtitir. Frefnoyde Arte Graphica. See Dii PiWs Notes on that PafTage, where he fays, " It appears, chat Julio Romans form'd his Ideas, and " made his Gufto from reading Hamei; and in that imi- " tated Zeiixis and Polygnstus, who (as Mapcimus Tyrius " relates) treated their Subjefts in their Piflures, as " Homer did in his Poetrv." He painted feveral parts of Homer in the St. Sebajlian Palace. (71) Minori piflura celebres In penecillo, e qui- bus fuic Pyreicus, arte paucis poftferendiis. Is propofito nefcio an deftruxerit fefe quoniam humllia quidem fecu- tus, humilitatis tamen fummam adeptus eH: gloriam. Tonftrinas, futrinafque & pinxit fimilia: Obhoccogno- minatus PuVe^'^pap®- : In his confummats volupcacis quippe es pluris veniere quam maxima: multorum. PUn. 35- 18. (72) Parva & Callicles fecit. Item Calades, comicis tabelhs : utraque Antiphilus : namque & Hefionam nobi- lem pinxit ; idemque, jocofo nomine, Gryllum, deridi- culi habitus pinxit ; unde hoc genus pi fturas Grylli vo- cantur. PHn. ibid. Facilitate eft prffiftantiflimus Anti- philus. ^dnt. hifl. lib. 12. c. 10. ^urrff joins with him Lyfppiis. Tua h.-EC villa Cam & oblita tabuiis eft, nec minus fignis ornata at meam veftigium ubi nullum Lyfippi aut Antiphili videbis. Dc reRif.l.%. c.i. Pictura: ftudioHs nihil profuerit cognovifle Apellis, Protogcnis U Antiphili opera, nifi &: ipfi nianum admoverint open. Theon. Sophiji. Progymnafm. cap. i. C73) Antiphilus, falfa accufatione, Apellem in dlfcri- men vitEC adduxic apud Ptolomeum regem, Lucian de Cahmn. anJ Pliny in his Account of Apelks.^ lib. 35. Chap. 2. of Painting. 3S beft Talents belonging to the Art of Painting. The Works of Titnomachus are highly Timomaclius rrl , celebrated by the ancient Greek and Latm^ozts. He feems to have excelled in cxprcflint; "tledinTrngedy,oj the furious Palllons, in painthi^- terrible Subjcfts, and in violently a<;itatin- the Mind (74). '^Jp;'"^^"''''' There was great Motion or rather Fury in moft of iiis Pieces. Tills is likcwifc the Cha- rafter of many Maftcrs in the Florentine School. NICE ARC HUS was moft eminent for treating the calm, foft and tender x\ffedions like Guido and "Parmegiajw among the Moderns, tho' he likewife knew how to reprefent the other fort. Cratinus had a particular Turn and Genius for the comick. And Ettdorus ihonc in all forts of fccnical Decorations, of which he had a very fertile, elegant Tafte (/j-). CLESIT>ES is not more remarkable for knowing how to employ his Pencil to ^^ra- tify his Vengeance, than Stratonice for fhewing a generous Example by doing julUce^to good Painting, even when employed to blacken and defame hcrfeif. There was another Antiphiliis, bcfide him already mentioned, who painted Hunters and all forts of Animals with wonderful Subtlety and Dexterity. Some Mailers excelled in the Exaftnefs and Se- verity of the Execution, and their Works were chiefly efteemcd by Artifts ; it being only very skilful ones that could difcern their principal Beauties. Such a one was Mecophanes Difciplc of Taiifms (76). There was nothing, it is faid, in his Performances, not one Stroke of the Pencil, not one fingle Tin6l that was not direfted with vail lntelli"encc and that had not a very skilful Meaning to an Aitift's Eye. ^ ' OTHERS, like Nealces and Socrates (77), had fo clear and perfpicuous a manner of Compofition, that their Performances were not admired by learned Eyes only, but iana done by her, having been plac'd in the Temple of Ephefiis, amongfi: the Works of the moft famous Mailers (82). Irene not only had a very good hand at Portraits ; but Hkewife painted hiftorical Pieces with great judgment. Ca'lypfo, Aldjthene, Arijiarete, and others are highly commended (85). But of all the Painters of that Sex Lala is the moft celebrated. Varro makes honourable mention of her in his Trcatife of the Liberal Arts. He fays fhc would not marry, becaufe Family- Cares are apt to diftraft the Mind, and are hardly compatible with that Freedom, that Force of Genius, and that Lightnefs and Eafinefs of the Pencil, which arc the great Charms of Painting. AVliile Ihe was very young fhc painted Portraits either on Wood or Ivory, or in Wax, to great perfedion, of her own Sex cfpccially. She drew herfelf with excellent Tafte in the Attitude of a Girl at her Toilet, admiring her own Charms in the Mirror ; and an old Woman, fo natural, that nothing could go beyond it. In fine, he remarks, that ihe pofTeficd many excellent Talents, that feldom meet together, in a very eminent degree : She had an exceeding light and cafy Pencil, and painted with great Freedom, Ex- pedition and Facihty ; and, at the fame time, as for the Likenefs, the Colouring, and the Keeping, fhe fo greatly excelled in them all, that her Pictures commonly bore a higher Price than thofe of Deyiis and Sopolis, the beft Face-Painters of her time (84) ; whofc Works (faith he) do now adorn the Cabinets of the Curious {8 5'). Thcfc two were Greeks by Biitli, but painted at Rome a great many Portraits of both Sexes. The firft of them was ftirnamcd the Anthroj}Ographos, or the Man-Painter, becaufe he only did Portraits. 77',- 'laji 'Crreek Painter irientioned is Metrodorus. ji good Philofopher as well as Painter, He flourijhed in the time cf jimilius. Had a conjiderable Jhare in farming one of the greatefi M4en that ever livedo Cornelius Scipio. Scipio'j Charaeisr. THE M of the G'ri?^';^ Painters I Ihall mention is indeed one, who, on many accounts, dcferves our particular attention. 'Tis the famous Metrodorus ; of whom, it is difficult ■ {fay ancient Authors) to decide whether he was a greater Painter or Philolbpher : He too was fo excellently skilled in Architcdiurc and Poetry, that he wrote a Treatifc upon each of them ; both which were highly eftecmcd. So far are Painting and Phi- iolbphy from being at fuch variance, or fo remote from one another as is commonly apprehended, that thcfe two Arts were his chief delight. He had fo high a Reputation for the one and the other equally, at Athens ; that when zy^milius, after defeating Per- feus, and fubduing all Macedonia, demanded of the Athe?iia?is one of their beft Philofo- phcrs to educate his Children, and an able Painter to clircft the Ornaments of his Triumph: The Magiftratcs of Athens unanimoufly determined that Metrodorus was equally qualify 'd for both, and lent him to the Roman General ; giving him to underftand, that they had provided him with one Peifon who was fully accompliih'd to fatlsfy him in all that he defurcd of them, when he ask'd a Philofopher and a Painter (86). A very extraordinary Encomium ! hardly fince that time to be parallelled in Hiftory, but verified by that General's Experience and Approbation. It was under this Painter's Care that Scipio's Education was finifhcd. He who was at once fo brave a Warrior, fo great a Con- queror, fo good a Citizen, and fo polite a Scholar ; fo generous a Patron and Encou- rager of the fine Arts in peace, and the great Bulwark of his Country in war. He to whom wc owe, in a great meafure, a Terence, and his fine Comedies; and who de- lighted fo much in the Converfation of the Hiftorian Polybius and the Pliilfophcr Pana- tius. (82) Tirnarete Miconis filia Dianam in tabula, qu^e Ephefi eft, in aiitiquiflimis pidiuris. Plin. 35. Fuit & alius Micon, qui minoris cognomine diftinguicuri cujus filia Tirnarete & ipfa pinxit, PUn. 35. buls Pinacothecas implent. in French. Plin. ibid. See the Notes (85) Dionyfius nihil aliud quam homines pinxit, ob id Anthropographus cognominatus. Plin. ibid. There is (83) Irene Cratini piftorls filia h difcipula, puellam quie another, Dionyfus Cokphonius, mentioned by Mlian^ eft Elciifins : Calypfo, fenem & pr^ftigiatorem Theodo- rum : Alcifthene, Saltatorem, Ariftarete, Nearchi filia & difcipula, >Efculapium. PUn. 35. (84) Lala Cyzicena, perpetuaVirgo Marci Varronis ju- :a, Rom-ce, & penecillo pinxit & Ceftro, in Eboi Artjlotle, and others, of whom afterwards. (86) Ubi eodcm tempore ernt Metrodorus, piiStor, idemque Philofophus, in utraque fcientia magn^e audlo- ritatis. Itaque cum L. Paukis, devidto Perfeo, petiflet ab Atheiiienfibus ut quam probatiffimum Philofophum 1 imagines mulierum maxime ; ac, Neapoli, Anum in terent fibi, ad erudiendos libcros ; itcmque piilorem, ad grantii tabula; fuani quoque imaginem ad fpeculum. triumphum excolendum : Atiienienfes Metrodorum e!e- Nec ullius in piflura velocior manus fuit : artis vero gerunt, profeffi eundcm in utroque defiderio prEcftantiffi- tantum, ut mukum manipreiio antecederet celeberrumos mum. Quod ita Paulus quoque judicavit, Plin. 35. cadera astate piflore, Sopolin & Dionyfium quorum ta- Plutarch, in Minit. 3. Chap. z. and Dec line of Painting. 37 Has, that they were always with him : He who kept in his Houfe Taciivius; who was, liy Hiftorians, both Poet and Painrei" : He, in one word, who never counfeilod, fpoke, or did what was not worthy of a true Roman, and who divided his time between great Actions and elei;ant Studies. Sueh was the Pupii of Metrodorus ; and from this Example we may leatn what happy Elrcas the polite Arts, joined with true Philofophy in Educa- tion, muft produce, when they meet with a Genius capable of Improvement s the great Advantages of a truly Liberal Education, and the many excellent Qualities that are requi- Jitc to compicat the Charadcr of one duly qualified to inftrufl: and form the Youth of Birth and Fortune {87). It is one of fuch a great and amiable Characler, that theEducation of Per- fons of high Rank and Diftinftion ought to be intended and calculated to fornii one fit to ferve his Country in peace and war ; one of an heroick Mind ; a fincere Lover of his Country, and of a benevolent generous Difpofition ; utterly abhorring VilJany, Eifemmacy, and ali vicious Pleafures; one who loves the Liberal Arts, underftands them, and dchghts in them, and in ufeful Converfation j one whole Amufements and Recreations, as well as Occupations, are manly and ingenious; and who,> next to the Glory of great and vir- tuom Deeds, hath higheft fatisfaftioii in thofe Arts which are fo fitted to recommend them and perpetuate their Memory. To fuch Inftruftion and Education Philofophy, and all the fine Arts, muft concur with the manly genteel Exerciies, as they did in that of Scipio : Any one of thefe being wanting, Education is deficient ; nor will the reft be able to pro- duce that compicat Efted a liberal one ought to aim at. THO' this be no Digreflion from my main Subjecf, yet to return to what is now more immediately under Confidcration, we may fee by this ihort Sketch of Charafters, that the Art was arrived to as great Dignity and Perfection amongft the ancient Greeks^ in and about the time oiApelles^ as amongft the Romans in and about the time Raphaels or at Icaft that Arijlotle, Socrates, Varro, Cicero, TUny, ^ 'mtilian, and others who have mentioned the ancient Painters and their Works, underftood, as well as the beft Judges amongft the Moderns, in what the Beauty and Excellence of this Art lies ••, and what arc the rcquifite Talents and Perfections of a great Painter. There is no Accompiifhment afcribed to any of the great modern Mafters, which is not to be found in the Charader of fome ancient Painter in a very eminent degree, whether relating to Invention, Dcfign, Difpofition, Proportion, Colouring, Clair-obfcurc, Rounding, Relief, Beauty, Sweetnefs, Strength, Boldnefs, Majefty, Grace, or any other Excellence in the Picfures which the greateft modern Hands have produced. And wc find it was the fame Idea of the Art, and the fame Method of Study, that formed the great Painters in every Age. BUT were there no confiderable Painters amongft the Greeks before Apollodorus, and thofe others named as the moft perfcd Mafters ? ^intiUan names fomc that were more ancient, and at the lame time makes a fevcre Reflection upon certain pretended Virtuofi in his time, who, it feeras, were fondeft of the Pidures which had nothing to recommend them but merely their Antiquity, having been done when Painting was in a very low State, in comparifon of the greater Beauty and Perfeftion to which it was afterwards advanced. They preferred, fays he, the Works of certain old Mafters, to much nobler Piclures; either out of a fuperftitious Veneration for what is very ancient ; or through a ridiculous Affefta- tion of appearing profomider Judges than others, and capable of difcerning Beauties where Icfs learned Eyes could find none (88). But this Cenfurc cainrot fall on thofe who are curious in colleding Drawings and Piiflures now-a-days, as far back as they can tjo, m order to have Examples of the Progrefs of the Art nor on thofe who ar-e inquifitive about the Rife, Origin, and Progrefs of any Art whatfoever. For the Invention and Im- provements of ingenious Arts will always be juftly cfteemed one of the moft important Branches of Hiftory, by all who have juft Notions of the true Dignity of Mankind, and of their beft Employments. And it ,is only by a CoUedion of Drawings and Pi(5tures ranged hiftorically, [as in a Cabinet in London I have often vifited with pleafute (89)]; fo that one may there fee all the ditFerent Schools, and go from one to another, tracing the Progrefs of each, and of every Mafter in each : It is only by fuch a judicioufly difpofed Col- lection, fine humanitate, fine ingenio, fine literis, intelligis, St judicas ? Vide, iie ille non folum temperantia, fed etiam iiitelligentia, te, atque illos, qui fe cltgantes dici volunt, vicerit. Nam quia, quam puichra eUenc, intelligebat idcirco exiftimabat, ca, non ad honiinum luxuriem, fed ad ornatiitn fanorum, atque oppidorum efl'e faiia, ut po- fieris noftris moiiumcnta religiofa effe videantur. Ck. in Ver. lib. 4, 44. J'Vliat Educatish ought ta aim at. TP^as accomplljhed in his by uniting tsge- therthe fint Arts and thi genteel nianly Exercifes. But were there no Painters before Apollodorui ? Quintilian names fame. But cmfures thsfe pretended Fir- tuofi who valued. Pieces more upon account of their Antiquity than their. Excellence, On wham this Cen- fure does, and does not fall. (87) P. Scipio j^lmilianus, vir avitis Publii African!, paternifque Lucii Pauli virtutibus fimillimus, omnibus belli ac togas dotibus, ingeniique ac ftudiorum eminen- tiffimus fEeculi fui, qui nihil in vita nifi laudandum aut fecit, aut dixit ac fcnfit. Neque cnim quifquam hoc Scipionc elcgantius intervalla negotiorum otio disjunxit : Semperque aut Belli aut Pacis ferviit artibus, femper inter arma ac ftudia verfatus, aut corpus periculis, aut animum difciplinisexercuit. Vd.Paterc.lib.i. c.\i,U Vid. Excerpta Polybii. Itaque femper Afritanus Socraticum Xenophontem in manibus habebat, cujus imprimis lauda- bat illud, quod diceret, eofdem labores non effe a;que graveis imperatori ac militi, quod ipfe honos laborem le- viorem facit imperatorium, Cic. Tufc. ^lef. lib. 2. fub fin. Tu videlicet folus vafis Corinthiis deledaris? Tu illius seris teniperationem, tu operum lineamenta folertif- fime perfpicis ? Hsc Scipio ille non intelligcbat, homo ooL'tiJiimuS) atque humaniirunus ? Tu fine ulla bo]ia arte. (88) Primi quorum quidem opera non vetuftatis modd gratia vilenda funt, clari pidtores fuilfe dicuntur Polyg- notus atque Aglaophon, quorum fimplex color tam fui ftudiofos adhuc habet, ut ilia prope, rudia ac velut fiitur^e mox artis primordia, maximis, qui poft eos extiterunt, auitoribus prseferant proprio quodam intelligendi, ut mea opinio fert, ambitu. ^anl. lib. 12, c. lo. [89) Mr. Richardfon's. 38 Essay on the Rifc^ Progrefs^ Ic^lion, that the Hiftory of the Art of Dcrigniniz; and P^iintini; cm be fully rcprcfcntcd 6r Jcarncd. Dcfcription is not iiiffieicnt ; the bell \Vi"itcL- cannot pollibly cxprels all that is to be obferved and read in fuch a Series of Examples and Monuments, Jt falls on thofe who ^UINTILI^N's Sarcafm is only levelled againft thofc who are fo blindly devoted j^/c/j" '""^ Antiquity, that they can fee no Charms but in that whieh is very old ; and fondly do^uing on Rull:, Ruins, or bad Workmanfliip, becaufc it hath a certain degree of Anti- quity, neglect Works that have real Merit, and from which fomething that is ufeful may be learned ; on fuch, in a word, as meafurc things by any other Standard than their Perfection and Ufefuincfs. Monuments of a rude, beginning, or declinmg Art, deferve their place, nay are ncceOary in the Hiftory of an Art ; but merely to colled its firft grofs, imperfect, abortive Attempts, or its Dregs and Refufe, without fceking after Examples of its higher Improvements, is a Tafte that juflly provokes to cry out with Cicero on the like occafion G)u£ eft autem in hominibus tanta perverfitas, nt, invent Is fntgtbiis, glande vefcantiir ? ' ^^thnSTulr" ^ ^^'^ therefore but jufl: make a few Obfervations upon the firft and earlieft Notices ^Fainteriinblth ^^'^'^ "^'^ ^^'^'^ Painting amongft the Greeks, and compare them with the Accounts that ^is. arc given of its Progrcfs when the Art was revived m Italy ; that is, from Cimabne to Maf- 'Dse Moderns Jrsm faccio, Mantegna^ Antonello of Me£ma, and fomc others, who are reckoned the hrrt whole ^cdo^"^ ^^''"-'^s deferve attention, on any other account than as Specimens of the low and mean Be- ginnings of Painting, during all that Period which wc may call the hifancy of modern Painting. Hitherto not only Painters work'd in Diltemper, the Secret of preparing Co- lours with Oil not being found out; but tlieir Colouring was fo imperfect, that they arc only faid to have marked their Lines with Colours, and are rather reckoned Dcligners than Painters, and but very indifferent Dcfigners too. MaJJaccio was the firft who beean to ob- ferve Perfpeiftive, draw with Ibme degree of Correitnels, give any Relief, Life or Motion to his Figures, or colour them agreeably. But after him, efpeeially when the part of painting with Oil-colours was generally known, the Art in all its parts improved very faft, and went on daily gathering new Strength, till at laft Colouring was perfected by Titian, and Dc- fign by Michael Angela ; and Raphael, as it were, infufed its Soul into this fine Body, by fuperadding Beauty and Grace to what they had formed and fhapcd in perfection. As for Cimabue, he was of the fame kind with the grofs and ignorant Painters, fent for by the Government of Florence, under whom he ftudied. Giotto began indeed to fhake off fome- what of the Rudcnefs aj:id Stitfncfs of thefe Greeks : He endeavoured to give better Airs to his Heads, and more of Nature to his Colouring, with fomething like Adion in his Figures : He attempted likewife to reprefent the Paffions ; but he foil far Ihort, not only of true Ex- prcJlion, but of that Livelinefs of the Eyes, that Tenderncfs of the Fleih, and that Strength of the Mufclcs in real Life, which was afterwards attained to by the great Maflers in their Pictures. This was the low State of Painting in his time ; and all the Mailers after him (till Maftacch) made but fmall Improvements ; fo that the Art continued almoft at a ftand Thf Jrt began the for a Century, or at leall it advanced but flowly. Now as it is 'natural to think that the fame way in Art muft havc bcgun^ and advanced in like manner {90), very flowly at every Period of it ; Greece. when it was firft found out 5 or when at any time, after liaving been loft and buried, it rofc y7jc firfi rude Pah- ^S^^^'^ ^ and we may call it with the Romans the Decorum. It is the chief Excellence (faith he) in Life and Manners, as \\'ell as in the Arts. But of this afterwards. What is now under Conftderation is the equal and analogous Advancement of Paiuting, in two ditFerent Ages of it, and the principal Means and Caufes by w^hich it was promoted to fo great Perfedion in both. And doubtlefs the Emulation among Painters arifiug from the Love of the Art, and the Encouragement given to every Kind and Degree of Merit in it, by the Rewards and Honours that were chearfuUy conferred on all who excelled in any part of the Profeffion, was one chief reafon of its Improvement in both thefe Periods. PAINT- (99) Quod liquem aiit nattira fua, aut ilia prsftantis ingenit vis forte deficiet, aut minus inftru£lus erit magna- rum artium difciplinis : teneat tamen eum corfum qiiem poterit. Prima enim fequentem, honeftumeft in fecun- dis, tertiifque confiftere. Nam in poetis, non Homcro foli locus eft (ut de Grscis loquar) aut Archilocho, aut Sophocli, aut Pindaro : fed horum velfecundis, \c\ etiam infra fecundos. Nec vero Ariftotelem in philofophia de- terruit a fcribendo amplltudo Piatonis : nec ipfe Ariftote- ]es admirabili quadam fcientia, & copia, cjeterorumftudia reflinxit, Nec folum ab optimis ftudiis excellentes viri deterriti non funt, fed ne opifices quidem fe arcibus fuis removerunt, qui aut lalyfi quem Rhodi vidimus, non potuerunt, aut Cok Veneris pulchritudinemimitari. Nec fimulacro Jovis Olympii, aut Doryphori flatua deter- titi, reliqui minus cxperti funt, quid efficere, aut quo progredi polTent : quorum tanta muUitudo fuit, tanta in fua cujufque genere iaiis, ut, cum fumma miraremur, inferiora tamen probaremus. In oratoribus vera, Gr^- cis quidem, admirabile eft quantum inter omneis unus excellat. Attamen, cum cflbt Demofthenes, multiora- torcs, magni, & clari fuerunt, & antea fuerant, nec poftea defecerunt. Quare non eft cur eorum, qui lb ftudio eloquentife dediderunt, fpes infringatur, aut lan- guefcat induftria. Nam neqiie illud ipfiim, quod eft op- timum, defperandum eft : & in prsftantibus rebus, magna funt ea, qua? funt optimis proxima. jid Brut. 2. (100) Reitiffime dixit M. Tullius in oratore, par eft cos, qui generi humano res utiliffimasconquirere, & pcr- penfas exploratafque memorix tradere concupiverint cunc- ta tentare.' Summum enim culmen affeiSantes, fatis honefte vel in fecunda faftigio confpiciemur. An Latias muf^ non fobs Adytis fuis Accium &c Virgilium rece- pere, fed eorum & proximis, & procul a fecundis facras concelTere fedes ? NecBrutum, aut Ccelium, Pollionem- que cum Meftala & Catulo deterruere al) eloquently ftudio fulmina i!la Ciceronis. Nam neque ille ipfe Cicero ter- ritus ceflerat tonantibus Demoftheni Platonique. Nec parens eloquentia?, Deus ille Msonius, vaftiffimis flumi- nibus facundiy fuse pufteritatis ftudia reftinxerat, ac ne minoria quidem fama opifigcs per tot jam fscula videmus laborem fuum deftituilTe, qui Protogenem & Apelleni cum Parrhalio mir.iii funt : Nec pulchritudiiie Jovis Olympii Mincrvasque Phidiac^, Itqujjicis a;tatis attoni- tos piguit experiri, Bryaxin, Lyfippum, Praxitclem, Pa- lycletum, quid eiEccre aut quoufqui: progredi polVent. Scd in omni genere fcientia, & fummis admiratio vene- ratioque, & inferioribus merita laus contingit. Colum. in Prctf. lib. I'"', de Re Ruft. Nequeo temperare mihi, quin rem fispe agitatam animo, ncque ad liquidum ratione perdui2am, fignem ftyio. Quls enim abunde mirari po- teft, quod eminentiflima cujufque profejjionis ingenia, in eandem formam & idem artati temporis coiiamant fpa- tium, & quemadmodum clausa capsa, alioque fcpto, di- verfi generis animalia, nihilominus feparata alienis, in unum qu;eque corpus congregantur ; ita cujufque clart operis capacia ingenia, in iimiiitudineni 5i temporum & profeciuum, femetipfa ab aliisfeperavcrint ? Hocevenifte tragicis, comicis, philofophis, hiftoricis, grammaticis, plaliis, picloribus, fculptoribus, ut quifque temporum in- ftiterit notis, reperlet eminentia cujufque operis artilTimis temporum clauitris circumdata. Hujus ergo pr^ceden- lifque fsculi ingeniorura fimilitudincs congregantis & in ftudium par & in eniolumentum, caufas cum fcmper re- quire, nujiquam reperio quas veras efle confidam, fed for- taffe veriiimilis, inter quas has maxime. Alit xmulatio ingenia; H nunc invidia, nunc admiratio incitationem accendit ; matureque, quad fummo ftudio petitum eft, afcendit in fummum, difficilifque in perfeclo mora eft; naturaliterque quod procedere non poteft, recedit. fel. Pat. lilji. lib. I. cap. 16, 17. (lOi) Sed eft eloquently, ficut reliquarum rerum fun- damcntum, fapientia. Ut enim in vita, fic in oratione, nihil eft difficilius, quam, quid deccat, videre, w^\-mi appellant hoc Gr^ci : Nosdicamus fane decorum. De quo prasclare, & multa pr^cipiuniur. Si res eft cognitione digniflima. Hujus ignoratione iion modo in vita, fed ffepiffime & in poematis, & in oratione peccatar. After fome Explication of this Decorum, he remarks how much Apclks and Timanlhes oblcrved it. Cic. ad M. Brut. Oral. 21. Chap. and Decline of Pa i n T i N G . PAINTING flourifiied (faith ^I'my) and produced truly noble and excellent Works, while the Art was duly countenanced and recompenfed ; being in high rcqueft amon^ft Princes, Rulers, and all great Men (102). And was it not fo likewife in the latter Age of Painting, was not the Art in high Reputation amongft Popes, Princes, Cardinals, and all the Great and Powerful of that Age ? What Honours and Rewards were not molt willingly paid to all the great Mailers 5 to the Art in general, and to all its Students and Profeflbrs? Honour (faith Ckero) enlivens and cheriHies the Arts : They droop and languilh when they arc not duly efteemed and encouraged (103). Ambition and Emulation arc the very Soul of the Arts, without which they are timid, fluggifh, inatliyc, and dare not look up towards Perfedion. Pliny. f well a the Moderni. 1%$ Emulatim that OF Emulation and its happy Effefts, in confequence of the Honours beftowcd upon in- Of diffirmt Schools genious Artifts, we have many Inflanccs in both the Ages now under our Examination (104.). Ancknu^ There was not only an ardent Rivalfhip and Competition amongft ail the greatcft Matters, each exerting his utmoft to be the hrft, or at leaft not to be the laft ; but, which is a Cir- cumftance well worth obferving in this Parallel, In both thefe Ages of Paintini^, there were different Schools of that Art, each of which had its particular Tafte, and favourite Excel- lence, upon which it valued itfelf, and for which it claimed fuperiour Fame to all the reft. And this Emulation amongft different Schools had a ftronger and more extcnfive Influence, to promote the Art in all its Qualities and Parts, than Rivalfhip betwixt particular Pcrfons proceeded froi could poftibly have had. The Honour and Name of the School to which each Mafter owed his Education, and was particularly attached, became an additional Incentive to him and confpiring with his deftre of private Glory, made his Efforts to improve fo much more warm and zealous, as they were indeed by this means more generous : For to gain Fame to a Body or Society is certainly a more noble and enlarged View, than that defire of Efteem which looks not beyond one's felf ; and confequently is a Motive of double force, and excites to proportionally greater Enterprizes. AS in the latter Age of Painting the Florentine, the Lombarc^^ and the Roman Schools were in vigorous Emulation, while, at the fame time, e\'cry Mafter in each School vied with all the reft of his Aflbciates, and ftrovc to be the iirft in Fame of his own School ; fo it likewife happened in the firft Age of Painting, in which thcic were likcwilc ditFercnt Schools, almoft from the very firft Origin of the Art. Thefe different Schools had com- munication with one another, the Tafte, Works, and Excellencies of each were known to all the reft, and they reciprocally profited by one another. THE chief Schools in ancient Times were at Sicyon, Rhodes^ Corinth and Athens % and all thefe produced great Mafters, and contended warmly for the Viftory and Pre-emi- nence (lOf). It was Eiipotnpits oi Sicyon, an cxccUcnt Artift, (faith ^P/iw/) whofe Autho- rity was fo confiderable, that, whereas before him there were only two Schools of Paintinq^, the A^atick and the Greek, three were from that time diftinguiftied, the Attick, Sicyontan and Ionick{io6). Now in like manner, in the time of thcBe/lmi, two Schools were eftablifhed in Italy, which were remarkably different from one another. The one was the School of Venice, and of all Lombardy, the other of Florence, and of Rome. For though, c\'en then, there was a very confiderable difference between the Painters of Florence and thofe oi Rome i yet it was not till Raphaels time, that the School of Rome acquired its beft Manner, and proved like the Athenian of old midcr Apelles, the moft perfed and excellent of them all. IT is noteafy, from the Accounts we have of the different ancient Schools and Mafters, to form a dccifive Notion of the particular Tafte of each, or to cials the ancient Mafters according (102) Primumque dicemus de piftura : Arte quondam per multa retro fecula vclut officina omnium artificum nobili, cum expeteretur a regibus, populifque, & illos atque artificiorum fuit, &: emporium commune Afias 5c nobilitante, quos efiet dignata pofteris tradere. Plin. Europa;. Florebat adhuc gloria Sicyoni^ do^trin^ atque 35. ab init, elegantiorls piiSturje, tanquain qu^ Tola priftiiium fplen- dorem refervaflet iUibatum. Qiiapropter etiam Apelles (103) An cenfemus, fi Fabio, noblililTimo homini, ille, apiid omnes jam habitus in lummaadmirationc, non Jaudi datum efTet, quod piiigeret, non multos ctiam apud diibitavic eo proficilci ac Sicyoniorum artificum familia- nos futures Polycletos & Parrhafios fuifie ? Honos alit ritem talento emercari ; magis e re fua tore judicans ex- arteis, omnefque incenduntur ad ftudia gloria : jacentque iftimationis eorum, quam arcis participem fieri. Plut. ea femper, quK apud quofquc improbantur. Ck.Tiifc. in Jrats. Urbs Athenienfium mukarum benigna mater ^^f. lib. I, ab init. & rutrix fuit artium j quarum alias prima reperit & in lucem protulit ; aliis honorem, vim, & incrementa con- (104) We have already taken notice of the Competition tulit : Non minimum vcro ab hac urbe provefla ornaCa- between Zeuxti and Jpollsdorus, Jpelles and Protogtries, que eft ars pingendi. Piut. BflUm an Pacg, ijfc. Solon TiTnanthesmAPayrhafiiis ; fee theEffefts of it inPlutarch's cum videret liominibus quotidieinAtticamundique propter h'xfe of Pmcles, hy -whom Phidius was appointed Super- fccuntatem & libertatem coiiflaentibus urbem compleri, intendant of the Works at Jthau. • — traduxit ad artificia cives, tulitque legem, ne filius pa- rentem, qui iplum non docuiflet artem, cogeretur alcre, (105) Rhodlorum pietati dedit hoc Minerva, ut omnis Plutarch, in So/one. generis fimulacra fcientiflime iabricarent ; propterea quod mortalium primi aram ftruxerunt apud fe natje. See the Scholiaft upon Pindar. Olymp. Od. -J. Pliny fpcaking of Sicyon fays, Diu fuit ilia patria pi£tura;, lib, 35. c. 5. Maxime Sicyoiie & Corinthi adauilum eft pingendi fin- gendique & omne hujufmodi artificium. Strah. Geog. lib. 8. De Corintho teftatur Orofius, lib. 5. c. 3. Quod (106) Eupompi auftoritas tanta fuit, ut diviferit pic- turam in tria genera, qua; ante eum duo fuere, Helladi- cum, & quod Afiaticum adpellabant : propter hunc, qui erat Sicyonius, divifo Helladico tria fd£ta funt ; lonicum, Sicyonium, Atticum. P/in. 35. 44 Essay on the Rifcy Progrefs, The Chnrafier sf accordiiig to thcir ditfcrent Schools, as thofe of the latter Age are commonly ranged, the chief ancient Yct it fccms vci'v probable from what hath been laid of them, that tlicy were dillinguirhed and imdern Schools. nearly in the fame manner as the Schools of Rome, Florence, and Lombardy are : The firft of which ftudied Majcfty and Grandem-, with Simplicity and Purity : The fccond pLiry and Motion : The third Sweetnefs and Agrccablenefs. WE may form this Judgment of the ancient Schools of Painting, from what Writers tell us of the State of the other Arts in tbcfc Seats of Learning and Pohtcnefs ; of their Oratory in particular. Cicero and ^nitilian give us a particular Account of the diftin- guifhing Qualities of the AJiatich, Rhodmns and Athenians in that refpcft j correfpond- ing, as they have obfcrvcd, to the different Natures and Tempers of each People. And Bsw ths Slate of doubt thc fame Differences prevailed with regard to ail the other Arts amongft them : clunt>j%l!y J7m- The famc Caufcs would naturally produce the fame Effeds, or operate in a like manner je£iurcdfrom thai ou tlicni all. Accordingly it hath been often obferved, that whetevcr the Arts have flou- of an-j other Art in rifhed at any time, one may judge of them all from the Charafter and Genius of any one ^aJl^m"''"^'^ of them. They will all partake of the fame prevailing Temperature or Taftc. The gene- ral or national Charafter of a People may be conjeClured from the State of the Arts amongft them : and reciprocally, the State of the Arts amongft any People may be pretty certainly divined from tlie general, prevalent Temper and Humom' of that People, as it difcovers itfelf by other Symptoms in their Government, Laws, Language, Manners, ^c. {107.) Of the Emulation BUT Bot to infift longer on this Remark, 'tis univerfally acknowledged, that thc pub- fromoud by the an- Yiz's. Contefts and Prizes, in which anciently Painting, Statuary, and all thc liberal Arts, ctent mtej s. ^^^^ manly Excrcifes, had a fharc, contributed exceedingly to fire the Ambition of ingenious Artifts, and to refine and improve the publick Taftc (108). As in Poetry and Eloquence an Audience and Authors mutually improve one another j fo muft it be like- wife with reference to all thc other Arts. A good Eye is formed in the fame manner as a good Ear. And therefore when one confiders the Nature of the publick Entertainments and Feftivals throughout Greece, at Athens more cfpecially, in which all the ingenious Arts bore a part^ it is no longer matter of wonder that the Athenians had fuch an uni- vcrfal good Taftc in them all i or that even the Vulgar had a very refined Notion of Painting, and Statuary, as well as of Poetry, Eloquence, and every other polite Art. Lord Shaftcfbury " WHATEVER flouiifticd, [fays an incomparable (lop) Author] or was raifed to any " degree of Correctnefs or real Perfcdtion in any Science or Art, was by means oi Greece " alone ; and in the hand of that fole, polite, moft civilized and accompliOi'd Nation. " Nor can this appear ftrangc when we confider the fortunate Conftitution of that People. " For tho' compofcd of different Nation?, diftind: in Laws and Governments, divided by " Seas and Continents, difperfcd in diftant Iflands yet being originally of the fame Ex- " trad, united by the fame Language, and animated by that fecial publick free Bent, which, " notwithftanding thc Animofity of their feveral warring States, induced them to ered fuch " hcroick Congrefles and Powers as thofe which conftiruted the AmphiBonian Councils, " the Olympick, IJthmian, and other Games ; they could not but naturally polilh and re- " fine each other. It was thus they brought their beautiful and comprehenfive Language " to a jLift Standard, leaving only fuch variety in thc Dialeds, as rcnder'd their Poetry io " particLdar fo much the more agreeable. The Standard was in the famc proportion car- " tied into the other Arts, the feveral Species found, and fet apart j the Performers and " Maftcrs in every kind honour'd and admir'd : And laft of all even Criticks themfelves " acknowledged and received as Maftcrs over all thc reft. Ftom Mufick, Poetry, Rheto- " rick, down to the fimple Profe of Hiftory ; thtough all the plaftick Arts of Sculpture, " Statuary, Painting, Architedure, and the reft j every thing Mufe-likc, graceful and ex- " quifite, was rewarded with the highcft Honour, and carried on with the utmoft Ardour " and Emidation." Mr. Rollin quoted. THESE publlck Conteftations, and thc Advantages of them to the Arts and Sciences, have been often confidcred. There is a very juft Account of them in Mr. Rollins univerfal Hiftory from the bell Authorities. And in another excellent Performance of his on Edu- cation, (107) At vera extra Gra^clam magna dicendi fiudla diflionls genus, quod eorutn vicini (non ita lato inter- fuerunt, maximique huic laudi habiti honorcs, illullie jetlo mari) Rhodii nunquam probaverunt, Greeci multo oratorum nomen reddidcrunt. Nam ut feniele pirseo elo- minus, Athenienfes vera funditus repudiaverunt, &c, quentia eveita eft, omnes peragravit infulas, atque ita Cic. ad Bnitiim. 8, Mihi autem orationls differentiam peregrinata tota Aiia eft, ut le externis oblineret moribus, feciiTe, & diccntium & audientium natura: videntur, omnemque iliam faiubrltalem Atticje diclionis quafi fani- quod Attici limati quidem & emuniSti, nihil inane aut tatem perderet, ac loqui pene dedifceret. Hrnc Afiatici redundans ferebant. Afiana gens tumidior & jadantior, oratores non conCemncndi quidem nec celeritate, nec co- Tertium mox qui hsec dividebant, adjecerunt genus Rho- pia, fed parum preiTi & niniis redundantes. Rbodii fani- dium, quod velut medium efle atque ex utroque niixCum (.ires, h Atticorum fimillores, &c. Cic. de Clar. Orat. volunt, &c. ^iW. /«/?, 12. lo. 13' Semper oratonim eloqucntiiE modcratrix fuit audi- torum prudentia. Omnes enim, qui probari volunt, Quinimo certamen pifturK, etlam florente eo voluntatem eorum, qui audiunt, intuentur, ad eamque, (Pansna)inftitutumeft Corinthi acDelpliisprimufqueom- & ad eorum arbitrium, & nutum, totos fe fingunt & ac- nium certavit cum Timagora Chalcideni'e fuperatus ab eo comiiiodaiit. ItaqueCaria, & Phrygia, & Myfia, quod Pychius. So early were thefe Contefts inftituted. minime polite, minimeque elegantes font, adfciverunt, aptum fnisauribus opimum quoddam, ti tanquam adipaCas (109] Shaftesbury's CharaHer. Vol. III. p. 138. Chap. and Decline ^ Pa I N T i N G. 45 and the Belles Lettres (no), fpcakiiig of the good Effccls of that noble Enmlanoii, which the publick Honours and Rewards that were given in Greece to all mgenious Men excited; he mentions a very rare Inftancc of Goodnefs and Gcncrofiry, ni modern Tmies, ^i,^ .^trmrdhmry that is indeed above all praiVc, and that had very noble Elfeas. " Mr. Colbert (Hiys he) fct Gm<:rfityof Mm- - apart forty thoLilhnd Crowns a year to be diftributcd, amon-ftthofe, chiefly, who haddif- A^^r Lofct. « tin-ui[h'dthemlelvcs in any Art or Science; and roldthofe Gentlemen whom he had entrufted " with the care of making ingenious Men known to him, that if any Perlon of Merit was " inOiftrcfs, or in pinching Circumftanccs, throughout i^r^wi-f", whom he could relieve, the " horrid Guilt mull lie upon thcmfelvcs." IN the latter A-e of Painting, tho' no fuch publick Contefts took place, yet vaft En- couragement was given bv the Great to all good Artifts: And Emulation being thus kind- led and maintained they ftrove to out-do one another, that they might have the honour to be employed in great Works. As in Greece many different Artifts were often fet together to work m the fame Temple, Portico, or other publick Building; fo likewifc m Italy were Painters employed in adorning the fame Church or Palace, that they might thus be induced to vie the more earneftly with one another. IT is particularly taken notice of by 'P//»y and others, that the ancient Painters and Sta- tuaries difdained not to liftcn to the Remarks even of the illiterate and uninftruaed, and to obferve the Effcdls which their Works had upon them. It was cuftomary amongft them to cxpofe Pidures and Statues to publick view, to the common Criticifm of all, not only in the publick and folcmn Congrellcs, but at all times (in). And thus theArrift had excellent Opportunities of taking many very ufeful Hints, and making fcveral important Oblervations for the Improvement of his Art. The frequent Confluence of Speclators to fee their Works, gave the Artifts occafions of remarking how People of different Orders, Charafters, Ages, Tempers Education and Manners were variouUy affected by their Imitations of Nature : It formed an excellent School for them to ftudy Nature in. And indeed a is an Error to fay of diffirmce fuppofe that the Learned only can judge of good Performances, or of the Arrs that imitate tet^Man^ Nature and have it for their Aim to touch and move the Heart. ThisPradice of the an- ^ dent Painters which was likewife followed by Orators and Poets, of trying their Works upon untau-hJ Nature, proceeded on a true Obfervation often repeated by Ocero and others; that the Unlearned are fcldom wrong in their Judgment about what is good or bad in any of the Arts; and that the chief difference between the Learned and the Vulgar confifts ni this that the latter are not able to apply Rules and Maxims, but judge merely from what thev feel ; whereas the former can reafon about their feeling from Principles of Science and Art Cicero infifts at great length on this Obfervation {112). But &timtiltan difpatches the whole matter in one very juft and expreffive Sentence. " "Doai rationem Artts tn- " teilipmt, Indo^i Voluftatetn:' WHAT regard the bctf modern Painters likewife paid to the Sentiments and Feelings of the Vulvar,'' in whom Nature expreffcs herfclf juft as fhe is moved, without any Af- fedation o^r Difguile, we learn from feveral Stories in their Lives, of their clofc and careful Attention to the Effetfs which their Pidures had even on ordinary Women and Children ; (lio) Dcia Maniere tTEnflgiia^iD'c. ■p^.vUr.RoUin, ' """" ' p. 420. With regard to the Effedl of Encouriigemenr and Emulation in modem Times, I need only put rnj Readers in mind, how, after the Death of Pope Lea X, the Arts were in danger, when Adrian fucceeded, who had no Tafte, infomuch that he had fpoke feveial times of deftroying the fine Paintings of Michael Angeh in the Chapel of the Vatican ; but not living long, the Arts re- vived again under Clement Vll. 7lje ancient Cujlmt ofexpofmg Pinuyci to publick View and Cenfure. What the Ancients (in) Ut enim piclores, &: ii, qui figna fabricantur, & vero ctiam poctsc, fuum quifque opus a vulgo confide- rari vult : ut,, fiquid reprehcnfum fit a pluribus, id cor- rigatur : hique h fccum, & cum aliis, quid in eo pec- catuni fit, exquiruiit : fic aliorum judicio permulta nobis & facicnda & non facienda, & mutanda, he corrigenda funt. Cic. de Of. lib. 2. 41. Apellcs pe_rfe£ta opera pro- ponebat in pergula tranfeuntibus, atque ipfe poff tabulam lateiis, viiiaquse notarentur aufcultabat, vulgumdiligen- tiorem judicem quam fe prsferens: feruntque a futore deprehenfumquod in crepidis una pauciores intus feciflet anfas : codem, poftero die, fuperbo ex emendationc pri- ftinEeadmonitionis, caviilante circa crus, indignatum pro- (pcxille, denuntiantem nefupra crepidam judicaret. PUn. 35. Quandoquidem hoc Phidiam quoque fecifle per- hibent quo tempore apud EIlos Jovem jam abfolverat. StctifTe enirn ilium poft januam, ubi primum opus in lu- cem produdtum hominibus vifendum oftendifiet, fubauf- cultaiieque quid qulfque Ipedantium laudaret aut repre- hcnderet. Ceterum hie quidam iiafum reprehendebat— alius vero fuciem Deinde di natutally moft defirous of improving and refining the publick Tarte, that in return Xv Cr.,.,f„. itnght be tightly and laffingly applauded , and thetefore\hey not only encoutage"t^ tieizing Art but ,oined themlelves in this moft efFeftual way of pte -eming the P Wici-s being impoled on by the falfe Ornaments and affected Graces of mere Pre°ende.t Cri ticks are as it were the Interpreters to Artifts, who unfold and explain the Exeeileneies of their Works to the People, and thus lead them to a thorough Intelligence of T rat „" Petfeftion in Arts : And therefore it is the Impoftor only that is afrdd of them or en deavouts to dileredit theit Ptetenfions to cotreft and inllrua. Accordingly, in' ancle t Titnes, whilft the graveft Philofophers, (who were Cenfors of Manners, and Ctitick of a higher degree) difdained not to exert tlieir Critieifm on the inferiour Arts, and claimed it as the indifputable right of true Philofophy to give Laws to them all ; Ctitidfin was held in due repute; it gained a Hearing ; did juftice to every degree of Merit; taught to d ffi SuiOl the true from the fallc ; and quickly made good Tafte univerfal : And°no wonder ha It did fo, for as it is m Lite, fo it is in Arts ; it cofts much grearer Labour and i ore violent Struggling to vitiate and cotrupt our Tafte, than to improve it. IT is indeed a tematkable Citcumftanee in thofe two Ages of Painting we are com- paring, that, m both, leveral Artifts were capable of doing juftice to their own Arts by their exee^^lent Pens. In the firft Age of it, whilft the Att was duly eultiva ed ta Greece had Reputation, and produced Works of exquifite Tafte and Genius, not only dS fome Attifts write Treatifes onPainttng which were highly efteemed ; but feveral other ^icat Men thought it not below them to difplay the Beauties of this Art, and to recommend to the pubhck Efteem, by ee ebtating the Ptaifes of the great Mafters, their excellent AVofk Vafiteles, 'ProUgenes Theomneflus, Hyfficrates, all of them renowned Painters are fJd to have wrote oit the Art or to have explained its Rules and Principles, and crit eized us Piodua.ons with great Judgment and Elegance : And thus they added ,o lefs to the Ho nour of the Art by their Writings, than by theit Pidures. Bui not only thefe and othet Pamtets, but feveral Philofophers, and othets of diftinguiOied Reputation' for Science k n?^t t'j T ' r " "P?'''^ r '^'^'^ T"'" ^ives of the famous Painters and Sta' uaues, and Treatifes upon the defigmng Arts : Such as T>emocr,tm the Philofopher of the 'f 'T =T ? ' hmt to the Olymf.ar. ViLt ,n the Vancrajm, for his univctfal and extraordinary Abilities in all the Liberal Arts and Sci- ences. He was Contempotary with Socrates, whom we find in Xenophon\ Memoirs of nm not unfrequently eonvcrfing with Painters and Statuaries abouf Mattets equally elating to Philofophy and the fine Arts. 'Plato not only loved the Att, but paimeS mL' the'pT-M™l ^'•"'•"^ i" I- Account of 23.2 cntus the Philotopher, mentions another of that Name an Efhefiar,, who alfo wrote upon A Temple of of the Ephef.ans, and its Ornamentsf anroi gft whieh were fever P.a ires by^^.//„ and other gteat Mafters, and the famous Z),^«^ by Timaretl m of the few Ladies who gamed Fame by Painting. ■ 1,ur,s is alfo hiily ptaifed for two Woiks, one on Sculpture, and the other on the Art of Painting. ^ TiLenes Laenms mentions him ,n Ws Life of Thalcs. Mer^echmos of S.cyon wtot? of thX Lllrt s whri 'h' ''yf ■• And he and 'D.ogenes Lantms both mention MnodlZ' tWe pteceTTA:1n\heT'° f v'"'""''' "^"^ ^ °' ^" ^ table i leccs of Ait m the Temple of Jum at Sarnos his native Country. Mens Alcetus ^ynus, Meriander, Ale^js, and feveral mote, ate likewife mentioned with 'g^e Ap' plaufe, as good Wntets on the plaftick Atts, amongft whom was one Pok^on a very liZ alBootofr"^ T ™r''"^'^=''^°"' °f^vhomJ-,«*„ (peaks, wdto had 'vrotrieti' ral Books of Geography. He wrote a Treatile of Piftures ; a Defeription of thofe at Sicjon- Ancient Paininrs, others wrote vjsU i -the fine Ahs. (113) See Coifel on Painting, and LemarHo da Vmci P- 35; While a Painter is employed in defienin" or punting, he ought to liffen with attention to the°dif- terent bentinienre which dilferent People cmemin ol^ his Performance; There ieing no bod,, how ignorant in Painting foever, but who, foV. (114) Sesjiniius dePiaura vetcrum, and the French Tranllation of Pliny's Book on Painiing, with the Latin I ext. Loud. 1725. Chap. 1. and Decline of Painting. 47 athu-d Volume on tlic Lives of fcvcml great Painters dedicated to Antigomis ; and a fourtli on the capital Pklures in the Veftible of the Citadel at Athens. Now fuch Works as thofe S,f,viraUmmg,b, that have been mentioned, mull no doubt have contributed very confiderably towards the Promotion of tlie Arts, and of a good Taftc of them in ancient times. And in like man- '/"'fit'"';"- " net, in the latter Age of Painting, the AVorks of LeonarJo da Vinci, Albert! Albert IVritU 'Diirer, Bramante, Armenini, Allori, Baglioni, Vnfari, Lomazao, Borghini, Zttccaro Ridolfi, Scmelli da Forli, 'Pino, Lndovico T)olci, and others, very greatly conduced to the Inftrucfion of Painters, and to the Knowledge and Efteem of the Art ; whilft it was thus Ihcwn to be really a Science that requires great Parts, various Learning and Know- ledge, much Study as well as a fine Genius ; and that it is capable of ptoducing the noblcft Works, and of being employed to the bell and worthieft Purpofes. The Arts'being juftly explained and criticized, become fully underllood ; and when they arc underftood, they will be efteemed, loved, and promoted. ' ONE Circumftancc more, in this Parallel between thefe two noted Ages of Paintintr Paintmrr ' i defervcs to be confideted, that in the fitftAge, or amongft Greeks, Statuary and Sculp- 'iylm'fr'JnLlp- ture bcmg brought to gteat Perfcaion before Painting (llf),- the Painters profited not a "r'""lStMuc„y. little by the Advances thefe Arts had made. T HIT) I AS the renowned Statuary was Brother to Vanmiis; and they feem to have Aim^ ih, ^mimi,. . been the firft that carried Painting to any confideiable height of Beauty and Elegance ot Truth and Correifnefs. And )ull fo in the latter Age of Fainting, not only the^good P-linters and Statuaries were contemporary, and many Painters were excellent Sculptors;' but which is more, the Perfeftion to which Painting was improved in Italy, was in a great meafure owing to the digging up of tlae ancient Gwi Statues, which, fo foon as they were difcovered, the Painters lludied as iVlodels. It was from thefe exqui/ite Mailer-pieces of Art and Workmanrhip they learned to form a jull Idea and Taftc of N.iturc. Manterna one of the firft of the good Painters of that Age was a gteat Studier of the Antique ; and° arrived to all the Perfeftion he was Mafter of, by his continual Application to the Statues and Baflb- relicvos : And that it was not inconliderable, may be feen by his Triumphs of Jtdius Ciefar at Hamf ton-Court; which ate juftly faid to be the Triumphs of his Pencil. The Haidncfs and Dryncfs of his Manner, feems to be chiefly owing to his not underftanding fufficicntly how to imitate the ancient Remains of Sculpture, without following them too fervilely in an Art of a difFctent Genius ; or to his not foftning and anim.ating his Imitations of the An- tiques from the livingBcautics of Nature. It was not till Raphael had found out this important Seact, that he made the ttuc ufe of the Antique, and acquited his beft Manner. In fine the great Perfeftion to which he, and all the modern Mafters attained in Painting, were m a very great meafure owing to their juft regard to the antique Statues and Sculptures and their miwearied ftudy of tliem ; as I lhall afterwards have occafion more fully to obferve.' TO conclude, as there was a Greatnefs in the Mannet of the firft Painters in both thole Ages of the Art ; fo in both they degenerated in the lame way, by falling into the ElFeminate and Languid. " When it firft begun to revive in Italy, after the tetrible 1^ Devaftation of Superftition and Barbarity, (faith an excellent Painter and (ii6) Judge) it was with a ftiff and lame Manner, which mended by little and little, till The II time olMaJfaccio, who rofe into a better Taftc, and begun what was rcfervcd for Ra- " f had to compleat. However, this bad Stile had fomcthing manly and vigorous; whereas in the Decay, whctlier after the happy Age of Raphael, or that o( Annibal, one fees ' an effl-minate languid Air : Or if it lias not that, it has the Vigour of a Bully rather than II that of a brave Man. The old bad Painting has more Faults than the modern, but this " falls into the infipid." Now wlien we come to inquire into die Caufcs, to which the Dcclcnlionof Painting amongft the Ancients is afeiibed, they will be found difcourfmg of it juft in the lame manner. AmmgtheMidenil. Mantegna Jludhd the Antiques, Raphael fmnd mt the Art of imitating them -welt. How the Art began, eind hviu it deelined in both Ages. MEANTIME we have feen, in this Chapter, a remarkable Likencfs in thePrcrefs of Painting to its Pcrfedion, at two diffeient Periods. It was cultivated and improved in the fame manner, and brought to a very like degree of Beauty and Excellence in both by limilar Steps, and by very analogous Means and Caufcs. We owe the Improvements ot this Att in the laft Age of it to fuch a Succcflion of Mafters, as th.it, to which its Per- fcftion in the firft is attributed by ancient Authors. So like are thefe two Ages of Paint- ing in every refpeft, that there is hardly any Charafter of a Painter in the one Age, that hath not its Patallel in the other ; nor indeed any remarkable Circumllance or Event with regard to the Art, or any of its Profeflbrs in the one, that was not, as it were, reiterated in the other. Both, it is well known, were Ages in which all the other Parts of ufcful and pohte Learning were greatly promoted and encouraged, and accordingly made very .... eminent (115) Marmore fcalpendo pnmi omnium inclarucrunt pifluram aut flatuariam, Et ipfum Phidiam tradunt JJipsnus & Scyllis, geiuu m Crcta mfula etiamnum Me- lialpfidi Marmora Alcamenem docuit in primis 110- dis imperanlibus, Cum ii elTenr, jam fuerant in Ciiio bilem. Plin. 36. 4. infula Malas fcujpror, dein filius ejus Mixiades Non omittcndum, hanc artem tanto vetuftiorcm fuiffe quam (116) Vitls two Difcourfes by Ms.Rlihardfon, f. 78. ^» Essay on the Rife, Progrefs, Eminent Advances, as well as Painting and Sculpture. And indeed, I need not ftay to prove, that it is by no means likely, that Painting, which Hands lb much in need of help from all the other Arts, could have made fuch a wonderful Progrefs in the laH Age of it, if the Tafle of all politer Literature had not been revived at that time by the Study of ancient Authors, and the Remains of ancient Arts, and had not been very earneftly culti- vated. In both Ages of the Ait the Learned willingly gave all the affiftancc they were able to the Artifts.'of whom many were themfdves very learned, and every one was ex- ceeding willing to take Inftrutlions from tliofe who were (117). 7bi lUiji Pahlhgt tlifirlbcd irt' "Jcry majlcrly, i"id in a gnat Tajh. Thofi in tlx Pcecile at Athens. By Panasnus, Po- lygnotus aiid Mi- COil. CHAP. III. Obfefvations on fame PiEiures dsfcribed by ancient Authors ; o?i the jufi No- tions the Ancients had of the Arty and of its ConneBion with Poetry and Philofophy. T) D r fall T^HAT \vc may have a more compleat Notion of the Fcrfeaionat which the Attof JnU tfinfima, X P^iintini? arrived amongftthe Greeks; and of what the Art is capable to perform in 4digbt andinovs^ tcachins, delighting or moving ; it is not improper to confider Tome few Pidures of ancient Mailers. NOW the oldefl: Paintings which are celebrated by ancient Authors, for the Beauty and Tafte of the Compofition, as well as for tlic Noblenefs of tlie Subjeas, are tliofe with which the various Portico at Athens was adorned. It was fo called on account of the great variety of excellent PiClurcs painted by feveral good Mafters, which fo extremely beautified and en- riched it. Here '■Prfre.fKZ/J-, Brother to^Phidias the celebrated Statuary, Mtcon zndTolyg- notns, all famous Painters, had exerted their utmoft Skill and Art (i). The 1 aft is particu- larly renowned for having contributed a large ("hare towards the adorniiig that Portico gra- tuitouOyi whereas the otiiers received pay. For this inftance of his Generofity and pub- lick Spirit, confiderable Privileges and Honours were unanimoufly decreed to him by the AmpbiByontan Council (2); aiid he was greatly praifed by the Vott Melanthius (3}. THE moft remarkable Piaurcs of Pananus and Polygnotus are fully defcribed by Pau- fanias in his Account of this Portico ; I Ihall only mention a few of their principal Beauties. 'The Subjcftswcre truly grand, poetical, executed with much Judgment and Spirit, and in a very fublime Tafte ofDeficn. Polygnotus'sSuh]cdLS were chiefly taken homHomer, whomhc is faid to have highly admired, and conftantly ftudied. In his Pidure of Ulyffes's Defcent into Hell he reprefented the infernal River with fo much Art, that not Fillies, but rather Shades ' of (117) The Ajialog}' between the two remarkable Ages of Paintine, which I laid in the beginning of this Chap- ter, is fo furprifing and worthy of our Attention, may be thus briefly ilated, for tlie fake of thofe who may be defirous to have a compendious View of it. The Art in both Ages advanced at firfl: very flowly ; came to a certain Pitch, and then made a ftand for fome time : But beginning afterwards in both to foar above the iirlT: fmall Advances, it improved exceeding faft, till it came in both to a decree of Perfeaion, the Defcription of which in the one, Vrom the Works of Apdles, is pre- cifely correfpondent to that which is moft juftly given of it in the other, from the Works of Raphael. Pana- nus and pBlygmtus, and a few others, with the afliftance of the Sculptors and Statuaries, brought the Art to Aich Perfeaionin the iirft Age, as it was carried by cia, Mantegna, and a few others in the laft, with like help from Statues and Sculptures. As Apollodorus and Zeu- xh perfefled Colouring in the one, fo did Georgion and Titian in the other, being Artifts of very like Genius and Talents. As were Eupompus, Pa?npht!us, and Jpci/es to one another, and to the Art ; fo were Andrea Ferro- chlo, Leomrdo da Vinci, and Raphael. As was Euphra- mr to thofe, fo was Michael Angela to thefe. Corregio was to the Art in his time, and his Contemporaries in many refpeas, as Frotcgems was to the Art, and his Con- temporaries, As Erigonus in the firft Age, fo was Poly- dare and Michael Angels da Carravagio in the laft : and as was Nicias and his Scholars in the one, fo were the Carraches and their Scholars in the other. The Quali- ties of gcod Painting were divided amongft manyMafters in the firft Age, in like manner as in the laft: And the ■ditFerent Scliools were to one another in the one Age, iuft as in the other. The Learned in both chearfuUy lent their help toward the Improvement of the Art : And tlie Great in both highly rewarded, honoured and encouraged it. And in fine, the beft Mafters in both Ages had the fame Ideas of the Art, took iike Pains, and followed like Methods for improving it, by ftudying Nature and Authors, who having formed a right Tafte of Nature, liad beautifully defcribed and imitated feveral Parts of it ; by giving due Attention to the Criticifms of the Learned ; and even by obferving the EfFcfts of their Imitations upon pure untaught Nature in the Vulgar and IHiterate. This is the Phenomenon, which I faid feenied to me to deferve a Philofopher's Attention, and from a juft Reprefentation of which one might ha\ e at once a clear View of the two moft remarkable Progreflcs of Painting, (1) See Paufania!, lib. 10. ^ Meurfii Aih. Att. lib. I. c. 5. Hcfychius, Suidas. Similis in piaura ratio eft ; in qua Zeuxin & Polygnotum & eorum qui non funt uli plus quam quatuor coloribus, formas & lineamenta lau- damus. Cic. de clar. Oral. ^uint. hiji. lib. 12. c. 10. Oportet juniores non tam Paufonis opera contemplari, quam Polygnoti, aut fiquis alius commode mores ex- primit, Arijl. Polit. lib. 8. c. 5. De Poet. c. 2. & c. 6. Polygnotus Thafius & Dionyfius Colophonius duo piaores erant. Ac Polygnotus quidem pingebat magna ; & in perfeais certamina fubibat : Dionyfii vero piaura:, cxcepta magnitudine, Polygnoti artem accuratiftime imi- tabancur, atque in ea, pailioncs animi, mores, formie habitudinem, veftium fubtilitatem, & rehqua ad vivum ejiprimebant. jElian. Hiji. lib. 4, c. 3. Plutarch, in vita Cimonis ttf in Tiniokonte. (2) Unde mator huic auaoritas ; fiquiJem Amphiay- ones quod eft publicum Gr^eciae concilium, hofpitia ei gratuita decrevere. PUn. lib. s- 17* (3) TheVerfes are recorded by Plutarch in his Life of Cimn. 3 Chap. 3. and Decline of Pa I N T I N G. 49 of Fifhcs were fccn fwimming in it (4). His Colouring in fomc Figures muft have been vc:y good; for Z,//rM72 in Iiis Images, ^■^c^ikm^^o? 'xCaJJ'andra, by this Painter, fitting in a Chair, lays it was exceedingly admited for tlieGracefulncrs of the Eye-brows, and the beautiful Frefh- nefs and Vermilion of the Complexion (5-). Vananns painted the famous Battle of Ma- rathon, in whieh ten thoufand Greeks routed an Army of thirty thoufand Verfia?2S (6). Cornelius Nepos tells us all the Honour that was rendrcd to Miltiades for having delivered Athens and all Greece from the Slavery whieh threatned them, was, that in tlie Picture of this Battle he is the principal Figure, at the Head of all the other Captains juH going to engage the Enemy, and exhorting his Soldiers to Bravery. Several noted Heroes of both Jidcs were diftinguiHied in this Picture, in fuch a manner that every one had his proper and peculiar CharatLcr ; And there was a great variety of true and moving Exprcffion through- out the whole. Certain Animals were introduced into feme of thefe ancient Pidures, with great Propriety and Tafte, that were extremely natiu-al and well painted (7). In fine, nothing can be nobler in Compofition, Wronger in Exprellion, or more juft with regard to the Grouping, Contraftmg or Dilpofition of Figures, than thefe Pictures oi'Pananus and 'Pohgnotus in this celebrated Portico, and other places, are defcribed to have been. So that it appears to be only in refpcd of greater Knowledge of the Colouring-part, that 'Pliny calls ApoUodorus the firll: of the great Lights amongft the ancient Painters ; and iiiys, that before him no Pidure could detain the Eye agreeably. Thofe two Painters chofe great Subjefts, and feem to have vied by their Art with Poetry and its fublimeft Mafters. Their Pictures had Manners, which, according to Arijlotle, is the Quality that renders Painting at once moft affecting and inftrii£tive : They chiefly employed their Pencils to paint great Actions, or plcafing Fables and Allegories ; and defigncd in a manly, vigorous Stile. Suchwasthe Arrinirsfirftbeginnings ; before Colouring was fully undcrftood, De/ign and Compofition were in great Pcrfcftion. WE have already mentioned the Tenclope and Helen of Zeuxis. T'l'my fays he painted Tlu Pkiurcs cf likewife z. Jupiter^ which was truly majcftick : He was feated on a Throne in this Pidturc Zeuxis. with great magnificence, and the other Gods flood by him (8). We may judge by the ancient Statues of Jupiter, and of the other Gods, how ancient Artifts diftinguifhed Jupiter, them 5 and what fuperiour Majefty they gave to Jupiter (9). In this, no doubt, the Pain- ters and Statuaries followed one another, and both the Poets. In one of the ancient Paint- ings now publi("hed, Jupiter is reprefented on his Eagle ; and though he is careiling_7//«(7, hath great Majefty in his Countenance. THERE was another Piece by Zeuxis, of a very 'different kind, which we may call AfamimCmtau- a Centaur-piece : it is very particularly defcribed by Z,?/fMB in the following manner (lo). rep dcfcrlbsd by " This excellent Painter {faith he) was not fatisfied with painting common and trite Sub- " je£ts, but was ever attempting fomething new, untried, and difficiilt : And having ima- " gined any Idea, however rare, and extraordinary, he was able to execute it by his Pcn- " cil, juft as he had conceived it in his Fancy. Amongft the many Marvels of his Hand, " was a female Hippo-centaur fuckling two young ones. The Original was loft with the " reft of the noble CoUedion that was fent by Sylla into Italy, the Ship being caft away : " But I have fcen a very good Copy of it, which I fhall attempt to defcribc ; not that I " pretend to great Skill in Painting, but becaufe it is yet very frefh in my Memory, having " made a xcvy deep Imprcfilon on my Imagination, when at Athens I was moft atrreeably " entertained in admiring the wonderful Performances of that charming Art. " THIS Centaurefs is painted lying in a green Field, all the Parts in which fhe re- " fembles a Mare are couched on the Ground, the hinder Legs are ftretched out backward; " but the uppermoft Parts in which fhe is Woman, raife thcmfelves up to a confiderablc *' height. She is in the lame Attitude as a Horfc, when he is endeavouring to raifc himielf (4) "TA-p eicti ■Aiw.fisf \wA ivKs, w; o 'Ayj[»"'i ^ Phocic. where thefe Pidtures are fully defcribed. See fuch a Pidture defcribed by Philoflratus in Pifcateribus. tcm, atqiie in confcrtos hofles " front dom in airmen tern. {5) In hac tabula CaflandrEE potiflimum laudabant fu- pcrciliorum decus, & ruborein genarum. Lucian, in Imagiri. (8) Magnificus eft & Jupiter ejus in throno. Plin.lib, 35. 'Tis probably to this Pidture ^intiUati has his eye in the place often cited, where he fays, that Zetixis hav- ing followed Homery the other Painters confidered him on that account as their Legiflator in reprefenting Gods and Heroes ; he having painted them agreeably to Ho- mer's Defcriptions. (6) Pansnus quidem frater Phldi;c, etiam pralium Athcnienfium adverfum Perfas, &:c. PH" 3S- '7- -^fi"- fiinias, lib. 5. Sirabo, lib. 8. Cor. Nepos in Miltiade. Siivend other fine Pidtures by Piniesmis are defcribed by Pmifamai in his Eliaca, p. 158. Edit. Wechel. All the Labours of Herciiks ; Prometheus chained to the Rock, and Hercules coming to deliver him ; Ajax and Cajfandra^ and A-liillcs fupporting Penthefilea juft expiring, is'c. (9) The famous Jupiter of Phidias is defcribed by Paufanias, likewife fitting on a Throne. Sedet Deus in folio ex auro atque ebore fabricato. Capiti ejus impofita eft corona referens oleic furculos. Dextera fert vidloriam, lasva tenet pulcherrimum fceptrum varietate metallo- rum omnium efflorefcens. Avis autem fceptro infidens eft aquila, Ad fingulos ctiam folii pedes izScx font quatuor vidtoria; fahantium fpeciem referentes : Duas aliiE ad plantam pedis pofitEe, &c. Paufan. Eliac. 156. (7) So Paufanias, and MUan. de Animal, lib. 7. c. 38. Canem in pugna Marathonia, dominum fuum profequen- (10) Luciani Zeuxis vel Antiochus.' K»j^\it o An Essay on the Rife^ Progrcfs^ fi-oni the Ground, and get up. One of the young fucks one of her lower Dngs as it " Colt docs a Mare J to the other flie gives the Brcaft as a Woman to her Child, cm- " bracing and carelling it. Above, in the upper part of the Pidure, the Husband-Centaur " looks at her, from a vifuig Ground, with a fmiling Countenance, only fliewing the human " Part of his Form, .md holding a young Lion over his head, to fright the Infants. All " the Parts of this Work flicw a very bold, clean Pencil, and a full Command of the " Art : The Lights and Shadows are finely diftributed, and a great many Drolleries very " proper to the Subieti and finely imagined, make the Pifture exceeding gay. But what I " principally admired, was the Richncfs of Imagination, and the Variety of Art that ap- " pearcd in the Execution of this whimfical Subjeft : for the Male is exceeding ruftick, and " quite horrible ; he is covered with Hair, and has vaft large Shoulders ; fmiles, but in a " iavage, ghaftly manner. One half of the Female is like one of the moft beautiful, young, " unbroken 'Thejfalian Mares : And indeed the other half is of exquifite Beauty ; a com- " pleatly fine Woman, the Ears only excepted, which he hath made to refemble thofc of " aHorfe. And lb dextroully arc thefe dilfercnt Parts joined, that it is almoll impolllblc " to exprcfs, how the Commixtion eludes the Sight. The youngeft of the Infants is favage " and fierce as the Father ; and tho' but new-born, already fhews its furious Nature : I " was delighted and furprized to fee, with what childilh Looks, natural to fuch Creatures, " they ftare at the young Lion, while they hang at the Breaft." 'Phiiojhatus, in his Ac- count of an ancient Pifture of the Education Achilles, admires the fame wonderful Art of mixing the human Part with that of thcHorfc, by fo infenlible a Tranfition, that one could hardly difccrn the Separation of one from the other, or where the one begun and the other ended ; fo nicely were they blended (ii). THE fame Dexterity is admired in the Farnefe Gallery ^tRome, where 'Perfetts is painted by x\\cCarraches, changing Men into Stones: And in a Centaur carrying o?i Deianira, by Guido, a famous Piece ; Tiic fame Art appears in the Syren in this Colletlion of ancient Paintings. Lucian does not fatisfy himfeif with commending this Piclure in the general, but he points out the Beauties of it with very great Intelligence : And while Authors by fo particular Dcfcriptions Ihew good Tarte, and a frUl Underftanding of the Art, their Opi- nion may be very juftly depended upon, even when they only praifc or blame, without entering into a long Detail of particular Beauties. The fame Author dcfcribes a very beau- tiful Compofition by Echion, (fo good a Painter that he is joined by Cicero (12), with "Protogenes, Apelles, and Nicomachus^ as the four by whom the Art was brought to the highcft pitch of Perfe£tion.) He mentions this Pi£ture in his Book of Images, and gives a full Account of it in his Herodotus (15). The Subjed: was the Marriage o'i Alexander with Roxana, The Painter Echion brought the Piftmx to be feen and tried in the Olym- pian Contefl:ations ; and Proxenides, who at that time was appointed Judge, was fo charmed with its Beauties and Excellencies, that he made him his Son-in-Law. " If anyone, " fays Lncian, fhould ask what there might be fo extraordinary in that Compofition, that " Troxenides was induced by it to give the Painter his Daughter in marriage ; having feen " an admired Copy of it, I am able to give Ibme account of the matter. The Apartment is " inexprefiibly rich and elegant ; and the Nuptial-bed in it is finely adorned ; near to which " is the Virgin _S(JX(2«<2, a perfed Beauty, with modefi: down-caft Eyes, cxprefling a great re- " verence for Alexander, who is at a little diftancc reaching out a Crown to her. Several " Cupids arc differently employed in this Piece j but ail of tlicm look exceeding fweet and " chcarful. One ftanding behind her, wantonly draws afide her Veil, to fiicw her Charms to the Bridegroom : Another is employed about her Feet, and takes off her Sandals that " fhe may go to bed : A third wrapping himfeif in Alexander's Mantle, feems to pull him " with all liis force to the Lady. Their Friend Ephefiio?i is there as Paranymph, with a " burning Torch in hisHand, and leans upon a beautiful Youth xz^xQ^zwim^Hymeneus. On " the other fide arc other C«j!>/Vj- playing with ^/fjf^aWfr's Arms : Two carry his Lance, and " appear over-loaded with their Burden : Other two pull along one who lies upon his Shield, " as if he was their Prince i having harneffed themfelves with its Thongs and Tackling. An- " other hiding himfeif at a difl:ance feems to wait in ambufcadc, and prepare to furprize " and fright his Companions when they come up to him. Nor are thefe, Czys Lucian, mere " Puerihties or trifling Dcvifes of the Painter {i 4) j but are brought into the Pitlure with great " Propriety and judgment, to (hzw that Alexander loved Roxana without forgetting his " Arms, and that he was at the fame time a Lover and a Warrior." There is a fine Picture of Cupids defcribed by 'Philojiratus, in which there is a deUghtfut variety of Attitudes and Contrafijs ; fome are pulling Fruit; fome are eating with great relifh; fome run after a Hare; and others are fporting and playing {15). This Echion appears to have excelled in the plca- fant agreeable way of dilpofmg Figures, and in a good Taflc of Ordonnance and Com- pofition. And he being fo highly commended by the Ancients, and Contemporary with Apclles ; it is very juffly thought, that it muft have been to him that Apelles acknowledged himfeif (11) So likewifc in the Centam-ides defcribed by Phi- (h) waiJ^a: iJ aMa; tswtw irrj, avA 77\.eciUyac.Tai la/fratus in his Iccnes. tv a.-^™; o Aeriie:, a.V.a JMo'i -nv AmBcli'J'qiv, Ka,i rav (12} Cic. cltir. Oral. 18. The place quoted above. '^"^'"^ ""^ s^'^'-^'W"- Ibid. (ij) Luciani Herodotus vel Action. (15] See Philafirat. jun. Icoties in A/norihus. Ch ap. 3. and Decline of Painting. himfclf infcriour in Difpofitioii and not Amfhion ; no Painter of that Name bcinn men- tioned by any otlicr of tlic Ancients ( 1 6) bcfidc 'P/my. He but juft mentions fomc plfturcs of Echion, with applaulc ; one reprclcnting Tragedy, and anotlicr Comedy ; Semiramis when raifed to a Crown from a low Eftate ; an old Woman with a flaming Torch in her Hand ; another reprefenting a new Bride, with a chaiming bcaiitifnl Bafhfuincfs, with the modcft Blulh that Iprcads a delightful Red over the Face, called the Vermilion of Virtue (17). Virgil, who was fo mafterly a Painter, hath defcribcd it charmingly in his Pidure of the beautiful Laviriia: Accepit mocem Ucrymis Lavtnia matris Flagr antes perfufa genas, ctii pliirimus ignem Subjecit rubor, ty calefaBa per era cttcurrit. Inktim fangtiineo veluii vioUverit ofiro Siquis ebur, vel mixta rnbent nbi lilia miilta Alba rasa : tales virgo dabat ore color es. VEn. 12, So Ovid Ingennas pi£la rubore genas. Amot. lib. I. El. 14. This Modcfty is charmingly reprefentcd in the Countenance of the Bride in the Nozze Aldobrandine, in this Colicclion. SI TIMANTHES'% Iphige^iia is greatly celebrated by Cicero, ^intilian, Valerius Maxifnus, Tliviy, and fcvcrai others, for the Judgment he Ihewed in it. Havin? expreflcd a great variety of Grief and Afflidion in the Countenances and Gcftures of the Prieft her Brother, Friends, Relations, and Admirers, he veiled the Fathers Face, thus leaving the Spedators to mcafLire his nicxprefiible Anguilh and Mifery, by the efFed this Confellion of the difficulty of cxpreiling it mull naturally have had upon their Minds (i8). Cicero mentions tliis as a great proof of the Artift's Judgment, and of his Skill in the moil: dif- ficult part of Painting (rp). And all the Ancients praife it as a fublime Thousiht, than which notliing could more powerfully move, and affed the Minds of Beholders {20.)' Ni- cholas 'Fouffm hath deferved great applaufe, by his ingenious Imitation of this artful, fub- lime Device of Timanthes ; by reprefenting Agrippina, in his Pidlurc of the Death of Ger- manicHS, hiding her Face, and in fuch an Attitude of the profomidcft Grief and Sorrow that fhe is felt to be afRifted beyond Expreffion, and far above all the other Perfons in the Piece. Euripides had employed the fame ingenious Stroke of Art in his Tragedy of Iphigenia ; making the Father Agamemnon turn away his Head, and hide his Face, quite over-power'd with Grief {21). ' Timanthes'i Iphi- genia h highly Heimhaiedl-iomcr, and was ifmtated by Nic. Pouflin. THE noble Thoucht {zs Eujlathius obCcvvss) was originally Homer's {22) : But it was firft introduced into Painting by the judicious Hand of timanthes j who well underrtood how to make the beft ufe of every Circumftance of a well-told Story in a c;ood Poet and to rival it in Painting. Tliny commends the ingenious Fancy, and good Ftfea: in another Pidurc of Timanthes, reprefenting one of the Cyclops faft aflecp, and youn<^ Satyrs meafuring his Thumb with their Tbjrfus, and exprcfling in their Looks their Won^ der at the Vaftnefs of it {23). Gifilh Romano, in imitation of that ancient Piece, did a Tolyphemus, which appears of a prodigious Size by means of Satyrs and little In- fants (20) ^hit.lnjl. lib. 2. c. 17. Confumptls afFeaibus non repenens quo dignemodo, patris vulmm poflit expri- mere, velavit ejus caput, & fuo cuique animo dedit sefti- mandum. So //i. 35. c. 15. Ejus eft Iphigenia, oratorum laudibus celebrata : qua ftante ad aras peritura quum mceftos oppinxiiret omnis, pra^cipue patruui triftiti^ omnem imaginem confumpfiflet, patris ipfii turn velavit, quem digne non poterat oftendere. (16) Sl-c the Fm/.7j Notes on fo often commend- ed, p. 260. Nam Ampliioni de pofitione cedebat, &c. 'Tis for thefe reafons I have ventured to fay Echion in- ftcad of Amphion, in my account of JpdLs. (17) Echionis funtnobilespidfurse: Liberpaterr Item tragcEdia&comcedia; Semiramis exancilia regnum apif- cens ; {'tis fo In the Manufcript of Groniwiiis, and is con- firmed by him from feveral Paflagcs of Tacitus, fee his Remarks) anus lampadas ferens ; & nova nupta, verecun- dia nocabilis. PUn. 35. 17. (18) Valerius Maxirnus, lib. 8. c. ii. Exmp. ext. 6. Itaque piitura ejus, arufpicis, amlcorum & fratris lacry- mis madet ; patris fletum fpettancis affeflui asftimanduui reliquit. — Nobihs pidtor lu^luofum immolatee IphigenicC fuppHcium referens, cum Calchanta triftem, mcefhim L'lyfiem, clamantem Ajaccm, iamentantem Menelaum circa aram ftatuiilet ; caput Agamemnonis involvendo, nonne fummi mceroris acerbitacem arte exprimi non pofle confefTus eft ? &c. fig) Cicero fpeaking of the Decorum in all Works of Genius, which he thus defines : (Quafi aptum elTe, con- fentaneumque tempori, & pei fooK : quod cum in faflis fa^pifiime, turn in didls valet, in vultu denique, &: geftu, & inceffii : coutraque item dedccere.) He gives this Example of it in Painting. Si denique piiftor ille vidit, cum immolanda Iphigenia triflis Chakas effet, mceftior Ulyfies, mosreret Menelaus, obvolvendum caput Aga- memnonis cfie, quoniam fummum ilium luitum penecillo non poflet imitari. Cic, Orat, 22, & i vol- (21) Ut vera Agamsmnon vidit Puellam euntem ad ctedem in Nsmus, hgemult : & retro vertens caput, Emifit lacrimal, oculis vejiem cpponem. Eurip. in Aulide. 1550. (22) Poeta non inveniens allquam doloris exfuperantiam, quam digne tanto mcerori fcenis adderet, operiteumi neque tantum filentem facit, fed totum e conrpcitu ve- iuti amovet. Hjnc Sicyonius piiftor Timanthes pingens illam Iphigenia maftationem obvclavit Agamemnonem. Eitjiath. in n. 24. ver. 163. Edit. Rom. p. 1343. This notable Circumftance in this Piaure ; and feveral other Paintings, are thus defcribcd in the /Etna of Cornelius Sevens, by fome afcribed to J'irgil. ^unetiam Graia fixos tenuere tabella Signave; mine Paphia rorantes arte capilU ; Sub truce nunc parvi ludentes Chlchide naii. Nunc trijies circa fubjeSia altaria cerua, yetatiifque pater, &:c. {23) Sunt & alia ingenii ejus exemplaiia : veluti Cy- clops dormicns, in parvula tabella ; cujus & fic magni- tudinem exprimere cupiens, pinxit juxta Satvros polliccm. ejus metientes. P/iVi, ibid. His Cyclops an- other proof of his Ingenuity and In- vention. ^1 Jn 'EsshY on the Rife, Progrefs, rants playing about him. Tliny (ays, this Painter pcrfcftly undciftood liow to rcprcfcnt the Vigour, Grandeur, and Majcfty of a Hero, God or Demigod (24) ; and the excellent Difpofition and the Pcrlpicuitv with which lae painted Aratus's Viftory over the •^^tolians, are hishlv praili:d bv 'Plutarch (2f) ; whom we fhall often find commending the Art and its great Waiters, and all the States which encouraged and honoured it ; and fhcwing a very fine Taite in his Dclcriptions of Pifturcs. IN mentioning the various Aceomplidiments of Tarrhajius, I forgot to fpcak of his cxeellent Skill in" painting Hair (26); the elegant, cafy Diftribution of which is very dif- ficult, and adds a very great Beauty to a Head: And indeed as it is in Nature a very great Ornament, one of the grcitcft Beauties in Men or AVomen ; fo the Poets never negka to dcfcribc' fine Hair : Homer gives that Charm to all his Goddefl"es and Heroines ; and fo does yirgil : Afollo is always' painred by the Poets with beautiful Hair : And therefore the ancient Statuatics and Painters were very emulous of excelling in that parr. SmiiWirt, sf BUT 'Parrhafins was chiefly admired for his Dexterity in charafterizing different Tem- Parrbnfws. pcrs and Humours, and in exprelTmg all forts of Affeftions and Manners. He painted two «r«i iyhlm.snd Bovs reprcfeiitiiig the Simphcity, hrnocence and Security of Children (27). He likewifc Biyi. rep'refentcd, agreeably to their Charatlers, Agmnemmn, Achilles, Ulyffes, ^^neas, and fcvcral other ancient Heroes. Carlo Tlati takes notice of an ingenious Conjefture about one of his Pieces mentioned by 'Pliny (28). 'Plmj (according to the ordinary Reading) fays, he painted a Nurfc with a Child in her Arms. (" Nutricem Creffam, infantemme " in mmibus ejus.") Bur that Critiek mentioned by 'Dnti inclined to read Infantefque in mammis ejus. " A Nurfe with a Child at each Bread ;" agreeable to a Palfage in Firgtl, which may poflibly allude to thisPifture ; hisDefcriptionof the Slave prefented to Sergefttis. Olli ferva datur, ofernm baud ignara Minerva, Crelfa genus, 'Pholoe, geminiijue full ubere nati. Virg. l.f. 2S4. THIS is certainly a more piaorefciiie Subjeft, than a Woman with a Child in her Arms, Ki Plaun fihi and Ihc is defcribed' by Pliny to have been painted as a Nurfe. His moft famous Pifturc, F^^h »/ Athens. (and he was very probably afiifled in it by Socrates,) reprefented the People of Athens. This Piece Carlo 'Dati thinks diffieuh to comprehend, or to form a diftina Idea ot; ima- gining that it was one fingle Figutc ; whereas it probably confifted of feveral judicious, Nvell-underftood Croupes : In it he had painted to the Life all the Viciflitudes of Temper to which rhis jealous, fpiritous People were liable. They were reprefented as of a fluc- tuating inconftant Humour ; apt to be provoked and angry, yet very exorable i cruel, yet compaflioiaate and element ; unjuft and outragious, yet mild and tender, fmooth and equit- able ; haughty, vain-glorious, and fierce, yet at other times timid and fubmiflive (25). All thefe Vatieties of Temper and Genius were nobly and perfpicuoufiy exprelfed ; fo that the Athenians might fee their own linage in it as in a Mitror : With fuch a Looking- glafs, the Philofophcr already named, and fome of their Poers, ufed frequently to prcfcnt them. Paufanias mentions a Pifture very nearly of rhe fame Genius, and Extent of Art and Invention, upon the Walls of the Square at Athens, called Ceramicos, reprcfenting The- feus in the midfl: of the People, founding the Democracy, and eftablifhing its Laws and Conftitutions (30.) For in fuch a Pifture, doubtlefs a veiy great variety of Humours, Dif- pofitions and Charaftcrs mud have been painted. iSi tbfcmPkm 'PLIKT gives no accomit of Iris little obfeenc Pieces, fome of which are mentioned unjuni. by Suetonius ; but on this, and every other occafion, condemns the vile Proftitution and Abufc (24) Pinxit & heroa abfolutiffimi operis, artem ipfam dum, injuflum, Et omnia pariter oftendere. Plht. complcxus vires pingendi. {Virei is the true Reading, ihid. not fi'm ; fee tlie French Notes, where it is very well tranflated, la vigaeur, la preftance d'un heros Si d'un de- (30) In extremo pariete Thefeus pidlus eft, & Demo- nii-dieu.) cratia una cum populo. Ha?c pitilura probat Thefeum lEquabilem rcipublicE adminiftrationem Athenienfibus (25) Faflum hoc imprimis fecit illnftre : Timan- conftituid'e. Pnii/ Si. I. (■ The People of Jtlims thes vero piftor univerfam pugnam evidentiflima difpo- were frequently reprefented by Statuaries. Leocharis Ju- fitionc repra;li;ntavit. Plut.in jlrm. piter & populus fpeflabatur in pira;o retro porticum ad mare. PauJ. lib. I, p. 2. In C|uingentorum curia a Ly- (26) So Plhiy in his Charafter of him (Elegantiam ca- fone effiflus videbatur populus. llld. /;. 6. Such a Mi- pilli). ik> Luclan In bnaglnllui. P% commends a Sta- racle of Art was that of Euphranoris Ajex- tuary for the fame Talent, Leontinus primus nervoa h under Paris eft : In quo laudatur, quod omnia limul in- venas expreftit, capillumque dillgentius. Lib. 34. telligancur. Judex Dearum, amator Helens, & tamen AchiUis interfeflor. Pb. 34. 8. The Talent Parrha- (27) Et pueros duos in quibus fpeiSatur fecuritas fms was fo much mafter of, may be alfo learned from Si limplicitas Ktacis :— Laudantur & ^ncas, Caftorque another Performance of his, defcribed in the Greek Epi- ac Pollux in cadem tabula : Item Telephus, Achilles, grams. Agamemnon, Ulyflcs. Fafcundus artifex. Sic. Plln. Kdlt fif hum, cndt, mlftruTn Pa:iin!t tnalum 2' Parrhafim, farma ejl tarn hmeplSta vlrl. S^ulppe fubejl mdls arentlbus abdlta qua:da?it {2S) Carle Dall in his Life a! Parrhafms. Lachryma, fejue diler tern firtu Inim agll. Exlmliim nemo te, plcter. In arte negabit : (29) Pinxit & Demon Athenienfium, argumento Dcftnere lUlui jed iiiala, tcmpu! erit. Cjuoque ingeniofo: Volebat namque varium, iracun- Anthol. Gra;c. Ep. 1. 4. c. 8. verf. Hug. Grot. 3 Some Pi£lures by Evanthcs dsfcribed Achilles Tatius. Pcrfeus and An- dromeda. Promethcu?, and Hercuks comhig ia delfuer him. Chap. 3 . and Decline ^Painting. 5 3 Abufc of an Art, fo capable of giving found Inftraiftion and wholcfome Exercifc to the Mind (31). SENECA the Rhetorician, and other Declaimcrs, have harangued upon a Story of this T^arrhajius, as if he had tormented an old Man moft cruelly, riiat he might be able to paint the Tortures of T:'rometheus with greater force. But Carlo T^ati very ) uftly holds ^falfe Sury about that Story for fuch a Calumny, as that vciy falfc one of the fame kind, with which fome ^^'"^ refuted. have defamed Michael Angela (32}. JCHIL LES TATIUS has dcfcribed two Piclures by E-vanthes (33); the firft is An- dromeda chained to a Rock, and 'Perfeus coming down' from Heaven to deliver her from the Monflcr ready to devour her. TheRock to whichfhe is chained isfaid to have been fo natural, that it appeared really hollow, juft fufficient to hold Andromeda : Her Fear was finely expreflcd, and nothin'j; could be more frightful than the Monfter, with all the complicated Windings of his Tail and expanding Jaws; his Head only was out of the Water, which fecmed in motion by the Monfter's raifing himfelf up : But the Parts under the Water were alfo difcerniblc. Per- feus dcfccnds, with great Vigour and Bravery, to her rehcf, with his Faulchion, and his Shield terrible with the Medufa's Head, that Ihaking her Hair entwined with Serpents, thrcatned irrefiftible Dcftrudion. ANOTHER in the fame Temple rcprefcntcd Trometheus likcwife tied to a Rock 'with iron Chains, and Hercules juft coming to his Deliverance. Trometheus feems in the grcateft Agony, the Eagle having already fixed her Pounces on him, and made a terrible Wound ; but at the fame time Hope begins to dawn, for he fees Hercules coming. His Eye, as T atius cxprefles it very pidtorefqucly, has, at the fame time, a Caft outward to Hercules, and inward to his own Pain ; and he adds, that 'twas impoffiblc to look at this Picture without being mofl: deeply moved and affcftcd (34). HE likewife defcribcs an ancient Pifturc of Z>m/J (3f), Thilomela, and "Progne, which Philomela and was full of Exprellion and Motion. It rcprefcntcd a Maid-fervant holding a Veil in her Hand Pi'"g"e. fully expanded, and '^Philomela, pointing out with her Finger to Progne, the obfcene and bar- barous Treatment (he had fuffcrcd from 'Tereus, which was wrought upon ic. Progne is vio- lently enraged and feems ready to tear the Pidurc; Philomela being painted on the Veil in the mofl; moving Circumftauces ; juft as O-vid tells the Story : Pafos (31) See wliat P/iKy fayson thisSiibje£t, lib. 23- Heu ^icimus, dehoneftaretur. Ita pulchro timore puellam prodigiofa ingenia! quot modis auximus pretia rerum. AcceUiC ars PifturE ad aurum & argentum, quK Cic- lando cariora fecimus. Didicit homo iiaturam provocare, AiixereS; artem viciorum irritamenta. In poculis libidines cselari jubet ac per obfcieiiitates bibere. So//i.i4.ir.22,Vara adultcriis ca^Iata, tanquam per fe parum doceat iibidinis temulentia. Cicera diftinguiflies very well between dua jocandi genera, Unum illiberale, Petulans, fiagitiofum, ob- fcfcnum: Alteram, elcgans, urbanum, ingenioftim, fa- cetum. Q^io gencre etiam philofophorum Socraticorum libri referti funt. dc. de off. lib. i. 29. And Pliny calls Parrhafuta's lafcivious Piiiures, (eo genere Pctulantis joci.) Properlius moralizes charmingly on this Subject. Tempk PudicitiiE quid opus pofuijfe pueUis, Si cuivis nupice quidUbet cjfs licet ? manus ohfcatias depinxit prima tabcllas, Et pofuit cajla turpia vifa dams: Ilia puellarum ingenues corrupit ocellus, Nequitireque fua neluii ejfe riides. Ah ! gemot in terris ijia qui proluHt arte furgia fubtacita condita Latilia. Non ijtis olimvariabant te£la figuris. Cum paries nulla crimine piffus erat, Scd nan immerilo vclavit Aranea fanum, ^ c. Prop. lib. 2. Eleg. 6. (32) See Carlo Dati in his Life of Parrhafius. f33) Achillis TatiiAlexandrini'EpitTJusi fivede Clvto- phontis& LeucippcsamoribuE, Edit. Salmaf. lib. 3./. 1606. Sane propuellse magnitudine fiixum excavatum erat ita, ut non arte aliqua fabrefafttu m , fed fponte natum caviim Piftura teftari videretur, illiid enimafperum, quo- modo terra producere folet, Pidtor effinxit. In illo ie- debatpuellaeoafpeftu, ut fi pulchritudinem tantum con- fiderare voluifFes ; admiratione dignam imaginem : fm vero vincula etiam, & Cete; In vultti pulchritudini pallor admiftus erat, hie genas occupaiis, ilia ex oculis ef- fulgers : Non tamen eo ufque gense pallebant, ut fuus iis rubor deelfet: necoculorum fulgoradeo corufcabat, quin languors quodam, qualcm in vioHs paulo ante fuccifis con- Pi£l:or decoraverat. Adverfum puellam cctusab inio mari emergens uniias capite, quo una extabat, findebat. Nam corporis major paisaquK contegebatur : non tamcn adeo quin humcrorum umbra, fquamarum ordines caudle fltxiones profpicercntur. Sanna ingenti Si profundo hiatu inter cetum ac puellam Pcrfeus e ccelo dcvolans in Belluam fcrebatur lava manu Gorgonis caput fuf- tinebat, & pro feu to projiciebat horrible fane afpeitu. Nam & torve intueri, & comam concuCere, & ferpentcs vibrare, ac minitari obitum e pi£turavidt:batur, Dcxtra ferro e- jufmodi armala erat, ut & falx & gladius Hmul erat, &c. Lucian, in his Book de Homo, defcribes two Pictures of Perfeus zs\A Andromeda, in which two different points of time are exactly obferved. In one, Perfeus afiilli^d by Alinerva cuts ofF the Medufa's Head : In the other with his Shield, upon which the Medu/a's Head was now en- graved he attacks the Monfter, and delivers Andromeda, Two circumftances, fays Luclan, were remarkably touch- ed by the Painter in this laft Piece, Multa imitatione ex- preflit artifex ille, verocundiam puta virgijiis & metum. Spe£Vat enim & pugnam defuper ex rupe, & adolcfcentis audaciam amatoriam, & Belluae vifum intolerabiiem. ■ Perfeus autem fmidra quidum ofl:endit Gorgonem, dextra vero enfe ferit. Et rurfum, quantum quidem Bcllua: il- liusMedufam afpexic jamfaxum eft. ^ez Ovid. Met. 1. 85. (34) Ipfe fane pifluram quafidoloris fenfum habentem miferatus fuiffes. Prometheus ipfefpe metuque plenus erat, ac partim quidem vulnus, partim vero Herculeni in- tuebatur : quern fane totis oculis contemplari volebat. Sed obtutus partem aheram dolor ad fe rapiebat. Achilles Tatius, ibid. (35) Achilles Tatius, ibid. lib. 5. p. 280. Capillis evul- fis, cingulo fotuto, vefle difciffa, feminudum peiStus, o- ftendebat ; dextraque oculis admota Tereum vehcmenter incufabat; fmiftra vero lacerse veftis parte mammas obte- gere nitebatur : Mulierem Tereus totis ad fe viribus tra- hebat, arctequecomplexabatur. The fame Author, lib.i. defcribes a charming Pidture of the Rape of Europa ; of which afterwards. S4 Essay cn the Rifcj Progrefs, -TtifJ^is laniata capillos. {Liigenti jimil'is^ cajis plangore Lacertis) Intendens palmas, pro dirts, Barbare, fai'Hs, ^Pro crndelis, ait I &c. Ovid. Met. 1. 6. vcr. 5-31. ArlftidesVP/^/iffVj. A RISTT'DES (36), who was fo famous for cxprclling the Pallions, painted a Subject A dfing Mother. of thc moft moviiig kind, a dyinij Mother, whole wounded Ereaft the hungry undifccrn- ing Infant greedily fnatehes, even in her lall; Moments interelHng hcrfelf with the arcateft; Tendernefs, left her dear Child fhould fuffer by lucking her Blood. A Battle- fuce. P erf on! expiring. The mojl celehraied P!6iur£sof?iox.o- genes. His Jalyfus. HE hkewifc painted a Eatrle-piece, in which there muft certainly have been a vaft variety of Ideas, Partions and Attitudes 5 for it confiftcd of a hundred Figures, and was hi'^hly cfteemed. There was, it feems, no Confufion in this complex Piece, the Figures were lo ju- dicioufly aggrouped and contrafted : And what Force of ExprelTion, and Truth muft have been in it, we may judge from the Charaftcr of the Painter, all whole fingle Figures appeared to live, move and fpcak. One was done by him in the Attitude of a Supplicant, which had as it were, a moving Voice. Another reprefented Byblis dying of Love to her Brother : ' The Character of which Piclnrc, together with the Subject, is very elegantly expreffed by Tlmj^ in one Word, as Gronovhts remarks, {a.vx.iTa.\jQ^%v'Av^ * ■ pallcs, audita, Bjbli, repiilsa, Etpavet obfejftan glaciali frigore peBus. Ovid. Met. 1. cj. ver. 5-80. H E could, it feems, exprefs with the greateft truth the Languifliing of Body or Mind (5 7) ; for Attains gave a great Sum of Money for a Pidurc by him, of a Perfon quite exhaufted and juft expiring. Afelles delighted in this Subjcd (38); and fo did likewife fevcrai of the bcft ancient Sculptors and Statuaries. "Pliny mentions a wounded Man by Ctefilans, in whom one might fee how much Life remained (39). He alfo painted an old Man with a Lyre in his Hand, teaching a Boy to play ; and an Aftor of Tragedy inftrnding a Pupil in that Art (40). Strabo fpcaks of a Hercules done by him in the fatal Vcft, th.d.t'Dejanira had prefentcd to him, diftradled and out of himfclf with Exceis of Rage (41). THE two moft celebrated Piftures oiProtogenes are his Jalyfus, and his Satyr, both ex- ceedingly praifed by a great ntunber of ancient Authors. It was \\\?, Jalyfus ihi charmed Apellcs. It is faid to have been the Labour of feven Years, and Protogenes took care to give it a very good Body of Colours, that it might be a lafting Memorial of his admir- able Pencil. The Painter while he was about this excellent Piece was exceeding abftemi- ous, and lived chiefly on Roots, to preferve his Fancy clear, lively, and unclouded (42). We have many Inftances of thc Severity of the ancient Painters in their way of livin*^. A parallel Story is told ofNicias^ and Horace's excellent Rule extends not only to Poets but to Painters, and all Authors : ^li fltidet opt at am curfii cont'mgere met am. Mult a tulit fecit que puer, fudavit ^ alfit, Abjiinuit Venere ^ Vino, &c. Hor. de Art. Poet, There was a Dog in this Pifture warm and foaming, like one juft returned from Hunt- ing; in cxprefling which, fortune is faid to have favoured the Painter exceedingly: For being quite angry that he could not, by all his Art and Pains, come up to Nature in painting the Foiuii about the Dog's mouth, he threw his Pencil againft thc Pidure, and' by this accidental ftrokc, was done to his fatisfaction, what, by all his Labour, he had not been able to perform. Let that Story be as it will, Apelles thought this Pidure very beauti- ful; but rather too much laboured : whereas Protogenes, on the other hand, could hardly ever be contented with any of his own Works, or think them lb near to Nature as he wilhed to make all he did. As much as this Pidure is commended by the Antients, not one of them . (36) Hujiis plduraeft; oppida capta ; ad matrismo- (39) This Is the very Charafler, and chief Excdlencv nentis e vufiiere mammam adrepeiis infans, intelligitur- of the dying Gladiator at Rome. Ctcfilaus vulneratum que fentire mater & timere, ne e mortuo latSe, fangui- deficientem, in quo poffit intelligi quantum reftetAnim^' nem lambat — -Idem pinxit pra;Hum cum Perfis, cen- 34. ' turn homines ea tabula complexus pinxit & fuppi! cantem pene cum voce : & Anapauomenen propter fra- trisamorem. /"/('«. 35. 17. The firlt is thus defcribed in one of the Greek Epigrams : (40) Spe£tata eft & in zede fidei in capitolio, imago fenis cum Jyra puerum docentis, Tragcedum c in Apollinia, &:c, Plin. 35. 1 puero Sugemifer! nunquam qu^s po/ihnc pocula ftiges : Ultima ab exanimo ccrpore poc'la trahc. Expiravit entm jam faucia : Sed vel ab orzo Infantem novit pafcere malris amor. Anthol. i. 3. tit. 12, (41} Str.^ba Geogr. lib. 8. p. 381. (42} Palinam habet tabularum, ejus Jalyfus, quicftRoma; dicatu.s 111 ti;mplo Pacis : Quem cum pingeret, traditur madidiilupinis vixifTe quoniam fimul famem fuftinerent & fitini ; nc fenfus nimia cibi dulcedine obftrueret. Huic pictuiffiquater coiorcm iiidiixit fubfidio injuria & vetufta- p;„^v e r r , , "^'^ ""^ decidente fupcriore inferior fuccederet. Carlo Dati tanmm vJlnl ,^ lf.T D '^"df "HI ; qua m arte explains this, Voiendo dare un buoniffimo corpo di colori TZ^l "1^.'''"' Z rl^"" <^jus centum a quelP opera, nell' abozzarla, e nel finirla la rlpaffalTe, ■bid. lib. 7. c. 38. e lopra vi tornafTe fino a quattro vole fempre miglioran- r-,Rl c;„n^ ■ * ■ 0 ■ . ^ P'" nicirbida riducendoia, coni^- fe proprio di Plii L oc ""^''^ ^ expirantium imagines, nuovo la difT.gneiTe. Eft in ea canis mire faflus ut quam i-mi. iiB. 35. p^^jj^^ ^^^^g pinxerit, Sic. PH.i. 35. (37 ancui talencis Chap. 3 . and Declhie o/ Painting. 5^ has given a particuhrAccount of it. But if it was a View of a part of the Rhodian CountiT as fome imagine, tliere mull: have been the hnagc of fomc beautiful Youth in it, for which it was chiefly dlccmcd, and whofe N.imc it took, tor AuliisGellius calls it a mod won- derful Image or Pidnre of Jaljfis (43), and Ckero joins it wirh the Venus of Apelles {^.i.) and fpeaks of it as a Pidure rcprefcnting fome beautiful Youth: It therefore very probably reprdcnted the Founder of Rhodes as a very comely Youth, in the Attitude of a Huntct returned from the Chafe, with his Dog fweating and foaming by him. And not improbably, the Scene was fomc beautifal part of the Rhodian Country, with a Profped of the City of Rhodes perhaps at a little diftance. All the different Conjcaures about it and all the various ways of Ipcaking of it amongft the Ancients, being laid to'^cther this fecms to be the moll probable Opinion that can be formed of th.at cdcbratcd^Piecc' ; by which, chiefly, Rhodes was laved, and by which the Painter gained the Favour of 'Deme- trius Toliorcetes (the Bcliegcr) to a degree that liath added not a little to the Reputation of both (45-). THE Satyr is more particularly dcfcribed ; which Trotogettes feems to have been paint- w. ing when the Siege was laid. It was a Satyr caUcd Anafauomenos (46) ; becaufe he was in a reclining Pofturc. He held a Flute in his Hand, like a Shepherd rcftinz himfelf at the Foot of an old Oak, and finging the Charms of his Miftrcfs, or the Pleafurcs of a Country Life. He fecms to have chofcn this Subjcd which required great Tranquillity and Qiiictncfs of Mind to fuccecd in it, on purpofe to be a Monument of the Uudifturbed- licfs with which he poflcflcd himfelf, and applied to his Wotk, in the midft of Enemies and Arms. Straha fays, it was a Satyr refting upon a Pillar, on which was painted a Par- tridge ; that, being more admired than the Satyr, was afterwards cftaccd by the Painter thar the principal Subjcft might be attended to as it deferved (47). ' THERE is likewife fomc Difpute amongft Criticks about two other Works of his one called Varalus, and the other Hemionida or Nauficaa. The greater part of the W/j NauKcaa /j-t™ Learned (48), Carlo Dati^ Hardouin, and others, underliand by thcfc Names given to the Piftures, the Names of Ships he had painted. But, bcfides that even the fincft Ship is but one of the loweft Subjefls of Painting; it is plain that the principal Subjedf reprefented in thefc Pieces was not a Sliip, fince Tliny fays, " That the Pamter had added in thcfe Pic- " tures, by way of Parerga, or accidental Orn.iments, fevcral little Galliots to preferve the " Memory of the fmall Beginnings from which his Pencil had rifen to fuch Glory and " Honour. For he had for a long time painted only Ships and Galleys." Cicero cxprcflly fpeaks of Taralus as a human Figure {49). And when it is called to mind, that, accord- ing to Tliny, and other ancient Writers, Varalus pafl<:d for the firft Inventor of Ships (5-0) ; or the firft who had the Coitrage fo celebrated by Poets (fi), to venture to Sea, we can no longer be at a lofs to find out what this famous Pitfurc of Vrotogenes muft have been, and why it is called the noble Tarahis. It certainly reprefented this firfl: and noble Sailor; and in fuch a Pifturc where the Sea and Ships muft have been reprefented other little Boats wtrc very properly painred : As they wetc likewife in the other Picfurc called Hemionida or Nauficaa becaufe the Subjeft was Nauficaa with her attendant Maids driven by Mules, (according to Homers Defctiption) to the River, to walh the Robes of State in preparation to her Nuptials {f2). Noisj mounting the gay Seat, the filken Reins Shine in her Hand: Along the founding Tlains Swift fly the Mules ; nor rode the Njmfh alone, Around, a Bea vy of bright Damfels fione. They (43) ^""^ Attica:, lih. 15. c. 7. In his a;dibus erat (4^) Ztraha, B. 14. p. 652. memoratiflima ilia imago Jalyfi, rrotogenis manu fadta, iUuftris piftoris : cujus operis pulcliritudinem, Jlc. So (48) See C«rh Bali as above, and the Fmich Notes. Flutarcb and /Elwn in Paffages already cited. Plhy'a Words are, Ubi fecit nobilem Pjralum & He- .... T mionida, quam quidam Naulicaani vocaiit i adjeceric . (44) Orator, ah tmtio. Qui aut Jalyfi quem Rhodi parvulas navis longas in iis, qua; piflores parerga appel- vidimus, nonpotuerunt, autCoa; Veneris pulchricudincm lant : ut adpareret a quibus initiis ad arcem otlenca- imitzn, liL^. in Ferrcm, N" 60. Quid Thefpienfeis ut tionis opera fua perveniflenc. Cupidinis fignum, propter quod unum vifuntur Thefpii ' Quid Cnidios ut Venercm marmoream > Qjid ut piflam («) f'rr'm, lib. 4. 60. Coos.' Quid Ephcfios ut Alexandrum ? Quid Cyzicenos (50) Plin. lib. 7. c. 56. Longa nave Jafonem primum ut Ajacem, aut Medeam ? Quid Rhodios ut Jalyfuin ?— navigaffe Pliiloftepbanus audtor elt ; Eeefias Paralum. Epif. «d Jtt. llb.l. Ep.u.—l.tLtit XfcWes, t\Ymmm, •= r B aut fi Protogenes Jalyfum ilium fuum ca;no oblitunr vide- (51) Illl robur ^ as triplex ret, magnam, credo acciperet dolorem. circa petlus erat, quifragiUm trtiei Cmmlfit pelago ratem (45) ^ati gives us the various Opmions about Primus, &c. Horat. Carm. lib. 3. Od. 3. this Pifiurein the Poftille to his Life of Protcgenes, chap. Juv.Sat.r2. ver.57. Claud, dc Raptu. lib.i. ab initio. 5, 6, and 7. where he obferves, that, according to Suiclas, it was a Figure of Bacchus. We have given the Sum of (52)ThisPifture was caIIedA^<7r^//Ma, becaufe the young all their Conjcaures. Princefs of that Name was the principal Figure in it ; and Hefiticnida is ufed (as Hcrmdaas Barbarus obferves (46} Satyrus eft, quem Anapauomenon vocant ; h upon this Pafiage of Pliriy) as a Term of Art to exprefs a nequid defit temporis ejus fecuritati tibias tencns. Plin. Virgin riding upon, or more properly drawn by Mules, 35. See the French Notes on this Paffage, and Carlo tTn riiAiUm. Bali's Poftille, &c. This 5 5 ' Essay on the Rtfej Progrefs^ They feek the Ciflerns 'where Pheacian Thames IVaJh their fair Garments in the limpid Streams ^ IVhere gathering into Depth fro?n failing Rills The lucid JVave a fpacious Bafon Jills. Odyflcy, B.6. Pope's Tranfl. ver. i oo- TAUSANIAS, ill his fifth Book of his Eliacks, Ipeaks of a Bas-rehef reprefent- iiiL; two Virgins drawn by Mules, of whom one guides the Reins, and the other had her Head covered with a Veil j wiiich was faid to reprefcnt this very Subjedt, Naujicaa going with one of her Virgins to the River. Here is indeed a very plcafing Subject for a Picture, and very fuitablc to the Genius of this Painter : And the fame Story of Naujicaa in Homer affords fevcral Subjcfts equally calculated for fuch a Genius to paint. As when after walhing the Robes, Ihc is fporting with her Nymphs: The Mules unharnefs'd range befide the Main, Or crap the njerdant Herbage oj the T^lain. And is^hile the Robes imbibe the folar Ray, O'er the green Mead the /porting Virgins play : {Their pining Veils unbound) along the Skies Tofs'd and retofs'd, the Ball incejfant flies. They /port, they feaji s Naufieaa lifts her Voice Arid warbling Jbjeet, makes Earth and HeanSn rejoice. 'The Siquehf that ^^r the Sequel of the Story, Ulyjfes furprizing Naufieaa and her Damfcls, it was Stary was painted painted in thc various Gallery at Athens by "Polygnotus, who it feems had done almoll all by Poiygnoius. j-j^g moix beautiful pidorefquc Parts of Homer. So Taufanias tells us in. his Atticks. And what a charming Subjeft is it for a Malter of Exprellion and Grace \ Wide o'er the Shore with many a piercing Cry To Rocks, to Caves, the frighted Virgins fly j All but the Nymph : The Nymph Jiood Jix 'd alone. By Pallas ar?nd with Boldnefs not her own. Meantime^ in dubious Thought, the King awaits^ And, felfconjidering, as he Jiands, debates, T>iftayit his moumjul Story to declare. Or projlrate at her Knee addrefs the Tray'r. But fearful to offend, by JVifdom fwafd At awful Dijiance he accojis the Maid. Homer'; Campari' HOMER's Comparifon taken from Diana, attended by her Nymphs, is exceedingly fin taken from bcautiful : And jzt Apcllcs IS thought to have out-done the Poet in painting that Sub- Diana painted by Apelles, jca(;3). A fylvan Train the Huntrefs §lueen fitrrounds. Her rattling ^iver from her Shoulder founds : Fierce in the Sport, along the Mountain-brow They bay the Boar, or chafe the bounding Roe : High o'er the Lawn, with more majeflick 'Race, Above the Nymphs floe treads with Jlately Grace j Difinguip'd Excellence the Goddefs proves } Exults Latona as the Virgin moves, &c. AND it is not improbable that Virgil had this Picture of Apelles, as well as the Ori- ginal whence it was taken, in his Eye, in his Defcription of the fame Goddefs. ^lualis in Eurota ripis, aut per juga Cynthi Exercet Diana chores } quam mille ftcuta Him atque hinc glomerantur Or cades ; ilia 'Pharetram Fert humero, gradienfque Deas fupereminet omnes Latona taciturn pert ent ant Gaudia peBus. ^n. lib. i, ver. j-o^. As well as in that other equally beautiful Defcription of Venus. Virginis os habitumque gerens, ^ virginis arma Spartana vel qualis equos Thre'iffa fatigat Harpalyce, volucremque fuga pravertitur Hebrum. Namque humeris de more habilem fufpenderat arcum Venatrix, dederatque comam diffundere ventis Nuda genu, nodoque finus collegia fluent es. An. l.zi. ver. 328. THE This is the Explication of Hermolaus adopted by (53) EtDianam facrificantium virginum choro mix- Mad. Dac/V. See her Remarlcs on thzOdypy. Pope's tam, quibus vicifTc Homeri verfus videtur id-ipfum defcri- Notes, ibid. And the Fnnch Notes on P tin, 35. See bentl:;. PUn. -^S- '7- likewifi; Cajio Dad, 3 Chap. and Decline of P a i isr 1 1 n g . Si THE moft celebrated Pieces of that great M-i^Ac! Apelles^ was Venus Anadyomene, Other Worh of or Veyins coming out of the Sea (5-4). Lncian in his beautiful Dialogue entitled. The Venus Ana- Images, where, in order to draw the Portrait of a Woman more charming than any he dyomene. found cxifting, he borrows from all the bell Sculptors and Painters their mort malierly Strokes, fiys, Etiphranor fhall paint her Hair ; Volygfiotns her Eye-brows, and the Ver- milion of her Checks ; but Apelles fhall do all the reft of her Body after the Model of his ^Pancafte ; that is to fay, of iiis Venus which was done chiefly after the Life, from '^Pancafte the Theffalian Beauty, Alexander^ firft Miftrefs ; whom he afterwards gave to Apelles upon his falling deeply in love with her (ff). This Venus was a confummate Beauty ; fo perfed a Piece, that, in Angufius's time, this Pifture being then at Rome, and a little fpoil'd in fome of the inferiour Parts, no Painter would adventure to repair it. It was in like manner, with the greatcft difficulty, that Carlo M^&ratti, as fweet and gra- cious as his Pencil was, and as fine an Idea of Beauty as he had, was pcrfuaded to retouch fome parts of Raphael's Paintings in the little Farnefe at Rome. Apelles had aUb begun another Venus, which not living to finiOi, no Painter would ever undertake to complcat ; fo elegant were the Out-lines and Contours of this unfinifh'd Piece (f 6]. For that he had perfeftcd the Head, and upper part of the Brcaft with admirable Art, Ckero tells us (5-7). THESE charming Beauties are often celebrated by the Poets : Forynofa periere com£ : qnas vellet Apollo., Gluas vellet capiti, Bacchus inejfe fuo. litis fontulerm, quas quondam nuda Dione Tingitur humenti fnftinuijfe rnanii. Ov. Am. 1. 2. El. 14,. Again, Sic madidos ficcat digitis Venus nda capillos : El modo matemis teBa videtur aqms. Trifl. 1. . OVlT> there defcribcs feveral Piflures in the Palace Aiigujlus. Ov. Ep. de Ponto, 1. 4.. Ep.ti Again, lit Venus artificis labor efi & gloria Coi c_yEquoreo madidas qua premit imbre comas. AND there is an Epigram oiAufonius on the fame Subject. Emerfam Pelagi nnper genitalibus nndis Cyprin ApeUei cerne labor is opus j Ut complexa manu madidos falis aquore crines Humidutis fpumas ftringit utraque comis. Jam tibi nos Cypri, Juno inquit O" innuba 'Pallas^ Cedimus, ^ formte pramia defer imus. Auf. Ep. n. 104- iaVcn. Anady. AND another in i\\zGreek'E^\^xx:nsbY Antipater Sidoniiis ; thus tranflated into Z^^r^'s fay Qrotiiis : Matemis primum de fluBibus emergentem Cyprin Apellei cerne laboris opus : Ut manibus miilcens refperfos aquore crines, 'De madidts fpumam cogit abire comis, Non tibi de forma pofthac certabimus, ipf£ Dicent, fi videant, nata fororque Jovis, AnthoLl.4. tit. 12. HE pamted the Image of War, with its Hands tied behind, led in triumph; znd Alex- ander riding in a triumphal Car (58). To the firft of which Virgil feems to have had an eye in thefe charming Lines (5-5)). e ofTFar de- :d by Virgil. (54) Venerem exeuntem e mari D. Augufius dedlca- vit in delubro patris Ciefaris, quae Anadyomene vocatur ; verfibus Grscis, taU opere dum laudatur, vldlo, fed il- luftrato 1 Cujus inferiorem partem corruptam qui retice- rer, non potuit rcperiri. Verum ipia injuria celfit in gloriaiii artificis. Plin. ibid. (55) Athenau!, lib. 13. c. 6. fays it was done after Phryne. Erat utique Phryne magis pukhra in iis partibus qua: non vidcntur quamombrem baud facile fuit earn confpicere nudam: Induebatur enim lunicam arite car- nes adflringentem neque publicis utebatur Balneis. Fre- quentiflimo lamen Eleufmiorum conventu feriatifqueNep- tuno diebus, in Gra^corum omnium confpectu, depo- nens veftes &t folvens comas, ingreffa eft mare : adeo ut Venerem e mari emergentem ad hoc etiam exemplum pinxerit Apelles. (56) Venerem Cois, fupcraturus etiam fuam illam priorem : Invidit mors, peradta parte ; necqui fuccede- j-et operi ad prxfcripta lineamenta ir.v^'ntus eft. Piin. ■ D/r^ 35. 17. Jd preefi-ripta linsamenia, this properly fignlfies the Contours in Sculpture and Painting. Tu videlicet folus vafis Corinthiis deleflaris ? — Tu operum lineamenu folertiflime perfpicis. Cic. in Ver. I. 4. So a Poet contemporary with PVmy fpeaks : Artifitum velerei ognofcere duSius. And a little afterwards : Lima qum veurem Isngt faUatur Achillm. Stat. inHercu!. lib. 4, (57) ^PW- ^dFamil. lib. i. Ep. 9. Nunc ut Apelles Veneris caput, & fumma peSioris politiflima arte perfecit, reliquam partem corporis inchoatara reliquit. (58) Item belli imaginem reftriftis ad terga manibus^ Alexandre in curru triumphante : Quas utrafque tabulas D. Auguftus in fori fui celeberrimis partibus dicave- rat, &c. (59) Alludit, juxta Turnebum, ad imaginem belli hoc habitu piiflam ab Apelle, &c. Q. 58 ^n'EssKY on the Rife, Progrefs, His Alexander w'lih T/jiintJey ii Us Hani. HerOi7H(/LeandeE Jliid the Grates. A fameiis PlSlnre if Cetlimvy elejei i- ieeij/y Luisisis, The Suhjeils of Nicomachus'j Ple- tures wiere paetical. ^iris ferro ^ compapblis ar£iis ChltldentUT belli porta : Furor impius hitus, Seeva ftdens fuper arma^ ^ centum villus ahems Toft tergiim nodis, fremet horriins ore cniento. Virg S.n. 1. 1. 258. HIS Alexander is alfo famous, with Tlinndci- in liis Hand, wliich he feemed ready to dart; fo ftrongly did the Hand and Thunder Hand out from tlic Board (60). Tlutarch tells us in his Life oi Alexarlder, that, on account of this woirderful Pidure, it was com- monly faid there were two Alexanders, the unconquerable Son of 'Philip, and the inimir- Alexander of Apelles (fii). The fame Author fays (62), tlrat in this Piftute he had siven Alexander a ruddier, or rather browner and more fwarthy Complexion than liis natural°one. TIris the Painter probably thought might be done without diminilhing the Likcnels ; and it was more agreeable to the Charader of the Pifture than a foftcr fairer Colour. He is faid by y/ray to have painted Thunder and Lightning, and thofe other marvellous Appearances of Nature which ir was thought impofiiblc to imitate, and that none before him had dared to attempt (63). Julio Romano was able amongft the Moderns to rife to this marvellous Force of the Art ; to thunder and lit the Heavens on fire with his Pencil. This he did in his famous Paintings at Mantua, which are elegantly dcfcribcd by Felibien (S4). BY Apelles likewife was painted the bciiuifnl Hero, receiving her Leander at the Sea- fide, and drying him with her fair Hands (if). He had painted the Graces, Vaufanias tells us ((>(5), in their true Charatlcr ; and thar fcems to have been the proper Subjed for this Painter to exert his peculiar and diftinguilhing Talents upon. But 1 fhail only men- tion one more celebrared Work of this Painter, his famous Picture of Calumny, one of the moll noble moral Pidures that ever was attempted. This he did upon his beiirg' accufcd, to Ttolemy, by a Painter who envied his Merit and juft Fame. On the rigirt hand, in this Pifture, fits a Pcrfon of Diftinaion and Authority ; but with the Ears af Midas, reaching out his Hand to Calumny, who haftens to addrefs hcrfelf to him, attended by 'ignorance and fulpicions Jealoujj. Calumny appears grand and magnihccnr in her Drcfs,''bnt hcr Facc and Gait bewray the Fury and Malice drat boil in her Heart. She holds a Flambeau in one Hand to kindle Difcord and Strife ; and with the other drags a young Man by the H.air, who, with Hands uplifted to Heaven, implores the Gods to defend his Innocence. Before her marches Envy wirh a pale ghaftly Vifage, a meager confumptive Body, and piercing Eyes. A Croud of young Women follow in her Train as her Servants and Mi- nifters ; in whofc Countenances appear Guile, Cunning, Artifice, and falfe, deceitful, traitor- ous Smiles. Repentance comes up behind with a very lugubrous Air and Dre'fs j who with great Coufufion, and all in Tears, prepares to receive Truth, whom £he difccrns com- ing up to her, but at a confidcrable dillance. Liician (67), who defcribes this Work of Apelles, after-wards gives us an excellentDifcourfe upon not rafhly believing Calumny, which is nothing clfe but a tine philofophical Leaurc upon this truly moral Picture : And here wc have a plain proof of the Iirftruttion rhat may be given by the Pencil, and the excellent Ufe that might be made of the Art in Education, or in reading moral Leflbns ; rendrin" them more iufinuating and imprcflive, as it would make them more pleafing and cnte° raining. All the Virtues (68) and Vices, with their Eifcas and Confequences, were painted and carved by the Ancients with proper Symbols : Hence the Origin and tiue Meanin" of the Epithets given to them by the Poets, as Ut.Addifin has fhewn in Us Dialogues on Me- dals, after Augujt 'mt, Ofellius, and other Writers on thefe Subjeas. NICOMACHUS, who had a very fweer, light, and delicate Pencil, was, it fcems a great Lover of the Poets and their Fables, and took almoft all the Subjefts of his Pic- tures from them. 'Plutarch gives him a very great Charafter, and at the fame time gives us a very inftrudive Lcifon in the Art, and a jull Idea of the intimate Alliance bctween°Paiutin<' and Poetry. The Verfes of Antimachus, faith he, and the Piaures of 'Dionyfms, thouoh they are ftrong and mafculine, and have Nerves and Vigour ; yet they are conftrai'ned aSid forced ; too much Labour and AfFcaation appears in them : But the Paintings o( Nicoma- chus, like Homefi Poefy, with all their Grandeur, Force, and Beauty, have tills additional Charm, (60) Alexandrum magnum fulmen tenentem di^iti cminere videntiir & tulmcn extra tabulam elTe. Plm. ibid, (61) Apelles pinxit fulminigerum Alexandrum, atque adeo accurate atque adtempenite, uc diceretur duos efie Alexandres : Unum Philippi filium infuperabilem ; alte- rum Apellls inimitabilem. Plutareh. de Form. vd. Virt Jlex. (62) In Alexandri vita. (63) Pijixit & quic pingi lion pofiunt, tonitrua, fui- gura, fulgitraque. Pl'm. ibid. (64) Tom. 2. p. 118. (65) Pinxit & hero nudum, eaque pidura naturam ip- fam provocabat. Flin. ibid. (66) Paujanias, lib. 9. p. 596. (6^) Liieicin. de Ceslu/n. non iemere creden, (68) See Lomazzs Trattato delta Pittura, p. 662, &c. v.-here he thews how Difcord was painted by Arijlide 's, as defcribed by Virgil ; Envy, as it is defcribed by Ovid \ and, in one word, how the Virtues, the Vices, the Blef- hngs, the Calamities of human Life, the Graces the Furies, Ise. were painted agreeably to the Dcfcrip'tions of them in the beft Poets. He treats at great length of all forts of Subjcfts and Compohtions, and gives verv ufefu] Leflbns to Painters. Chap. 3. and Decline of Painting. ledgfd by his Ds^ Argus. S9 Charm, that they feem to have been done with extreme Eafc and Facility {6t>). His Rape of Ks Rap, ./Pr, Pre/frjO/M was highly efteemed, fo poetically was it reprelented (70). He likewife painted ?.'"P''"=' a Viftory drawn in a triumphal Chariot by four fprightly Horfes that feemcd to cut the Air. So is Ceres, or perhaps Fortune, reprelented in one of the Pieces annexed to this Difcourfe. But one of his moft famous Pieces is UlyjJ'es at the Gate of his own Palace in difguife, in the very point of time that his faithful Dog came and expired at his Feet thro' cxcefs of Joy (71). Ulyjfes was painted as a /implc Peafant in the Difgaife Minerva had given him, which no Painter had attempted to do before ; fo accuflomcd were they to ice Ulyjfes always in the Habit of a Hero, with his Cafque, or his Head quite uncovered. Nicomachus had emulated Homer in this admired Piece, and painted the Story as charmingly as he hath told it : ° A Figure defpkable old and poor In fqtialid Vefis^ with many a gaping Re?it^ Tropt on a Staffs and trembling as he -went ; Then refting on the Threfiold of the Gate, Againfi a Cyprefs Millar lean'd his Weight. Thus near the Gates conferring as they drew, Argus, the T>og, his ancient Mafter knew i He not unconfcious of the Voice, and Tread, Lifts to the Sound his Ear, and rears his Head^ Bred by UlyfTcs, nourifi'd at his Board, But, ah ! not fated long to pleafe his Lord [ He knew his Lords he knew, and (irove to meet-. In vain he firove to crawl, and kifs his Feet s Tet {all he could) his Tail, his Ears, his Eyes Salute his Mafter, and confefs his Joys. Soft Tity touch' d the mighty Mafter s Soul j Adown his Cheek a Tear unbidden ftole. Stole unperceiv'd j he turn'd his Head, and dryd The 'Drop / The T>og whom Fate had granted to behold His Lord, when twenty tedious Tears had roU'd, Takes a laft Look, and having feen him, dies j So clos'd for ever faithful Argus Eyes ! Odyff. 17. THERE arc Medals with this Story upon the reverfe^ as is well known by the Curious. HE liad likewife painted an Apollo and Diana, that were extremely beautiful, juft as they are defcribed by the Poets ; and the Mother of the Gods upon a Lion's Back furrounded with her Pricfts : A very gay Bacchanalian Piece with Satyrs rufhing upon the Bacchantes while they were employed about their Sacrifice, with lultful Rage (72). The true Ciiarac- ter of a Satyr is admirably cxprcllcd in one of the ancient Paintings now publi'lhcd. He painted the Monfter Scylla deicribed by Homer, and afterwards by Virgil. Perhaps it is owing to Virgil's having feen this Performance, that iie is thought to have excelled Homer in the Dcfcription of this Monfter. At Scyllam cacis cohibet fpelnnc£ latebris Ora exertantem, & naves in faxa trahentem. Trima hominis fades, ^ pulchro peBore virgo "Pube tenus, poftrema irnmani corpore 'Briftis, Delphinum caudas utero commiffa luporim. i£n. 3, ver, 4,25". (69) Plutarch, in Tmohonte. Verfus Antimachi & Pic- ture Dionyfii Colophoniorum utut vim habeant & infig- iiem eximii fplendoris vigorem kchi tovov. It is the fame word [tcis?] that Pli/iy himlelf makes ufe of in defcribing the Improvements in Colouring made by the Ancients, and which he tranflates Splendor.) Plurimum tamcn iaboriofe, coaftseque afFeiSaCionis prs fe ferunt : Nicomaclii vero tabulis & carminibus Homeri, pra;ter rehquam vim Veneremque, etiam hoc adeft, quod expe- dite & cum eximia facilitate fa£ta videanCur. There is a /amoiis Saying of his, with a judicious Refle6lion upon it in Stobaus, Serm. 61. Ex Plutarcho de amorc Non eft idem judicium vidcndi, quemadmodum ncque giiflandi : Etenim vifusvifu, & auditus auditu, natura magis con- formatur & arte coexercitatur ad pulchri ex p! oration em. Ad harmonias nimimm & modules, muficorum; ad for- mas vero ac fpccies, piitorum ingenia plurimum valent. IT Quamobrem quoqiie tradunt Nicomachum aliquando re- fpondilTe cuidam IdiotSj qui Hclenam Zeuxidis minime fibi pulchram videri dixerat, fume oculos meos & dea tibi videbitur, £lian afcribes fiich another Saying to Ni- coflratus. Var. Hifi. Ub. 14. c. 47. (70) Pinxit & raptum Proferpinse ; Viaoria quadri- gam in fublime rapiens. Piin. ibid. (71) Hie primus Ulyxi addidit pileum. See P. Har* doum, Mantfaucaii% Antiq. and the Frmtb Notes on Pliny. (72) Pinxit H Apollinem & Dianam ; Deumque mar trcm in Leone fedentem : Item nobiUs Bacchas, adrep- tantibu; Satyris ; Scyllamque qu* nunc eft RomK in templo pacij. Plin. iV\4- Apollo, Diana, and other Pieces, The Scylla. 6q An Essay on the Rife^ Progrcfs^ IT is to be fccn on Medals ; and Ayitonio Augnliini mentions an ancient Statue Rome of the Scylla reprefcnted in the lame manner (73). Several Piilures by Euphranor, The tiuelve Gads. His Jupiter. SEVERAL Pif3:ures of Euphranor, that vaft Genius for Painting as well as Sculpture-, are highly extolled. The twelve greater Gods, as they are called, with all their proper Attributes, and in the Charaftcrs peculiar to each. An ancient Author fays, that he had made A^i^sr/z^/e's Image fo juft, true, and grand, with fuch Charadlcrs of divine Majelty, and yet added fo much fupcriour Greatnefs to that of Jupiter, that his After-Labours did not come np to his Defign ; but having, as it were, exhaurted his Imagination in thefe two, he fcli ihort in the reft. They arc all howevei: greatly praifed : Andi EhJI at hius fays, that having meditated a long time in order to conceive a juft Idea of Jupiter j upon reading Homers Defeription of him in the firft Book of the Ilmd, he cried out, that he had now a pro- per one to be emulated (74). He fpoke, and awful bends his fable Bro'-Jijs ; Shakes his arnbrojial Curls, and gives the nod. The Stamp of Fate, and SanBion of the God: High Heav'n with trembling the dread Signal took. And all Olympus to the Cetitre Jhook. His Thefeus, and ether Pieces. His Chara£Ier, end wonderful Jiilities. THE Hair of Euphranor Juno is much commended {/f). His Y\d.\xxzoi The fens found- ing the Democracy in the midil of the People, has been already mentioned. It was of this or anorhcr Thefeus, painted by Euphranor, that he (aid, on comparing it with one by Tar- rhafus, that the latter looked like one fed with Dew, but his was ftrong and mafculine, like one nourifh'd by more folidFood (76). His Excellence conliftcd in giving Heroes rhcir proper Afpeds and fuitable Qiialities of Body and Mind. He painted a Battle called the Cavalry- Battle, becaufe there were no Foot-Soldiers in the Piece: It was the famous Cattle at Man- tinea againft Epaminondas. And this Picture, '^Plutarch fays, was wrought with a noble Enthufiafm(77) it was full ofLife, Spirit, andExprellion. The famePifture iscommended by T^aufanias in his firft Book of Atticks, as well as the other of Thefeus. He did two Phi- lofophers deeply mufing; a General putting up his Sword; and Ulyjfes'm his counterfeit Madnefs, yoking a Cow to the Plough with a Horfe (78). In all Euphranor ^ Piftures there was grear Propriety, and Strength of Exprefllon ; and they arc no lefs exrollcd for their ex- cellence in the mechanical part. Thilofratus in hisLife of Apollonius (zjs {75)), his Pictures were alive ; fo rounded that they appeared folid, fubftantial Bodies j and that fuch was his Art and Skill in painting, that fome parts fccmed to come out, and offer themfelves to be grafped, while others preferved their due Lontannezza as it is called by Painters; that is, were duely diminifh'd, oblcured, and therefore appeared as if feen from far. 0/"Cydias*j U-'orks. AT thc fame time flourllli'd another very great Painter, Cydias, who painted the Argo- 7"/j« Areonautick nautick Expedition j for which the famous Ox'^xot Hortenfius gave a great Sum (80] : It came Expeditimi. afterwards into the pofleflion of Marcus Agrippa {81), who confecrated it in the Portico of Neptune, as a proper Ornament for a Monument erefted in Memory of naval Vidoriesj and too noble a Work to be hidden in a pri\'ate Villa. We cannot doubt of the Excellence of this Pidlure when we confider in what high efteem it was held by fuch intelligent judges, but have good reafon to conclude that fo noble and worthy an Argument, was reprefcnted in a Stile fuitable to its Dignitv. The excellent ^nali- ficatiaas s^Nicias. NICIAS is mentioned with high Encomiums by feveral excellent Writers. Plutarch fpeaks of him with great Applaufe, he clafles him with the beft Painters of the Atheiiian School ; and we may form fome Notion of the diftinguilhing Charafter and Excellence of that School, by what he fays of the Athenian Painters he commends. Athens, fays he, was a fruitful (73) Diahghi di D'Ant. Agsjlini, Dial. 5. p. 159. Ovid. Met. I. 14. V. 60. & Silius Itat. I. 5. Scylla [upsrfraSil cantarquem poiidera remi Jnjlabat, Javofque canuni pandebat hiatus. (74) Fal. Max. lib.S. c.ii. Exe. ext. 5. Macrobius i\\ like manner fays, that Phidias having made his Olympian Jupiter, which pafs'd for one of the greateft Miracles of de Domo. Art, was afk'd from what Pattern he had fram'd ib 'di- vine a Figure; and atifwer'd, from thofc Verfes of Hamer (79) Oi'o juft quoted. Saturnal. I. 5. c 14. So foon as Minilius «' ,''"f^,*^" iaw this Statue, he faid, there is indeed the Jupiter of '-i'^X'^'-' Homer. Plitt. in MiniUo. nondam prtelium ad Mantineam, non fme quodam di- vino inftindlu Euphranor. Plut. Bellone an Pace. {7 Si) Nobiles ejus tabulae Epheft, Ulyxes (Imulata ve- fania bovem cum equojungens; & Palliatse cogitantes ; dux gladium coiidtns. Plin. ibid. A Pidure of Ulvjll-s counterfeited Madnefs is fully defcribed by Lucian (j^) Ltfcian. in Imaginibus, (76) Thefeus in quo dixit, eundem apud Parrhafium rore paftum elTe fuum vero came. PHn. 35. And Plu- tarch. Bclhne an Pace, &£c. (77J Piin. ibid. Pinxit etiam equeftre adverfus Epami- (80) Eodem tempore fuit & Cydias, cujus tabulam, Argonautas, H. S. 144. Hortenfius orator mercatus eft, eique sdem fecit in Tufciilano fuo. PHn. 35. (81) M. Agrippa porticum Neptuni diiiam propter vi6torias navales extruxit, & Argocautarum pitStura de- coravit. Dim, Cajftus, lib. 53. I Chap. 3 . and Decline (5/^ Painting. 6t fruitful and kindly Mother, and Nurfc to all the fine Arts (82) ; fomc it firft conceived and brought to Liij;ht ; and to others it added great increafe of Excellence and Honour. The Art of Painting was not a little promoted and improved by her. For Apollodorus who firfl in- vented the delicate Mixture of Colours, and found out the agreeable Diftribution of the Mafles of Lights and Shades, was an Athenian: Upon his Works it was infcribed, it is cafier to carp at them-> than to cope 'with them. So were Euphranor, Kicias^ Afclepiodorus and TUfii- n£tus Brothel- to yy^/WMJ-, who painted Battles, and Genctals leading Armies to War, and other great Subjeds : He makes mention of the famciViW.^j' in another plAce, w here he extols his indefatigable Diligence in improving himfclf and his Art, and the noble Entliufiafm with which he wtoiight (83). 'Taufanias fpeaks highly in praife of his Paintings, in a fcpulchral Monument at Tritia, 3. city of Achaia ; which tho' linely adorned by feveral ancient Sculp- tures, was yet more diflinguifhcd by Nicias's beautiful Pictures. There was painted, faith he (84.), a beautiful, graceful Youth fitting in aChair, with a Woman on oneiide holding a Parafol over his Head ; and on the other a bcardlcfs Youth with a purple Robe hanging about hinii near to whom is a Servant with a Spear in one hand, leading with the other Ibme Dogs to the Chacc. He did :iV'\ct\irc of Hyacinthus, with which ^//^//////j' was fo, delighted and charmed, that he brought it with him to Rome, from Alexandria {^^). E Y him was painted a charming Danae fporting with little Cupids, while the Shower of His Danac. Gold begins to fall which was to enfnate her : And Ulyjfes\ Defcent into Hell as it is de- fcribed in the Odyjfey. But thefe Pieces were in Miniature. His more capital Works were, the Story in the Odyffey of Calypfo's detaining {//y^-r in her inchanted liland, and cndea- Calypfo. vouring to confolc him by her Carefles : The Metamorphofis of into a Cow: enra- ged agnin&y upiter for his unfaithful Gallantries : 'Perfeus having killed the Monller, hand- ing down Andromeda from the Rock : An Alexander of exquifite Beauty > and another Pic- ture of Calypfo in a diiFcrcnt Attitude from the former, fitting on the Sea-lhore, and in the Atlion of looking after Ulyjfes, with great Grief mixed with Anger at his Departure (86). Thefe Pictures arc praifcd by feveral Authors, and fhew how converfant Nicias was with the Poets, and his poetical Genius ; that he delighted in employing his Art upon Subjects which required a very fine Imagination and great Judgment; and could render Painting a Rival to her Sirter- ■ Art. He was fo greatly cfteemed at Athens, that after his Death he was honoured with a fcpulchral Montmient amongft thofe who had been reckoned worthy of having fuch a pub- lick Teftimony to their Merit {87). He is particularly commended for Ihunning in his Pic- tures what is called the Triteria by Italians j or filling Pictures with many fmall Objects which fplit or diilipate the Sight, anddeftroy the Unity of Compofition (88). TIMOMACHUS {%9) feems to have been a tragick Painter; he delighted and excelled Timomaclius t.a-m/Ap'y.aTi^:iv ■nil' Ti'xw> iti [j.iK£yi. Sec a Pidture of Hyacinth in Phlhjiralui' s hones. (89) Timomachus Byzantius, Caefaris difiatoris Aja- cem 5: Medeam pinxit, abeo in Veneris genecricis jede pofnas oi^toginta talentis venumdatas. Timomachi lau* dantur & Orelles, Iphigenia, &c. Plin. 35. (82) Plutarch. Bellane an Pace, ab initio. Cujus operibits infcribebatur ;:!, &C, IT is not furprizingto find Painters making as free with the Cods as the Poets. Cte- CteaadmsaLibir- Jilochus a Difciple oi Apelles, and a very able Painter, but one who gave way to his pc- ^^"^ l'"s^ter. tulant libertine Imaginarion, had reprcfcntcd Jupiter drelVd like a WiDman and in travail, bringing forth Bacchus. He feems to roar aloud (fays Tliny) and to call to all the Divi- nities for help (97). The Venus c/" Nealces, and this Painter's regard ti the CoJIume. THE Venus of Nealces was parricularly cftccmed, notwithftanding all the fine ones that had been done before him by fuch eminent Hands. To one of Genius, a Subjcft is always new ; and there is a Venus in this CoUeftion of ancient Paintings, which is indeed very beautiful, though perhaps not equal to that of Nealces. This Painter had a ftrift reaard to Truth, Nature, and the Coftume in his Pieces, which made them very intelligible, "and added to their Beauty and Force exceedingly. We have an inllance of this in one of his Pidtures rcprefenting a naval Fight between the Terjians and Egyptians : For havint^ oe- cafion to paint the 'Nile, which is very large towards the End of its Courfe, and whofe Water there is hardly diiccrnibic from the Sea ; he charaftcrizcs the Nile diftindly by an Afs drinking, and a Crocodile, at a little diftance, half hid amongft the Bufhes, watching its opportunity to fpring upon the Afs {98). Whence we fee ho'w well the ancient Ma- ftcrs underftood, by their Art, to give every thing its proper CharaSer, and to determine by evident Marks the Scene of their Reprefentations. 'Plutarch tells us in his Life of Aratus (99), how earneftly this Painter intreated Aratus to deftroy Tyrants, but not their Images, if they were well painted : For Aratus, though a great Lover of the Art, was fuch an Enemy to Tyranny, that he could hardly prewiil upon himfelf to fuffei any me- morial of them to remain undeftroyed. S IMU S painted the Goddefs Nemejis with all her Attributes ; a Rule in her Hands to Th, G«ii/,Neme. icgulate our Words and Aaions; a Bridle to reftrain our Pallions and Appetites; Wings '.r Simus. to fly after the Guilty, that none may efcapc, and a Crown to reward thejuft ; a Figute that mull have infpitcd Fear and Reverence (100). H£C Nemefis frecnum gejlans normamque monebit Nil effriene loqui, nil facere abfque nwio. Anthol. lib. 4. c. 12. THEO'DORUS h.ad painted Orejies ^\\Xmi,li^gyfthus xciiClytemnefira ; the Sub- jea of this Pifture was takenfrom&//joc/fj(ioi). He likewife had' reprcfcntcd the whole War (94) Ariftophon, Ancaeo vulnerato ab apro cum focia doloris Artypale : mimerofaque tabula in qua funt Pria- mus, Helena, Credulitas ; Ulyxes, Dei'photius, Dolus. Pl'm. ibid. (c)5) Pkioin Gvrgia. (96) Artemon, Danaen, mirantibus earn pradonibus j I Stratonicen ; Herculem & Dejaniram : Nobi- &c. Pl'ui.ibid. Coypeltm hisPiauresreprefenting Afs/^f faved by Pharaoh's Daughter, has imitated in levural Cir- cumftances this Picture of Nealces. (99) Arato poll: liberatam Sicyonem vulente una cum reliquorum cyrannorum imaginibus etiam tollcre nobilem Arirtrati tabulam, piclam ab omnibus Melantht afieclis, in qua tyrannus ille infiftebat currui triumphali cum Lcioria ; perhibent Nealcem pi£torem, Arato carum. Orefies hy Theo- dorus, and his Pic- tures of the Trojati War delcribed by Virgil. liiuimas autem quse funt inOilavias operibus, Herculem lacrymabundum dixiiTe, Belluni gerendum cum ipfis ab Oeta, monte Doridos, exuta mortalitate, confenfu deorum in ccelum euntem : Laomedoiitis circa Herculem S;Neptunum hilbriam. PUn. ibid. Vid. l!er.Eun.4a. 3- «■ 5. (97) Ctefilochus, Apellis difcipulus, petulant! piftum innotuit, Jove liberum parturiente, depiflo mitrato & mu- liebriter ingemifcente, inter obftetricia dearum. Plin.ibid. tyrannis, iiiinime vero cum eorum imaginibus. Sinamus igitur currum &Vi<£toriam : Ariftratus iple faxo uC tolla- tur. Quod cum et induHillec Aratus, mox Ariftratum delevit pi£l:or, palmamque in locum ejus fubflituit. Plut, in Arato. (100) Simus, Nemefim egregiam. S(;e the/iW; Tranf- lation of Pliny, and the Notes. (98) Nealces, Veiieri;m ; ingeniofus & folers in arte, (loi) See the fame /"ra^.-A Tranllation, and the Notes. 64 His CafLndra h d'^cribcdhy Virgil. The Alliance be- tiusen Poetry and Painting. An Essay on the Rife^ Progrefs^ Warof ZV(7>' in fcveral Pieces; in which were painted all the moft remarkable Events as they are fung by Homer. Thefc Piftures were carried to Rome before Virgil's time ; and 'tis highly probable that Virgil had his Eye upon them in detcribing the Pidures with which he adorns the Temple ofjitno at Carthage. For there tineas Taw the whole Trojan War painted in order i and this Painter had painted the whole of it in a Suite of Pifturcs. Theodorus had alfo painted the unfortunate Caff'andra (102); which Picture was like- wife brought to Rome, and placed in the Temple of Concord ; and from it, no doubt Virgil had taken aifilbnce in defcribing her tragick Story in fo pitforcfque a manner as he docs ; Ecce trahebatuT fajjis Triameia virgo Crinibus, a templo, Cajfandra adytifque Minerv^,^ Ad cmltim tendens ardentia lumina, fruftra Liimina : nam teneras arceba^nt 'vincula f almas. Non tnlit banc fpeciem furiata mente Chorabus, . Et fefe medium injecit moriturus in agnien. M.\x. 2. vcr. 405-. NOW we may fee from thcfe Examples how nearly allied Painting and Poetry are and how they mutually aflirted one another. Verfe and Sculpture bore an equal part. And Art rejleiled Images on Art. Pope. 'Tis not in the leaft derogatory from Virgil's Genius, to fuppofe him gathering bcautifiil Images from all the fine ancient Sculptures, Statues, and Pifturcs that were brought from Greece to Rome in his time, fince he has made an excellent ufe of them. We cannot chnfe but confidcr his Pidnres in T)ido\ Temple as Defcriptions of real Pictures. For many ancient Painters, as well as Theodorus, had exerted their grcatcrt Skill upon that noble Subjeft for Painting as well as Poetry. And no doubt the Rofnans, who were ac- quainted with thefc fine Pictures, niuft ha\x had a double pleafurc in comparing the De- fcriptions with the original Pictures. I ihali juft add to thc(e other Examples of the ufe Virgil made of tlie dcfigning Arts, that t!ie Cloak upon which was interwoven the Story of Ganymede (which is recommended by Dr. Trap as a beautiful Subject for Painting) had been finely reprefented in Sculpture by Leocharis (103). He had rcprefcnted the la^le carrying faway Ganymede, as fcnllble of his Charge, and for whom it was dcfign'd ; and taking the tendereft Care not to hurt him. Other Pi^Iures de- fcfibed or alluded U by Virgil. Orefies of Theon. TIS not improbably that or feme other fuch Work, that Virgil had in his Eye in this moft picloreiqne Defcription : - G^uem pnepes ah Ida Sublimem, pedibus rapuit Jovis armiger uncis : Longavi, palmas nequicquam ad fidera tendunt Cujlodes, Jkvitque canum latratus in auras. Virg. yEn. 25-4.. MARTIAL has dcfcribcd the carrying up of Ganymede prccifely, as Leocharis is faid to have reprefented it. ^^/€,therias Aquila puerum port ante per auras IlUfum timidis unguibus hafit onus. Lib. 1. Ep. tf. A S for the other part of Virgil's Defcription : Intentuf^iie puer frondofa regius Ida, Veloces jaciilo cervos curfuqne fatigat Acer, anhelantt Jimilis. — WE have many Defcriptions of Statues and Pictures reprefenting young Hunters in that Attitude, as it were, quite out of breath; and Tliny in particular fpeaks of a Pidtui-e by Tarrhajius, of one who having laid down his Arms, fccmed to pant for Breath (104.) THEON had painted Oreftes, who having killed his Mother through the violent Tranf- ports of his Vengeance, became mad j and the vain Tharnyras , who had the prefumption to decimus tertius eft Theodorus Athenienfis piftor, de quo fcribit Menodotus : decimus quartus eil Theodorus ptflor Ephefius cujus mentionem facit Theophanes in libro de piaura. -J— — - (103) Plin. I, 7,3^. Leocharis fecit Aquilam fentien- fici :) The French Notes. Bellumque Iliacum pluribus tern quid rapiat in Ganymede & cui feraC, parcentem fabuhs, quod cfl:RomY,u THERE flix a grc:it many other ancient Piclurcs defcribed by leveral Authors: The muny other PUiure^ j^^-q kHofiratits s havc !:;ivcn tiE a particular Account of a great many. And fevcrai more d^rr,-ibed by anamt p^p;^^^^ f^.^^^^ ^j^^ anticut Poets might be brought, which are probably Defcriprions of Pictures (i If). Writers- But thofe that have l-en menlioiiid I'lf- fee to prove ikc Excellency of ti.'c Jrt, its yelcnion to Podry andPhihfa- phy. mat the Philo- ftratus's fay en that Suhjea. BUT thofc that have been mentioned arc fufRcicnt to prove, that the ancient Painters could not only dcfisn correftly, which is all that Mr. Terranlt allows rhem ; but that they had Genius and Invcntron, undcrftood all the Beauties of Difpofirion and Ordonnancc, and could compofc truly generous and pleafing, or rruly great, majeftick, and moving Piftures. And the Examples that have been brought do likcwife fully confirm the Truth of the Obfervations, with which the two Thiloftratus's begin their Dilcourfes on Piftures, upon the Ufefulnefs of Paintinc, and its ftrid Connexion with Poetry and Philofophy. " He (fay the (i l6) Thi- lofirattis's) who dcfpifcs the Art of Painting is injurious to the Truth, and wrongs the Wifdom of the Ancients 5 he injures aUb the poetical Art. for the principal End of borh thefe kindred Arts is to exhibit the great Virtues and gteat Adions of illuftrious Heroes. He mufl: likcwife contemn the Symmetry and Truth of Compofition in Oratory. If one had a mind to talk in the Stile of the Sophifts and Declaimcrs, one might truly fay not only that it is a divine Invention ; but that the Gods taught Men the Art by fo beau- tifully painting the Heavens with various Appearances, and the Earth with fuch innu- merable beautiful Forms varying with the Seafons ; and if we look natrowly into the Origin of the delightful Art, we Ihall find that Imitation is vety natural to Men, and that^all kinds of Imitation, or all the imitative and defigning Arts muft for that rcafoii be very ancient: Now all thefc, however clallcd and divided, have the fame Founda- tion, and proceed upon the fame Principles. There is one kind, which whether mould- ing with Clay, calling in Brafs, or carving in Marble and Ivory, is properly called Plaftick : But Painting employs Colours, and with thcfc is able to do more than any of thofc other Arts can do. Tho' working always in the fame way, or with the fame Materials ; yet it is capable of a great variety : It marks the various Degradations of Lights and Shadows, and emulates every Part and Appearance of Nature. It can imitate not only Woods, Groves, Rivers, Mountams, Cities, Houfcs, and all forts of Clothes, Arms, or what- ever Ornaments ; but it can likcwife reprefent human Features, all the infinite Divcrfity that is to be found in thefe, every Complexion, all kinds of Eyes and Countenances j and which is ftill more, all the Sentiments, Paffions, Motions, and Tempers, which difcover themfelves in the Face or Gefturc. Arifiodemiis of Cana hath wrote a full Hillory of the Art, and of its Progrefs and Improvenients ; an account of the States and Cities in which it was cultivated and encouraged, and of the great Genius's who by their diffe- rent Abilities and Talents added to it, and advanced it to perfeaion. I was four Years in his Houfe, in order to be inftruaed by him in the Principles and Beauties of the Ait. He himfelf was foimed by Eumelus, an excellent Mailer, and painted according to his Rules, and in his Manner; but gave more Grace to his Works than his Teacher was able to do. It is indeed a great and comprehenfive Art, and he who betakes himfelf to any part of it muft fully underftand the Nature and the Beauties of that which he pre- tends to imitate. But the noblcft kind of it confifts in imitating the higheft Order of Beauty, rational Life, or Men, Manners, and Charadcrs. And mull not fuch be throughly " skilled (115) Such as, for infiance, Ovid'% Conteil between Minerva and Arachnc. Augufia gravitate fsdent. Sua quemque Deorum Jnfcribit fades. Jovis efl regalis imaga. Stare Deum pelagi, lotigoque ferire tridente Afpera faxa facit, medioque e vulnere faxi Exfilmffe frum ; Ovid. Met. Ub. 6. ver. 73. Such is his beautiful Defcription of the Seafons, Metam. I. 2. ver. 24. . puerpvra velalus vefle fedehat In folioy Phcebus claris lueente fmaragdis. A dextra Uvaque dies, fff metifs annusj S/ecidaque fS" pofltts fpatiis esqualibus hom. Verque novum Jiabat cinBim fiorente corona : Stabat nuda /EJias, & fpicea ferta gerebat ; Ulabat £tf Autu>nnus cakatls fordidus uvis i i,t glaciaiis Hyems canos hirfuta capillas, Inde loco Medius^ rerum novitate paventem Sol oeulis juvenem, qulbus afpidt omnia, videt. Compare this with the Defcription of the Seafons. Ovid.Met. /.15. ver.7.Q0, &Lc. No lefs pidtorefque is that Defcription of a Proceffion of the Seafons by Lucretius : It P'cr, ftf P^enus, ^ Veneris pnenunlius ante Pifmatus graditur Zcphyrus vejiigia propter : Flnra quibus maier prisfpergens ante viai Cio!£/a coloribus egregiis, £3" adoribus applet, Inde loci fequitur color aridits, & comes imd. Puherulenta Ceres, fs" Etefa fabra aquilonum, Inde AuBumnus adit : graditur fimul Evius Evan : Inde aliie tempeflates, ventique fequuntur, Altitonans Volturnus, izf Aujler fulmine pollens. Tandem Bruma nives afferty pigrumque rigorem Rtddit. Hyims fequitur, crepitans, ac dentibus algor. T. Lucr, Cari de rerum natura, 1. 5. And how delightful a Picture would this Defcription by Ovid make.' Fafl. I. 5. ver. 215. Rofdda cum primujn foUis excuffa pruina efl, Et varits radiis intepuere coma ; Conveniunt pi£Jis incinSta vejiibus hores Inque civcs Calaths munera najlra legmt. Preiinus arripiunt charites ; ne^untque coronas, Sertaque cwlejles implidtura comas. He mentions fome Pi£lures in Augufius'^ Houfe, fome of which have been already taken notice of in fpeaking of the fame or like PiiUures. Scilicet in domihus veflris Ut prifca virorum Artifici fulgent corpora pi^a matiu ; Sic qua cancubitus vanos Venerifgue f.guras Exprimat, ejl aliqm parva tabdla loco. Utque fedet vuliu fajits Telamonius iram, Inque acuUs f acinus barbara mater habit : Sic madidos ftccat digitisFenus uda capillos : Et modo malernis te£ta viditvr aquis. Bella fonant alii telis injlru£la cruentis : Parque tui generis, pars iua faEta canunt, Triftium, 1. 2. ver. 521. (116) Philof Icones Exerd. & Philof jun. IconesExord. In which there is this remarkable Paffage : (ftxaaj ./'i f^o* ■HTtAtiioi TE ira^ai i^nffff mMci Jwip_^ ^u/z/zetjiie! 7?j eiva,7.oyitn • as ix. hh TOf yj.7 ttva'tav Kiyhnaf iTnyjUtiit aeiTcc, fj.li liaa 7? piin^f fj.iT?emocritiis the Philofopher had likewife compofcd a Treatlfe on Painting, in Pb:^f. c. 19. which he confidcred three Qiialitics as eflential to compleat the Art ; Difpofition or Or- donnance; Symmetry or Truth of Defign; and bold Pronouncing, or Energy of Exprellion ; And accordingly in his Work he had treated of Unity of Compofition; true Proportions, or juft Drawing; and Pofition of Figures, which in order to fignify fomething diftindl from the other Parts mufl; mean Grouping, Contrail:, and Diftancing. But, thefe Pieces being loft, let us inquire what other Authors, fuch as Socrates^ Arijiotle, and Cicero, have faid occafi- onally of Painting, in difcourling of other Arts; what Notions they had of this Art, and wherein they placed its chief Excellency. WE have a fhort but beautiful Defcription of Painting, and the End it ought chiefly to aim at, in a Conference of Socrates with Varrhajius that hath been already commended. I lhall give it here in E?iglijl', as well as I can, becaufe I am to keep it in View throughout the fol- lowing Remarks. " WRV,'ii^ Socrates (fays Xenophon) hadoccafion to difcourfc with Artifts, hisConverfa- " tion was of great advantage to them(i.) For example, happening to go to'ParrhaJiiis the " Painter, he difcourfed with him of his Art, to this purpofe. What is Painting, Tarrba- " fius? Isitnot animitation of vifibleObjefts; for do you not exprefs or reprefcnt by Colours, the Concave, and the Eminent ; the Obfcure, and the Enlightened, the Hard and Soft, the " Rough and Smooth, the New and Old, and, in fine, all forts of Objefts, and all the various " Appearances of Nature ? That is indeed our Aim, anfwered Tarrhafius. " BUT when you propofe to imitate beautiful Forms, fince, for inftance, 'tis not cafy to " find any one Perfon all whofe Members are abfolutely faultlefs, do you not felecl from " many human Bodies thofe parts which are beft proportioned and moft beautiful in each; " and by combining them, make wholcFigures that are beautiful? We do, faid ''Tarrhajius. " BUT what more? iz^Mzii Socrates : Do not you attempt to reprefent the Temper, Dif- " pofition, and Affeftions of the Mind ; that Genius, and Habitude chiefly, which is the moft " engaging, fweet, friendly, lovely, and delirable? Or are thefe quite inimitable? How can " we, fays Tarrhajiiis? for how can that be imitated which hath neither Meafure nor Co- " lour, nor any of thofe vifible Qiralities you have juft now enumerated, and wliich can not " indeed be feen Doth not a Man fometimes look upon others with a friendly pleafant Af- " pect, and fometimes with the contrary one ? I can't deny that, fays Tarrhajitis. And can't " you imitate that in their Eyes? Certainly, replies the Painter. Have our Friends, fays .5'(7- " crates, the fame Countenance when their Affairs fucceed well, or ill? Are the Looks of " the Anxious the fame with thofe of the Man that is not opprefled by foUicitous Cares ? Not " at all, anfwers Tarrhajius, they are cheerful in Profpcrity, but fad and dejected in ad- " verfe i^yxa-ixq fuiKX ^ffjiiAVJuv xCrx'tf, Sia-hiyona tiiti, j£, l^xi^iuTXTij'j xwoy.ifj.iXir^t Toif K'PiXii'-'^ v". llliTiX^wv fiEu yxf irVTi TT^oi Tlix^- Ttj; 4"J/C''^ '■J©' ; H kJe fj-ijAfiTov io tmto ; Ilwf j-ap av ^airm rm ^uy^x^ov, ^i(x,XeyoiJ,e)i^ kutu, Ap, (tpH, (e^i) |"iftnTov fifl, w SwKpaTtf, 0 [AVrt ix?^Xirx, STWf oXx t» o-wMara Ma Ai" a J^Tte, ilpJ!. Ewi /^h yxo ro'i; xyx^oTi (pxtS^iilf TTOicTn {pxiviT^xi, HoiJjWjv yx^ (f^lj Srwi, £ti Chap. 4. and Decline 0/ Painting. vcrfc Circumftanccs. But thefc Diffcraiccs can be exprcflcd or rcprcleiitcd ! faid Socrates. They can, replies ^Parrhafius. " WHICH is more, continues the Philofopher, dotli not a noble and liberal Spirit, era mean and ii^noblc one ; a prudent and well-governed Mind, or a petulant and diffolutc one, diicovcr itfclf in the Countenance, Air, and Gefturc of Men whether they ftand or move ? That is very true, anfwers the Painter. But all thefc Differences furcly, faid So- crates, can be cxpreffed by Imitation .' They can indeed, replies Tarrhajius. Which then do you think, fays Socrates^ Men behold with greatcft Pleafure and Satisfaction, the Rcprefentations by which good, beautiful, and lovely Manners are exprefled, or thofe which exhibit the bafe, deformed, corrupt and hateful ! As to that, in truth, fays ^arrhafius, the diiFerence is fo great, that it is diftingtufllable to every body." 69 IN this fhort Dialogue, it is firft obfcrved, that Painting in general propofcs to give a true Image or Likencls of every viiiblc Objed : In the next place, that even with regard to merely Icnfibic Forms, 'tis necefiary that the Painter (hould have a juft Notion and Tafte of Beauty. And laft of all, the chief Deiign of it is to teach that Painting may be reudrcd ferviccable in Morality, in fhewing the Deformity of Vice, and the Beauties of Virtue. "The End of Paint- ing is ta imitate nil vifibk Appearanc. Ifhall therefore, keeping this Defcription of Painting in my Eye, make fomcObfervations on Drawing and Colouring, the Imitation of moral Life, or the Exprellion of Manners, and Truth, Beauty, Grace, and Grcatncfs of Compofition in Painting : that is, I fhall endeavour to ihcw how thefc Qualities are explained by ancient Authors. WITH regard to Defign and Colouring, it appears from J'i5rr<3?i'/s Defcription of Paint- ing, that the Artifts in his thiie were able to reprefent any Appearance of Nature what- focvcr. He is very particular and full in his Enumeration of vifibk Objefts, in order to give a View of the Extent of the Art, or of the manifold Skill required in Drawing and Colouring all forts of Objedls. And his Expreflions to fignify the Truth and Life in Imi- tation of Objecls of every kind, Painters ought to aim at, and then attained to, are ex- ceeding ftrong, aTEix.ai^oi'Tet \v.\j.i^{ia'^i. Thefe Words llgnify what Ovid, fpeaking of Dreams, calls Rcprefentations, veras aquent imitamine formas. Such Copies as are hardly diftinguiihable from' the Originals. But indeed many ancient Authors, Tliny in particular (i), fpcak fo cxplicitcly and clearly about the Drawing, the Colouring, and the Intelligence of Light and jShade, in their Accounts of ancient Painters and their Works that they are gcneraliy acknowledged to have greatly excelled in thefe parts of Paintin"-. It is their Knowledge of Pcrfpcctive alone that is difputed. T^f Drawing and Colouring of the An- cients is generally allowed te have been perfe£l. I would therefore jiift obferve on this head, that it feems highly probable that the j,. Science of Perfpeftivc was not unknown to them, from the followi^ng Authorities. 'Pliny thli^tl}? sJLfZf fays Perjpe£7ive was not \ yiy\)o\na.i. OJjtBw (££?>«) jtj that relates to the Clalr-obrcurc, the Middle Lights, and ««^"''^" tatheAa- Kj [Ax\oij i^ to HffAEU^EfDl'i TO 0-WlpOHlTIKOtl TE kJ 000111- BpifiXOW tE aTTEi^ajfaAoy, ^ Jlci t7 Kail {Adha., f^ Tr^oTfOTrw, Accord- ingly he diftinguifhes three parts, t^^k, r^X^f^'^i ^eVk. "Tis remarkable, that .^muilian ufes the fame Terms in fpeaking of Oratory, Inft. lib. 8. c. 3. Quod male dif- pofitum eft, id ohukokdjCa^jtov ; Qt_iod male figuratum, id «crp;i|t4«Tov ; Quod male collocatum, id j£a)(0(7'i,3-tTSL' vo- cant. Vltruvius, lib. i. c.i. ufes the fame Divifion. the Harmony or Union of Colours. What Pliny calls the Tranfitus or Commijfura., cannot be better explained than by Ovid's Defcription of the Rainbow. Met. lib.6. ver, 61. Iltic y Tyrium qua purpura fenfit aenum Texitur, y ienuesparui difcriminis umbra : ^ealis ab imbre foiet percujfis foHhus arcus Inficere ingtnti langum curvamine cerium : In quo diverfi niteant cum mille colores, Tranfitus ipfe tamen fpeStantia lumina falUt. XJfque adeo quodtangit idem efl : iamen ultima diflani, Tis to this Paflage Seneca refers, Nat. ^utsjl. lib. i. c. 3. Videmus in Iride alitjuld flammei, aliquid lutei, aliquid CKFulei, & alia in picturse modum fubtilibus iiiieis duda, ut ait pneta j ut an diflimiles colores fint, fcire non poflis, nifi cum primis extrema contuleris. Nam commiffura decipit : ufque adeo mlra arte naturze, quod a fimillimis told by Sto~ ccepit, in diiTimilia definit. See what Eelibien fjys of (2) Tandem fe ars ipfa diflinxlt, & invenit lumen atque umbras, differentia colorum alterna vice fefe ex- citante ; poflea deinde adjcftui eft fplendor, alius hie quam lumen ; quem, quia inter hoc & umbram eflet, ad- pellaverunt rem : CommiOuras vero colorum & tranfitus, apl*oyh' PUn. 35. 12. Here Colouring, (wn. 3. p. 13. But fo many PalTages have been already quoted, that we may juftly conclude : Quant au clair-obfcur & a ia diflribution enchanterefle des lumieres & des ombres, ce que Pline & les autres ecrivains de I'antiquite en difent eft fi pofitif, k-urs recits font fi bien circonftancies & fi vraiftmblablcs, qu*on ne fauroit difcoiivenir que les anciens n'egalalTent du molns dans cette parcie de I'art, les plus grands Peintres mo- dernes. Les palTages de ces auteurs que nous ne com- prenions pas bien quand les Peintres modernes ignoroient encore quels preftiges on peut faire avec le fecours de cette magie, ne font pas fi embrouille's & fi diflicilcs depuis que Rubens, fes Eleves, Michel Ange de Caravage, & d'au- trcs Peintres les ont expliques bien mieux les pinceaux a !a main que les commentateurs les plus crudits ne le pou- . , ,, voient faire dans les livres. Rejl.crit. fur la poefie IS fur plamly mentioned all /« pcinsurc, / 38, yo Essay on the Rife^ Progrefsy fiys cxprcffly, that Tamphilus, Maftcr to Apelles, added Gcomeuy to Painting (3) ; as a Science without which it was impoiliblc to compleat the Art, or bring it to full Perfec- tion. And what other part of Geometry can this be fiippofed to be but Fcrfpcftive ? Be- fides, in fpcaking of the Parts of Painting in which Apelles was inferiour to others, he plainly dirtinguiihes between the Mcafures and the Pofition (4). So that the firft muft nc- ceflarily mean the Proportions of Parrs to one another in a finglc Figure, and the other muft mean giving Objefts their proper places in the Plan of a Pifture, in order to their re- prefenting different Diftances : For without taking T'lmy in that obvious Senfc, it feems hard- ly polliblc to conceive any difference between two Talents or Excellencies which he cx- prcflly diftinguilhcs : And to explain what he calls {pofitio) he adds {qmnto quidaqnoqjie dijtare deberet), which plainly denotes the Art of placing Figures in a Fifture, in fuch a manner as that any Diftance may be reprelentcd with regard to the other Objects in it, ADD to this, that ^ir'/r?/vz//J mentions fome Authors (y), who had wrote upon the Art of determining by Geometry, and Lines, the Places of Objeds in the Plan of a Pidlure, in order to reprefcnt any propofed degrees of Diflance, of Sinking, or Frojeding, Vicinity or Rcmotencfs. Thilojlratns, in the place above quoted {6), fays, many learned Men had wrote on Symmetry, and he gives a Definition of it that feems to comprehend bothiincal and aerial Pcrfpeftive ; all that relates to the Reprcfcntation of Diftance. MANY other Authorities might be produced to fhew that Perfpe£live was not abfolutely unknown to antient Painters : But the Abbe Sallier {7) having publilhed a longDillertation to prove it, and to refute Mr. 'PiPJ-^?///?'s Objedions, I lhall only add, that whatever reafon there may be to doubt whether Perfpeai\-e was well underifood by the Ancients; or whether the ancient Painters had Rules of Perfpeclive to work by in their Imitations of Nature; there is none at all to doubt, but they were able, atleaft, by the Judgment of the Eye, to repre- At hajl they were fcnt and counterfeit any vifiblc Appearances; to bring Objeds near to the Eye, or make them able, bythejudg- t^^^X^iz zi^d flyoff; toprojcd or fuik, to caft at a diftance and degrade in any Degree, or cou- ""iTnf^ally trariwife to giveRclief, Strcngthand Nearnefs. For all thele excellent Eftcasare afcribed to F^r/pSZ'i. their M-'orks (8). Socrates is often introduced in the Dialogues of 'P/ato taking his llluftra- tions on various Occafions (p), from the Plafticfc Arts, and difcourfrng in fuch a manner of them. (3) Sed primus, in Pii5tura, omnibus Uteris eruditus, prscipue Aritlimctice & Geometrice, fine quibus ncg:ivit artem perfici polTe. Plin. 35. 17. (4) Plin. 35. in Apelks. Demontiofiiis obferves upon that place, Difpofitio eft partium iingularum litus, & re6ta collocacio. Symmetria commenfus partium fibi in- viceii). Optice carundcm pro varietate iltus, & pofitur^, diflimilis & inasqualis deltneatio, Sed non adduci pof- fum ut credam autorcm ita fcripfifle — Qiiocirca utmem- brum luxatum in fuos artiis redeat locum ita Icgemus. *' Nam cedebat Amphioni de pofitione, hoc eft quantum " quid a quo diftaret, AfclepiodorodeMenfuris." Vid. !oc. Demon, de pi£f. vet. ab initio. ThisPafTage is underftood to mean Perfpeitive, by a very good Author, Scannelli da Forli, Microaofmo dclla piltura, p. 57. 1. I. Ed ad KcIIpiodoro nella Profpettiva, &c. (5) Agatharchus primum Atlienis, jEfchylo docente, tragosdiam fcenam fecit, Sc de ea commentarium reH- quit. Ex eo moniti Democritus & Anaxagoras, de ea- dem re fcripft-Tunt, quemadmodum oporteat ad acii:m ocu- lorum, radiorumquc cxtenfionem, certo loco centro con- ftituto, ad hneas natundi ratione rcCpondere ; Uti de in- ccrta re certse imagines ^dificiorum in fcenarum pidturis redderent fpcciem, & qus in diredis planifque frontibus fint figurateE, alia abfcedentia, alia prominentia efi'e vi- deantur. Viir. in prirf. lib. 7'^' compare HL-j. £.5, Ete- nim etiam traillbus cum Apatureus Alabandeus eieganti manu iinxiflet fcenam, &c. See hkewife Plin. lib. 35, c. 10. Habuit& fcena, Ludis Claiidii pulchri, magnam admirationem pi<5turs;, &c. (6) In the End of the former Chapter. (7) Mem. de Liter, torn. 8. p, 97. (8) To the many PafTages already quoted in the Ac- count of the Painters and their Works, others might be ■ added, but the following feems fufficient. T« fitt i-j «AAa. rii! j-^ceipflf, ji. t. A. At rcliquas piflurse partes, propter quas non ublque accurataau.s prEeftantia nobis Idiotis comperere folebat, nihilo fecus tamen fumma in- duftria eranc elaborats;, videlicet linearum dudVibus atque excenfionibus r&SilTimis, cqlorum commixtionibus fcien- tiffimis, ncque non tempeftivarum adjei5lionum circum- duiiionibus. Infuper decentibus inumbrationibus, neque neglefta magnitudinis ratione, & menfurarum totiusope- ris Eequalitate atque harmonia. Lucian. Zeuxis. Fhilof. Icon, lib.i. 6. inmenoetio. Jucunda pidtoris ars. Arma- tos enim viros poft msnia repree fen tans, alios quidem co- tos oculis fiftit, alios veto crurum tenus tetSos, nonnuJ- los dimidiatos, quorundam peitora & capita tantum & galeas folas, inde haftarum tantum extrema. Hoc eft pro- portionem obfervare, O puer. Oportet cnim oculis fub- duci difparentes pro ratione ambientium eos murorum. See Junius de Pi£i. Vet. Ub. I. c. 3. See Pompanius Gaw ricus de PerfpeSiiva^ f. 5. (q) ThePafTage that the Abbe 5i7//;Vr founds upon, is in Plato's Sophijla, lorn. I. p. 235. Edit. Stepb. T. ^' ; a TTLtmf 01 |Lti|MM'|WEuo( Ti, j£, T, A. Quid nonne omnes qui aliquid iruitantur, id facere inftituunt ? Hofp. Nequa- quam fane ii quidem qui magna aliqua opera fingunt auC pingunt. Nam fi veram pulchrorum proportionem re- prafentarent, ita certo habe futurum, ut fuperiores qui- dem partes pra;ter modum minores, inferiores vero ma- jores apparercnt: quum alix quidem eminus, alia; com i- nua a nobis confpiciantur, &c. Compare what is faid upon Imitation, in his Book de Rfpub. p. 606. The Abbe SalUer takes notice, that Diminution and Degradation arc very well obferved in feveral ancient en- graved Stones, that in particular which is well known by the Name of Michael Angelo'% Seal : And he likewife takes notice of what Frefnoy fays in his Poem de Arte GraphicOy and Du Pile in his Notes on that Paffage. Rfgula certa licet nequeat perfpeSliva did Aut compkmentum Graphidos ; fed in arte juvamen^ El modus accelerans operandi : at corpora falfo Sub vifu in multis referent^ mendofa lahafcit : Nam Geometralem nunquam Jicui corpora juxta Menfuram depi£la ocuHs, fed qualia vifa. Du Pile in his Remarks confiders what is objefted againft ancient Artifts, on account of the Trajan and Antonine Pillars, See what Lamazzo fays on the fame Subjeft. Trattato della Pitliira, p. 29, and p. I fliall only add, that Lord Shaftesbury has obferved 10 the fame pur- pofe in his Notion of the Tabiature of the Judgment of Hercules : For the ordinary Works of Sculpture, fuch as the Low-relieves, and Ornaments of Columns and Edifices, great allowance is made. The very Rules of Perfpeflive are here wholly reverfed, as neceffity re- quires ; and are accommodated to the Circumftances and Genius of the Place or Building, according to a certaia Oeconomy or Order of a particular and diftindl kind ; as will eafily be obferved by thofe who have thoroughly ftudiea Chap. 4- and Decline i?/" Painting. 71 them, and of the Painters, Statiiatics, and Sculptors m his time, as plainly fiicws that the Art was then complc:itiy illuhvc^ and that they could moft accurately reprcfent to the fight all the different Appearances of Objcds by which wc judge of Magnitudes and Diftances in Nature. And feverai Pictures have been mentioned, in which thcfe QuaUtics and Etfccts arc com- mended by ancient Writers. IT would be but tedious to give an Account of the Colours the ancient Painters made ufc of (10). It is agreed on by all, that they knew nothing of the way of preparing Colours with Oil: But as fcveral excellent Authors obferve (ii), thofc who have Teen the many excellent Paintings of Raphael, Giiido^ and other great modern Mailers in Frefco, will not entertain any prejudice againft the ancient Painters on that fcorc. That their Colouring was very du- Thch- Cohurlvg table is beyond all controvetfy; {\nctTetrQ?ihis, 'Pliny^ 'Plutarch, ^aufamas md othcts l^Jledhig. had fecn Piftures of Zetixis, Apelles and Trotogenes that were as frcfli as if they had been lately painted. Tlmy mentions fonie Pictures older than Rome, that were, in his days, not in the Icaft or very little injured by age. And fuch Accounts will not appear incredible to thofe who have fecn the better Remains of tlie Paintings of the Ancients Rome, feme of which are ftiU of a very furprizing Frefhncfs; notwithftanding the carclefs, not to fay bad, ufage they have met with. There will be occafion to fpeak of thefe afterwards j Prints of fe- verai of them being annexed to this Ellay. BUT what is well worth out Attention with regard to the Colouring of the ancient Greek /. 35. (15) Hie eft Nicias, de quo dicebat Praxiteles, inter- rogatus quK maxime opera fua probaret in marmoribus ? Quibus Nicias maiium admovilTet : tantum circumlitioni ejus tribuebat. fUn. 35. See French Notes ad loc. (16) Illud vero perquam rarum ac memoria dignum, etiam Tuprema opera artificum imperfe£larque tabulas, ficut Iriii Ariftidis, Tyndaridas Nicomaclii, Medeam Timomachi & quam diximus, Venerem Apellis, in ma- jorc admiratione efl'e quam perfeiEia : Quippe in iis line- amenta reliqua, ipfeque cogitationes artificum fpedtantur, atqiie in lenocinio commendalionis dolor eft : Manus, cum id agerent extin£t:e defiderantur. Vlin. 35, 23. In Pinacothecam perveni vario genere tabularum mira- bilem. Nam & Zeuxidos manus vidi, nondum vctufta- tis injuria viflas ; & Apellis, Sec. Petro. Arb. Satyr, ut fupra. (18) Qui fmgulis pinxerunt coloribus, alia tamen emi- nentiora, alia reduiSiora fecerunt, fme quo ne membris quidem fuas lineas dediftent. ^lint. lib. 11. c, 3. (19} Phihji.devit. Apol. lib, 1. c. 22. Pifluramenim non earn folum mihi videris putare, quEe coloribus abfol- vitur, nempe unus etiam color veteribus illis piftoribus fatis erat, incrementa vero capiens ars, quatuor adhibuit, inde plures etiam ; imo & linearum picturam, & quod coloribus deftituitur opus, quod ex umbra be luce com- pofitum ell pidturam fas eft adpellare. In talibus enim etiam fimilitudo cernitur, figura item, & mens, & pu- dor, & audacia, &c. (20) Menander cum fabulam dipofuiftet, etiamfi non verfibus adornaftet, dicebat tamen le jam compleJTe. Commen. wr. ad illud Horat. de Art. Poet. Verbaqus provifam rem non invita Jequuntur. (17) Zeuxis piiixit & Monochromata ex albo.— (21) Mr. ii/i:A.7)-i^n in his Difcourfe on Painting. Sec Graphidis veftigia exiant in tabulis ac membranis ejus likewife De Pile I'Jdee d'lin Peintre par/ait. {Pairhafii} ex quibus proficere dicuntur artifices. Plin. 35. Chap. 4. and Decline of Painting. of ColoLii-in^:. Whai:c\-cr is faid againfl the gaudy, the pompous, the florid, and luxuriant on the one hand ; or in praile of the chaftc, the pure, the fubducd, and unaffected on the other, doth equally agree to Colouring and Dilcouric. And accordingly ancient Authors fpcak of the one and tlie other almoft in the fame Phrafes (22). PAINTING is frequently confidcrcd, as a poetical Art, by ancient Writers. Plutarch tells us it was an ancient Apophthegm, that a Poem is a fpcaking Picture, and that good Paint- ing is fdent Pocfy : And he adds, to confirm and illullrate this Saying of Sirnonides^ That the Adions which aredefcribed by Speech orWriting as paft, arc reprefenrcd by Painters as if tiiev were done in our fight. Painters cxprcfs by Lines and Colours what Writers paint by Words : Tlicy therefore only differ in the manner of Imitation. They both propoic to themfclvcs tlic fame End which is to tell a Story well ; that is, to exhibit the AdUon or Event to our fight, as if it were really done before us. And therefore he is reckoned the bcrt Hi- llorian, for inftance, who defcribes Perfons and Actions in fo lively a manner; and touched on fuch proper Circumllances in every Story, that his whole Dcfcription is an admirable Pic- ture, His Reader thus becomes a kind of Spc£lator, and feels in himlclf all the Varictv of Pallions which are correfpondent to the feveral parts of tlic relation (23). IE wcpurfuethis Comparifon a little, between good Writing and good Painting, it will The Ccmparifan he- lead us to form juftcr Ideas of theDcfign and Merit of Painting thaji arc commonly conceived i iween poetical De- or of the Ends it ought to propofe; and of the different Degrees of Merit, that different -^'''f ""-^ Talents in the Art, and different Pictures ought to hold, correiponding to the reipcdivc Ex- ^^fa^jlfiNlttntf ccllencies of various forts of Writing or Dcfcription. Painting and the different ^ualitia THE End of Dcfcription is certainly to convey a true and lively Idea into the Mind by Words ; And this is likewifc the Defign of Painting. Both therefore muft be clear and intelligible ; and are excellent in proportion to the Ciearncls, the Truth and Livehncfs of the Images they excite in the Mind. But every Dcfcription, however true, and clear, or ftrong it may be, is not equally pleafing and acceptable to the Mind, becaufc allObjefts' are not equally fo. LET us therefore inquire, what arc the Circumflances and Caufcs that recommend fomc Defcriptions more than others. FIRST (24.) of all then, it is obvious that a Defcription of what is little, common, or even deformed and monflrous, is in fome degree entertaining to the Imagination, when it is prefented to it by fuitablcExpreflions. The Mind, in this cafe, (^ysArijlotle, is delighted not fo much with the Image contained in the Dcfcription, as with the Aptnefs of the De- fcription to excite the Image (25). This Plcafure arilcs folely from imitation and Likc- nefs i (22) C'tc. Orater,^°. 23, y de Oralore, lib. 3, N°.26. ex Afia commlgravit, animorque juvenum ad magna fur- In qua vel ex poetis, ve! oratoribus, pofTumus judi- gences veluti peftilenti quodam iidcre afflavit, femelque care, concinnam, diftinflam, ornatam, tellivam, fine ' -- mtennilfiotie, fine reprehenfione, fine varietate, quam- vis Claris fit coloribus piiSfa vel poefis, vel oratio non poffe in deleftationc cfle diutnrna. In fcriptis & in didtis non aurium folum, fed animi judicio etiam magis, intacata vitia nofcuntur. Sed habeat tamen ilia in dicendo ad- miraiio, ac fumma laus umbram aliquam ac receffum, quo magis id, quod erit illuminatum, extarc atque tmi- nere videatur. Ita fit igicur nobis ornatus, & fuavis orator ut fiiavitatcm habeat aufteram & folidam, non dulccm, atque decoctam, &c. So ^lint. Hb. 8, c. 3. Scd hie ornatiis virilis fortis & fan£ius fit, nec efFosmina- tam levitatem, nec fuco emlnentem colorem amet, fan- guine & viribus niteat. Qiiare nemo ex corruptis dicat jne inimicum efie culte diccntibus. Non nego banc die virtutcm, fed illis earn non tribuo. An ego fundum cul- tiorem putcm, in quo mihi quis oftendcrit lilia, & violas, & amEcnos fontes fcaturientes, quam ubi plena meffis, aut graves fruflu vites erunt ? Ad afpergendam illam quK etiam in piifuris cfl graviflima, Vetultatis inimita- MJem arti auftoritatem, &c. See the whole Chapter, and liicewife the Proosmium to that Book, Namque & colo- rata, & aftriiita, &tlacertis exprelTa funt, fed eadem fiquis vulfa atque fucata muliebriter comat fosdiffima funt ipfo formas laborc, Et cultus conceflus atque magnificus ad- dit hominibus ut gra:co verfu teftatum eit, au£torita- tem. At muliebris & luxuriofus, non corpus exornat, fed detegit mentcin. Similiter ilia tranflucida & verfico- lor quorundam elncutio res ipfas cffo^minat, qua; illo ver- borum habitu veftiuntur. Curam ergo verborum, rerum volo efTe Itjllicicudinem : Nam plerunique optima rebus coherent, & cernuntur fuo lumine, &c. Unumquidque genus cum pudicE cai'eque ornatur, fit illuftrius ; cum fu- catur atque praeicnitur, fit prsfligiofum. Aul Gel.Noc.Att. 14. Grandis, i.v ut ita dicam, pudica oratio non eft roaculofa, nec turgiJa, fed naturaii pulchritudine exur- git. Nuper ventofa iftha^c & cnormis loquacitas Athenas corrupta eloquentia regula ftetit 5; obmutuit. Ac ne car- men quideni fani coloris enituit : Sed omnia quafi eodem cibo palia non potuerunt ufque ad li;ne£i:utem canefcere. Pi6iura quoque nonalium exitum fecit, poftquam jEgyp- tiorum audaciatam magns artis compendjariam invenit, Petr. Arb. Satyr. {23) Quamobrem etiam non inelcganter Siraonides dixit, Piduram efTe Poefin tacentem ; Poefin vero Fi£tu- ram ioquentem. Quas enini res ac fi coram a^erentur, pictores repr^fentant, etc orarione ut pr^terit^e enarrantur, atque confer) biintur. Ciimque pidores idem coloribus & figuris exprimant, quod fcrlptores verbis & vocibus, dif- ferunt tantum inter fe materia U modo imitationis. U- trifque autem idem propofitus eft finis: Et is habetur hiftoricorum optimus, qui narrationem perfonis & figuris animum moventibus, baud aliter ac piiSturam conformat. Plut. Beih an Pace. So Longiiius fpeaics of Oratory, De Sublim.f. 15. Rhetorica vcro imaginatio ilfa pulcherri- ma ell ac prEeftantilTima, quse fibi res, voces, aiSlus de- niquc omnes evidemiiiime h ad ipfam veritatem fingit, atque auditoribus ante oculos ponit. Turpis autem ac pravus, & plane, quod aiunt, extra lincas procurrens error eft, quum in oratione civili ac pcdeftri ad poeti- cas & fabulofas, atque impolfibiles fiiliones progredltur. (24) See the Eflays on the Pleafures of Imagination ia the Spedlator, vol. 6. whence theft Rtflexions are taken. (25) De Poet. c. 4. Et gaudere omnibus rebus imita- tione expreffis, naturalc eft ; veluti piiSturis, fculpturis & fimilibus. Cui quidem rei, figno eft id, quod contingit in operibus artificum : Qugc enim ipfa per fe, non fine moleftia quadani cernimus, horum imagines exa£tiflime expreflas dum intuemur, gaudemus ; veluti belluarum formas immaniflimarum, S: cadaverum ; in quibus nifi imiiatio gignetct voKiptatem, niliil illic erat, quod ob- U ledtarc .-fe Essay on the Rife, Progrefs, ticfs i the Aflioii of the Mind in comparing and perceiving Similitude being made agree- able to us by Nature, bccaufe it is ufeful, or ratlicr neeellary to our acquiring Knowledge. But muft not a Fifture of the fame nature pleafe, as he obl'erves it does, in the lame way, in the fame degree, and for the fame reafon ; that is, on account of the Agreement of the Copy with the Original ! Iris owing intirelyto thePleafure which Imitation and Similarity afford to the Mind, that Pidures or Defcriptions of iuch Objedls, as it is painful to be- hold in real Life, are capable of delighting us. But if litch Defcriprions give a lower En- tertainment to the Fancy, and are juftly reckoned of a meaner kind, than Defcriptions of more agreeable Originals i Fiftures of that fort mull likewili; be accoimted of the fame rank in~Fainting, as the other in Writing. It is when the Objefts thcmfelves deferibed, are great, furprizing, or bcautiftd, that Defcriptions arc moll delightful : Becaufe in this cafe we arc not only pleafed with comparing the Rcprel~entation with the Otiginal; but wc are highly delighted with the Original itfelf. The Ideas excited are in thcmfelves noble and clevaring: " They agree-ably fill and employ the Mind. Now if this be true, Pictures which reprefent grcrr, noble," and beautiful Objedls ; or convey fublime and pleailng Ideas, muft alfo neceflarily be more agreeable to the Fancy, and of a higher Order, than Fiftures of mean and low Objefts, not to fay deformed ones. It will likewife be granted, that new and uncommon Objefts give greater plcafurc than ordinary, common, and familiar ones. Nor is the final Caufc, or moral Fitnefs of this Effeft of Newnefs difficult to be found out. It is highly proper that a Being made for Progrefs and Improvement in Knowledge, fhould be fond of Novelty in fome degree, and be agreeably affedcd by every frefh Acquifition, that he may thereby be excited to take due pains to make new Improvements in Know- ledge, and to add to his treafure of Ideas. BUT there is yet another Circumftancc which will be owned to recommend a Defcrip- tion more than all the reft ; and that is, if it reprefents fuch Objcfts as are apt to raife a fecret Ferment in the Mind, and to work ftrongly on the Paflions. In this eali; the Heart is moved, at the fame time that the Imagination is delighted : Wc are at once enlightened and warmed. Now muft it not be fo likewife with reg.ard to Paintings, that touch and move the Heart by the lively Images they prefent to the Fancy ? Accordingly let any one make the Experiment, and he muft unavoidably obfcrvc upon the firft trial, that, in Pamt- ing, it is pleafant to look on the Pifture of any Face, when the Refcmblance is hit ; but thc'pleafure increafes, if it be the Pidfure of a Face that is beautiful ; and is ftill greater if the Beauty be foften'd by an Air of Melancholy and Sorrow. LET any one carry on in his own Mind this comparifon between Difcom-fc and Paint- ing, and he will foon be able to fatisfy himfelf with rcfpc-a to the Ranks, the different Qualities of a Painter and various forts of Pidlurcs dcferve ; becaufe he muft clafs theni , • in the fame w.iy as he does Defcriptions. This is the Gradation Socrates makes in his Defcription of Painting ; from Truth and Likenefs to external Beauty ; and from thence to the Beauties of the Mind, and what moves the Hearr and Affeftions. And wc find him con- verfing with Clito, a Statuary, to the fame purpofe. " I know and fee, Clito, (fays (26) Socrates) that you make Runners, Wreftlers, thofc Ht, Cm/mnct jj^^j pjjy Gantlet, and all forts of Combatants. But that which is moft delightful " to our Eyes, in your Works, is the Life and Spirit you exprefs in your Figures : Pray " therefore how do you thus animate them > Clito not anfwering liim readily, Socrates " asks him again : Do you not infpire your Images with much more Vivaciry by airimila- " ting them "to living Forms, and ftudying real Life.' Jul! fo, faid the Statuary. Don't " you therefore render your Imitations liker, and more conformable to Nature and Truth, " when you artfully exprefs all the Changes in the Mufclcs and Nerves, that arc occa- " fioned by various Poftures and Attitudes ; all their Contraftions, Diftortions, Shorten- " ings. Bracings, and Relaxations ! That is the very thing, rcphes Clito. But when you " exprefs ]e£tare poflet, Caufa vero etiam hujus rei efl, quod dir- Tsxfy.^OLltxrx^, of!^ ri oUai- o it fA^htrx Tj/u^^afw^'Ei' cere, non folum philofopkis (quod quidam cenrent)jucun- Jict t«V o^^ew? tsj ajfl^w^Bf, to i^wliKeii ^aiufff^aj, wicc diflimum eft, fed etiam aliis, qui rimiliter quideni, tarn- ^^^^ svff^/a^ij to?? aiJ^iaVtt. etfi minus cxadle, jucunditatis [ejus particlpcs fiunt. ^^^-^ j, 'mia J KXiiTiov »" ra^H ra.oA- Af Ob hanc enlm caufam gaudio afBciuntnr, dum cernunt . ^S^^^^ .j,^^^^ i„,^i?„ rS U„, f.r,.>,- imatrmes rerum ; quia contingit fpedl.ando perdilcere, & '7 ^ - . o y . - / ,r ^ ■■ quid unumquodquc fit, ratiocinari ; veluti hanc imagi- h'< •P='«»i" m «>Jfi"™t ; _K«. : fiquidem nifi tibi ilium prius contige- 0™». ri ri v ttJ ™. »»1oir™/if.~ - — nem, ilium eiie : rit vidifli;, tabula haec, non propter eiEgiem imitatiune Truf^rM I'u toIj (^u'jMacri, }^ Qvi^vti^o i^fvx Ji.-A- exprefTam voluptatem ferct, fed propter artificis feduli- xi^i'jr., k, rai tolEivo^futs t« «w£f*iufli «7rEi)c«^B^, o'^oi- tatem, aut colorem, aut ejufmodi aliquam aliam caufam. aAnSivorf TTiSavMTtjjeo wsiirj (pouutfrS-ar ; So Plutarch de aud. Poetis. Pidlam Lacertam, aut Simiam aut TberfiKE faciem videntes deledtamur & moramur ; - T ~ _ '1 p ,.4 . noo pulchritudims, fed iimiiitudmis cauia. buapte enim ^ ^ , . ^ natura id quod turpe ell, pulchrum fieri non potell: imi- f^rSa,, . ^o,i' t,» r„j 9.»^.»t ; E«.! y tatio autcm, five pulchra: five turpis ici fimilitudinem tf"l. 0.a». ^ toj /^!> /i^X","™ th o^f.o,ra exprimat, iaudatur. See his Sympofiacon, I. 5. qu. 8. aTrtiaarEou, tww Si wtiHMao'rau luCPjaito/*£vwt o^i^ j^tj/.^^ (26) ITjoV (Te KAeiVww TP!) an?^(a^7o5Tsiou Iio-eaSuv oto- J^u^S; ^^[x Tw eiJei OTjoiTEixx^Eiu, K. T, A, Men*. TE, jeJ (Ti^AEg/e/zEV^J a'uTw, On [j^tv, E(pn, .u K^EiTwn, Soc. lib. 3. CIO. fedl. 6. E»AA(uVf ^fftrrf i^ii^ii; TE )fj ^x^Kir^^j >tj w^alx^f 3^ Chap. 4. and Decline of Pa i n r i n g. ' 7 " exprcfs the Pailions in your Figures, that are difccniiblc ia the Look? and Gcllurcs of " Actors, proper to their dilFercnt Characters and Circumdanecs, is it not that wliich " chiefly dcHi;hty an intelUgcnt Eye? It is To, faid Clito. For tliat rcaibn, replies S&- " crates^ the Eyes of Combatants ought to threaten ; and Conquerors fhould have cheer- " ful Countenances. Very true. It is then, laid Socrates, the Statuary's chief Bufincfs " and highcft Effort, to reprefcnt the Actions of the Mind by their outward Indications in the Face and Gefturc." lam not a Httle furprized to find the ingenious Author of the keffex'wn's onToetry Ohfcrvathm on the mid a'mting, aflerting, that it is to no purpole to inquire, which is tiic n-iolt cftimabic ^\ff;uu ahout^Co- Quahty or Part in Painting, Dc%n and Expreilion, or Colouring {27). For if it be not in vain to inquire what arc the beft and nobleft Ends of Poetry, and what Parts of it are faltbk!"^"^^'^' . nioft agreeable and ufeful ; it cannot be fo to inquire into tlic bell; Ends of Paintino- ; or what arc its nobleft and moft valuable Performances. And which-cver way the one Qiicftion is decided, the fame Judgment muft of ncceflity determine the other; becaufe the Plcafurcs, which both are quaUhed to afford our Minds, proceed from the fame Sources and arc nearly of the fame kind. If thofc are the bell Pieces in Poetry, which entertain the Reafon as well as pleafc the Fancy ; which exprcls and convey great Sentiments and Ideas, and at the fame time move our Affeftions ; it mufl be fo Jikcwile with regard to Piftures. What are the nobleft, the moft pleafing, and at the fame time the moft ferio'iis, and inftruclivc Parts of Poetry ? Arc not thofe pronounced fuch by Ar 'ijiotle, and all Critieks which ftir up our Pity and Horrour, in order to refine and direct them (28) : Or, in other words, which exercife our greater Paftlons, in a way that hath a wholefomc Influence upon the Mind ? And if this be true, whatever the reafon of it may be, thofc Pictures wliich arc fitted to work upon the fame Aftcdions in a ftrong and proper manner, muft be the nobleft Pieces of Painting ; becaufe they arc at the fame time the moft cntcrtainina; and the moft ufeful. Accordingly we iiave found that Mafter-Critick of all the fine Arts, givint? the preference to fuch Pifturcs abo\'e all others, and ccnluring the fineft Colourift of Antiquity for not cxprcfling Manners in his Pictures (29.) THE Author of the Reflexions, &c. very juftly obfcrvcs in another place (30}, " That " a Painter may pafs for a coniiderablc Artift in quality of an excellent Deftgncr, or a beau- " tiful Colourift, tho' he be not able to reprefcnt aftedting Objedls, or to animate his Pic- " tures with that Soul, and Truth of Expreflioii, which makes itfclffelt in the Works of " Raphael and Tonkin.. The Painters of the Lombard School arc admired, though they " aimed at nothing beyond pleafing the Senfe, by the Richncfs and Variety of tlieir Co- " louring. Yet their moft zealous Partizans acknowledge, that in the Pidures of that " School a great Beauty is wanting ; and that even thofe of Titian^ for inftance, would " be vaftly more precious if he had oftencr joined, to the Talents of his own School, thofe of the Roman. A Pifture of this great Mafter, reprefcnting the Martyrdom of a T^o- " 7ninkan Friar, is not perhaps the moft valuable of his Works in relpecl of Colour- " ing : In tlie Opinion however of Cavalier Ridolfi^ who has wrote the Hiftory of the Ve~ " netian Painters, it is that which is moft univerlally known and moft highly cftcemed. " The reafon is, the Adion is interefting, and Titian has handled that Subjcd with a more " touching Expreftion than appears in his other Works." BUT how very differently doth this Author talk, in his Chapter, about Exprefiion and Colouring {31)? He decides the Qiicftion with, Trahit fua quemque volupasi All is Tafte, and it is in vain to difputc about Taftc. I {!•]) Tom. I. f. 50. Qu'il eft inutile Je difputer fi la partie tin deflein & de I'expreffion eft preferable a cette as for inftancc, in the human Body. Now without all doubt to be able, by a thorough Intelhgcncc of local Colouring, and of Light and Shade, as by a kind of Magick, to imitate real Flefh and Blood, fo as to impofe almoft upon the Scnfe, and deceive the Eye, is a wonderful Art. But let any one ask himfelf, whether it is not a yet higher and more entertaining Art, to give a Face a fagacious, graceful, or majeftick Air; to mark the diftinguifhing Charafter of a Jupiter, a 'Pallas, or an Apollo : Whether, in one word, the moft perfed Rcfemblance to Flefh and Blood, without any other Ideas fuggeftcd to the Mind, is tliehigheflpleafure(3f) he can conceive aPidurc capable of giving: Or whether iie is not more delighted, when, tho' the Colouring is not fo perfed, a particular Chatadcr is fo marked, that he diftindly perceives what it is, and is iiatually led into plcafing Hcficdionii in lois own Mind upon it, and the Propriety with which it is exprcfled. IT m.iy therefore be laid down as a general Rule, which refped to Pidures, that they are proportional in Merit, to the Dignity of the Ideas they arc qualilied to convey to the Mind. If the Truth, Strength, and Propriety of the Reprcfcntation are equal, they are as the Ideas or Objeds that are reprcfcnted : And if the Ideas or Objeds rcprefented arc tiic fame, or equal, they ar-c as the Truth, Strength, and Propriety of the Reprcfcntation. SOCRATES Arifiotle h'xvc: not hefitated to pronounce the Talent of Imita- The Opiin'cn cf So- ting moral Life, and cxprefling the Affedions of the Mind, the chief Excellence in all crates anti Ari- thc imitative Arts (36). And the latter divides moral Imitation in Painting and Poetry into three forts. " Men, faith he, arc either good or bad; they arc chiefly dillinguifh'd The latter' s Account " by their Manners, that is, by their Virtues and Vices. Thofe therefore who propofe cf tnoral Imitatim. " to imitate human Life, rauft either paint Men better or ,worfc than they are in the " ordinary Courfc of human Affairs ; or fuch as they commonly arc. There are but thclc " three Kinds of Reprcfcntation. Now Tolygnotns excelled in the firfV, exhibiting Men of " great, illuftrious, and uncommon Virtues; Poiiffin in the fecond, painting extraordinary " Scelerates, or the vileft and moft abominable Charadcrs; 7K\\etry already quoted, with what he fays of Manners. Pslit. Ed. iVechsL p. 225. I Chap. 4. and Decline of Painting. 79 particular, or rcprcfcntativc of one certain Aftion ; the Aflion painted ought to be told ■with fuch a ftrici regard to tlic accidental Cojhime, that the Subject and Scene may be cafily diftinguiihcd by thofe who are vcrfcd in Hiftory. IT is then evident from wliat liath been faid, that there is no kind of CompoJition re- fimima,^,ttas latmg to Men and Manners, in which it is not equally neccflary for the Author to under- "Jlud, (land moral Truth. Tis not enough that the moral Painter hath ftudied the Features Pro- ^'""''"f'? portions, and Graces of the human Body ; he mull be profoundly knowing in thofe of the "'"'^'"'Vt''!- Mind (4.4.). How elfe can he juftly reprelent Sentiments and Chara'dcrs ; dilhnguifh the Beau- tiful from the Deformed; mark the Sublime of Tempers and Actions ; and "ive a moral Whole its jull Body and Proportions ! How elfe can he note the Boundaries of "the Pallions, and difcern their exaft Tones and Meafures > This therefore is the Study which Socrates recommended to Tarrhafiis and Clito : This is the Study Horace recommends to all the Imitators of rational Life. Refpicere exemplar "oit/S, morumque jubebo T)i)ciiim imitatorem, & ^eras btnc ducere voces. AND for this end he advifes them to ftudy the Chartie Socratice, the Dialogues aCPlato IvhyManu: nam in which Socrates is the Hero or principal Character {+^) ; bccaulb thefe Writings are Imi- 'fo Ch'/rra' rations which have the clfential Quality of fucli Conipofitions, Manners. " The philofo- phical Writings, (fays a noble {a^G) Author) to which Horace in his Art of Poetry refers were in themfelves a kind of Poetry like the Mimes, or perfonatcd Pieces of early Times' " before Philofophy was in vogue, and when as yet dramatical Imitation was Icarce form'd ; " or at Icaif, in many parts, not brought to due Pcrfcaion. They were Pieces, which be- " fides their Force of Stile, and hidden Numbers, carry 'd a fort of Aftion and Iniitation' the " fame as the epick and dramatick Kinds. They were either real Dialogues, or Recirals of fueh perfonatcd Difeourfes ; where the Pcrfons themfelves had their Charafters preferved " throughout; their Manners, Humours, and diftinft Turns of Temper and Undcrftandin» II maintained, according to the moil exad poetical Truth. It was not enough that thole II Pieces treated fundamentally of Morals, and in confcquencc pointed out real Characters II and Manners; They exhibited them alive, and fct the Countenances and Complexions of Men plainly in \ lew. And by this means they not only taught us to know others; but II what was ptincipal and of highcft Virtue in them, they taught'us to know ourfclves. Thi- ll philofophical Hero of thefe Poems, whole Name they earr/d both in their Body and Front and wholi; Genius and Manner they were made to reprcfent, was himfelf a pcrfed Cha- II rafter; yet, in fome refpccis, fo vcil'd, and in a Cloud, that to tlie unattentivc Surveyor II he feemed often to be very different from what he really was : and this chiefly by reafon II of a certain cxquifite and refined Raillery, which belong'd to his Manner, and by virtue of II which he could treat the highcft Subjefts, and thofe of the commoncft Capacity both to- " gcther, and render them explanatory of each other. So that in this Genius of Writing " there appeared both the Heroiek and the Simple, the Tragick and the Comiek Vein. How- " ever, it was fo ordered, that notwitiiftanding the Oddnefs or Myfterioufnefs of the prin- cipal Charafter, the undcr-parrs or fccond Charafters Ihew'd human Nature more dillinctly and to the Life. We might here, therefore, as in a Looking-Glafs, diliiover ourfelves^ " and fee our minutcft Features nicely delineated, and fuited to our own Apprehenfion and Cognizance." I could not chufe but take notice here of this excellent Reflcftion on Horace's Precept to the Imitators of moral Life, becaufe it is not obfcrved by the Commentators on Horace and it is an excellent Remark upon our main Subjeft, the llrift relation of all the imitative Arts; the relation of moral Painting to moral Poetry, and of both to moral Philofophy; notnicrcly inrefpeft of the Subjcft, but likewife in the manner of teaching it, according to tlic belt ancient Models of philofophical Writing. " , BUT to proceed ; what is called by the Ancients the to xa^oV in Compofition (+7) comprehends that cxquifite Tafte in the Choice of a Subjcft and its Parts, and in the Dil- pofition and Subordination of every part to one excellent principal End, by which a noble and bcauriful Whole is formed, that may be dillinftly comprehended, and yet wonderfully fill and occupy the Mind. It arifes, according to Ariftotle'i Account, in all the imitative Arts, from the Expreffion of Greatnefs with order ; or is accomplilhed by exhibiting the Principal in the largell Proportions in which it is capable of being viewed. It muft not be gigantick, for thus it is in a manner out of fight, and cannot be comprehended in a fmgic united View : On the contrary, when a Piece is of the miniature kind ; when it runs into the Detail, and a nice Delineation of every particular, it is, as it were, invifible, for the (44) See the Prefaces to the hmcz by the two Pink- (46) Chsraa. vol. i. ^. 193. Advice to aa Author jlratii, above cited. (47) ^ JtoiAss, ^ ^um 3^ aiyxv Ti^&yftx Rsin tibi Sacyaticie pottrimt ojlendere charta. De Art. Poet, i frl. Arift, de Art, Poet. c. Of Beauty in Paint- ii:g aciordirg ta Ariftotle, So ^« Essay ci» the Rife, Progrefs, the fame reafon ; bccaufc the funimary Beauty, the Whole itfdf, cannot be comprehended in that one united View ; which is brokeli and loft, by the neccflary Attraction of the Eye to every fmall fubordinate Part. In a poetical Whole, the lime reL;ard ou?ht to be had to the Memory, as in Painting to the Eye. The dramatick Kind is confined within the convenient and proper time of a Spcaaclc. The Epick is left more at large. Each Work, however, mull aim atVaftnefs, and be as great, and of as long Duration as poiliblc; but fo as to be comprehended (as to the main of it) by one cafy Glance or Retrofpeft of Me- mory. And this the Philofopher calls sJ^.m^aTor, Eafmefs or Unity of Comprchenfion. The noble Author, who thus comments on Arijiotle, adds, " I cannot better tranflatc the " Paflai^e than I have done in thefe explanatory Lines, for befides wliat relates to mere " Artj'^the philofophical Scnfc of the Original is fo majeftick, and the whole Treatife fo " mafterly, that when 1 find even the Latin Interpreters come fo (hort, I fhould be vain " to attempt any thing in our own Language. I would only add a fmall Remark of my " own, which may perhaps be noticed by the Studiers of Statuary and Painring : That the " "tcateft of the ancient as well as modern Artilis, were ever inclin'd to follow this Rule " of the Philofopher; and when they crr'd in their Defigns, or Draughts, it was on the iide " ofGreatnefs, by running into the unfizable and gigantick, rather than into the minute and " delicate. Of this Michael Angela, the great Beginner and Founder among the Moderns, " and Zeuxis the fame among the Ancients, may fervc as inftances (+8)." The fame hath been already obferved with rcfpetl: to Etiphranor, and Niciiis, and in general, all the bell ancient Mafters. THIS Beauty of Compofition, was likewife very emphatically called by the Ancients, %?.«r"7Z,° in one word, iu,i„T,T« (+9). Eafmefs or Unity of Sight. And it cannot be better de- fined, as it relates to Painting, than in the Words of the fame noble Author juft cited. " When the Ordonnancc is fuch, that the Eye not only runs over with eafe the fcvetal Parts " of the Defign, (reducins Hill its View each moment to the principal Subject on which all " tutns) but when the faine Eye without the leall Detainment in any of the particular Parts, " and telling, as it were, immovable, in the Middle, or Centre of the Tablature, may " fee, at once, in an agreeable and perfcd Correfpondency, all which is there e.xlribited to " the' Sight (fO.) Thus alone can the Subordination be perfeft. And if the Subordination " be no" perfea, the Otder (which makes the Beauty) remains imperfea." THIS Unity and Eafmefs of Sight and Comprchenfion, nccellarily requires Unity of Aaion, Time, and Place j and that what is principal or chief Ihould immediately fhew it- fclf, without leaving the Mind in any uncertainty. BUT all that relates to Unity and Simplicity of Defign, and to the one Point of Time in hiftorical or moral Painting, are fully explained by my Lord Shaftesbury in his Notion of the hiftorical Draught or Tablature of the Judgment oi Hercules (yi) j where he indeed fhews moral Painting to be a truly profound and philofophical Arr. WHAT (48) Cbma «/. I. EITa} m mi and Humur, f .143. " trary already difcharg'ii and baniOi'd. As for inflance, I itc that noble Author's Words. It is an excellent " when the plain Tracks of Tears new tall'n, with Commentary on that Paffage of Arlpll: " otb" f'=fl> Tokens of Mourning and Dejeflion, re- " main flill in a Perfon newly tranfported with joy at f^Q") ''Hrr KaSaVfp ettI twu irwwaTwj, JtJ ETri *' the fight of a Relation or Friend, who the moment ~ ^ .r . v' > ' n*. - r> ' ' _ " before had been lamented as one dcceas'd or loft. T» ^0... f; ^.j;.**-, "T, J, ,«...»™ ....<, ^ ^1^^ j.^^^^ ^^^^^^^ ^j^.^^ . ,^ i™ », iir, T« i^.Jo. .XI" fO ' „ ^.^-j p^^^ jnticipate the future: 1SOT> 'tm. Arift. dc Art. Poet. c. 7. „ ^ [„. (-„„ ;„ ,te cafe of an able Painter, who (CO) CWa. ml. 3. TaUatm,, Uc. f. 38. " (hould undertake to paint this Hiltory of iire»4,, ac- ^ " cording to the third Date or Period of liniepropos d (51) See particularly what is there explained concern- " for our hiftorical T.iblature, (when the Difpute bc- inr the Confillency of Anticipation and Repeal with " tween the two Goddclles hrui and Plmfiri is already XFuth and Credibility I Or that Law of Unity and Sim- " far advanced, and I'n iut feems to gam her Caufe.) plicity of Defign, which conftitutes the very Being of a " For in this momentary Turn of Aflion, Hmults hiftorical Piflure. " To preferve therefore a juft Con- " remaining ftill in a Situation exprelTive of Sufpenfe " formity with hiftorical Truth, and with the Unity of "and Doubt, would difcover neverthelefs that the « Time and Aflion, there remains no other way by " Strength of this inward Conflia was over, and that t< which we can polTihly give a hint of any thing futute, " Viaory began now to declare herfelf in favour of or call to mind any thing paft, than by fetting in " Virtue. This Tranfition, which feems at itrft fo my- " view fuch PalTagesor Events as haveaaually fubhfted, " fterious a Performance, will be eafily comprehended, " or, according to Nature, might well fuhfift or happen " if one conhders, that the Body which moves much " together in one and the fame inftant. And this is " flower than the Mind, is eafily out-ftripp'd by this " what we may call the Rule of Confiftency. Now " latter; and that the Mind on a fudden turning itfelf " is it therefore poffible, fays one, to exprefs a Change " fome new way, the nearer fitualed, and more fprightljr " of Paffion inanySubjea, fince this Change is made " Parts of the Body, (fuch as the Eyes and Mufcles " by fuccelTion ; and that in this cafe the Paffion which " about the Mouth and Forehead) talcing the Alarm, u " is underftood as prefent, will require a Difpofi- " and moving in an inftant, may leave the heavier and ' " tion of Body and Features wholly different from the " more diftant parts to adjuft themfelves, and change " Paffion which is over and paft ? To this we anfwer, " their Auitude fome Moments after." The fame " that notwithftandine the Afcendency or Reign of the Author adds, that if this Queflion concerning the inftan- " principal and immediate Paffion, the Artift has power taneous Aaion or prefent Moment of Time were applied " to leave ftill in his Suhjeas theTracks and Footfteps of to many famous hiftorical Piaures much admired in the " itsPredeceffor : So as tolet us behold not only a rifing World, they would be found very defeaive i as we " Paffion, together with a declining one; but what is may learn by that Tingle inftance of one of the " more, a ftrong and determinate Paffion, with its con- commoneft in Painting. Hardly is there any wheic feen and Decline of Painting. Si Socrates r;prefenis moral Imit it'imi as the chief End of Painting, Chap. 4. AVHAT I chiefly propolcd was, to mention fomc of the more important Obfetyntions of ancient Pliilofopltets on tlie Ait of Painting. And, from what liath been faid, it mani- fcftly appeats ; in what they placed the chief Excellence of Painting. A Piftute muft be a truclmitation, a true Likenels ; not only the Carnation mull appear real, but even the Stuffs, Silks and other Ornaments in the Draperies. Without Truth no Imitation can pleafe. But the "reat Merit of Paintins confifts, in making a fine and judicious Choice of Nature ; in exhibkina; great, rare, furpriziiig, and beautiful Objetfs in a lively manner; and thus conveying great and plcafing Ideas into the Mind. But becauii: rational is the higheft Order of Life "the Source whence the greatcft, the loftiefl:, as well as the moft inflirudive and touchin'" Sentiments ate derived ;"tlie higheft Merit and Excellence of Painting muft con- fift in aline Tafte of moral Truth ; in exciting in our Minds great and noble Ideas of the moral Kind, and in moving our Palllons in a found and wholcfonic way : For fuch is our Frame and Conftitution, that what hath a virtuous Effcd is at the lame time moft pleafant and agreeable. ■P ARRHASIUS ask'd Socrates how this could be done ; and the Philofophcr aii- fwcrs that if all that is vifiblc may be painted, all the Paftions and Afteftions of the Mind mav be painted, fot all thcfe have their vifiblc Charaacrifticks. Whatever is great, generous, beautiful or graceful in the Mind, (hews itfelf by plain Marks in the Countenance, and Geftute :'AndTo likcwifedo mean, low, bafe, unworthy Sentiments and Afteftions. And therefore all thcfe may be exhibited to tire Sight by a Painter who hath ftudicd Mankind, and is profoundly skilled in the human Hcatt, and the natural Lairguage of the Paflions. So Horace: . . Format enim Natura prms nos tntus ad omnem forttmarum habitiim : ju viit, aut impellit ad tram i Aut ad htmim mxrore gravi deducit, & angit : 'Poft effert animi rnottts interprete lingua. De Art. Poet. And Timy "ives us a long and elegant Account of the Force of Expreflion in the Eye, that well dcferves the Confideiation of Painters (fj). YXT Socrates fpcaking of moralPainting, or ofthc Expreflion of Manners, goes farther, and IVhat may h inftr- leads Tarrhafins 'to give the Preference to thofe Pictures which cxprefs the Beauties of Virtue ; r,dfr„ hi,C^_ amiable and worrhy Charafters ; truly good and gicatAaions; pure aiad virtuous Manners. rt4„, „;,4 Tlicfc the Mind contemplates with the higheft Delight and Satisfaftion : Theic raifc our 1, faktmg Krtui. Admiration, and infpire us with the moft pleafing Sentiments and generous Difpofitions. Merely corporeal Beauty hath a wonderfully charming Influence upon the Mind ; But 'tis moial Beauty, the Graces of the Soul, the Fair, Lovely and Decent in Chatafters and Actions that moft' highly laviflies and ttanfports us. We find this Philofophcr often dilioutfing to his Dilciplcs In'Piato and Xcnophons Woiks, upon the Excellence of Virtue; often telling them, fuch is the Force of its Charms that it appeals in its higheft Glory when wc fee its Behaviour in diftrefs. Tis then moft lovely and engaging when it is put to the feveicft Trials. Then do wc fee all its Majefty and Fiiranefs, all it5""Stiength, Refolution, and Sublimity : Then is it we aic moft deeply interefted in its behalf ; our Hearts are rlicn filled with the higheft Ad- miiation and Aftoniftiment, and at the fame time melted into the moft tender, gcneious Pity. So virtuous is out Fiame, (according to the Dofttine of that moft excellent Moralift) that no Aft of the Mind yields it fuch a complicated Contentment, or fohigh a Relilh of Pleafure, as the fclf approving Complacency and Afftaion with which it embraces fuff'cring Virtue and Maonanimity Now the fame Philofophcr, confiftcntly with his conftant Dofttine, tells Var- rhaliils and c'lito, that in order to give us the higheft Satisfaftion, and the moft delightful as well aswholefomcEnterrainmcnt by Art or Imitation, they ought to paint thcBeauties of Vir- tue • and for that end, that they fhould make a wife Choice of proper Circumftances, to ex- hibit its freateft Force and Excellence; or, in one word, that they fliould ftudy Human Nature and the leauty and Sublime of Charafters and Aftions, in order to paint thcfe tiuly amiable Virtues, the Contemplation of which exalts, enlarges and tranfports the Mmd. SUCH, no doubt, were thofe Pifturcs amongft the Greeks, done in Memory of their Heroes and their glorious Atehievements for their Country and the publick Good. And 'tis of fuch piaiires Ariftotle fpcaks, when he juftly affcrts tliat Painters and Sculptors may teach S» Ariflotk, Virtue and recommend it, in a mote ftriking, powerful, and efficacious Manner, than Phi-. lofophers tis animalibus, led homini maxime, id eft, moderationis, clementLK, mifericordis, odii, amoris, triftiti^, laeti- tiaj. Cotituitu quoijue multiformes, truces, torvi, fla- grantes, graves, tranfverfi, limi, fummifli, blandi. Pro- fe£lo in oculis animus inhabitat. Ardent, intenduntur, humefcunt, connivent. Hinc ill;e mirericordiff, lacryms, &c. FUn. Hijl. Nat. lib. II. c. 37. So Seneca, Eplft. 106. Annon vides quantum oculis det vigorem fortitude? Quantam intentionem prudentia ? Quantam modeiiiam & quietem reverentia ? Quantam ferenitatem l^titia ? Quantum rigorem feveritas ? Quantum remiHionem hi- nimi indicia cunc- laritas? See /ii. 2. f . 3. Y a Defign of this poetical Hiftory without a ridiculous Anticipation of the Metamorpliofis. The Horns of Mim are the EITeas of a Charm, fliouM naturally wait the execution of that Art in which the Charm confifts. Till the Goddefs therefore has thrown_her Caft, tile Hero's Peifon fufters not any changi while the Water dies, his Forehead is ftill found, in the ufual Defigns we fee it otherwife, .nre already fprouted, if not full grown, 1 defs is feen wattering the Sprouts. (52) Neque ulla ex parte. Even But The Horns d the God- Sa Jn ¥.zshY on the Rife, Progrefs^ lofophers can do by theii" DilTertations and Rcafoningsj and that Piftures are more capable of exciting Rcmorlc ill the Vitious, and of making them enter into a fcriousConverlation with their own Hearts, and return to a right Judgment of Life and Conduct than the betl moral Precepts can do without fuch afUftance (j^). ^ARRHASlUSis led by Socrates to acknowledge that the Virtues are the moft a"Tce- able Objeifts Pidiurcs can rcprefent; and that the Vices cannot be beheld without Abhorrence andDeteftation. Whence '^Parrhafitis might have learned, that the Deformity and Vilcnefs of vitious Characters, is then moft pleafantly reprefentcd in Pidurcs, when the hateful Charafters arc introduced into aPiece, fo as to fervc by way of Contraft or Foil, to fct oft" and heighten the Beauty of the virtuous Adlion which is the principal Subjeft. At leaft this Conckilion naturally follows from what Socrates le.zd.s'^Parrhafms to perceive and confefs with great Em- phafis (f4). Nothing can be more inftruftivc, with regard to Painting, than this fhort Con- vcrfation when it is duly attended to. " Painting can give an Appearance of Reality to " any Objeft; but is this all it propoies ? Can it not paint more beautifid Objcds than are to be feen in Nature \ And how is it able to do that ? Is it not by chufmg out of " the vaft Riches of Nature, and by combining difperfed Beauties with Tafte and Judg- " ment ? But docs it aim at nothing higher than rcprefenting merely fenfible and corpo- " real Beauties and Proportions ? Can it not imitate the Motions, Anions and Aftcdions " of the Mind ? Arc not thefc likcwile vi/ible, and if they can be difccrned by the Eye in " real Life, may they not be painted ? But do all Sentiments, and Motions or Aftedions " of the Mind equally pleafe ? Is there not a Beauty and a Deformity belonging to them? " What do you fay of a noble and heroick Mind ; and of a mean and groveling fordid one ? " What do you iay of great, generous and lovely Adions ; and of bafe, abominable and " flagitious ones ? Here indeed (faid the Painter) there is a moft fenl^ble diff^erence between " Beauty and Deformity." - HIS Conference with Clito the Statuary (as we have feen) is to the fame effcd. And the Philofopher concludes : " Thus then you fee what ought to be your chief Study, and what " is the noblcft Attainment your Art can afpire at." It ought to be your principal Em- ployment to exhibit the Beauties and Proportions of the Mind; to recommend Virtue and to abalh and difcountenance Vice : Thus it is that your Art may be at once ufeful and pleaflng ; for virtuous Manners well painted cannot fail to charm and delight. The Philo- fopher's Dcfign is plainly to lead the Painter at once to juft Notions of Virtue, and of Iiis own Art, by an Argument taken from his Art, and to fhcw how ferviceable it might be rendered to true Philofophy, by difplaying the Beauties of Virtue, and the Turpitude of Vice. SO fenfible have all Scifts of ancient Philofophers been of the Power of the Painting- Art, that it fecms thofc who taught the conttary Doftrine to that of Socrates, concerning the Beauty of Virtue ; and maintain'd that Pleafure ought to be confulted, and not Virtue in our Determinations and Purfuits ; were wont likewife to try to bring Painting over to Other Phihfiphers ^^^^ ^^or Cicero tclIs us, that Cleanthes ufed frequently to defire his Hearers to ima- endeavouredtomake gine to themfclves 'Pleafitre, painted in regal Pomp, beautifully arrayed, fitting upon a mag- 'fh/^dlnT^^f Throne, with the Virtues attending her like Waiting-Maids, who had no other conirary PhK/Ipl^'. Employment but to receive and execute her Orders ; and whifpering her in the Ear only to take care to do nothing ralhly, or that might off"end and bring pain after it. How charmingly does Cicero rcafon on this Subjed .' Cleanthes painted this Tablature elegantly enough in Words ; but can you, Torqttatus (fays he) look into your Mind, confult your own honeft Heart, and the Purfuits to which it gcneroully impels you, without being afhamcd of tliis Picture ? Can you bear that fervile Language he gives to the Virtues, that they arc born to be Slaves to Pleafure, and not to rule ? If Pleafure is indeed the lawful Miftrefs, it is impoflible to maintain Virtue^ or to be fteady to her Diftates. For can he be reckoned a good or a jiift Man who abftains from doing Injuries, merely through fear ? Sure you well know the Force of that honeft ancient Saying j Nemo pus efi qui pietatem metu ca- pt iff). 'TWAS (53) ^'''Z- P"^''- i^!>- 5- So ^intiUti/!, lib. ir. c. 3. (54) See the I5'i| Chapter of Ari/l. de re Post. Eoni Ncc mirum, fi ifta quEe tamen in ahquopofita funt motu, imaginum fi£tores quantum res palitur, pulcriores fia- tantum in animis valent, cum piiftara, tacens opus, & gunt, &c. habitus femper ejufdem, fic in intimos penetret aiFedtus ut ipfam vimdicendi nonnunquam fuperare videaCur. So (55) Omnis eft enim de virtutis dignitate contentio, Seneca, lib. 2 .deira. Movet mentes & atrox piflura, & at cum tuis cum difleras, multa funt audiencia etiam de ■ juftiflimomm fuppliciorum triftis eventiis. SoFal. Maxi- ohfcceiiis voluptatibus de qui bus ab Epicuro fepiffime di- 7nu!, lib. 5. c. 4, Exemplo ext. I. where he mentions an citur. Non potes ergo ifta tueri, Torquate, niihi crede, ancient Pidure : Idem de pietate filias exiftimetur qus ii te ipfe, & tuas cogitationes, & ftudia perfpexerls. Pu- patrem fuum, Cimona confimili fortuna affedium ; pari- debit te, inquam, illius tabula, quam Cleanthes, fane que cuftodire traditum tarn ultimo fene£tutis, vetut in- commode verbis depingere folebat. Jubebut eos, qui au- tantem peflori fuo admotum aluit. Hferent ac ftupent diebant, Tecum ipfos cogitare piftam in tabula Voluptatem, hominum oculi cum hujus fafti pi£iam imagincm vident, pulcherrimo veftitu, & ornatu regali, in (olio fedtntem : cafufque antiqui conditionem, prasfenti fpeflaculi admi- PrKfi:o effe virtutcs, ut ancillulaa, qute nihil aliud age- ratione reiiovant ; in iilis mutis membrorum lineameiitis rent, nullum fuum oiHcium ducerent nifi ut voiuptati viva ac fpirantia corpora intueri credentes. miniftrarent, & earn lantum ad aurem admcjierent, (fi modo Chap. 4- and Decline o/' Painting. 'TWAS quite the revcrfe of that corruptive Doftrine of Cleanthes, wliich we find j'o- crates teaciiing, in Xemphon and Tlato's Works ; and making ufc of the moft ancient Poets to prove and enforce ; of that ancient Fable iu particular, of the Choice of Hercu- les (f6) i when, Ftrtue and 'Pleafure appearing to him, he bravely difdains all the foft, enchanting Allurements of Vice ; and prefers the arduous but glorious Purfuits to which K/>?i« prompts, for their inttinfick Beauty and Excellence : A Subjeft of Painting full of noble Inilruftion, and that hath been often tried ; but by none more fucccfsfully witli^reipcdf to the Defign, than by a Painter at Naples, under the Direaion of the Earl of Shaftesbury. And it is indeed to Vntne only that the Mufes willingly lend their Charms ; they dclic^ht not in Varniih and Difguifc, but in dilplaying real Beauties ; and when they are forced into the Service of Vice, and conftrained to give falfe Colours to Deformity, the Difagrccablenefs of the Task, the Compulfion is difccrnible in every Feature. HITHERTO I have clriofly had two Dialogues of Socrates \\\ view, one with a Painter, Of ,th,r ^alltus the other with a Statuary ; but left any one (hould imagine, I have inferred too much from 'fgxdPaimwt. thcfc with regard to the Connexion of the fine Atts with Virtue and ttue Philofophy ; I (hall now endeavour to enforce the fame Concliifion, by confidering the more eflcntial Qiiali- ties of good Painting, that are mentioned by ancient Authors, in another light. Let it only be ptemifcd, tltat the Beauties and Graces of the polite Arts, like the Virtues and Graces of tlic Mind and Beluviour are fo infcparably conucaed together, fo intimately involved Hm ihr, ari all one in anotlicr, that none of them can be intirely divided from the reft, or confidercd quite fmiBcd i,gab,r, independently from tiac others. In borh cafes Explication is nothing elfe but giving ditfe- ''''' """""" rent Profpcds, as it were, of the fame beautiful Figure: The Terms which leem °at firft '*""™"''"'"'"- fight to fignify Qualities efl'cntially different, do, in reality, only denote the different Effects of the fame Qiiality furvcyed in various Circumftances, or, as it were, from divers Points of Sight. And therefore in fpeaking whether of the one or of the other kind of Beauties and Excellencies, Repetitions muft be almoft unavoidable. AVe cannot have a full and adequate Idea of an Objeft but by going round it, and viewing it in many different Situations and Lights : But a Defcription of the fame Objea in one particular Shuation, will neceflarily coincide in many refpefts with the Dcfaiption of it in any other View. IN the Hifto-y that hath been given of the more famous ancient Painters, many are o<-,4, Crmt anl praifed for the Sublimity of their Ideas, and the admirable Efficacy of their Works in cx- SuUimc. airing and enlarging the Mind of every intelligent Spcftator. Now to what Pidures is this noble Influence afcribed > Is it not to thofc which rcprcfented great Subjeas with a fuitable Greatncfs of Manner ; to thofe which by exliibiting fublime Objcfts in a proper Light, that is, with all tiaeir natural Strength and Loftinefs, infpired great Sentiments mto the Minds of Beholders, and mightily moved and elevated them 7) } THE Sublime in Writing, as we have had occafion already to obferve in rhe Charader of Timanthes {^%), who is faid to have been a very fublime Painter, confifts, according to gimis, in exciting noble Conceptions, which by leaving mote behind them to be contem- plated titan is exprelfed, lead the Mind into an almoft inexhauftible Fund of great thinkin'^. And if Fainting can really produce the like Effeft, it ought to be called in that Arr likewife by the fame Appellation, as it accordingly is by ancient Criticks. None of the ancient Treatifcs that are faid to have been written by Artifts upon Painting being now e.xtant j it is no wonder that nothing is handed down to us concerning the mediariical Part of it, or the Management of the Pencil and Handling ; Other Authors would naturally take notice of thofc Qiialitics only that belong to Painting, in common with Poetry and Oratory, and other Subjeas of which tltey were cxpreffly Writing; or of what more immediately relates to Invention, Diftriburion, Compofirion, Truth, Beauty, Greatnefs and Grace, and their delighrful Eff'eas on rhe Mind. And indeed all that can be faid, except by Artifts to Ar- tifts, about the technical Part, can amount to little mote than what is faid in general of Words and Phrafes by thofe rational Criticks on Wriring, who meddle more with Senti- ments than Words ; That the Strokes of the Pencil, like Words, ought to be tlie propercft that can be chofen for conveying the Ideas and Sentiments, that are intended to be exprelfed by them with due Warmth and Vigour, or, in other terms, that they ought to be fuitable to the Subjea. Learning ro manage rhe Pencil, is to Painting, what acquiting a Language is to Writing : In order to paint or write fublimely, the chief thing is to be able to "thiiifc fublimely. And therefore as all the Obfervations, which ancient Criticks have laid down concerning fublime Thinking, muft equally relate to all Conipofition ; to Painting as well as to Poetry and Oratory ; fo they not only tell us, that good Writing is good Painting by modo id piclura intelligi poffet) ut caveret, neqmd per- (57) It is needlcfs to repeat here the PafTages that were ficeret imprudeus, quod offendcret animos hominum, aut quoted in fpeaking of the Greatnefs of Jpdles, Eupkramry quidquani, equo oriretur aliquis dolor. Nos quidem vir- Niccas, Nealces, and others. Grandeur, Majefty, Sub- tutes, fic natce fumus, ut tibi ferviremus ; aliud negotii limity, are expreffly afcribed to their Works, i^c. nihil habemus, &c. Cic. de fin. lib. 2. N" 21, C58) See Ie»^/«Ki-i Be£t.-]i. PUnJ. (56) Xcnaphin. Memorab, Sicra/is, c, 22i 84 ^» Essay on the Rife, Progrefs, tiy Wo^is (f9), but they have treated all thcfc Aits conjundly, and have cliofcn to illuftratc cadi of them by comparilbn with the others (60). THESE Authors have remarked, that different Subjcas touch and affcft the Mind dif- ferently or excite ditTercnt Thoughts ; and hence it is, tliat Subjeas are divided into dif- ferent Clalics, as for inftance, the Sublime, the Pathetick, and the Tender; Anger, Fury, and the rou-'h Paffions awaken ftrom> Thoughts ; Glory, Grandeur, Power, move great Thou-hts; Love Melancholy, Solitude, and whatever gently touches the Soul, tnlpire tender ones. They have obfcrved, that its fublime Thinking that alone can pioduce Sub- limity in Compofition ; and that the true Sublime can only proceed from a great Mmd : it is itslman or Sound vejieBed. But tho' Greatnels of Mind mull: be original or from Nature yet it may be exceedingly improved by the Study of fublime Writings and Paintings, joined with the Contemplation of Nature; or, in general, by being converfiiit about great Objefts and fuitablc Reprefentations of them: Natural Greatnefs of Mind (lay they) ftands in need of reftiaints, and may be guided and affifted by Art, or judicious Rules. And, ui fine he who uiiderftands thoroughly the Management of a Pencil, like one who is abfo- lutely Mafter of a Language, if he is able to conceive great Thouglits and Images in his Alind by which he is liimfclf gteatlv moved, will not fail to move others, by exprefling himlclf iiarurally, and as he is moved within. Upon thcfc, and many other Topicks re- lating to the Sublime, have ancient Criticks largely infilled („'> ,■,„ ;.„. ,uan,l„ ,J,, fi« r,p,rcujL ut, quidquid dicitur non tarn dlcl videatur, quam fub nnuainis lanqud i j jj j j M afpeaum ipfum fubjici. /— ■ (60) So A, ip,h, Cicr,, arace, ^umilia., &c. a= * SMmlaU, S,a. 9. has been already remarked. So likewife Lsnginus very ic, \ v ff ^ frequently. See particularly SciS. 17. Nec muUum differ t t°3J "i"'-?' quod in piftura evincei'e folet, &c. ^ Chap. 4. and Decline of Pa i n t i n g. decree even to Gardening, or the laying out of Piclds with good Taltc. For what cUe is that but producing a fine Landfcapc, or rather a variety of them ? A Pifture ou'^ht to have variety enough to fill the Mind agreeably; and to entertain the Eye while it travels over it with many delightful Surprizes. So ftrid ought the Unity ^'"'^ of a Picture to be, as it hath been already obferved, that the Eye may be necefiarily redu- ced by every part it contemplates, to what is principal in the Compofition : But, at the fame time, fo curious, fo nice and exqnifire ought the Choice of the Parts to he, that the Uncommonnefs of each Figure in its kind may wonderfully ftrikc the Beholder, and raife his Admiration of the Genius that could fct his main Subjcd in lb fine a light, by fuch a happy variety of fubaltcrn Parts, fo excellently adapted to his purpofe ; whilft each of them Jingly confidered is exceedingly rare and entertaining, natural, but uncommon, or fuch Na- ture as one feldom fees. Annibal Carrache (64.) faid, that a Piiture ought not to conlift of more than twelve Figures. But with refpeft to number of Figures, perhaps no general Rule can be laid down bcfidcs this, that the Piece ought to lill and occupy the Mind without fa- tiguing or over-ftraining it, in order to comprehend the whole. The Mind, in order to be pleafed, muft be put to fomc trial of its Force : It muft not however be over-powered j for thus it is vexed and fretted, becaufe it is in a manner upbraided. But the Force of the Mind to comprehend a Whole, in the juft Senfc of this Rule, ought not to be meafured from the Strength or rather Wcaknefs of thofe who are not yet able to take in, at one view, a very complex Piece; but from the gteater Capacity and higher Reach of thofe, who by due Culture and Practice, have attained to a very vigorous comprehcnfive Imagination. Otherwife great Genius's would be fadly cramp'd in their Works. It is the fame here as in Poetry, or In Architedure and Mufick. On the contrary, tho' thofe Pidurcs are far from being defpicable, which every ordinary Mind yet unpradifed in judging of fuch Compo- fitions, may cafily compafs at firft fight ; yet it is not the Painter's, nor the Poet's Bufmefs to lower himfelf in Ids Performances to the reach of weaker and unimproved Minds j but it is ours to raife and improve our Imaginations to fuch a pitch of Perfedion, that wc may be able to comprehend with tolerable cafe, whatever the greateft Painter was himfelf able to coiiceive in his own Mind as one Whole. THIS is certain, that as the Mind, in order to be pleafed, muft perceive Unity of pc- fign ; fo its delight will be exceedingly heightened, if every Figure in the Pitture, at the fame time that its Aptitude to the principal Scope of the Piece is clearly perceived, agreeably ftrikcs and furprizcs us by its Ncwnefs or Uncommonnefs ; and thus is by itfelf capable of affording very confiderablc Entertainment to the Eye. ANOTHER Quahty in Pictures which ihews Strength of Genius, and gives Grcatnefs Oft to a Work, whatever the Subjeft of it may be, is an apt and elegant Choice of Contrails. Figures muft be fo placed in a Pidurc as to produce Harmony to the Eye, as a Concert of Mufick does to the Ear ; but this Harmony is then moft delightful and entertaining, when it is perceived to refult from a very nice Diverfity of Charaders, Ages, Paftlons, Com- plexions, Airs, Forms, Gefturcs, and Attitudes, Then is the Piece moft charming, when all the Figures in it mutually fct off one another to great advantage, and thus make a beau- tiful melodious Whole ; when every Pofture, Complexion, Adion, and, in one word, every piece of Drapery, and every Ornament, gives force to all the reft of the Parts, and Beauty and Harmony, as well as Spirit and Rehef, to the Whole. The plealing Eftcd of this Art, and its ncceility in order to make an agreeable Pidure, may be cafily comprehended, if one will but refled upon the manner in which diftcrent Charaders in a Poem heighten and illuftrate one another by Contraft ; and on the neccftity of this, in order to make a dra- matick Piece, or even a Dialogue truly entertaining. But it will be belt undcrftood in Painting, by giving attention to the Contrafts that charm us in any Piece of Nature; for that is indeed one of the principal Sources of our Delight and Admiration, when we be- hold any beautiful Landfcape in Nature ; or any real Afltrmblage of living Figures, when they are gather'd together in different Groupcs, to hear a Difcourfe, or to behold any amufing or interefting Sight. NOW many ancient Greek Painters are highly commended for their excellent Tafte The in the Choice of rare uncommon furprizing Figures ; and for the variety of their Airs of Heads, Adions, Pofitions, and Charaders, while, at the fame time, every part was duly adapted and fubordinated to what was principal in their Pldures. And C^intilian (6f) juftly obferves, (64) See Du Pile's Notes on Fre/ncy's Vozm De Arte (65) ^intilian^ Injiit. I. 2. c. 13. ExpediC autcm Craphica, upon thefe Lines : fepe mutate ex illo conftituto, traditoque ordine, aliqua, Pluribus intplicititm perfonis drama fuprmo & interim decet, ut in ftatuis, atquc pidturis videmus. In genere ut rarum eji ; multi^ ita denfa figurit variari habitus, vultus, ftatus, hi. Horace fpcaking of Rariar eji tabula excellent. painting a variety of Charaifers in Poetry, calls lliefe The Reafons which he gave were, firft, that he believ'd opmmi celores. there ou^ht not to be above three Groupes of Figures in Defcriptas fervare vias cperumque colores, any PiiSure : And fecondly, that Silence and Majefty Cur ego, Ji nequcB!gmrBque,poeta falutor. ATt.Poetic^, were of neceiTity to be there, to render it beautiful ; and Colores, i. e. fay theScholiafts, varietates, nature difcri- neither the one nor the other could poflibly be in a Mul- mina, caraderc';. titude and Croud of Figures. z 86 An Essay on the Rife ^ Progrefsj obfcrvcs, th:it without thcfc Qualities j without variety of Conrraft in patticular, no Piilurc can long detain the E\ c, or agreeably employ the Imagination. Many however of the srcat Martcti among the Moderns have fallen into what is called the Manicrato, and have not ftudied enough to give Diverfity of Complexions and Charadcrs; or at Jcaft of Attitudes and Draperies in their Pictures : And not a few of the ancient Roman Pieces now pub- lilhcd, tho" there is a great deal of Beauty in them all, have the fame fault. OfcfflKfoll'v ANOTHER moft important Secret in Painting may be called concealing Bounds. It BifuJs. conltfts in giving a very large, and, as it were, unbounded Prolpcft to the Eye. It is necd- Icfs to infift long on this head. Every one feels that the Eye hates to be ftinted and con- fined ; and that the Imagination is wondcrhiUy channed by wide expanding Views. Hence it is, that placing Icveral living Figures, and other Objects in a Piciure at a great dilfance, rcprcfcnting a fine open variegated Sky, an cxteniive Landfcapc, noble Pieces of Arcliitedurc; or on other occafions, huge Mountains, Rocks, and other fuch towring, awful Objcdrs, have fuch a wonderful Effed upon the Mind. Whatever is pleaJing and delightful in Na- ture, will be fo when it is well reprefcnted ; and who is not fenfiblc of the difference be- tween one Scene in Nature and another ; and whence that proceeds ? Commonnefs, Want of Diverfity, Dcfed in Colouring and Contrail, but above all Narrowncis imd Confinement, arc the Caulcs to which our Dilfatisfaclion with any real Landlcape is chiefly owing. Tliis Rule extends not only to Landfcape-Painting, properly fo called, but to moral or hiftori- cal Pieces ; for tho' in all Imitations of Nature by the Pencil, as well as by Defcription, every thing ought to be fubmitted to what is chief in the Piece •■, yet even in reprefenting an hi- Iforical Subject, in which moral Life is ncceifarily principal, the Scene of the Aftion ought not to be ncgledled, but ought to be as pleafant and entertaining as may be, confiftcntiy with hiftorical Truth, and the Subjcd itfelf i it ought to be fitted to fet olF the Story to flic bcft advantage. ALL thcfe Qiialitics arc rcquifitc to truly beautiful Compofition in Painting; and where- ever they are found, there, is Greatnefs felt in the Invention, in the Talk and Manner, that exceedingly traniports the Mind, affording it variety of furprizing and agreeable Entertain- 'ment. I hole who have great Minds will naturally feck alter Greatnels in the Subjeds ; yet there is a very confiderable Satisfaftion arifing even from the lowefi:, that is, the mofi: ordinary Subjedls, when by thole happy Circumftances that have been mentioned, they are exceedingly raifed and greatned above common ordinary Nature. A Subjed which can- not be naturally wrought into a bcautiftil pleafing Whole, by means of fuch Art and Con- trivance, is by no means proper for the Pencil : However naturally it may be reprefcnted, the Choice of it will be juftly looked upon as an Arguinent of a very low and unafpiring Genius ; or of a mean and groveling Taftc. OfEnf Pahithi" THERE is another Quality often recommended as abfolutely necelTary to the Perfec- " ' ^' tion of Painting by ancient Authors, which may fecm at fii-ft iight not compatible with Strength, Eorce, and Greatnefs ; and that is an appearance of Freedom and Eafc. It confifts in hiding Art by Art ; or in giving an agreeable Semblance of unlaboured and na- tural to a Work, w'hich for that very reafon cofl: the fcvercft Study i as every one who fets himlclf to try niufl find. It is well obfcrved by fevcral Ancients, that Flatnefs and Pueri- lity are not more oppofite to the Sublime than that Fury, Violence, or Extravagance which is ofen miftaken for Strength and Energy of ExprclHon. This laft is called by Long'mus, (who treats (66) of both thefe Oppofitcs to the Sublime) the, najaELSc^trof ; and iie gives an excellent Defcription of that fault in Writing, which is caiily applicable to the other Arts, to Painting and Sculpture. Every thing, as he obfervcs, hath its proper Mcafures and Bounds. A Bully is not irtorc ditferent from a Hero, or a drunken Man from a fober, than true and becoming Exprefiion is from the wild^ the affected, or over-done. ON the other hand, as iii Poetry there are fomc things which mufl be written with ftrcngrh, that neverthelefs arc caly ; fo is it with regard to the other polite Arts. The . Statue of the Gladiator, though reprefcnted in fuch a Pofturc as ftrains every Mufclc, is as cafy as that of Venus ; becaufe the one cxprellcs Strength and Fmy as naturally as the other doth Beauty and Softnefs. The Satyr in the Coiledion of ancient Paintings annexed, though it is a Charafler very boldly and ftrongly marked, is as cafy as the yotmg Faua offering a Gift to To7fio7m, which is exceeding foft; or as that Goddcfs, wliich is indeed a very Jimple, eafy, and graceful Figure; or as any of the Figures iji the Marriage, wliich are fo light and charming. THE Paffions arc fometimcs to be roufed, as well as the Fancy to be entertained; and the Soul to be exaitcd and enlarged as well as foothed. And as in Writing (67) this often requires a raifed and figurative Stile, that Readers of low cold Imaginations, or foft and languid Tempers, arc apt to rejccl as forced and affcfled Language ; fo in Painting, to Spedators [dd) Longlmis de Suhlimitatei Se£i. 2-, ^ A' Qiiippe (67) See Guardian, Tome i. Number 12, and qui furere apud lanos, &, quafi inter fobrios baccliari vi- 15. nolentus videatiir. Chap. 4. and Decline of Pa i n t i N G Speftators of the fame Make and Temperament, due Strength of Expreilion, a proper hcighc- ning of the Features, and fuch a bold Pronunciation of the Mufcles as the Subjeit requires, often appear wild and extravagant. Nature hath given every thing its pecidiar and dillin- guilliing Properties and Charai5tcnftieks, and hath, as It were, appointed even diifcrent Garbs for different Things. And as in Writing, every thing that is agreeable to Nature, and exprefs"d in Language fuitablc to it, is juftly faid to be written with cale ; To in the other Arts, for the fame reafon, whatever Object is exhibited agreeably to its Cha- racter, whatever is fet to view in its propcreft Light, and with the Colom'ing and Drcfs that is mofl: fuitablc to it, is reprefented naturally, without Affcclation, or with Free- dom and Eafe. There is an cafy Mien, an eafy Drefs, pcculiaiiy lb called; and fo likewife thcL-e is an cafy fort of Writing, properly fo denominated. And thofe who underlland what that is, will be at no lofs to find out its analogous kind in Painting. Different Sub- jects affcft the Mind differently. The Thoughts which love Melancholy, Solitude, the paftoral Life, and whatever gently touches the Heart and fofrens it, are thofe, which ftrictly (peaking, are called cafy ones. Such were the Subjetls and others amongli: the Ancients painted, and among the Moslems '?'rfrw?£'^/iZK(7, Gmdo^ ziwd Albmo. BUT the Notion of Eafe, as it is oppofcd to what is ftiff, laboured, and affe^^tcd, can- not be better ftatcd than by the above-mentioned Explication of it. It connits ui conceal- ing Labour and Art (68). And with regard to it, no other Rules can be laid down but thofe which are given about eafy Meriting. h\ order to attain to that Charm in any Com- pofition of whatever fort, one mail think eafily : And when tlie Subjed is clearly and di- llincbly conceived ; when the Thoughts are natural, juft, and rightly digcftcd, then will the Author or Painter acquit himfelf with eafe in his Performances. This Talent, like every other Qiiality of the Mind, mull be in fonie degree natural ; it can never be acquired by fomc, no more than an eafy Behaviour by all the alFirtancc of Rules. But it may be im- proved into Pcrfedion by reading the belt Authors, and above all by Converfation with the politer Part of Mankind. The mere Scholar can never have it in any conJldefablc de- gree. All who have been mod dillinguilh'd for it in their Works of whatever kind, have been Men verfed in the World, and of a truly gcritecl, eafy, elegant Turn of Mind. The two bcfr Advices that can be given concerning it are to conlult our Genius, and to attempt nothing above it, or repugnant to it. Sumite materiam vejhis qui fcribitis aqiiam Viribus, & verfate dm quid ferre recufe?it ^luid valeant humeri : cui lecia patenter ertt res, Hec factmdia deferet hunc^ nec Incidus ordo. Hor. de Arte Poetica. And not to endeavour to communicate to others what \vc do not clearly perceive, and ftrongly feel within ourfelves. Ji vis me flere, dolendnm eff Trimum ipfi tibi tunc tua me infortiinia ladent. Hor. ibidem {69). WHATEVER rcaUy comes from the Heart will go to it, and appcat cafy and natural; bccaufe in that cafe the Author is guided by Nature, and moves as it didatcs, without any Rcftraint, Difguife, or Affectation. Thcfc Precepts of Horace do not merely relate to Poetry; but extend equally to Painting. And indeed as he fcts out by comparing the one with the other, fo he feems to have both in view throughout that whole Maikr-piece of Criticifm. 87 BUT to proceed: The Pcrfedion of Oratory, Poetry, Painting, and of every Art, is faid by Cicero to confift in the to tpettoi., that is. Decorum (70)." " It is this {faith he) " that is mofl: difficult to obtain in Life, or in Art : it is the fuprcme Beauty in both : " And it is to our Ignorance of this, that many Faults not in Life and Conduft only, but " in Poems and Orations are owing. The good Painters have exceedingly ftudied it. 7V- " nianthes fhewed his julf Taftc of it in his Pidurc of Iphigenia, by veiling the Father. " Tiiis was not only a mofl: happy way of exprcffing his extreme Grief, by a tacit Confef- " fion of the impoffibility of painting it ; but a more judicious, decent way, as it could " not have been reprelcnted more bitter and vehement than that of all the other Pcrfons " in the Picture, who were each fo violently afflicted, without being difagreeable, or giv- " lug too much pain to the Spectators ; which ought carefully to be avoided in Painting " as well as in Poetry {71). "THIS (68) Intcrea niveum mira felicitev arte _ erit in affeftibus potentilEmua. Ibidm. Primum eft Scuipfit ebur ; farmamque dedh quafcEimna mfd bene affici, & concipere imagines remni, Sc tanquam veris Nidia polcjt : operifque fui cunccpU aiiiQrim. moveri, /. 2. 3, Of DecmirA. Virglnh eji vera fades quam vivere credas : Et ft nan ohjlet reweniia^ velle meviri. (jo) Cicero ad M. Bruium Oral. N" 2i. Ars adeo latel arte fua. Ovid. Meram. 1. 18. ver. 247, (71) Langhius dc Sublim. f. <). cenfures this Fault. At vide quam diflimile fit illud ex Afpide Hefiodum de Ju- (69) So ^imiUan in fevers,! places. Nec agamus rem fticia, fi tamen hoc Hefiodi poemation ell. Non enim alienam, fed aflumamiis paruinper ilium dolorem. hj}. tam horribilem nobis ejus imaginem objecit quam iugia- /, 6. c,. I. Imagines rerum quilquis bene conciperit, is tam odiofamqire. 88 Jti^sshY on the Rife, Progrefs, " THIS Decorum is of vail extent ; it comprclicnds, according to Ckera, good Tafte in " tlic Ciioice of the Subjeft, and in the Dilpofmon of every part with relation to the pritv " cipal End of the Whole. It conlills diiefly in juftnefs, Truth, and Beauty of Sentiments ; " in Propriety of Exprellion, and in giving every Objecl its proper Charatler and Place " in a Compofition : But it extends, as in Orarory, fo likcvvil'e in Painting, not to the " Sentiments only, but to the Dicfion in the one, and to the Colouring in the other. " The Subjca muft be decent ; and the Exprellion muft be agreeable to the Subjeft ; evety " Ornament muft be corrcfpondent to the Genius of the whole Piece; all the Colouring " muft be on the fame Key ; or partake of the Charaaer of the principal Figure. It is " not enough that a part be beautiful in itfelf, it muft belong to the Dcfign, and be ftridly " lubfcrvient to it." This, I think, is a juft Commentary upon what Cicero fays of the Decorum. And Vitruvius (ji) fpcaking of Painting, tells us, that Truth is not fufficient to recominend it, but that Decorum is alfo abfolutely requifite ; and that, not only in the Compofition itfelf, but in the Adjuftmcnt of Paintings to the Nature, End, and Genius of the Places they arc intended to adorn. JSUT the full Meaning of wh.it the Ancients underftood by this Decorum will be more %Sf''!"'''' " evident, if we confider that it is often called by them by anotlier Name, that fignides (73) Jrugality and good Oeconomy, and is often illufttatcd in their Writings by Similitudes takcii from Simplicity, Elegance, and good Taile in Drefs ; in giving Entertainment.^ and in the whole of true Management and Beha\iour in Life. Nothing is more repugnant to it tihan Profulion of Ornaments. It is in Art, what Horace calls in Attire, Simflex Mmi- ditiis ; a Charaftct that is literally due to all the Draperies of the Figures in the an- cient Pieces now publilhed. " Every thing, lays Cicero, has its Meafurc, and the grcatcll " Secret in Compofition of every kind is to know how far to go. But yet the too much is " more offenfivc than the too little {7+)." True Elegance is rather frugal and rcfervcd, than lavifh and exccflivc, like Nature itfclt; the true Rule and Standard of all Art and Tafte. The Perfcflion of true painting of Nature, whether by Words, or by the Pencil, lies in feleit- ing proper Circmnftanccs, and placing them in agreeable Lights; that is, in fuch as will affi-a the Fancv in the moft delightful manner. And therefore not only Livclinefs of Fancy is rcquifi're to be able to call up a great variety of Im.agcs, but alio Accuracy of ]udgmenr, and Elegance of T.aftc, to chufc thofe that arc fufficient, and moft proper to let forth anObjcaln its bcft, its moft pleafing and inftruaivc View. The Painter, as well as the Poet of a rich Imagination, muft therefore learn to deny himfelf, and to be able to "rejea fine Embellilhments''and Decorations, when the Subjeft does not require them ; or ■when they would not be in their place : more efpecially in reprcfenting thofe Subjccls, which, the more fimply they are conceived, and the more plainly they are exprcffed, give the Soul p'roportionably the more pleafuig Emotions: OtherEmbellifhmentsadded to them, asit is well faid by fome Author, fetve only to hide a Beauty ; however gracefully they are put on and are thrown away like Paint on a fine Comple.xion. Many Paintcis, as well as Poets, ha^■e difplayed in their Works a great Fertility and Livclinefs of Imagination ; but few have been able to conttoul their Fancy, conceal their Art, and reprcfent Objeas in their fimplcft and propereft Light, without any foreign, borrowed, unneccfliry Or- naments ; by fekaing fuch Citcumftances, as fliine by theit own intrinfick Beauty. All this is admirably explained by Horace, with rcfpcft to both the Sifter-Arts. Inceptis gravibus, flerumaue & magna frofejjis 'Pnrpnrens, late qui fplendeat, unus & alter Ajfmtnr pannus ; cum Incus & ara Dian£, Et froperantis aqu£ per aminos ambitus agros, Aut flumen Rhenum, aut plu-vins defcrihitur arcus : Sed nunc non erat his locus : & fortaffe (75) ctiprejfum Scis Jimulare : quid hoc fi fraBis enatat exfpes Navibus, £re dato qui pingitur. The {i-i) Vliruvim, I 1 c. 5. Neqiie piauras probari de- mationis adjecit, Itaque Apaturius contra rerpoiKleie bent oust non funt fimiles veritati ; nec fi faflie font non eft aufus, fej fuHulit fcenam, & ad rationcm ven- clegantes ab arte, idco de his ftatim debet repente judi- talis comniutatam, poftea corrcflam approbavit. cari, nifi argumentationis babnerint rationes fine ofFen- fionibus explicatas. Etenim etiam Trallibuscum Apatu- (73) Compare wbat Goto fays, 0™«i-. n. 25. Nam rius Alabandcus eleganti manu BnxilTet fcenam, in ea- ficut in Epularum apparatu, &c. with iJiiMf;/™,!, A/;, qae fecilfet pro columnis figna, centaurofquc fuftinentes I. 8, t. 3. Nam ipfa illa, «ipiAii« fimplex & maftcaa- Epiftylia, coronafque capitibus leoninis ornatas : prKte- ta, &c. tea fapra earn nihilominus epifcenium, in quo Tholi, Pronai, femifaftigia, omnifque teai varius piaoris fiierat (74) Cmraihidm. In omnibufque rebus videndum eft ornatus. Itaque cum afpeaus ejus fcenie propter afperi- quatenus. Etfi enim fuus cuique modus eft, tamen magis tatem cblandiretur omnium Vitus, & jam id opus probate offendit nimium quam parum, &c. fuilTent parati, turn Licinius mathematicus prodiit, & ait Alabandeos fatis acutos ad omnes res civiles haberi, icd (75) The old Scholiaft obferves on this Paffage, Inep- propter vitium indecentiie infipientes eos elfe judicatos ; tus piftor vix aiiud noverit, quam denique depingere cu- quod in Gymnafio eorum qua? funt ftatuie, omnes funt prelTum : a quo cum naufragus quidam peterct, ut vuU caulas agentes; in foro autem difcos tenentes, aut cur- turn fuam & naufragium exprimeret, imerrogavit, num rentes, feu pi la ludentes. Ita indecens inter locorum pro- ex cuprefTo aliquid vellet appingi. prietates flatus fignorum, publice civitati vitium exifti- Chap. 4. and Decline of Painting. 89 The Rule is, '\Deniqiie Jit quodvis, Jimplex duntaxat & unum. And in. this docs Beauty, Simplicity, and Order confift, even in dilpofing all things juftly, aiid in being able to rejed whatever is not ftricily relative to the Subject. IN fine, the Quality which is pronounced by the Ancients moft eflential to good Paint- OfCn ing, is called by them Grace (76). This we are told comprehends Truth, Beauty, Eafc, Freedom, Spirit, Greatncfs, all thefe are neceflary to it 5 yet it fuperadds fomething to them, which it is exceeding difficult to dcfcribe by Words. We find by their Accounts of it, that its greateft oppofitc is the jtaxo^HAoc, or over-diligence in finifhing. The Piflurcs of ^rotogenes wanted Grace, becaufe he did not know when it was time to give over. It is extremely rare and difficult to give Grace to a Piece i and yet there is a certain Air of Negligence, fays Cicero^ that is a main Ingredient in every kind of Grace, as well as in that of Drcfs. Simplicity is infcparable from it. It is far removed from Superfluity and Af- fedation. Whatever is graceful is likcwifc truly beautiful and great; yet Grace is fome- thing diftind from both : For it is Grace that diftinguilhes Greatnefs from the Rough and Savage ; and it is Greatnefs, on the other hand, that fupports Beauty from degenerating into the Languid and Infipid. It is withal a miftake to imagine, that Grace is peculiar to one Charadcr ; on the contrary, each Charader hath its peculiar and diflingui filing Grace. Mcckncfs hath its Grace as well as Majcfty. Humility hath its Grace as well as Magna- nimity. Cheerfulnefs may be graceful ; and Tears are often exceedingly fo. Even Anger and a Frown may be graceful ; and Fear itfeif frequently adds a very great Beauty and Grace (77), It refults from the whole, and yet belongs to every part, the very Folds of the Draperies not excepted. BUT it is vain to attempt to define that Charm which the Ancients thcmfelvcs have pronounced fo inexplicable by Words. It may be clearly difcerned, or rather felt in the Works Raphael, and in the Antiques upon which that mofl: perfcd Mailer of Great- nefs and Grace formed, or rather perfeded his Tafl:c. And feveral Writers on Painting have made many very ufcful Remarks upon the Proportions obferved in the Antiques, and by thofe who ftudicd and imitated them i upon their beauteous Airs of Heads, tlie Eafuicfsof their Attitudes, the jufl; Ponderation, as it is called by Artifts, of figures; the Largenefs, the Squarcnefs, the bold Pronunciation of the Contours, or their delicate Wav- ings and Contrafts ; their cxquifite Tallc of Draperies ; and many other Excellencies in the Delign and Workmanlhip of the belt Mafters, from which Greatnefs and Grace rcfult. There arc many excellent Obfervations in Lomazzo's Treatifes on Painting (78), to this cffed. But none perhaps hath better treated this Subjed than }Ax. Richardfon {Jp). It is well worth while to infert here fome of his judicious Obfervations. " WHAT it is that gives the Grace and Greatnefs I am treating of, faith he, ishardtofay. " The following Rules may however be of fome ufe on this occafion, " THE Airs of the Heads muft be efpeeially regarded. This is commonly the firft thing " taken notice of when one comes into Company, or into any publiek AlTembly, or at the (76) See'what Is faid in the Notes on the fecond Chap- ter of ApelUs. And to the Paflages of Cicera and ^lin- tllian rekntd to concerning the Decorum, maybcadded what Cicero fays {De Orator. I. i.) Rofcium f^pe audio dicere, caput cfle artis docere ; quod tamen unum efie quod tradi arte non poflit, Sec ^int. Irfi. I. 8. c. 3. virtus & gratia in omnibus operibus efflorefcens, res eft prorfus admiranda, quamvis difertje orationis vim ex- iiiperans. Maxime quidem idonea eft confpici, omnibuf- que pariter idiotis, atque artium harum intelligentibus per- fpiciendam fe prtcbet ; oratione tamen earn explicari etiam iis eft arduum, qui plurimum dicendo valent. Quifquis itaque qualemcunque hanc vim explicari fibi verbis requi- rit, plurimarum quoque aliarum infignium atque InefFa- bilium rerum rationem pari jure poftulabit. Quidnam videlicet in corporum pulchritudine vocamus K^au. Quid in mobili ilia modulatione ac fiexu vocum luapfiorov, quid in omni convenientia temporum fit Vgi? atque 4ujuS«t)w. In omni denique opere atque in omni re ge- renda, quifnam fit ille qui dicitur ;/aiaov, quemadmodum etiam to fAHfi™ in quo confiftat. Senfu enim horum fingula, non oratione comprehenduntur. Dim, Halic. in Ufa. 445- (78) LomaxzB in his 'frattato della Ptttura of the Bet- lezza of the Antique, p.7.gif 2g6. and of Draperies, p. Tutatur favor Euryalum, lacrymxque decora Gratior & pukbro vemeiis in corpore virtus. pavit ilia ; tnetuque Et cuius, tS" fufus digitis cecidere remijjis. Ipfe iimor decuit. Ov. Met. 1. 5. 22g, Nefcia quid fit amor ; fed erubuijfe dicebat. Ov. Met. 1. 4. 330. Mifcelur decor! virtus, pukerque fevera Armatur terrore pudor. Claud, de Prob. &c. OviJ. Faft. 1. 2. ver. 755. Virg. ^n. 5. ver. 313. (77) T>ulce Tidentnn Lalagm amah Duke hqumtm. Hor. Car. I. i. Od. 22. (79) Mr. Richardfon'i Difcourfe on Painting, Duke ridere. Hor. Ep. 7. 1. 1. A a 90 ^« Essay on the Rife, Progrefs, " the fil-ft fight of any particular Pcrfon, and this firft takes the Ej'c, and afFcfts the Mind " wiicn wc Icc a I'ifturc, a Drawing, (^f. " THE lame regard mnft be had to every Aflion and Motion. The Figures muft not " only do wliat is proper, and in the moft commodious manner, but as People of the bcft " Scnfc and Breeding (tlieir Charafter being confidcrcd) would or Ihould perform fuch Ac- " tions. Tlie Painters People muft be good Aftors, they muft have learned to ufc a hii- " man Body well ; they muft fit, walk, lie, falute, do every thing with Grace. There muft be no aukward or affcftcd Behaviour, no ftrutting, or filly pretence to Grcatncfs ; no Bombaft in Aciion : nor muft there be any ridiculous Contorfion of the Body : nor " even fuch Appearances, or Fore-fhortnings as are difagreeable to the Eye, cl^c. THE Contours muft be large, fquare, and boldly pronounced, to produce Greatnefs - " and delicate, and finely waved and contraftcd to be Gracious. There is a Beauty in a " Line, in the Shape of a Finger or Toe, even in that of a Reed or Leaf, or the moft " inconfiderable things in Nature. I have Drawings of Gitllii/ Romano of fomething of " this kind ; his hifefts and Vegetables are natural, but as much above thole of other Painters " as his Men are, c^c. BUT this is not all ; Nature with all its Beauties has its Poverties, Superfluities and " Defefts, which are to be avoided and fupplied, but with great Care and Judgment,' that inftcad of exceeding Nature, it be not injured. There is (for example) great E'eauty " in a certain Squarenefs in pronouncing a Feature, or any part of a Figured This ibmc have carried to exccfs, and have thereby difcovered they knew fomething, but not cnou"b " which is the cafe in many other inftanccs. What is here faid of Drawing is applicable atfo " to Colouring. " THE Draperies muft have broad Malfcs of Light and Shadow, and noble larfe Folds to give a Greatnefs; and thcfe artfully lubdividcd" add Grace. The Linen muft "be clean ^" and fine ; the Silks and Stuffs new, and the bcft of the kind. But Lace, Embroidery, Gold and Jewels muft be Iparingly employed. It is of Importance to a Painter to con- " fidcr well the manner of cloathing his People. Howfoever a Figure be clad, this Tcne- " ral Rule is to be obfcrvcd, that neither the Naked muft be loft in the Drapery, nor too confpicuous. The Naked in a cloathcd Figure, is as the Anatomy in a nalced Fi<>ure it " Ihould be ihewn, but not with Afte£tation, i^c^ ^ NOW are not all thefe Excellencies vety remarkable in the ancient Pieces of Art that are jnftly admired > Are they not likcwife very obfervable in the Works o( Raphael, and of the other bcft modern Painters! And are they not what chiefly conftitutc the Beauty offeveral of thefe ancient Paintings which arc added to this Treatifc > I am far from imaginin» thole Pieces equal to the Works oi Jfelles, 'Protogenes, Euphranor, or Nicias, Co highly re- nowned for the Beauty, Grace and Greatnefs of their Works. The greater part of them are not improbably but Copies by the Pencil from Greek Bas-reliefs. But how Iwect' pleafirnt, comely and gracious are almoft all the Heads and Attitudes, that of the Bride in particular, and of the Figure touching a mufical Inftrnment in the Marriage > And to men- tion no more of them at prefent ; all the Airs of the Heads in the K^fl oi Etiropa, have they not indeed that very fame Charafter of Sweetnefs and Beauty for which Gtiid'o is fo juftly celebrated > How eafy and natural are the Attitudes in all thcfe Pieces ! And as for the Draperies throughout them all ; are they not in a moft exquifitc T.afte .' How fimple genteel, eafy, natural, and flowing arc they > The Naked is neither too eoni'picuous nor loft, it is ftiewn, but without Afl^;aation. But whatever may be thought of thefe ancient Paintings, to which all who have fecn the Originals will own, that both the Drawer and the Engraver have done juftice ; thefe Excellencies which Mr. Richardfon points out as neceflary to produce Grace and Greatnefs, arc the very Attainments for which we have already found ancient Painters fo highly praifcd by Authors, whofe good Tafte wiU no more be called into qucftion, than their Acquaintance with the Works they defcribe. Wc have no rcafon to think, tlut they have exaggerated in commending ancient Works ; for thcv do not always ipeak of Beauties and Petfeftions, but often cei^furc and blame ; and manv of the ancient Remains in Sculpture and Statuary do no wife fall ftiott of the highcft Beau- tics and Excellencies afcribed by ancient Authors to any fuch Performances. l^aitisfirfea BUT that no room may be left to doubt of the vaft Perfcftion to which all the Arts ""3- of Defign were advanced amongft the ancient Gr ff/JMafters, in refpeft of Truth, Beauty, Grace and Greatnefs ; it is not amifs to add at full length the deliglitful Account Lucian (8l) gives of the diftinguiftiing Talents and Excellencies of the moft "renowned ancient Artifts, when he calls upon them to affift him in painting the Portrait and Charafter of his 'pcrfcft Woman. LET her Head (fays he) be as that of the 0;/Vm» /^CMJ, that Mafter-piecc of Art : She " muft have the flowing Locks, and graceful Eye-brows, which 'Praxiteles gave to that lovely " Figure^ (80) Ludan. di limgimhui. Chap. 4- and Decline o/" Painting. ipi " Figure, »>id the like rparicling rolling Eyes inftilling Love and foft Dcfirc. But let her have the Breads of^/r«mraf 5 ^'fKBj in the Gardens at^/AfBj, and fuchflcnder delicate rolV fmgers: let the Tendernels and Softnefs of the Cheeks, the ftraii^ht Nofe, and all the Fea- tures rcfemble thofe oU\^z Lemnmn Venus by The Mouth too muft be by hin, „ ''^f "'"'y *M of his Ama:,on. The J'./W^ of Cdamis will furniffi us with the modeft Vermilion, the pleafing amiable Smile, and the neat fimplc Drefs; onlv „ T f'^X 5 "Ji-'" ""^ ^""'""^ Ornaments. We will paint her of the fame Age the Lntdtan Venus appears to be ; for that we may fee the Artift defi'^icd to exprcfs in her Look. But this is not fufficient ; it remains to give all the Members of the Body their proper Colouring : For that contributes not a little to the Perfeaion of Beauty and c-reat regard ought to be had to the Propriety and Decency of Colours, in painting a eom?leat Beauty : That the Shades may fall as they ought, that what is darken'd may be^agreeablv lb and that the White may be of the faireft fort; while at the fame time all is enUv^ned with a 4 n-ft 1^=''' «lf i^I, rofy Red, Love's proper Hne. Whence then lhall we fetch Afhflance for this part of our Work, but from the Painters who have excelled moft emi- nently m the fine Mixture of their Colours, and in a pleafant, charming Carnation ' Let P<;/r^«»f«. therefore, Afelles, Euphramr, and Echwn, divide this task araon^ them ' !Ps/x|«„r« hall open, and fpread her Eye-brows, and give her that warm glowm.. de- cent Blufh, that fo immit.ably beautifies his Cajfandra. He likewife lhall give her a flowin.^ eafy genteel Drefs, with ail its tender delicate AVcavinss, part dinging to her Bodv and „ P"" flimwing in the Wind. Afelles lhall finifh the othet Patts aft^r the Model of his ad mucA-lancafte; only Ihe mutt not be altogether fo pale ; a little more Colour muft be in- „ termingled. We cannot give her more charming Lips than thofe oi Roxana by Echion ■ „ unlcls the beft of Painters, would lend us his Help, that her whole Body mi..ht be' _^ as the Umbi of MeneUtts, like Ivory dipp'd in Purple. Shall not he likewife giv? fome I ouches of Life .and Cheerfulnefs to the Eyes, and add fome Grace to the Smile > This 15 work for the Painters, Statuaries, and Poets. But that the whole may be Grace- ful as well as Beauteous, the Graces themfelves muft complcat the Piece ■ The whole J Choir of Graces and Cwfids muft dwell in her Looks. We muft paint her in fome Aflion, and it lhall be juft as when I fiw her walldng with a Sctoll in her Hand- ^ one Page (he had read, and fhe was running over the other with her Eye; but ralk' mg at the fame time to one of her Attendants, not fo loud as to be heard at any'di- ftance, but with a gracious enchanting Smile that Ihewed her ivory Teeth fo fitlv join I "'^'afl" fog"''"-- But to make a perfeft Pifture, corporeal Beauty is not fufficient ; it muft be fet off by its ttueft Ornaments, not purple and gold Sttiffi, but Elegance and Sim phcity of Manners; a virtuous, modeft, humane, winning Air. And therefore the Phi ■ lofophers muft he called to aid us, in order to produce a complcat Beauty according to ■ the Manner and Tafte of the ancient plaftick Arts." ° THIS maftetly Paffage at Lncian hath been often referred to in the Notes ■ but I re ferved it to be inlerted in this place, beeaufe it is hardly pollible to imagine a finer Illu- °c\ S ^ Accompliihments it requires to make a truly beautiful and graceful Pifturc ; or to give a better Account of the chief Excellencies of the Antique. TO conclude, it hath been juftly remarked by many, that a Palmer in order to infufe Crcatncfs and Grace into his Works, muft have noble and fine Ideas; a very cle-ant and refined Tafte; he muft have a beautiful and graceful Turn of Mind. Such were MrwM- chus, Mictas, and other ancient Painters who arrived to tire greateft Perfeftion in their Art ■ Inch moft eminently was Afelles. They could not otherwife have paimed in fueh a maf- terly, lublimc, great and graceful manner. For here certainly the received Maxim takes place that one cannot communicate what he does not poflifs. He alone can give Grace andCreatncfstohisProduaions, who poflid'es thefe Qiialities not in Idea only but in his Form and Make : and fueh will do it naturally, without labouring to attain to them in confequence of their own great and graceful Manner of rhinkins. ' Grace will infinuate it felt into all their Works who really have it ,n Poffeirion and Habit, as it did into the P.aures of Raphael, znACarregw, without the afliftance of Rules; and operate in the fame manner upon every one who fees them, as the Poet moft chatmingly and grace- fuUy defcribes the Influence of Grace in outward Behaviour upon all who bcliold it! Illam quicquid agit, qmquo ■veftigia fleltit Comfonit furtim, fiibfequiturque decor. Sen fohit crines, ftifis decet ejje capillis ; Sea compfit, comptis eft veneranda comis. Urit, fen Tyrla volait procedere palla ; Urit, feu ni vea Candida vefte venit. Talis in aterno felix Vertttnmus olympo, Mille habet ornatus, mille decenter haiet (8i). Tibul. 1. 4. El. 2. BUT (81) plainlv alludes ft, this Paflkge in his aliquid ex hac cxercitationc pucrili dnde nos fon H Defcnpuon of graceful Behay.our. Neque enim geftum agenles fartim iUe difcentibus Lditus profeoua ur componi ad fimilitudiiiem faUauonis 70I0 ; led iubefle ^ 3 Essay on the Rife^ Progrefs^ BUT to afcribc all the Pcrfcdion the Arts of Dcfign had attained to in Grace, merely to the extraordinary Genius of the Greek Artifts, would be doina; injuftice to a Country which is known to have produced at that time the moft pcrfccl Models of every Beauty, Virtue, and Grace. And therefore the fame excellent Author we have already quoted on this Subjcft obfcrvc.s, that the principal rcafon why the Gr^'i';^: Artifts, at the time that the Arts were in their Glory among them, arrived at llich truly wonderful Pcrfedlon, is, that, *' They painted and carved the Greeks. When you fee and admire {lays he) what they " have done in Brafs and Marble, what Majefty, what Beauty, what Grace their Figures exprcls, remember Salamis, and Marathon, where they fouglu, and ThermopyU^ where' " they devoted themfclves for the Liberty of their Country," RUBENS (82) is faid to have given this reafon why the Grecia?i Statues are fo ex- ceedingly beautiful, fo far beyond common Nature, that the Greeks were really fo them- felves in their Perfons, far fuperiour in Beauty, Proportion, and Grace to what we now commonly fee. And that happened, as he obferves, naturally and neccflarily in confequence of their Temperance, and the Exercifes that made a part of their liberal Education. There were Mafters or Profeflbrs, as is well known, amongft them for forming the Youth early to Beauty, Adivity, Vigour, and Grace. The Statuaries therefore and Painters amon!;rt them had moft perfeft Originals, in refpcft of outward Grace to imitate. If they were but able to come up to thofe they had continually before their Eyes, they muft have per- formed Works exceedingly perfeft in Beauty and Proportion. But we are told, that not contented with what they faw, they endeavoured to improve upon Nature, and to out-do it. 'Tis not then to be wondered at, that their Performances are fo noble ; fo iuimitable, Itnce they had fuch uncommon Originals to equal, which they ftrovc to excel. BUT this Reafon extends fai-thcr than Rubens carries it, and accounts likewifefor their being able to paint and exhibit not only the outward Graces of the Body in their highcrt PerfeClion ; but the Sublime of Adions and Charaders ; the Majefty and Grace of Gods and Heroes in fuch a mafterly and truly wonderful manner. It was bccaufe no Nation ever produced fuch great Men, fuch eminent Virtues, fuch compleat Models of moral Per- fedioR. What fcts this Obfcrvation beyond all doubt is, that as the Arts never arrived at fuch a heighth of Excellence, or continued to flourith fo long in any Country as in Greece ^ fo it is remarkable that they degenerated among them in proportion as Virtue and publick Spirit declined. The Arts were at their highell: pitch of Glory amongit them, wliiilf they had the moft noble Examples before them, to infpire them with great Ideas, warm their Fancy with the nobleft Enthufiafm ; and to copy and emulate in their Reprefcntations of Men and Manners. It is commonly faid of Rubens, that though he had a very extraordi- nary Genius, he could never, even after he had fccn the Antiques, and the excellent Works of the bcft Italian Mafters, get the better of that original Tafte of Beauty he had early con- traded. He ftiil continued to paint Flemifl Features and Proportions, and could rile to no higher Ideas of Beauty. And it is for the fame reafon morally impoflibic that the Greek Painters, Sculptors, and Statuaries could ever have attained to fuch fublime, nobJc Ideas j to fuch a truly admirable degree of Excellence and Pcrfcdion in their Imitations of Nature, (that the greateft Genius's have ever fince beheld their Produdions with Aftonilhment, and have owned their Inability to equal them) if the Nature they had before them to imitate had not been of the fublimcft and moft perfed kind ; far exalted above common Nature. V. 'hat Cicero fays of their Oratory, may very juftly be applied to the other Arts amongft them, to their Painting and Sculptute in particular, which were at leaft in equal Pcrfcdion with their Oratory. " It was owing (fays he) to the extraordinary Policcncis and Juftnels of " Tafte, that prevailed almoft univerfally at Athens. Their Orators could not have ob- " tained a Hearing, far lefs have gained Honour and Reputation amongft them, but by tb.e " pureft and moft perfed Eloquence. And all who feck Applaufe, naturally conform them- " felves to the Temper and Tafte of their Judges ; they exert themfclves to the utmoft to " pleafe them (83)." THE great modern Mafters feem to have fallen fliort of the ancient Attifts, not in Genius, but chiefly on this account, that they had not fuch noble living Forms before their Eyes to raife and exalt their Conceptions. It is to the Study of the Antiques, that the Perfedion the Art was brought to in Italy, is principally afcribed by the Mafters them- fclves, as well as other Writers. The beft Ideas of the moft efteemed modern Mafters, if they are not entirely taken from the ancient Remains ; it was thefe excellent Works cer- tainly that elevated and inflamed their Imaginations, while they ftrove to keep up to their Truth, (82) So Fdlb'um and De Pile tel! us, who mention a ditorum pmdentia. Omiilsenim qui probari volunt, vo- Treatife of his De nfu Statuarum in PiSlura. So the luntateni eorum qui aiidiunt, iiituentur, ad eamque, & Author of the ReJleSitons fur la Poefte & fur- la Peinture, ad eorum arbitrium & nutum totos fe fingunt & accom- tom. I. fe£f, 38. Rubens dans un petite traite Latin que modant itaque Caria, he. Athenieiifes vero funditus e- nous avonsde lui fur I'ufage des ftatues antiques qu'on doit pudiaverunt quorum femper fait prudens fmcerumque ju- faire en Peinture, ne doute point que les exercifes en dicium, nihil ut polTent iiifi incorruptum audirc & ele- ufage chez les anciennes donafTent aux corps une perfec- gaiis. Eorum religioni cum ferviret critor, nullum ver- tion a laquelle ils ne parviennent plus aujourd'hui. bum infolens, nullum odiofum ponere audebat. Ckero, Orator. N" 8. (83) Semper oratorum eloquentiEe modcratrix fuit au- Chap. 4- and Decline of Vkii^nxnG. 93 Truth, Gr.iiKicur, Beauty and Grace. Thi.s they thcmfclvcs acknowledged. If therefore they were not able to come up iotircly to the Perfeclion of the ancient ArtHls, to what Caufc is it more natural to afcribe it than to this, that tlic later h.rd fir (upcriour living Models before their Eyes to copy after and emulate, in the Perlbns and Conduct of the srcat Men of thofc Times. Tlinj (8f) gives tliis remarkable Reafon for the Decay of Painting in his Time, even the Decay of Virtue, or the Want of good Models to inlpirc the Artlfts with noble Ideas, and to raifc their Minds to great Thoughts, And Lomazzo makes the fame Obfcrvation about Painting in his time. NONE who are convcrfanr in the Greek Hiftory will think this Obfcrvation is carried too far. For what Hiftory, what Times, afford fuch amazing Examples of every grear, joined with every amiable Qiiality and Virtue! But not to infift too long on what is fo well known ; what a high Opinion does it neccllarily raifc in our Aiinds of Greece in its beft Eftatc, when wc confidcr that Rome, proud haughty Rome, long after the better Days of Greece, feut thither her moft iUuftrious Youths to be formed, or at Icaft perfedf ed ! There they ftudied Philofophy and all the Sciences, moral Philofophy, juft Reafoning, and true Eloquence. Cicero, even after he had gained great Reputation, was contious to himfelf that fomethin"- was wanting to make him a more complete Orator ; and was not adiamed to become a Scholar in Greece. It was from Greece, even after it was fidly dcgcncr.ttcd, th.it Rome derived its Philofophy and Oratory, all Sciences, all Arts, and all Politcncls. What then muft Greece have been in its better State (86) ! And it cannot, furely, be thought to have been of fmall eonfequenco to the imitative Arts, to have had the moft pcrfccf Ori- ginals to copy. HAVING thus briefly confidcrcd the more effcntial Qualities of good Painting, men- tioned by ancient Authors, have wc not reafon to infer, that Socrates, Arijlotle, Cicero, Giuintilitm, and others, had a very full and eoniplcat Notion of that Art, and that it was Indeed in very high Pcrfeflion amongft rhe Greeks ? From what hath been fiid, it plainly follows, that, according to their Ideas of it, a moral or hiftorical Piclurc oughr to be con- fidcrcd 'as a Poem, and ought to be examined in the fame way, or by the fame Rules and Qiieftions, to prove which is one of the Points cUiefly aimed at in this Efl'ay. IS the Subjeft worthy of being reprefented; and doth the Reprefentation excite a lively and juft Idea of it ! To what End is the Compofition adapted, and what EiFcft doth it produce on the Mind ! Doth it duly fill and employ it > Have all the Parts a juft relation to the principal Dcfign ! Doth it clearly ftrikc, or is the Sight fplittcd, divided, and con- founded, by Parts ; cither nor efl'cntial, or nor duly fubordinated to the Whole > Is the Colouring proper to the Siibjcft and Delign ; and is it of a proportional Charader throiigh- our the whole, to that of the principal Figure ? Doth the fame Genius and Spirit reign throughour all the Work ? Is there a fufficicnt and well-chofcn variety of Contrafts ? Is there "too little or too much ? Of whatever kind it is, whether Landfcape or Hiftorical, doth it make a beautiful and great Whole ! Is it a true and compatible Choice of Nature? Is there nothing repugnant to Nature's Laws and Proportions, her fixed and unalteniblc Connedlions ! And above all, what Influence hath it upon the Mind ! Doth it inftill grcar, rare, beautiful, or delightful Ideas ! Doth it fprcad the Imagination, light up the Under- ftanding, and fer the Mind a thinking ! Doth it flicw a fine Tafte of Nature ; an exalted Idea of^lJeauty and Grace ; and raife rhc Mind to the Conception and Loi'e of what is truly great, beautiful, and decent in Nature, and in Arts? BY thefc and fuch like Queftions ought Pidures, as well as Poems, to be tried and can- vafl'cd. And therefore the Examination of both is a truly philofophical (87) Employmcnr, as (85)Ita eft profe£to,artes Defidia perdidic, & quonbm " before they felt the Weight of our Arms, In one animorum imagines non funt, corporum negligvincur. " word, it is to Athens you go, it is at LaCL-tlemm you Fl'm I. 35. " ^^'^ ^° command. It would be Barbarity and Inliu- " manity of the blackert kind, to rob them of that (861Nothinecangivcusa hisherOpinionoftlieCfTir " Shajow of ancient Liberty which remains to them, in their beft Ellatc, than the followhis Letter of P/;„, the " tft." He adds, " Power a ill (hewn by mfultmg. Tounger to Maximm, when Tnjan gaie him the Govern- " Veneration is not gamed by terror ; and Love has ment of Acbaia " Remember Mamus, that you ate "a far greater EiScacy towards the Attainment of your coins to Achaia, the true Grmi, the Source of all " end than Fear. Fear vaniflies in your abfencc. Love " Learning and polite Tafte where even Agriculture it " remains, but fo that one ,s turned into Hatred, the " felf was firft found out. Suffer not yourfelf ever to for- " other into Refpea. Pliir/, Ef. I.S. t^-H. " get that you are rent to govern Freemen, if ever any ,„ , „, , . „ . . di v » , ■ w i ■[ c " deferved that Name. Men who by their Virtues, their (87) The Art is called hy Pb.hJrMu in his Life of « great Aaions, their Treaties, their Alliances, have Afilhmi,, III. 6. c. g. ^,rn r^fus irp-yii-x. the *» preferved to themfelves the Liberty they received from younger Philylrntui calls the good Artift a.yx^a; J)i;*iao- " Nature, Revere the Gods their Founders. Refpeft yS^ J;ivo\ rtiu aAii^fi*a. CaHi/lralus calls him Jti- " their Heroes ; the ancient Glory of their Nation, and aA^5;iaf , Plutarch, l.he PhiUJ/ratis, and others " the venerable, facred Antiquity of their Cities i the fv5quj„,ly fpak of the irvvV, the xMrJ;, the " Dignity, the glorious Atchievements, the very Fables „,5. > And the Artift' is faid to work " of that People, Remember that from them we de- ^ ^ ' ' „^ rived our Laws , and that after we had conquered "ff"™ "c>..3;.i«, .-.»,f9^, " them, we did not impofe our Laws upon them i but that *K:ii.r»., and the „ a«A.. are often afcrih d to the " they gave us ours when we entreated it of them, and Art, The Subjefl of a Piflurc is called and B b fometiines 94 'E. 5 SKY on the Rife, Progrefs, as having a dii-cft Tendency to advance and impro\'c our Tafte of Truth, Ecautv, Simpli- city, and Unity; or, in ojrc word, of Nature, and of all the imitative Arts, CHAP. V. Obfervations on the Rife and Decline of Painting among the Romans ; the State of the other Arts, •while it flourip'd among the Greeks and Romans; and the Catfes, natural attd moral, to which its Declenfion is afcrih'd. "Tuias Img hefare Painting was ejleemcd by the Romans, THAT Philofophy and all the Liberal Arts came from Greece to Rome ; and that it was vety late before they wcte cncourag'd by the Romans, is confeffcd by Virgil (l), Cicero (2), Horace (3), and all their bcft -Authors. 'PL 7iV 7" indeed, as has been already obfcrvcd, mentions fome Paintings aty^)-eusljniciis. Sat. 8. vcr. iio. And Tacitus gives the worft of Charadcrs to thofe who were fcnt by him Into Greece to rifle Pidures and Statues. He fays, they were very wicked, profligate Fellows, pretending to Tafte, but whofc Minds were far from being humanized by the line Arts (22). ^Pllny (23) ipeaking of iiis own time, calls Painting a ianguilhing expiring Art. And indeed all the good Wri- ters, after Augufius'^ time, are full of Complaints (24) of the fad Decay of Virtue, and of all the ingenious Arts and Sciences, of Painting in partictUar. " TISno wonder. Cays Junius, (25-), that y/w/ calls Painting a dying Art in his Days ; Nay even in the " for 'tis plain from Fitruvius, and feveral other Authors, that it was beginning to take a wrong '''"^ c/ Auguftus. " Turn and' to be difcoloured in Augufins's time : that is, almoll fo foon as it came into " vogue or credit amongfl: the Romans. It began immediately to depart from its ancient *' Simplicity and true Grandeur, and to be tainted with the falfe Magnificence of the Times." The Fad is beyond all controvcrfy. No doubt there were then at Rome many Greek Artifis. But at that time the Intelligent admired the Paintings of the ancient Greeks, and made but little account of modern Piclures. The more they ftudicd the former, the more they were charm'd and fatisfy'd with them; whereas the Works of later Maiters foon cloy'd and latcd them. And the reafon they give is, that in the older Picfures there was a Simplicity of Talle, a Truth of Workmanfhip, a Spirit and Juflnefs of De%n and Exprcllion, which fupportcd the Admiration of underftandingExaminers, and perpetuated, or rather augmented their Entertain- ment : Eut in the Performances of modern Mafters, there was nothing but variety of gaudy, glofly Colours. 97 The Art in a had luayinthi time of Claudius andHiiQ. " CICERO fays (26) expreflly, that the Pidures of modern Artifts were florid and fhi- ning; that they had aRlchnefs and Splendour of Colouring, which the Works of the more " ancient ones had not, their Colours being rather auflcrc and iubdued. But thefe modern " Pieces, fays he, which fo ftrongly ftrike and enchant the Eye at firft fight, are not able very " long to detam. our Admiration; they foon furfeit the Spectator, and are quickly naufeatcd. " Whereas notwithftanding the Simplicity and Aufterity of the ancient Colouring, we are " never weary of admiring their Pidures: They never become tircfome or infipid, but our " efteem grows and increafes, the more we examine them," He then carries on a Parallel be- tween Eloquence and Painting in that refped, and philofophizes upon the matter with great Judgment and Tafte. " Tis the fame, fays he, with regard to all our natural Senles, that " which is moft lufcious fooncll: difgufts the Palate, and it is fo likewifc with refped to our " Smell and Touch, and all fenfible Gratifications." ANOTHER. IPliat Cicero fays of ancient ami mo- dern Painters. (22) Enimvero per Afiam atque Achaiam non dona tantum, fed fimulacra numinum abriplcbantur, miflis in cas provincias AcraCo, ac Secundo Carinate. Ille liber- tus cuicunque flagitio promptus : Hie Graeca doctrine ore tcniLs exercitus, animum bonis artibus non induerat. Amal. Ub.i$. Tacitus calls Nero elfewhere incrcdibiliuni cupitor : A Lover not of the Beautiful but of the Vaft. (23) Arte quondam nobili nunc vero in totum mar- moiibus pulfa jam quidem & auro— — non jam placeiit abaci, ccepiinus & lapide pingere. Hoc Claudii prin- cipatu inventum ; Neronis vero niaculas qua non eilent, cruftis inferendo, utiitatem variarc, qualitex illas nafci optafibnt dclicis nec cefiat luxuria id agerc ut quam- p!urimum incendiis perdat iideo materiam maluit quam fe nofci, &c. (24) See befides the Authors already quoted, the Dia- logue afcribed to ^iiniilian de cerrupta Ehquentia. (25) Bene monentis, quandoquidem fupra ex Vi- truvio & Plinio didicimus artem hanc olim fa^culorum plurimorum ftudio, & confummatilTimorum artiiicum cura perfeftam, circa tenipora Augufti animam ccepiffe agere ; Tunc enim ars, vitiis evincentibus, paulatini vi£ta ceflit ; & artifices ultr:^ modum curam cultui impendentCi, re- licla priorum ingenua fimplicitate, tabulis fuis comnien- dationem potius quierebant ex fumptuofis coloribus quam ex iplius artis finceritnte atque elegantla, donee omnem gratiam rei niniia captatione conrumptifTent. 'Jim. de Pia. vet. lib. 3. e. 6. See the Paffagcs Pliny and Fi~ truvlus quoted above, in fpeakiug of the ancient Co- louring. (26) Difficile ciiim diflu eft, quxnam caufa fit, cur ea quje maxime fenfus noltros impellunt voUiptatc, & fpecie prima acerrinie commovent, ab iis celerrime fafti- dio quodam &i fatietate abalienemur, Quanto colorum pulchritudine, & varietate fluridiora funt in pidluris novis pleraque quam inveteribus? Quas tamen etinnifi primoaf- pedtu nos ccpcrunt, diutius non dele£tant : Cum iidem nos in antiquis tabulis illo ipfo horrido, obfoletoque teneamur. — Licet hoc videre in reliquis fenfibus ; unguentis minus diu nos delei£iari, fumma U, acerrima fuavitate conditis, quam liis moderatis; & magis laudari quod ceram, quam quod crocum olcre videatur. In ipfo taftu elTe modum & moliitudinis U Itevitatis. Sic omnibus in rebus, vo- luptatibus maximis faftidlum finitimum ell, quo hoc mi- nus in oratione miremur ; In qua vel ex poetis, vel ora- toribus poftumus jujicare, concinnam, dlftinflani, oina- tam, feftivam, fine iiitermifTione, ime reprehenfione, fine varietate, quanivis claris fit coloribus pi£ta vcl potfis, vel oratio, non poil'e in deleiSlacionc efle diuturna. Cic, dt Orator, lib. 3, c. 25. Cc 98 H'hel DionyfiiJS Hal ic am alius Jnys, It therefore cnly re- TTiains, to inquire what is faid by an- dent Authors^ of the Progrefs and JDe- cline of Paintings and all the Arts. t0}ence this pra- cieds. Firji from the natu- ral Unian and De~ pendance ef all the Jlrts. Jl^^EsSAY on the Rlfe^ Progrefs^ ANOTHER learned Ciritick (27), a Greek oni;inall}', but bred at Rome, and of the Augnjian Age, makes the lame Remark. " The Ancients, lays he, were perted Mafters *' of Dcfign and Expreflion, and delineated in a noble Ilrong manner, or with great Spirit *' and Truth. Their Colouring was not florid, but rather fevcrc, and Jlibmittcd to the Sub- " jcct and Defign j they undcrftood Expreilion and Charafterizing : Eut the Moderns do " not draw fo corretlly, nor have they that mafterly Skill of exprcffing great and noble " Ideas, and of touching the Patlions, in whieh the Ancients excelled. All their ftudyis " to gratify and flatter the Senfc by a various injudieious A-lixturc of line Colours." BUT if the Account of Painting amongft the Romans (28) be fo lame and dcfleicnt, and confifls rather in Complaints of its Decay than any thing elle ; what remains but that we fliould enquire into the more important Remarks of ancient Authors with re- fpcft to the Arts, while !they flourifh'd in Greece, or among the Ro'mans ; and to what Caufcs they have afcribcd their Dccleitfion, Fall, aiid Ruin. FIRST of all, 'tis obfervcd by feveral Authors, that all the great Men for Science or Art, in Greece or Rome^ were nearly contemporary > and that all the politer Arts flouriih'd and perifli'd together, Wc learn from Diodoriis Siculus that it was fo in Greece (251J j and Kelleius T at er cuius {30) obfer\'es, that it was the fame among the Romans. AT the fame time tliat Greece produced an Apelles, it not only produced a Traxiteks and Lyfippus ; but it was then that its greatcfl Philofophers, Poets, and Orators flourifli'd, Socrates, Tlato, Arifiotle, TDemofthenes, Ifocrates, Xenophon, Thucydides, ade very confidcrableProgrcfs ! Wasnotpub- ]ick Good their Aim ? Did they not rouze the dead Arts by awakening publick Spirit, and a Senfe of the Dignity of human Nature Did they not, as it were, mix Liberty with De- fpotifm, as far as it is pofliblc to mingle things of fo contraty and oppoiite a Temper (4,1) ? IN fine, to what is it that the Decay and Ruin of all the fine Arts, of Painting in par- ticular, is afllgn'd even by the diflblutc T'etronms himfelf {42), but to the Lofs of Liberty and the Corruption that naturally followed upon it ; to the univerfal Prevalence of a mean corrupt, mercenary, fenfual Spirit ; When all was Avarice, and Ambition was no more : When Men were quite immcrled in grofs Voluptuoufncfs. LIBERTY therefore is vety jufl:ly reprefented, by an ingenious Author often quoted who well undetftood the Genius and Tafte of the Ancients, as fhe (very probably) was painted by them : In her Amazon Drefs, with a free manly Air becoming iier ; her Guards the Laws, with their written Tables like Bucklers furrounding her : Riches, Traffick, and Plenty, with the Cornucopia, fcrving as her Attendants ; and in her Train, the Arts and Sciences playing. The reft of the Piece (fays he) is cafy to imagine, — her Triumph over Tyranny and lawlcfs Rule of Lufl: and Paflion. But what a Triumph (faith he) would that of her Sifter and Guardian Liberty be ? What Monrters of favage Pallions would there appear fubdued ? There fierce Ambition, Luft, Uproar, Mifrulc, with all the Fiends which rage in human Breafts, would be fecurcly chain d. And when Fortune hcrfclf, the Qiieen of Flatterers, with that Prince of Terrors, Death, were at the Chariot-wheels as Captives, how' natural would it be to fee Fortitude, Magnanimity, Juftiee, Honour, and all that "-e- nerous Band, attending as the Companions of out inmate Lady, Liberty ! She, like fomc new-born Goddcfs would grace her Mother's Chariot ; and own her Birth to humble Tem- perance, that nurfing Mother of the Virtues ; who like the Parent of Gods, (old reverend Cybele) would properly appear drawn by reined Lions patient of the Bit, and on her Head a Turret-like Attire ; the Image of defenfive Power and Strength of Mind. Ofthi Philofophy that produces the THIS Topick hath often been infifted upon, and cannot indeed be too frequently, or too ftrongly reprefented. For what is it that more nearly concerns Mankind ? But 1 fliall only obferve farther on this head : THAT the Philofophy which prevailed in Greece, while the Arts were in their hii>heft Glory, the Philofophy of Socrates, is the only Philofophy than can infpire publick Spirit, or fupport Virtue and Liberty, produce Heroes, Patriots, brave and worthy Men, and Authors and Artifts of a fublime daring Genius. On the other hand, die Philofophy which came (41 ) This is a Rcfleilion of Tacitus : Quod fi vita fup- peditet, prlncipatLim Divi Nervs, & imperium Trajani, uberiorem fecurioremquc iDatcriem feneituti fcporui : rara temporum felicitate, ubi fentire qux velis, & qufe lentias dicere Jicet. Hi/i.lib.i. ah Initio. And in his Life of yulius Agricola at the beginning : Scilicet illo igne vocem populi Roman! & iibertatem fenatus, & con- fcientiam generis iiumani aboleri arbltrabantur, expulfis infuper fapientia: profefToribus, atque omni bona arte in exilium a6ia, nequid ufquam honeitum occurreret. De- dimus profe£!:o grande patientia; documentum, & ficut vetus a-tas vidit, quid ultimuni in liberrate ellet, ita nos quid in fervitutc, adempto per inqLiifitiones & loquendi audiendique commercio. Memoriam quoque ipfam cum voce perdidiiiemus, fi tarn in noftra poteftate efTet obli- vifci quam tacere. Nunc demumredit animus, & quan- quani primo ftatim beati/Timt fa:culi orru, Nerva Ca:far res olim di/Ibciabiles mifcuerit, principatum ac libcrta- tem, augeatque quotldie facilitatem imperii Nerva Tra- janus ; nec fpem modo ac votum fecuritas publica, fed ipfius voti fiduciam, ac robur aflumferit : Natura tamen infirmitatis humanas, tardiora funt rcmedia quam mala. Et ut corpora lente augefcunt, cito extinguuntur j fic iii- genia ftLidiaque facili Subit quippeetiam ipfii Defidia, poltremo araatur. opprefT^ris, quam revocavcris. nL.Tti32 dulccdo : & invilk primo (42) Ccepi prudentiorem confulere astatis tabularuiu, & qusdam argumenta iiiihi ohfcura, fimulque caufam Dcfidise prsefentis exciiters, cum pulcherrimEc artis pe- rifliint, inter quas piiSura ne mtnimujii quidem fui velH- gium rcliquiiTet. Turn ilJi;, pecuni;E, iiiquit, cupiditas h^ec tropica inftituit, Prifcis cnim temporibus, cum ad- huc nuda virtus placeret, vigebant artea ingenuK, fum- mumque certamen inter homines erat nequid profuturum fcculis diu lateret. Verum ut ad Plaftas convertar, Ly- fippum, flatus unius lineamentis inhserentein inopla ex- tinxit ; & Myron, qui pcene homlnum animas lerarum- que Kre com prebend erat, non invenit h^rcdcm. At nos vino fcortifque demerii nc paratas quidem artes aude- muscognofcere ; fed accufatores antiquitatis, vltia tantum docemus & difcimus. Noli ergo mirari fi piifl:ura defe- cit, cum omnibus Diis hominibufque formofior videatur mafTa auri, quam quicquid Apelles, Phidiafve G;r:scuU delirantes f'ccerunt. Petr. Arb. Satyr. See F/ll, Pal, I. 2, initio^ £sf SaluJI. Catil. 2. Chap. 5. and Decline of Painting. came afterwards to gain a great Afccndant in Greece, and that was almoft univcrfally re- ceived at Rome, fo loon as tire Grecian Arts and Sciences were admitrcd amongft tlicm was of a quite contrary Nature and Tendency : A Pliilofopliy, wliicli repreli:nted an in- tcrcftcd fclfilh Temper as Wildom ; andtauglit Men to liftcn to tire I'oft eftcminatini' Lan- guage of Pleafuic i inlTcad of tliat whicli calls upon us to confider the Dignity of Human Natutc, to keep it always before our Eyes, and ro accuflom ourfclvcs to ask oar ownHearts; What is great and good, whatever it may coft ; or what is bale and unworthy, whatever Pleafures it may bring. WE arc told by Cicero (43), That in his time the Image of Epicurus was not only in every Houfc, but on every Hand. So great was their Veneration for that Philofopher, whole pretended, falfe Philofophy feem'd to give a fort of Sanction and Authority, to thcir Luxury, Avarice and Senfuality, from Reafon. Tlmy (44.) gives the fame Account of Aftcr-rinics. How carncffly and beaurifully do we find Cicero (4,5-) combaring this poifon- ous corrupt Dotlrine in his philolbphicai Works? Were e\'er tlie Names (fays he) Ly- curgjts, Solon, Leojiidas, Ej>aminondas, and orher ancienr Heroes heard in the School of Epicurus .? Which however are the conftant SubjccT: of the better Philol'opher's Prailcs : Did his School ever produce Men of a generous, noble, difinrerclled Spirit ? Or can indeed that Philofoplry ever animate and incite Men to truly laudable and glorious Adlions ? Torquatus you muif either quit the Defence of Pleafure, mere ienlual Gratification, or gi\ c up all our own Patriots and Dcliveters. Fortitude and publick Spirit, or Contempt of IlieheS and Pleafures, and a generous Love of Mankind and publick Good, are of the very Eflcnce of Virtue. The very Arts themfelves which feem to be the molt nearly allied to Pleafure of any thing that hath any Communion or Parrnerlhip wirh Rcafon, have a hi'^hcr View than Pleafure. Can then that Philofophy be confillent with Virtue, which teaches us folcly to calculate the Advantages and Pains that an Adion or Purfuir may occafion j and nor ro think of the Honeftum, the fit, the becoming, the good, and the worthy part > The Phi- lofophy that alone can produce a great Mind, muft teach us to chufe the Bcaiuiful the Rcafonable, the Virtuous and Laudable, whatever Confequences may enfue upon it ; what- ever Pleafures muft be faerificed to the Choice, or in wharcvcr Hardlhips it may involve us. Thefc cannot altet the Nature of moral Good and Evil. And rhercfore, the firft Lef- fon of Virrue is, to learn to abftain from inviting tempting Pleafures ; (46) and to contemn Dangers and Difafters, and to think only of the Goodncfs and Merit, or Ealcnefs and Dc- formiry of Actions ; that is, of their Tendency to publick Good or Hurt. Virrue conlifts in being .able to bear and forbear ; it looks beyond ourfelves, {foras fjieftat) and ftcadily eyes the Good of Society. Its Ways are truly, throughly picaiant, bccaufe it brings no Rcmorfe, but fpreads Peace, Contentment, Satisfaftion, Self-approbation, and pure'unfa- ding Joy over the whole Soul. But it may often be oppofed by mercenary fclfilh Appetites; it may often demand a Sacrifice at our Hands, ro which not merely rhe animal Paflions but Paflions of a higher and nobler Narure, cannot eafily be brought to furrcnder. It may therefore occafion violenr Struggles in the Ereaft ; fo that without a ftrong Senfe of the Excellence of Virtue ; without exercifmg ourfclvcs to Self-denial, and a Co°itempt of all inferiour Pleafures, which it is indeed greater to defpife than to poflefs (47), it is im- poffible to make any confiderable Progrefs in Virtue. (43) Nec tamen Epicuri licet oblivifci, ft cupiam ; funditus evertunt amicitiam, &c. Compare with^th^ Ciijus imaginem noil modo in tabulis noftri familiares, De Legihm, lib. I. 14,15. What Tdc'im (ays in his fed etiam in pogulis, & in annulis habent. C;V. de fin. '^i-- — ^ ^ . ji -r ■ ... . U. 15. N° I. (44) lidem Pal^ftras Athletarum imaginibus h cero- nifico Tegne otium veli mata fua exornant, & Epicuri vuhus per cubicula geftant ac circiiinferuiit fccum ; Natali ejus, decima Luna facri- ficant, feriafque omni menfe cuftocliunt, quas Icadas vo- cant. mn. 35. 3. (45) We learn from Ckera that this was the Philofo- phy which prevail'd in Greece in its better days ; and he reafons againft the contrary Philofophy in leveral parts ■ of his Works, as I have here reprefcnted him. See par- ticularly Dc fin. lib. 2. 21. Nunquam audivi in Epicuri fchola Lycurgum, Solonem, Mlltiadem, Themiftuclem, Epaminondam, nominari : Qui in ore funt ceterorum omnium philofbphorum At negat Epicurus (hoc enim veftrum lumen eft) quenquam qui honefte non vivat ju- cunde pofl'e vivere. Quafi ego id curam quid ille aiat aut negcC ; illud qu;ero, quid ei qui in voluptate fum- mum bonum putat confencaneum lit dicere. Jam fi pudor, fi modeftia, fi pudicitia, fi uno verbo tempcran- tia, poenas, auc infamias mem coercebuntur non faniti- tate fua fe tuebuntur : Quod adulterium, quod ftuprum, quas libido non fe proripiet, ac projiciet, aut occultacione propofita, auC impunitate, aut licentia ? Facerestu quidemTorquateh^c omnia. Nihil enim arbitror magna laude dignum, quod te prcetermiffurum credam aut mor- tis aut doloris metu, Non qu^ritur autem, quid naturje tua; confentaneum fit, fed quid dlfcipiinse. Ratio ifta, quatn defendis ; praceptaj quE diditiiH, quae probas. Character of Helvidhis Prifcus is very remarkable. Hel- vidius Prifcus ingenium illuftre aliioribus ftudiis juve- admodum dedic : Non ut plerique, ut nomine mag~ 3 Urmior adverfus for- , fed q tuita, rempublicam capcfleret. Doflores fapienti^ fecu- tus eft, qui fola bona quse honefta, mala tamen qu^ tur- pia ; potentiam, nobilitatem, ceteraque extra animum Jieque bonis neque mails annumerant, &c. Tacilus Hiji. lib. 4. circa initium. So Lucian in his Charafiter of Cato. hi mores, htsc duri imrnola Catonis SeSia fuit, ftrvare modum, fnemque tetiere, Naturamqiie fequi, palriesque hnpcndere vitam, Nec Jlbi-, fed teti genitum je credere munda. 'Jujiitiis cultor, rigidi fervatar honejli : In commune bonus, nulkfque Catanis in a£lui Subnffit, partemque tulit fibi nata voluptas. Lucan. 1. 2. ver, 300. (46) See how Sofrffto defcribes the goodMan, Xenoph. Jpom. c. ult. p. ult Ej-Kjal^; ^'r= ^^Si tts's ir^'^c^ous- ^xi TO rtSio)! TV jSfATiov©^. 'accEpiSlstuSi and Arriart upon him, his Divifion of Virtue into a^.^Eiv and C47) Qucmadmodum nihil in hac vita magnum eft, cujus defpeflus in rebus magnis numeretur. Adeoque illos, qui cum ca adfcifcere fibi polfunt animi addudi magnitudine refpuunt ac fpernunt, majorem fui concltare admirationem, quam qui ilia ipfa poflident. Long, de Sublim, SeS. 7. i il T04 "The true Phikfbphy trcvnil'd in G rcecc, whih- th: Arts were in ihcir grcateji Essay on the Rlfi^ Progri Ihe irtie Phchfophy haw ehara^crizid the AtKWits, THIS was the prcvaiiing Fhilolophy \\\Grccce\\\ its bcit and ntoft glotioiis Days. And vic may be very fiirc, from the nature of things, rhat wlicrc the contrary Scheme of Phi- lofophy begins to prevail. Men will foon run headlong into Corruption ; and even tlic Arts tlicmielvcs will not only partake of the hifeciion, but become Panders ro Vice. No- thing can be more true th.m that Saying of the bell Philofophcr of Antiquity, that is brought by Cicero as an hiftance of his manner of Reafoning. " Such as the Man is, inch will his " Difcourfc and Productions be : His Aclions will be like to his Speeches, and his whole " Life will be of a piece with his Temper and Dilpolition." A xMan's Deeds and Sayings arc the Image of his Mind. If therefore jV.en are nor of a fublime and great Difpofition, the Arts, amongft fuch, will very foou become low .and gtoveling. THE Concliifion (+8) with which this Reafoning ends, contains the very Subftancc of his Philofophy concerning Virtue and true Happinels. The Affedions of a good Man are truly noble, generous, and praife-worthy ; they do not hide themlclvcs or Ihun the Liglit, they are not°afraid to ftand the Examination of Rcafon and Confcience : And therefore all his Adions will likewife be good and laudable. Whence it follows that the good Man alone can be happy, fmcc fuprcme, independent Happinels eonfifts chiefly in that Satisfac- tion wliich the Confcioufnefs of a wcU-goveni'd Mind, pure Affedions, and corrclpond- ing Adions only can aiiord. AN excellent Author well oblerves {4.9), that wh,it Philofophy did for the Prcfct\Mtion and Happinefs of Greece is almoft incredible. But \i'hy fpeak wc of their Phi'ofophers ? (faith he) the Poets themfelvcs, who were in every one's hands, inftrudcd them yet more than they diverted them. HOMER hath delightfully reprcfented the Reludance with which Poetry is dragged into the Service of Vice"; and the lame muft hold equally true with refped to her Siftcr-Arrs. Theychecrfidly imparttheirOrnamentsandCraccsto Truth, Virtue, and found Pluiolbphy ; but fervile Flattery and immoral corruptive Dodrines arc not more contrary to true 'W orth and Greatnefs of Mind, than they are repugnant to the real Beauty and genuine Spirit of tlic elegant Arts. For dear to Gods and Men is facred Soitg, Self-tanirht I [ing s by Heav'n, and Heav'n alone, The geimnie Seeds ofVoefj are fi--s;n s And {what the Gods heftow) the lofty Lay To Gods alone, aad god-like Worth we fay. That here I fung was Force, and not 'Defire, This Hand reluBant touch'd the warbling IVire ; And let thy Son attejl, nor fordid Tay, Nor fervile Flatt'ry flaind the moral Lay. Odyfl. I.22. ver. 382. THE Ancients have given an cnchaming Voice and Air to xhz Syrens, that cmphatical, lignificativc Emblem of falfe Pleafure. Sirenum -voces & Circis focula nofti, Ouie fi cum fociis Jhdtus cupidufijue bibifet Sab domma meretrice fuijfet : tlirpis & excors Vixijfet canis immundus, vel arnica luto fiis. Hor. 1. 1. Ep. 2. BUT it was according to them, the proper BufineCs of the Mufes to difeomfit the J^rraJ or falfe Pleafure, and accordingly they are faid to have fought the Syrens, and to have plucked their Wmgs 0). And therefore, as Tanfanias tells us, the Statues ot the Mules are often adorn'd wirh Crowns of Fe.ather.s, or carried Feathers in their Hands in niemory of that .dorious Defeat ; and there are Statues of them ftill at Rome. And in this Collechon of aiKiem Paimings the^rK» is moll beautifully reprcfented, jiill as the Poers dcleribe her. THE Ancients have alfo charmingly pointed out to us, in their allegorical way, by fevcral Emblems the true Charader of that Philofophy which ought to gn e Laws to all the fine Arts; and employ them as its bed Minillers in reforming, poliihing, and humanizing Man- kind ■ And which alone can be beneficial to a State by infpiriug the Love of Jufticc, tenevo- lence Mankind and Liberty. The Mufes and Graces arc ever reprcfented by theni in the Train of the God or Goddefs of Wil'dom. Amfhion and Orfheus by their mufical Philolo- phv tamed favage Monfters, and enchanted rude Rocks into the Forms ot fairell Cities : And Orphens was the Son of Afollo and Calliope, according to the anciem Mythology. How inftruftive is Horaces Del'cription of the true Philofophy, and of the Origin ot truly divme Poetry, agreeable to tlais allegorical Theology ? (48) Ck. Tufc. ^lajl. lit. 5. N'>l6. (49) Bifuit Difrm-s fur I'Hipn Vmirfilh. {50) Pmfiiiiai Beitka, I. 9. p. z6i. Ed. W'tchd. Sylveflres Acheloi enim filias narraiit Juiionis fuafu in cantus cer- tamen Mufas provocafl'e aufus: viais Mufas pinnas in alls convelliflc ; deque illis coronas fibi Iccifi'e, &:c. 6ce BacomOpirit cUSapimua viterum, 31 Sircneifivevoiupiai. Chap, c; . and Decline (p/' Pa i n t i K 105 Sylveftres homines facer interprefqiie Tyeorum Cadibus d^ vi^u fccdo deternut Orpbetis ; ^iBus ob hoc lenire Tigres raptdofque Leones. Diciiis ^ Amphion, ihebana^conditor arcis, Saxa movere fono tefindines c^prece bianda T^iicere quo 'vellet. Fuit hac fapientia quondam, '^Publico, privatis fecernere, facra profams j Concubitu prohibere vago, dare jura mar it is i Oppida moliri, leges incidere ligno^ Sic honor nomcn di-vinis 'vatibus, atque Carminibus fuit . ' ■ Hor^ dc Art. Poet. vcr. 391. THESE Fables of Orpheus and Amphion, Phtloflratus {f i) dcfcribcs beautifully painted; and CallifiratiiS (52) gives us an Account of the Story of Orpheus reprcfentcd with wonder- ful Elegance and force in Sculpture. Wc learn from Martial, that there were llieh Pictures at Rome in his time (f^). AND to fuch Horace plainly alludes. Car. I. i. Od. 12. Unde vocalem temere infecut-atiis Icmum, lib.i. lO. Amphion. Amphion pars modo aflecuta eft Gctcros-. j^muli lapides ac jucurdi, autein quid pree fe fere? Qi_:id ali^jd quaiii cantum f Et MuficEeque obfequentes. Murus auteni portis pattt fep- altera quideni manus mentcm ad pk£^runi intendit, ipfe- tern, quot nempc lyras fuere toiii. See a like Pidlure of que tantundem exerit dentiuni, quartuin canenti ficfatis, Orpheus by the younger Phllo/iratus, 6, Canit autcm, ut piito, terram, quod omnium fit gene- trix atquG mater. Ilia vero muros dat fpontaneo motu {52} CalUprati Stalua:, N" 7. /'« Orphei Staiua. confurgedtes. Coma autem jucunda ctiam fine ornatu eft, fronti quidem oberrans, una vero cum lanugine fe- [^■^) Illic Orphea proilnits vldebis cundum aureni dercendens eamque fulgore colluftrans. Udi vertice luhn'cum tkalri, Gratiam auteiii majorcm mitra quoque addit, quam gratias Mirantefque fertis, avemqite regis ei texLiifle ferunt. In tumulo autcm fedet, pede pul- Raptum qua Phryga periuUt tonantt. fum edens cantui refpondentem, dextraque fides iraflans Mart. I.IO. Ep. 19. fallit ■- Et altera manus refta promifibs habet digitcs quod (54} So Propertius., folam fingcndi artem exprimere aufuram crederem. Efto. S,ixa Citharanis Thebas egiiata per arlem Quae vero ad Iapide5 pertinent quomodo fe habent ? Om- fua in muri membra coiffe ferunt. Lib.3. El 2, nes ad cantum concurrunt, & audiunt, ac murus fiunt, & pars quidem jam furrexit, pais in co eft ut confurgat, (55) De Seplent.ia vtterum in Prafatim. T06 Obfervat'ion cf Strabo, an/i ether AncUnls^ m crrnhigg'JsdAulIm' and Amjh, Jn Essay on the Rife, Progrefs, ANOTHES. ObfciT.ition with rcfpcft to the Projrds and Dcdcnfion of the Ait? is, that 2;ood Authors always Imvc been and muft ncccflarily be good Men. Ihc learned and w ife Strabo (f 6) makes this Remark, and realbns upon it at e,reat Icnijth. " THE Ancients (faith lie) confider'd Poetry as the moft proper Art to teach Morals, ot to " form the Yonth early to the Love of Virtue, and to point out the Rules of Life and Con- " dud to them ; on account of its being capable of rendring its Lcll'ons at once fo agreeable " and fo inftrualve, or of giving Beauties and Charms to what is really ufeful and profitable. " For this rcafon anciently throughout Greece, the Youth were early inftruftcd in all the Vir- " tues and Duties of Life by truly' philofophical Poetry ; not merely for Pleafurc and Amufe- " mcnt, but to form them early to a perfeft Notion of Harmony of cvety kind, by one and " the fame Labour ; of moral Harmony above all others. And who can think a true Poet, " when he introduces Orators, Gener.als, and other great Pcrfonages ading noble, con- " fiftcnt, and becoming Parts ; a mere Triekfter or Babbler, who only propofes to aftonilh " his Readers with pompous Tales, or fpecious flattering Eables th.it have no farther, or " more ferious and ufeful Intent! Can we poilibly imagine, that the Genius, Power and Ex- " ecllence of a rc.il Poet confifts in aught clfe, but the juft Imitation of Life, in form'd Dil' " courle and Numbers ! But how Ihould he be that juft Imitator of Life, whilft he himfelf " knows not its Mcafurcs ? For we h.ivc not furely the fame Notion of the Poet's Excellence " as of the ordinary Craftfman's, the Subicci of whofe Art is Icnfelcfs Timber or Stone, " without Life, Dignity or Beauty ; wliilft the Poet's Art turning principally on Men and " Manners, he has his 'Virtue and Excellence as Poet, naturally annexed to human Excellence, " and to the "Worth and Dignity of Man : Infomueh tliat it is impollible he ihould be a great " and worthy Poet, who is not iirft a worthy good Man." CICERO and SumtiHan obferve the fame with refpeft to Orators: And according to all the Ancients it is impoffible that true Judgment and Ingenuity fhould refide, where Har- mony and Honefty have no Being; or where thete is not a full and ftrong Senfe of the Excel- lence of Virtue, and of the Diflbnance of Vice ; of the noble End to which human Nature is framed to afpire, and of the Mcannefs of all infcriour Purfuits. NOW what Strabo, and thefe other Authors fay of Poets and Orators, extends equally to all the Imitators of motal Life : For tho' the Artifts, who defign merely after Bodies and the Beauties of the corporeal kind, can never with all their Accuracy or Correancfs of Delign, be able to mend their own Figure, or become more fh.ipely and proportion'd in their Perfons ; yet as for all thofc who copy from another Life, wdio ftudy the Graces and Pcr- fcftions of Minds, and arc real Mafters of thofc Rules which conftitiite this moral Science, 'tis impoffible they Ihould fail of being themfelves improv'd and reform'd in their better part. But this is no lefs the Study of the Painter, Statuary, and Sculptor, than of the Poet. For the Perfeaion of thefe Atts, as well as that of tiicir Sifter Poetry, lies in re- prefenting or imitating the Fair and Beautiful of Sentiments and An'eftions, Aftions and Charafters. THE noble Author (f 7) fo often already quoted, takes notice of this Remark with great applaufe. And he adds, that the Maxim will hardly be difproved by Hiftory or Fact, cither in refpeft of Philofophcrs themfelves, or others who were the greateft Genius's or Mafters in the Liberal Arts. The Charadcrs of the two beft Roman Poets are well known : Thofc of the ancient Tragedians arc no Ids : And the great Epick Mafter, though of a far ob- fcurcr and remoter Age, was ever prefum'd to be far enough from a i-ile or knavifh Cha- raftcr. The Roman as well as Grecian Orator was true to his Country ; and died in like manner a Martyr for its Liberty. And thofe Hiftorians, who are of higheft Value, were cither in a private Life approv'd good Men, or noted for fueh by their Aaions in the publick. AS for the beft ancient Painters, it hath already been remark'd, that they were not only faithfully attach'd to their Art, and to that moral Trurh and Beauty in which its E.x- cellence principally confifts ; but that they were far removed from Scnfuality, and a mer- cenary, unlbcial, ungenerous Spirit ; or at leaft not addiftcd to any folitary, inhuman, cruel {56) Quamobrem GraJConjm civitates, ab ipfo pri- piam & hiftrionem effe putet, qui auditorem magnificis mordio, eorum liberns in poetica erudierunt, lion nudse tantum miraculis afficere, & alTciitationibus demulcere va- uticiue voluptatis, fed cafla: moderationis gratia Qua: leat, cam nihil afferrc queat adjumenti .? Nuni pocta; ab ineunte nos xtate ad vivendi rationes adducat qua; res virtutem aliam dixerimus quam quas verbis ad imitandum gerendas cum jucunditate priEcipiat. A qua quidem ipfi vivendi rationem excitaret ? Quonam vero modo is imi- mufici cantus, & lyrar, & tibiarum modes edocentes, taretur, qui vivendi ratioiiis imperitus & mfipicns force ? hanc fibi virtutem vcndicant, feque morum magiftros, & Non enim ficuti vel fabrorum vel a;dificatorum, ita & emendatores eile profiteutur. Ha;c ipfa non modo a Py- poetarum eiTe memoramus. Scd hanc quidem nihil boni, thagoricis audire beet, verum etiam AriHoxenus hujus nihil honefti coiitinere. Ipfa vero poets virtus & liomi- eil fentcntia:. Et Homerus cantores, calUgatores appd- nis boni conjunfla eft : Nec vero poetam bonum elTe lavit, ficuti Clytemneftra.' cuilodem ilium, &c. Siyab. polTe, nifi prius vir bonus cxillat. iib. I. p. 14. And again, p. l6. Quis igitur poeta, qui alios oratores, alios imperatorcs, alios rcliqua virtutis [57) Char. Fel, I. p.2CD. opera demonftrantur dccciuer inducat, nugatorem quem- Chap. 5- and Decline of YM-^i-vmc. toy cruel Vice. The bcft of them, on the contrary, were fcverc in the Dlfcipline and Conduft of their Lives, as wcli as in that of tlicir Works (f 8). THESE, togetlier with a few others that were mentioned in former Chapters, arc the principal moral Caufes to which the Progrefs and Decline of the Liberal Arts arc afcribcd by ancient Writers. The ingenious Author of the JiefleSims on 'Poetry and 'Paintim gives a full and true Detail of the Fafts relating to this Qiicftion, in that Scftion wherciii he inquires into the Caules of the Improvement and Decline of the Arts in Greece and Rome. But he thinks moral Caules, tho' they mull certainly have a very great Influence ' arc not fufticient fully to explain this Phenomenon. " He remarks 9), wtdi good rcafoni -RW. m wk.l that twasnotm the Tmiesofprofoundeft Peace and Qiiict,that the Arts wereatthcgreatcfl: i'f'ldija, hg,- " Heighth amongft the Greeks and Romans, or amongll the Italians in the latter A"c 2 of Pahiting and Sculpture. The Wars (faith he) between the Atheriians, the Thebans, '""'^-J'"- and the Lacedemonians, and thofe of Philiji .againft the other Greeks, were much more direful in their Confequences and Duration, t\xm. Aiok o{ Alexander, his Succeflbrs, or of the Romans in Greece : Yet thofe firfl: Wars hinder'd not that wonderful Progrel's of " the Atts and Sciences there, which is fuch a Glory to human Genius. The Greets after they became a Province, enjoy 'd for the moft part a profound TranquiUity ; tlicir Subjedion to the Romans was rather a kind of Homage that fccured their Peace and Eafe than a heavy opprcflive Servitude. In like manner the great Men who compofed what " is called the Allgilftan Age, were already form'd before the more peaceful Days of that " Reign commcnc'd. Who knows not Irow cruel and bloody the rirll Years of that Ai'e " were ? Virgil himfcif thus defcribes them : ^ " Sljiipfe ubi fas ■verfum atque nefas, tot bella per orbem " Tarn muhis fcelerum fades : Nan ulliis aratro " Digniis honos, fqiialent abdultis arva colonis, " Et cnrv£ rigidum fakes conflantnr in enfem. " Hinc mo vet Euphrates, illinc Germariia Bellum : " Vicince ruptis inter fe legibus urbes " Arma ferunt : fxvit toto Mars impitts orbe. Gcor. i. vcr. foj-. " THE Men of the greateft Diftinftion and Metit were terribly harafl'ed by the Pro- 1' fcriptions. Did not Cicero fall a Martyr to his Talents and Merit in that mifcrablc time! " Largits ir extmdans Let ho dedit ingenii fans " Ingenio manus efl ir cervix ciefa. Juv. Sat. 10. ver. 118. " HORACE was Thirty at the Battle of ; and in fine, tho' the Magnificence of " Aiiguflus, encouraged the great Poets and Genius's of every kind, yet the bell Authors were " already become great Men before that Encouragement. " IN the fame manner, the Declenfion of the Arts happened in Italy, preeifely in the " moft peaceable Times that Country had feen fincc the Dcftrudion of the Roman Empire. During thirty-foiu- Years, Italy (as her own Hiftorians exprefs it) was trod under foot by " barbarous Nations ; the Kingdom of Naples was conquer'd four or five times by different " Princes; and the State of Milan changed Mafters much oftener; Rome was facked by " Charles the Vth ; and Florence was almoft in continual W ar, cither againft the Medici who " endeavoured to fubdue and enfiave it, or againft Pifa which they woufd gladly have brought " under their Yoke : yet it was preeifely in thefe Years, that Letters and'the fine Arts made " fuch Progrefs in Italy, as feems yet fo prodigious and aftonilhing," HENCE this Author infers, that Peace, Tranquillity, Plenty and other moral Caufes are not fuffieient to produce the fine Arts and bring them to Perfcciion, or to account for their Rife, Progrefs and Declenfion. NOW here I would beg le.ivc to obfervc that ancient Authors, Cicero (60) in particular, have very juftly remark'd, on the one hand, that Eloquence and all the fine Arts are tlie fruit and Produft, the Companion of Peace, Profperity, and outward Eafe. In an expofed, in- digent State, a People cannot have either tliat fuULeifurc, or eafy Difpofition, which are re- quifite to raife them to any Curiofity of Speculation. They who are neither fafe from 'Vio- lence, (58) Inftancss of their AuBcrity, Attachment to their (63) Sed turn fere Pericles, Xantippi fflius de quo ante Art, and Regularity in their Condufl, have been men- dixi, primus adhibuic duarinam : Q^.a; tjuanquam tunc tioned in the Account given of tliem. They were found nulla erat dicendi, tamen ab Anaxagora phyficoeruditus, to have obrerv'd the Rule recommended by Pelrmiius to exercitacioneni mentis a recondicis, abftrufifque rebus ad all who aim at Perfeiftion in any Art or Science, the caufas torenfes popularefque facile traduxit. Hsec igitur iiiblimer ones more efpecially. Ktas prima Athenis oratorem prope perfedtum tulit. Nec Artis fiverafiijuis amat effieHus,^ cnlm in conftituentlbus rempublicam, nec in bella ge- Mentemijue magnis applPirai ; pri'us more rentibus, nec in impeditls, ac regum dominatione de- Frugaliiatis lege poUeat txaila^ &c. vini£tis iiafci cupiditas dicendi folet. Pacis eft comes, Otiique focia, & jam bene conftitutEe civitatis quafi alum- {y^) Refiexhm Critiques^ i^c. Sea. i^- f^^^"^' Ql''il qusdam cloquentia. -Itaque iui Arifloteles, Sec. eft probable que Ics caufes phyfiques ont auffi leur pajt C'uer. dt Clar> CraL N" li, U 13. a,ux progrca furprenants des LeUrei & des Arts, j-o8 Essay on the Rife, Progrefs, Itncc nor fccure of Plenty, arc not in a Situation to engage in unnccefiary Studio?, ^\'llch a Republick is unfcttled, or in time of ravajiui; Wars, tlic Dciire of Ivnowicdje and tlie Love of Arts is not likely to rile and fpread. This Temper, Dilpofition, and Genius, is the Pro- duel of Peaec and Security ; but of what Peace! Of Peace wliichrefults from a well-cllablini'd Government, from Profperity and Liberty fixed upon a litre and folid Foundation, and guard- ed by the Love of Liberty's watchful jealous Eye. 'Tis not under Slavery and lawlcfs Domi- nation; 'tis not among a fubdued, conquered People (whatever Peace they may enjoy) that the Arts can begin, or make proficiency. n, Dmr,r If BUT, on the other hand, 'tis equally true that Opirlencc and profound Qiiict, if due care Ptaii ani Pimiy. be not taken to prevent it, arc apt to lull the Mind into a profound Lethargy, apt to effeminate and enervate it. And therefore the E\ ils flowing from Peace are often pronounced by the Ancients more dangerous to Virtue, Liberry, and' all that is Good and Great in Society, than thofcWats and Contefts which keep the Mind awake, hvely and vigilant, roufe the Spirits, iir- flame the Love of Liberty,by keeping up a warm Scnfc of publick Good, and of our Obligations to contend for it vigotoudy. Nothing hath ever prov'd fo fatal to Virrue, Science, and good Tafte, as the poifonous Sweets of Riclics and profound Tranquillity : Thele unbend, ibftcn and unman the Soul, and arc therefore juftly called Corruptcrsi againft which every particular Perfon for his own fake; and every Society for its Prefervatian {60) cannot keep too ftrift and fevcre a guard. In fuch a State, Vice rafhes up as in its proper Soil ; Indolence, Scnluality and Avarice are naturally cngcndrcd, and quickly fpread their Contagion far and wide. " And " what place is there amidft thefc Vices (faith an excellent (61) Authot) fot the good Arts) No " more certainly than fot wliolefome Fruits and Grains in a Field over-run with rank and " hurtful Weeds." In faft, the greateft Genius's for any of the Arts have always appeared in times that tended to llir up and awake tlie generous manly Temper, and to keep the Mind from finking into Sloth and Effeminacy. Hence it was an ancient Proverb, " Vliis nacuers " togiSj qiiam ioric£ (62)." 'TIS well worrh the Politician's Thoughts toconfider ferioufly rhis Tendency amongfl: Man- kind to Corruption and Degenctacy, in confcqucncc of, what on other accounts is lb highly dcfirable, Peace and Plenty and to inquire if any effcftual Remedy may be pro- vided againft it. No Topick hath indeed affotded a greater Source of Railing againll hu- man Nature, to thole who delight to paint Mankind in the woifl Colours ; and to gather together all that tends to blacken and reproach our excellent Frame. But was this the proper place for engaging in fo profound an Enquiry, I think it might be made appear, that even this Phenomenon, 'however ftrange and unaccounrable it Items to be at firft fight, takes its rife from Principles and Caufes that ate in themfclves exceeding good and ufeful, ■and that afford a mod convincing proof of our being made to be aaivc aird virtuous, and to be happy only in being fo. The Ancients have made feveral very deep and profitable Re- flcdions on this Subjed : We ate here in a probarionary State; thisLife is but the firftSchool of Virtue : And therefore not merely Adverfity, but chiefly Profperity is inrendcd to be a Trier, an Explorer ; and, by that means, the Occafion and Means of exerting, pro\ing, and perfcfting many grcar and noble Virtues (Sj). BUT not to leave our prcfent Subjeft, the ingenious Author whofe Remarks I am now tracing and criticizing, hath laid together feveral \'ery curious Obfervations to prove the Power of phyfical Caiifes in producing Effefts that may be properly called moral. He feems ro think that the Differences of Charaaer, whereby Nations arc lb remarkably diftinguilh'd ; the Changes in refped of Charadcr, Temper, and Genius, which happen in the fame Nation j and by confequcnce the Rife, Progrefs and Declcnfion of Arts, muft in a great meafure be owing to Air, Diet, Climate, Soil, bodily Conftitution,andfuchlike continually varyingCaufes. „, iQauf,, AND here again I would obfervc, that without doubt, phyfical Caufes have a very hJul'mimg'" t' great Influence upon our Minds, in confequence of our Frame and Conftitution, and all have foms Influence Our en aitr Minds. i^q\ Cum tu inter Scabiem leintam Cmtngla kcri fentibus ac rubis occupata. Where he goes on to the Nil parvum fapias ; fame purpofc. Age, noji ad perferendos itudiorum labo- Hor. Epifl. lib. I. Ep. 12. ver. 14. res neceffaria frugalitas ! Qvjid ergo ex libidiiie aut ava- SoCicera: Ex hac copia, atque omniiini rerum afHuentia, ritia fpei ? Non pra;cipue acuit ad cupiditatem llterarmn primum ilia nata funt arrogantia, qua; a inajoribns noftris amor laudis > Nam igitur malis efie laudem cura; piita- alterum Capua confulem poffulavit : Deinde ea luxuries, mas. qua ipfum Hannibalem armis ipfis etiam turn invidfum, voluptate vicit. Cic. Oral, de Lrg. jlgmia, Til eji 1am martifertim ingeniis rjitnm laxuria, nouiice to Pifi. Fortunam adhuc tantum adverfam tu- fays Seneea, lib. i. Csnlrev. in Prmm. So Salluft frc- lilfi, fecunda; res aerioribus ftimulis aninium exploranl : quently both in his S^i. Catil. l^Jugurt. Qjjia miferia tolcrantur, felicitate cormmpimur. Fidem, Nunc patimur hnga pacis mala : Samor armis libertatem, amicitiam, pra;cipua humani animi bona, tu Liixnria incuiuil, viaumtue uldfeilur arbem. quidcm Conftantia retinebis : Sed ahi per obfcqumra im- Juv. Sat. 6. ver. 291. minuent, irrumpec adulatio, Elanditis peflimum reri aff'e£ius vcnenum, fua cuiquc utilitas, Jcc. Hijh lib. I. (61) lib. 12. f. I. Et quis inter ha:c bonis ar- p. l8g. Lip. Fd, tibus locus ? Non Hercle magis quam frugibus in terra Chap. 5. and Decline of Pa i N T i N g. 109 our iiitcUcaual or moral Powers and Faculties. The Obfcrvation is very ancient (64) ; many Airthoritics miglit he added to thole our Authot h.tth brought to ptovc it. And though perliaps we ate Irardly able to try more of this Phainomcnon in the phylical way, than in acneral, that it is the n.itural and unavoidable Relulr of the reciprocal Union and Connection of our Mind and Body ; fuicc it is hardly conceivable that an organical Frame or Syftem of Scnles can fubfill, without a dependence upon the Laws of Matter aird Motion : Yet as for the moral or final Caufe of this mutual Dependence of Body and Mind, it is very manifeft ; for without an organical Frame, or wirhout Botiies, wq could not have commumcation with the I'cnfible Wotld, from which however, fuch Ideas, Perceptions and Images; fuch Materials of Knowledge and Arts; and fuch Sub- jcds,' Means and Occarions''of Virtues arc derived, as plainly conftitute a very nobis firft St.atc of progreflive Being (Sf), without which Nature would not be full or cohe- rent. But leaving tliis Reflettion to the Purfuit of Philofophers, I Ihall obferve in the fiext place s THAT as dependent 4s the himiau Mind is upon the Body in its prcfcnt State of ^"J''^"^^ Exiftcnce i and by conli;quencc upon every thing that influences ot atfefts the Body, that ci'uliml" p'-i" is upon all the Laws of Matter and Motion ; yet tliis Dependence extends not fo far as ^rifi in Vime mid that Virtue and Genius can be laid to depend chiefly upon meelianicai Caufes not within KnmkJg, qmii ti- our power; fince we are confcious to ourlclves of being capable of improving in y">d 'ur p^wsr. Virtue and in Knowledge, in proportion to our Zeal and Afliduity to improve and ad- vance in ci'cry rational Quality and Perfcaion, wirhout arriving at any unfurmoumable Obllacle. THE chief or mod remarkable Dependence of Mankind in refpeft of Caufes nor en- tirely fubjea to the fingleWiU of every one, is our dependence on Education, aird the riglat Frame of civil Governmcnr, which is in its Nature a focial Dependence. The Progrcfs of the Arts and Seicnccs, as well as inumnerable other Bleffings of Life, de- pend greatly on the Care of Society to encourage, aflift, and promote them ; and par- ticularly on its Care about Education. Nor can it be othcrwiii; with regard to Beings made for Society, and fitted to acquire Knowledge, and to refine and polifli Life gra- dually, by united Study and Induftry. This is the Law of Nature, with rclpea to our Improvement in Sciences, and all ufcful or ornamental Arts : " That Knowledge lhall " be advanced and improved in proportion to our Application to culti^'ate and promote " it in a focial confeder-are way, by joining and combining our narural Stocks and Forces " for that end." And this Law of our Natures is admirably well fuited to us as focial Bcin»s i it is excellently adjulled to every Affeaion of our Mind, and to every Circuui- ftancc in our prefent State and Condition. Yet the natural and ncccll'ary Confequence of fuch a Conftitution is, that Men muft be formed into regular and well-conftitutcd Societies and Governments, in order to bring htmian Life to its Petfeflion, and to at- tain all thofc valuable and gloiious Advantages which the Virtues and Arts, if duly culti- vated, would naturally produce. If Society is agtecably framed and nrodelled for pro- ducing and perfcaing the Arts and Sciences, no Climate, no Soil will be found fo re- pugnant and averfe to Genius, Learning, and polite Tafte, but that thcie will quickly grow up in it to a very grear heighth of Beauty and Vigour. But on the other liand, however favourable all other outward Citcmnllances may be, 'tis no lefs impoflible, that the Arts and Sciences fhould profpcr in a State, where it is no part of its Aim and Scope to cncormage and promote them S than that the Fruits peculiar to any Soil ot Climate fliould come to perfection in it, without the proper Culture they nccell'arily require. Education muft be taken care of with that View, and all the neeeflary means of their Improvement muft be skilfully and honeftly imploycd. The Arts and Sciences did not fpting up at Athens fpontancoufly, and as it were of themliilvcs ; their Con- ftitution was excellently adapted to breed, nourifh and perfca them ; and no proper appofite Means were negleacd for their Cultivation and Improvement. OUR Author in pur(u.mce of his Conjeaures about the Influences of natutal Caufes upon the Progrcfs and Decline of Arrs, pays no fmall Compliment to tire Englijl: Ge- nius ; and takes particular notice of the Eftcem aird Love of Painting and Sculpture that hath eminently appear'd in England on many occaflons. For which reafon he fecms to tba>,CUer!iOraiiadeLegeAgrar.'^°1<=i. Non inge- remperfuperbi, bonitate !igrorum & fmaimm magnitii- nerantur hominibus mores tam a Ulriie generis, ac femi- dine, urbis falubritate, pulchritudine. Singularjs liomo nis quam ex iis rebus, quse ab ipfa iiatura loci, Si a viti privatus, jjili magna fapientia prxditus, vix facile fefe confuetudine fuppeditantur ; quibus alimur & vivimus. regionibus officii magnis in fortunis & copiis contmet : Carthaginienfes, fraudulenti, & mendaccs, non genere, Nedum ifti, ab Rullo, Sc RuUi fimilibgs cpnqnifiti, at- fed natira loci, quod propter portus fuos, multis Si varlis que eleai Coloni, Capuif , in Pomicilip fuperbia:, atque uicrcatorum, Si advenarum fermonibus, ad ftudium fal- in fedibus luxurlie coliocati non liaciiD conquiiitun fint lendi, ftudio qui-ftus vocabaiitur. Ligures, Montani, aliquid fceleris Si Bagitii. Duri atque Agrertes. Docuit ager ipfe, nihil ferendo, nifimultacakurdSimagnolaboiequifitum. Campani, (65) J>»;/sEiraj- cn lilan. n>s chnfDepen- dmce sf f 'irliis and the Arts on Ctiu/es beyand mrpawer^ is 110 An Essay on the Rife^ Progrefs^ to ini.igiiie, that this Country's not having produc'd, wholly of its own Growth, any confiticrable Hiftory-Painter, can hardly be attributed to any thing cUc, but to our Cli- mate, Air, Diet, or fome inch other phyfical Cauii;. BUT, in truth, other reafons are not far to feck, by which thisEffeft may be fuffi- cicntly explained and accounted for. The fine Arts have never had any place in Libe- ral Education amongft us : We have not yet had the neccflary Means for improving, or even for calling forth Genius of this kind, duly ell:abli!h'd and fupported amongft us. Academies or Schools for thefe Arts, well furnilli'd with the requiliic Models for Study and Imitation, are even yet wanting. No Country, in modern Tin-jes, hath produced better Painters with Words : And therefore without cntring farther into the Enquiry, why Painting hath never been promoted and encouraged amongft us as it dcferves; we may reft fatishcdthat there can be no phyfical Obftack in the way ; For furely the Cli- mate cannot be too cold, nor the Air too grols, to bring forth even an Apelles or a Raphael^ that produced a Milton. FROM what hath been fiiid we may fee how ncccUary a free, generous, publick- fpiriced Government or Conftitution is to produce, but more efpecially to uphold and promote, the Liberal Arts and Sciences; and how amicably they all eonfpire to iihiftrate and perfcft one another ; and to fupport and improve the virtuous Temper, from which alone they can receive proper Nouri!hment, Beauty, and Vigour. This was the conftant Doclrinc of the better Ancients, and is very evident from Hiftory. C H A P. VT. Ohfervations on the Ufes to which Painting and Sculpture were employed among the Ancients ; the noble Purpofes to which they ought to he apply d in order to adorn human Society^ projnote and reward F'irtue and publick Spirit ; and on the ObjeEiions that are brought againfi the Eficourage- ment of them. OftbeUfesiB which TJ^VERY ouc knows that Fainting and Sculpture Were the principal Ornaments of PiiJures were ap- J^^ Temples, Schools, Academies,~'Theatre5, Portico's, and in general of all pubJick ^" ' Buildings niGreece, 2.1 ylt bens in particular. But in order to have a Notion of the ex- cellent Purpofes to which the defigning Arts ought to be employed ; it is not amils to obferve, that while Virtue, publick Spirit, and the Arts prevailed in Grff'f^', due Honour was paid by them to the Merit of every worthy and deferving Citizen : Piitturcs and 7o preferve the Me- Statucs wcre creftcd in publick Places to prcfcrvc the Memory of their Virtues, .and to miry of great Men excite otlicts to folIow thcit exccUcnt Example. This Honour was done to all who had and ufeful Deedi. ^^^^^^/^^^ ^^11 of thcir Country, and had diftinguilh'd thcmfelves either in the Arts of War or of Peace ; to every virtuous good Man ; to Philofophers, Poets, Painters, and to every ingenious Artift ; but chiefiy to thofe who had ferved the Publick with Integrity, Bravery, and Wifdom as Magiftrates or Generals. '^Panfmias abounds with Dcfcriptions of Images of this kind. Portraits, Statucs, or Bufts. At Athens^ in the place called the Court of the Five Hundred, there were many fuch Monuments. With the Statues of Jupiter and Apollo by Pifias, and one rcprefcnting the People of Athens by Lyfon.wctc placed feveral Pidurcs of Legiflators and Patriots, among whom was Olbyades, who had remarkably exerted himfelf at ThermopyU : All which were painted by the famous Pro- togencs (i). The fame Author mentions a Pidure of Tkcmijiocles^ confecrated to his Memory by his Son in the Partheyiion, or the Temple of Minerva the Virgin, at Athens: A little after, is mentioned one of Leojihenes, and his Children. And in the fame Book he fpcaks of Statucs not only of illuftrious Men, but likewifc of illuftrious Wo- men. There were confecrated in Temples, and in other publick Places, Statucs or Por- traits of all their Heroes, as of Lycurgus, Callias, "Demojlhenes, Pericles, Arijlides, Seme hjlames. Miltiades, Iphicrates, Olympiodorns, and many others. Ifocrates (fays Paufanias) was placed among the greatcft Heroes, bccaufe he had left three excellent Examples to Pofte- rity for their Imitation : One of his Conftancy and Pcrfevcrance in teaching the Youth, which they confidcrcd as a very noble and ufefnl Employment (2) to the State, having continued to teach till he was ninety-eight 1 Another, of fingular Modefty, which made him (1) Pmifamas^ lih, I. Tlie Examples here named vate or publick Happinefs. Quod enlm Munus reip, are in the firlt Book of Paujamai. But in every Page aft'errc majus, meliulVe pofiiimus, i^nam li docjrnus, aUnoft of that Autlior, there are Iiiftances of this Ufe atque erudimus juventutcm ? His prffifcrtim moribus, of the defigning Arts. atqus temporibus : quibus ita prolapfa ell, ut omnium opibus refrEenaiida ac coercenda lit. Cuero de Dam. (2) This was the Sentiment of all the greateft Men /, 2, ink. pi Antiquity about the Importance of Education to pri- Chap. 6. and Decline 6f '^Ki^Ti-i^G. til him fliuii all othct piiblick Offices, and devote himfelf intircly to the Bufinefs of Educa- tion : And a third, of Love and Zeal for Libctty (3). ALL tlie Poets had likcwifc this honour paid to them s Homer, Hefwd Sophocles' hunptdes, Menmder, ^fihykis ; to the Memory of the laft, 'Tmfinias tells us a Piaure was confecrated on account of his brave Behaviour at the Battle of Marathon The Philofophers were not ncglefted ; nor indeed were any Perfons of Merit overlooked' ''"fi" 'f Mint ,/ This appears from the Statue of z^fip creded at Athens, to fhew, fays Thttdrus that the Road to true Honour lies open to all in a wcll-goveru'd State. ' A Stat-,, .A^fop t^fopi ingenio Jiatnam pofuere Attici, Servicmque collocarunt ceterna in bafi ; Tatere honoris fcirent tit ciincii viam, Nec generi tribui, fed virtitti gloriam. Phxdrus. SOON after Socrates was cruelly condemned, t\ii Athenians repented bitterly of it and banilhed fome of his Accufers, and punifhcd others of them with Death, and creeled a brafs Statue of Socrates in the moil remarkable place of Athens (4). AS their Gods (y) were diftinguifh'd in Painting and Sculpture by certain Attributes fr,p,r Symb,l: were or Symbols; fo were the Images of their Great Men. They were not merely Portraits I"'" " ffm t^nd of their outward Forms, but they were principally intended to commcmoratG their noble Virtues and ulcful Deeds; and to Hit up a worthy Emulation in the Breaft of every Eeholdet. ' HEROES were often reprefcnted without Sandals, wkh Beards, and the Lion's Skin, S,m ExamfUst fueh as Hercules wears in Statues, and as he was anciently painted (6). They were' Hini,. frequently reprefcnted as carried up to Heaven by an Eagle, and with a kind of bri<»ht Cloud about their Heads, and the Mediifa upon their Breall-plates, as Tallas is painted by Virgil Jam fimmas arces Tritonia, refpiie, T alias Infedit, nimbo effulgens, & Gorgoiie fava. JEa.%. ver. 613. To tllis Cuftom he alfo alludes. ^^/En. 6. jyt). Fideri ut gentinie ftent vert ice crifls, Et pater ipfe fito Jttpertm jam figitet honore (7) > THE (i) P""/- ?• i6- Edit. Iraki. alienns, qui eas armatas exhibuerit. Cerrtffimoarga- . mento, vitam qns imifis tribuitur pjaeidara, facilem, (4J 1 olt damnafum bocrateln, fanta mox pceniten- trariquillamque iis die oportere. /Elian "jar Hi!} la tia ejus rei Athenienfes ccepit, ut gymnafia clauderent ; 3^. ' ^ " lit accufatorcs Socratis partem exilio, partem morte mulclareut ; at Socrati ipfi ftatiiam ameam flatucrent (6) Heroas quoque in pellibus olim pin«eliant finite- jn loco celeberrimo Athems Sentit Plutarchus in eo bantque, J-ays the old Scholiatt upon AfMiniu, Rhjut, libello cui titulus eit i>< t!? mmdta, quod Alhenien- ArgmaM. lit. 1. vir. 314. Pellem habere Hercules fes adeo oderunt, avcrfatique funt Socratis calumniato- fingitur, ut homines cultus antiqui admoneantur fays les, ut neque eis igncm accendere, neque interrogan- Eejl,,,. Suidat in his WxaS! tells us how linuls tibus refpondere neque aqua illa in qua hi fe abluiflint was reprefcnted in Statues ; artd Ccdr.m,,, how he was nil yoluermt, fed earn permde ac fceleratam eSund, p,i„J, Lautia; fandalia, crepidie, calcei, it.rotan- juirermt: proinde ,11, cm, odium tam atrox perpeti ,i„m funt geftamina, vel fenum'^ p'aores taqSe m"- diutius non polfent fufpendio fefe necaverunt. Verum niunt Phitoaetum calceis, tanquam claudum & l„»m • non folum puniend, fuerant accufatores Socratis, ye- Sinopenfem vero philofophuni, & Tliebanum Cratetem' rum etiam judicis inuiaandi, qui damnantes Socratem & Ajacem, & Achillen, d,rcaiceato, pingunt : atjafo- ,n,uft,iIimo jud,c,o, ipfain virtutem damnare atque ex- „em'ex parte diraidia. Kertur enim fluvium Anaur.im Icindere vifi funt. Qu-J cnm™ " atrocusjudicandum tranfiturus. PUh{. Epif. in Efif. ml ,,cnk,nt,m Ad,- quod Athenienfo & erant & habebantur prudentes, eru- iy;.„„„, gee wL\k H,ginJ,fnl,. ,2 ; and lUat„b dii, human, & leg.fl.tores opt,m, ; unde humannas, ii, Self. lit. i. i. t^.H.tic Val. ila.il, rel,g,„, dcarina, jura leges oris atque m omnes di- „„^i„ „f it',, f„methi„gu„ufu.l. L. Scipionis Afiatici flributa: putaiitiir^ See Apl„, Af.n. A..r. I. 10. ,„ chlamydatam & crepidatam in capitolio fui le Ccmncntar.Fhthn^BcroaU,. lib.-i.t.b. $0 Ci«r. Oral. p„ &,bm, p'JIlnm,. h. (5) What Plutarch tells us of the ancient Ima-es of S"'' f 'f^'^i''" Sf the Gods, is very remarkable. Prifci .h=ologrp°h lo If'- " " ^"'T TT '""'^"^y^'- ^S' »™ C"=- 1- , ' , nV ■ ■ n . r ^ ^ P"i's 'i^ capitcihu Itatuam vidctis. Heroes non hierunt fophormn vetuftiffim,, inllrumenta n-.ufica in manus fcliti tondere barbam. See S™, ,» 3. ,„,. deorum imagin.bus pofuerunt : non fane quod eos lyr. aut They ufed likewife to have a Dog by them. See pj- tibia ludere putarenti led quod nullum Deo opus con- luti/Onmallicm lit I ci I"'""- oee /-« venientius elle judicarent, quam confonantiam & bar- ' ■ ■ ■ 4- moniam Pluarcl, mfl xir Tif..™ 4,ux.)-«,W. (7) See S™, upon thefe places. As for their being And makes the following Remark on rbc ancient carry'd u? to Hea.'n, there is a beautiful A.ate in tht traages of the Mufcs: Statuas & imagines, quas nobis King of Frana', Cabinet,' reprefenting GirSanicus at- ars hflorum cxhibcr, non ofcitanter aut obiter fpeSare ried up to Heaven upon an Eagle, with the augural loleo ; nam in his eliam ars manuaria judicium aliquod Batton in one hand, and a Cornucopia in the oth-r (apicntiamquc adhibet. Atque id fic fe habere, cum the ^gis on his Breaft, and a Viflory crowning him' ex multis aliis conjici potelt, tum ex eo potiflimum, This was taken by the Monks of St Em at W for quod nemu picteruiii feu plaftarum aufus eft unquam St. Jtlm upon an Eagle crown'd by an Angel When mulis, miabus Jovis, adulterinas atque alienas fpecies they found it to be Pagan, they made no difficulty of cffingcre ; neque quifquam opificum tam eft a rations parting with it. There is another Agate of an exqui. ftec 1,2 An'^f.'i^^ on the Rife, Progrefs, THE Sci-pent was not the Symbol of r_^fctipalu,s only, but was confccratad to Jufiter, Jfollo, and other Gods ; and likewile to Heroes (8;, THUS on the Shield of Epamimnda!, which was fixed on a PUlar, ercftcd to his Memory, was engraved a Serpent. MARTIAL Heroes were frequently done with Thunder in their Hands, Akxml- der was painted by Jfelles. THEY are called by the Poets, as Virgil does the Scifios, Fulmina belli {$). &rx. 6. 8+i . (i o) THn who excelled in the Arts of Peace were crowned with Olive, and held frc- K:,T/Sf Jnriy fme rdijotfutenfd tn then- Hand, as F.gU deier.bes Nn,»a To,nfH„. ap- pcaring to (_yEneas. Suis frocul die mitem ramis injignis Oliva, Sacra ferens ? Nofco nines incanaqne menta Regis Romani ; primus qui legihus nrhem Fnndahit, curibus farms & paupere terra Mijjits in imferitm magnum. A\\.6. SoS. Ha Tmpk at Smyrna. THOSE who had polilhed Life with ufeful Arts had tlreir Heads wrcaljicd with Eil- ■lets ; to which Cuftom Virgil likcwife alludes ; Guique facerddtes cajli, dum -uita manehat : "Clique pa Vates, & Thmbo digna lociiti : Inventus ant qm vitam excolucre per artes : Unique fui memores alios fecere merendo ; _ j, , , , Oinmbus his nivea cingunttir tempora -uitta. An. 6.661. WE kt Apollo giving a Crown to a Poet in one of the Piftures now graved; and there is the Portrait of another in the fame Piece encircled with Laurel. .xr J j\r tells us that Homer was painted with Streams of pure Water iffuing ""• ou^tiflouth? and'a Croud of Poets drmknrg largely of .t (ii). To fueh a Ptc- turc Ovid plainly alludes : Adjice Miconiden, a quo, cell font e per enni, Vattm Tieriis ora rigantur aquis. Ovid. Amor. El. p. vcr. 3f. So Manilius, Cujnfque in ore profeBo Omnis pojteritas latices m carmma dux it. Man. 1. ^. THEY erefted Temples to Homer in Smyrna, as appears from Cicero (li); one of thofe is fuppofed to be yet extant, and the fame which they Ihew for the Temple of -Janus Ml. Spon denies this to be thc^true Homereum ; but it agrees with Strabo, De- fcription, a fquare Building of Srone near a River, thought to be the J/./w, ™o r T It. i., ,l,p Cmc: CoUeaioil in which mamdicuntur habere oculor™ aciem, qua ex caufa fite Tafte m the lame Lolleaion, in wmu i f/. ; ^ jcs eos Thefauris cuftodia: caula finxerunt an- and G'rrmn,m,.,.J.p^«.^^ I"} d fcr,bM in the tic,„i. Serpenti credun.ur multa i„el]i remedia, & . 55£7.t I^en'ch 'Ii' Tl^.',.., t. idL ^rcuiapio dica.ur. Pi„. 4- 276. (g) So iucrff/V" before him. Scipiadcs belli fulmcn, (8) fluuvch gives the reafon of it in his Lifeof CU- Carthaginis horror, I. 3. „;« : Where he tdk ns, that a S^P"' he.ng ta^^^ ^ ^^^^ wreath'd about Ci — 's H^d, lb nng 11 In, ^ "'^^/^^'^'^.^ c„,|„|,i„„_ „prefen,i„g J.f *r with Face, that no ravenoos Creature durll come near h,m ^ V'^^ Thunder in his Harfd, on one fide The King who had put h,m =0 death, '"^J'" '>= La-l." h s^M^n Ic and n ^^^^^ ^ of his Court, began to fear that i^'JJl'S'^^^^^^^^^^^ °„ her Head • A Serpent wrea.hs itfelf about the Tree ; vofd the Gods, and made many »7 ""7 J""'™" ^dfeveral Animals are on the Exerg. It was for a for the Purificanon of thrs Crmre. Tkm- h ad s tha nd "^"^ , .„ p„,. this comingtothe knowledge of wife Men they con ton time unci fecratedtheSerpcnttoKinEsandPrinces,asfriendlyunto due. bee it expia j Men ?ht. in Cl„m. aifin. Heroum piflis fiaifqi.e i.,n. i. f . 373 imaginibus appofitos olim Dracones. Uacrob. l.i.i. „„ M/t.ir 22. Hence probably it is that Sr'sjtJT ^:ciS:es:^mfs,S: .i^;>cf h^n ..„,.™. Wn... Draconibus aflignatur. Junguntur figura; Draconum /. 17. c- 5- quia pra=ftaM ut humana corpora, velut inhrmitatis p., Pcta, N° 8. Smyrniri Jelle depolita ad priftinum "'-f?"' "S"™ gj;?, „ „ uur^ earco^firmant. Itauu'e etiam deluUm virefcunt Dracones per annos hngulos peiie leiitccuii!, yr-i^ exu't P»i». l^J'«: |i>« "nother teafon : Ckriffi- ejus in oppido dcdica.erunt. Chap. 6. " and Declme f?/" Pa i n t i n G. try Doors oppofitc to each other, North and South, and a large Niclie within the Eafl: Walt where the Image ftood(i3). There is a Greek Epigram dcferibing a Statue of him, in which lie is rcprelented ia a different manner from the ancient Bulls of him that fub- fift at prcfent (14). For in thcfe he hath a fhort curl'd Beard, and his Hair comes over his Forehead ; but in that Statue he was rc^refentcd according to the Dcfcription, with Hh Swui^ a large and long Heard, his Forehead without Hair, and his Head turned afide in a liftcn- mg Pollure. I have an hitagUa of him that agrees exa£lly with that Dcfcription ; it is finely en- graved, very deep, and in faccia. THE famous Marble in the Palace of Colonna at Rome, called his Apotheofis, the Apotheolf!. Work oi Archelaus of Triene, is well known to the Curious. Wc fee there a Tem- ple hung with its Veil, where Homer is placed on a Seat with a Footftool to it, juA as he has defcrib'd the Seats of his Gods ; fupportcd by Figures on each fide, rcprefcnt- iug the Iliad and the Odyfley ; the one by a Sword, the other with the Ornament of a Ship, which denotes the Voyages of UlyJJ'es : On each fide of his Footftool are Mice, in allufion to the Batrachomuomachia : Behind is Time waiting upon him, and a Figure with Turrets on its Head, wliieh fignifies the World, crowning him with Laurel : Before him is an Altar, at which all the Arts are facrihcing to him as to their Deity : On oiie fide of the Altar ftands a Perfon reprcfenting Mythology ; on the othct, a Woman repre- fcnting Hiilory : After her is Poerry bringing the facrcd Fire ; and in a long Trairt, Tragedy, Comedy, Nature, Virtue, Memory, Eloquence, and Wifdom, in all thcii" proper Attitudes. AT th^Tanathcn^an Solemnities {i^) in honoui^ Minerva, certahi Perfons called *VQt.\(fS-Qi^ were appointed to ling fomc Verfes Horner h and in the fame Feftival a Herald pronounced with a loud Voice, that the People of Athens had given a Crown of Gold to the famous Phyfician Hippocrates, for the fignal Services he had done them in tlie time of the Plague. ACHILLES is faid to have found out fome Remedy for Wounds, and in me- mory of that he was painted ihaking fomething from the Point of his Spear into the Wounds of Telephus (16). HEROES were reprefcntcd with their Armour when they had conquer'd and pr.t an Enemy to flight ; or with the Spoils and Trophies they had gain d in Battle, and crown'd withVittory: Emperors, with famous Nations or Cities fupplicating them, offering them a Crown or other Gifts (17}. And in one word, every Perfon was exhibited with fuch Symbols as were moll lignificant of that in which he excelled ; whether Fortitude, or Science. Particular care was taken that the Images fliould be exprelTiveof their Cha- laftcrs and Difpolitions 1 And thofe wlio are acquainted with the Remains of Antiquity Tjjf Excdhn ef know, that the Accounts we have of the wonderful Skill of the Ancients in this prin- ondent"s/atZs and cipal Quality of the defigning Arts are not exaggerated. They will not think that 'Phi- Pi£iuns. hjtratus magnifies Matters, when defcribing the Picture of Antilochus, he fays, " Ulyf- ** fes is nianifeftly dillmguifh'd by liis fevere vigilant Look j Msnelaus by his genrle Mild- " ncfs; Agamemnon by a certain fuperiour divine Majefty above all the reft ; Diomede " is the very Piilure of a free bold Spirit ; Ajax is known by his terrible grim Look } Locrus by his alert Forwardnefs ; HeBor is a Demi-god, his Statue exprcifcs many " Pallions, if one attends accurately to it ; for he is great and awful i he hath a won- " derful Alacrity, and a mafculine Sofrnefs; he is without Hair, but comely: And the " Statue (13) Straho, Uh. 14. H^bct etiam Bibliothecnm Si Homer eiim & porticum quadratum, cumHomeri tem- plo & flacua. Nam Si hi maxime hunc poctam fibi vcndicant. Unde & iiumiiiLis quidam seneus apud eos Homerus vocatur. (14) Ms vita vigetum, nobis opendit Homsrum : !^on animus, nm fenfus abejl : fedfelius ilU Vscis t^get : mirum qua vis proccjjsrit crtis. 1 praffcrre videtur , ah iilo ditisr eri Duke fed hac fenium eji. Gratia: coTivenlmt gravitas ts" amabUe quiddam: Blanda verecundo majejias lucet in are : hmata in curua cams cervice Ccrymbus f'ertice defcendens, iS" circumfundiliir aures. Mento barba codens fpatio difpefcitur aniplo, MoUibus ilia pilis multuque volujnine, >i£C fe Cogit in angujium, fed late excurrit, fs* infra Et vejiis fmul ejl ea peSoris, & decus oris : fliida canis from eJi : ^ adejl fapitnttafronl^. Afpidens cacmn nan pojps credere : tanta Ofcuris oailis admixta efi gratia : felix Hoc vitium eJi, labefque oeulorum profuit arli. Nsnmhil inlrorfum fefe cavat utraque mala XJtraque futcatur rugis, fed utrique •uenuflus EJipudor-i infocia rccipit qui Jede pudorem. • fed y arrigit aures Dexlra fe, Phoebum cupicns audire loquentein, bfc, Antho]. Gr£ec. lib, 5. tranllatcd by Grotms. ( 15 ) See Hlfloire ancienne, par AI. RolUn, torn, cinquiemt p. 10. torn. 3. p. 421, {16) Plin. 25. c. 5. 34. c. 15. (17) Impcratoriis imaginibus alii imperatores aliud, quiddam appingi gaudeiit j quidam clariffimas quafque urbes dona ofFtrrentes: alii viitorias caput eorum corona cingentes : Noniiulli magiftratus aderajites, &c. See JuniHS ds Piii. vet. lib. 3, c. I. G s 114 Essay on the Rife ^ Progrefs^ " Statue is fo lively that it fcems to breathe, to accoft you and invite you to touch it. " Amphiarans the Prophet has a rc\crend Alpecl^ and Iccnis to pouL- out Ibme di\'iiitj " Oracle {i8)." Gr'at Ditd$ ALL their great A£lions or meritorious In^-cntions were beautifully rcprcfcntcd by Pic- taitted. tares or Sculptures, in which one might fee their whole Hidory. Thus was painted the fa- mous Cavalry-battle between Gryllus, Son to Xenophon, at the Head of the Atheiiians^ znA. Epamimndas who commanded t\\c 'Thebans the 7Vt3/(2w \Var5 the Battle of il/^sri?- thony the famous Stand at Thermopyla- the brave Behaviour of Olympiodorus \ all the c;i-eat Aftions, or remarkable Events in their Hiftory, were tranfmitted to Pofterity by the Chiflcl and Pencil, as well as by the Pen. They confecrated Statues and Pictures, to the honour even of fuch foreign Princes and great Men as had rcndcr'd Services to them : As for inftancc, to the Ttotemys of and to accommodate themfelves to the " times (15))." Shields how adorn' d A N CIE NTLY Shields werc adorn'd withthcImagesandAaions of their PolTenbrs; fuch the Ancients. were thofc ufed in the time of the Trojan W ar, fays Pliny : And this Cuil:om, according to the fame Author, prevailed likcwife among the Carthaginians (20). It was indeed very univerfal : fuch a one Marcius brought with him, with his other rich Booty, from Car- thage, \vitliAfdrubalcn2,i:x;cdon it. The Poets often defcribcthis Ufage, or allude to it. Et Sacrana: acies, & picii fciita Labici. j£.\\.-/. vcr. /pcj. At Nileus, qui fe genitum feptemplice Nth Ementitus erat, clypeo quoque fluminafeptem Argento partim, partim calaverat anro. 0\id. Met. lib. vcr. 187. ■ Fluf}iineaque nma catalus Bragada parmam, Et 'vajia: Nafamon fyrtis populator Hyempfal, &c. Sil.Ital. 1. i. vcr. 407. Ipfe tumens ata-vi Brennife jiirpe fetebat Chryxus, & in titulos Capi 'tolia capta trahebat : Tarpeioqtie jugo demens, ir 'Vertice facro ^ enfant eis aurtmCeltas umbo7ieferebat. Sil.Ital. lib. 4.. ver. ifo. At co7itra ardenti radiabat Scipio cocco, Terribilem ojientans Clypeum-, quo patris, & uyia Calarat Patrui fpiraiites pralia dira Effigies : fammamingent em frons alt a vomebat. Ibid. hb. 17, vcr. 400. 'PZ./iVT' calls it a noble Ufe of thedefigning Arts? a great Incentive to true Bravery, and a Cuftom full of Glory. Hence the praftice in the firft Ages of Chrillianity, dclcribcd by Trudentius. Clypeofum injignia Chriftiis Scripferaty ardebat fummis crux addita criflis. THIS Subjeft is fully handled in aDiffcrtation upon dedicated Shields, Memoirs of the Academy of the Belles Lettres : In which the famous Shield of Scipio is defcrib'd. It was found in the Rhone, A. i ^66, and is now in the King of France's Cabinet (2 1). It re- prefents that hcroick Aftion that hath been often painted by modern Mailers, and is indeed a moft noble Subjed, commonly called the Continence of Scipio. 'Tis beautifully related (18} Phlhftratus in Icomm Uh. 2. in Antilochi pi£fura. IIppo vero & Alexandro adulatloni potius iniiltitudinis, Agnofcitur autem Ithacenfis quidem ex fevera & exci- nam & Lyfimacho, &c. taia facie. Menelaus vero lenitate, Agamemnon divina quadam majcflate, Tydidem faa ]ibertas defignat : Tc- (20) Scutis enim qualibus apud Trojam pugnatum eft Jamonium vero dignufcas ex terribili, h Locrum ex continebantur imagines ; tmde & nomen habuerc Cly- prompto afpeftu. — Amphiarus ipfo afpeflu facer atque peoruni, non ut pervcrfa grammaticorum fubtilitas vo- latidiciis. In Jinphiar. Pi^^ura,ism. l.i. Quie eft liii luit, a cluendo. Origo ; plenam virtutis faciem reddi Heftoris ftatua, femideum refcrt hominem, multofque in fcuto cujufque, qui fuei it ufus illo. Pceni&exaura pras fe fert aftedlus, fi quis diligencer accurateque afpex- fadtiiavere & Clypeos & imagines ; fecumque in caftris it. Etenim elata eft ac terribilis, alacrifque & cum vexere, Certe captis iis, talem Afdrubalisinvciiii Mar- molliticvigens, ineftque ei abftjue ullicoma pulchrittido. cius, .Scipionum in Hifpania ultor, &c. i'.'/n. 35. 6. Eft autem ufque adeo fpirans, ut ad fe tangendum fpec- For this Shield fee Livy^ lih. 25. c. 39. tatores attrahat. In Hereicis, (21) Dijertaiian fur ks Bmcliers vetifs, parM. VAbbe [19J See Paufaniasj B. l. particularly />tf^( 7. Phi- Ma^iu. HiJI. de i'Acedmie Rsyale, torn, i. p. 177, Chap. 6. and tyecltne oyPAiNTiNGi 1^5 related by Livy (22). And Mr. Thomfon, in his Sophonisba, hath told it with the noble Fire virtuous Subjects always infpirc into him. Thcle votive or confecratcd Bucklers were not only called in gcncial Clypei, Difci, Cycli, but by the particular Name of {Tinaces) or Pictures, becaufc they painted great Men and their glorious Aclions. THILO'PMMON, who is called by Livy the lad of the Greeks, made a fine ufc of this Curtom of adorning Shields and other Parts of Armout (23). The youn^ Men in his time being exccflively effeminate, and fond to extravagance of rich Apparel, liinip- tuous Furniture, curious Services at Table, and delicate Difhcs; this brave and publick-Ipi- rited Achaian, in otdct to give this their Love of Finery in all fuperfiuous unncccflary things a good turn, and bring them to like things that were manly and profitable, endea- vour'd to make them think of Ihiiiing in the Field, and coming out for the Defence of their Country with niAgnifieent Armour : And it had the defigncd effecl. For the fight of finely adonied Arms breathed a new Spirit into them, and fired them with an Emulation of tty- ing who Ihould molf diftingutlh himfelf in the Service of his Country. " Indeed, faith " ^Plutarch, Sumptuoufaers and Finery in Drcfs, Equipage and Table, do fecretly lead " away Mens Minds from manly Purfuits, and allure them to leek after Vanities that rcn- " dcr them foft and inaclivc : Luxury melts and diflblves the Strength and Courage of the " Mind ; but the fumptuous Coft bcftowcd upon warlike Furniture, animates a noble " Heart ; as Homer fays it did Achilles, when his Mother brought him the new Armour " file had caufed Vulcan to make for him, and laid them at his Feet : For the moment " he fees them, he is fired with the fight, and impatient for Ibmc Adion to try them, and " fiiinc in them. So when Thilopamon had brought the Youth Achaia to this good " pafs, to come thus bravely arm'd and futniih'd into the Field ; he begun then continually " to excrcifc them in Arms, wherein they did not only ihcw themfelves obedient to him, " but did moreover fl:rive to excel one another." Haw PhildpEemoh mo-jerd the A- cliaian Youth frsm Effeminacy i THERE is indeed a Tafte of Beauty and Elegance in out Natures, that may cafily be improved to very good ufes : This Defire will neceflarily be difcovering itfelf, if not in the Purfuit of the true, the real Beauty in Charadcts, Aftedions, and Adlions, and in the Study of pure, chaftc Arts ; in a falle Affeclation and Defire of Symmetry and Ele- gance, in merely external Ornaments, in Equipage, Table, Drcfs, and fo forth. 'Tis therefore of the highcft confequencc to give a good Turn, by proper Education, to this natural Paflion (24.). TO name but a few more hiibnces of the Honours paid fo Virtue, wc have an Ac- ^he Monument sf count from Cicero of the Monument eretted to Archimedes. How eai'neftly did Cicero Archimedes, feareh after it in Syractife ! And how does he lament that it was over-gtown with Weeds and fadly neglected ! He found it out with great difficulty after much hunting and fcarch- ing. It was adorned with the Sphere and Cylinder; and he was probably rcprefentcd draw- ing Diagrams upon the Sand (2f). HOW naval Vidories andTriumphswcrecommemoratcd, wemay feeby that Monument Tlje Msnumtnt af in the Capitol at Rome, in honour oiT^uilius (26), juft as it is defcribcd by Silms Itali- Duilius'jn«i.fl/ cus i where he likcwile mentions fcveral other Pidfures and Monuments of great Deeds ^'^"y- and illuftrious Men : which, whether they are real or imaginary Pidurcs, equally fetve to fhew us to what noble purpofes Painting may and ought to be employed in the Opinion of the Ancients. ■ varia fplendentia cernit 'Pleura, belli patribus monnmenta prioris Exhmifti. Nam porticibiis Jignata manebant. Giuis inerat longns rerum, S' fpeEiabilis ordo, Primus bella trtici faadebat Regulus ore : Bella 50. y Pa/ybius I. lo. p. 593. (eft enim ad portas Agragianas magna frequentia fepul- chrorum) animadvertiColumellam x\an multum e dumis eminentem : in qua inerat fph^rfe figura & Cyliiidri. Quo cum patcfaftus eflct aditus, ad adverfam balin acceflimus. Apparebat epigramma exefis pofte- rioribus partibus verficulorum dimidiatis fere. Ita no- (24) See this Reflexion delightfully purfued at great billfiima Grascite civltas quondam Vero etiam do6tif- leiigth in the Charafterifticks, torn. 1. ^.138. Every fima, fui civis unius acutiflimi monumentum Ignoraflet, (22) r. Lh. 1. 26. Ed. Cafaub. (23) See his Life in Plutarch. I have given this Paflage in the Words of the old Englijh Tranflation. rifticks^ torn. \. p. 138. E' one^ is a Virtuofo of a higher or lower degree : Every one purfues and courts a Venus of one kind or another. And ism. 3. p. 184, &c. (25) Cujus (Archimedis) ego quasftor ignorafum ab Syracufanis, cum efle omnino negareiit, feptum undi- que & veftitum vepribus, h dumetis indagavi fepul- nifi ab honiine Arpinate didiciflet. Qiiis eft omnium, qui modo cum mufis, id ell, cum humanitate, 4r cum doflrina habeaC aliquid commerciuni qui fe non hunc mathcmaticum maht, quam ilium tyrannum, he. Tuft, ^aji. lib. 5. 23. (26) Pliny tells us that this Monument vi-as in the chrum. Tenebam enim quofdam fenariolos quos in Forum in his time. P. Ciofonius has explain'd the ejus monumento effe infcriptos acccperam : Qui decla- Monument fmgulari optrt. See likcwife Grutir in Lapidt rabant, in fummo fepulchro fphseram efle pofitam cum Cupitelino, f.297, Cylindro. Ego autem cum omnia colluftrem ocuUb Ofthf 'Batik of IVJarLiLhcJii, 116 ^» Essay on the Rife, Progrefs, Bella negmda -vira, fi no fcere fata daretur. f At prmceps Tirnis indittx more farentim Appius altabat pugn£, lanroque revintiiis Jujlum Sarrana dttcebat ciede trimnphum. '^^Equoreumjuxta decns, & navale trophisnm Roftra gerens, nlvea furgebat mole columna, Exuvias Marti domm, quie Tlmlius alto Ante omnes merfa Tmnonim claffe dieabat : Cui noffnrnas honos, funalia ctara, faeerqiie Toft Epiilas TMcen adeft, caftofqiie 'Penates Infignis Uti repetebat tmirmure cantus. SU. Ital. lib. fi. fiyl. IN fine due Honour was done bv Statues, Pifturcs, and other Monuments, to every "rcat Aaion, in ancient Times, by tlie Greeks cfpecially ; to every one wlio liad been ler- viccable to his Country in wliatevcr Station of Life, and not to tiiolc only in the liigher Spheres of Aftion. AFTER the famous Battle ol Marathon, there were crcdcd, on the Spot where the Battle was given, noble Monuments, on which were infcribed the Names of all titolb who had bravely died for their Country ; one for the Athenians, another for the 'rlatieansi and a thitd for the Slaves that had been put in arms on that occalion (27). Afterwards one was creftcd for Miltiades. Cornelius Nepos makes a fine Rcficxion upon what was done by the Athenians to honour the Memory of this General (j 8). " Formerly, lays he, " (fpcakin.' of the Romans) our Anccftors recompcnfcd Virtue by Marks of Diftinttion, " not indeed vcrv pompous, but which they rarely bellowed, and that were for that very " reafon hiiihly ctlccmed j whereas now that they are lavilh'd fo promileiioully they arc not " regarded." It had been fo likewife among the Athenians ; all the Honour paid to Mil- " tiades the Deliverer of Athens, and of all Greeee was, that in a Picfurc of the Battle of " Marathon he was reprefcnted at the Head of the ten Chiefs, exhorting the Soldiers to Cou- " rage, and fhcwing them a noble Example of it : But this fame People in after-times, bccom- " ing more powerful, but at the fame time more corrupt, appointed three hundred Statues " oi'Demetrilis Thalercns to be ereded." 'Plutarch makes the fame Obfervarion (29), and remarks wifely, that tiic Honours rcndred to great Men ought not to be coulider'd as a rccompence for their glorious Adions; but purely as a Mark of the high Eftcem in which . they were held, and of a defire to perpetuate their Memory and the Imitation of them. "Tis not, fays he, the Riches nor the Magnificence of publick Monuments that makes their Value or renders them durable ; but 'tis the finccrc Love and Gratitude of thofe who ercft them ; The three hundred Statues ofDemetriusThalerens were thrown down in his ■ own time ; but the PicTiurc ol Miltiades fubfdled many Ages after him. ■PLATO often fpeaks of this glorious Day of Marathon as the Source of xhz Athenian . Bravery and Succefs. For on all occafions of Importance the Example of Mdtiades and his invincible Troop, was recalled to their Remembrance, and fct before their Eyes as an Example of what a little Army of Heroes was able to do. It was this glorious Inftance that infpired them for a long time aftetwards, with a noble Emulation to imitate thofc brave Anccftors, and not to degenerate from theii Virtue, Love of Libcrry and their Country : And no doubt the excellent Pidures of that glorious Adiou contributed not a little to produce that noble Effed. BY publick Order there was likewife ereded, near to ThermopyU, a glorious Mo- nument, to the Memory of tliefc brave Defenciers of their Country, with two Infcrip- tions ; one that regarded all thofe in general who had died there, and bore that the Greeks, to the number of four thoufand, had bravely made head agaiuft an Army of three Millions of Terfians. The other Infciription was peculiar to the Spartans : It was written by Simontdes {-1,0), in thcfe plain ftrong Words : KelfJLS^a, Tali 'xEjVwi' TTElS'o'/AEl'OI vol^tfiati. OffunirslPm, "DIODORVS SICULUS t.Ah us likewife, that x\k Athenians inftitiitcd ccr- grSZmmgtbi tain funeral Games in honour of thofe who had died in the War againft the 'Perfians (31), Greeks aitd Ro- and jnans. [27) So Faujanwi tells us in his Atticks. Lacededally. One Adion, worrliy of that illuftrious Roman, the Friend of Cicero, Virgil and Horace \ f^'^'d^d by k{MMs who was Conllil, General, Orator, Poet, and Hillorian ; and a great Patron of Inge- " nuity, pohtc Literature, and of aU the fine Arts. ^^ro-/7has immortalized his Name. Tollio amat noftram, qnamvis Jit rujiica, mufam : 'Pol/io & ipfe facit nova carmina- Virg. Ec!.^. ISIDO RUS gives fomc Account hkcwife of this Library (4,3). The Dedication of Howth-f^Lilranet fuch Libraries was folcmnly made by a Difcourfe which was commonly pubhfh'd afrer- wards. 'Pliny the Younger, who had founded a publick Library at his own Expcnce, for the Ufe of his Compatriots, mentions a Difcourfe that he pronounc'd on that oc- cafion (44,). And that fuch Libraries were adorn'd with Pidures of Philofophcrs, Learned Men and the Eneouragers of Letters, appears from another of hisEpiftlcs, in which he exprelfcs his defirc to get a good Painter to copy the Portraits of Cornelius Nepos^ n.n6.T.Caffius, that they might be plac'd in the Library of one of his friends (45-). vjere liediceSed. likewife informs us, that Atticiis had been at great pains to preferve the Of i he Zeal of At- Memory of illuftrious Men, and that he had publilh'd a Volume of their Images and ""^"^ toprejerve the Lives (46). Cornelius Nepos gives us a fuller Account of this noble and generous P'^'^'rfi^^"^ ^^"^ Work. He was a great Lo\'er of Antiquity, fays Nepos, and of the ancient Manners j and he was fo well acquainted with Hiftory, and the Lives of great Men, that, in his Book of illuftrious ones, there is no War, no Peace, no Law, no remarkable Event in the Roman Hiftory which he has not accurately related : And he had likewife given fuch a diftinft Account (which was extremely difficult} of the Roman Families, that the Genealogies of all the great Men may be found there: He likewife gave their Images, or Portraits ; under each of which there were four Vcrfes comprehending the Subftance of their Hiftory and Chavaclcr (47). MARCUS VARRO wrote fe^xral Volumes on various Subjeds, and thefe were adorn'd likewife with the Images of great Men, to the number of fcvcn hundred (48). And this Honour he did to Foreigners as well as to Romans. Pliny calls this a moft noble and glorious Undertaking, thus to preferve the Memory of Men of Merit, that t!iey might be every where prefent and known. " Inventor muneris etiam T^iis invidioJt\ " quando immortalitatcm non folitm dedit^ 'uerum etiam in omnes terras mijit, ut pra- " fentes effe ubiqne & videri poffent." Thofe then who are careful in colleding the Images of illuftrious Men follow the beft and nobleft Examples of Antiquity, 'Pliny tells us, that tho' it was not ufual to place the Portraits of the Living in publick Li- braries ; yet Afinius Pollio thought it an Honour due to P'arro, and accordingly put up his Fifture in the Library he had devoted to the Ufc of the Publick (49). The Images of Of the Zea! cf Marcus Varroj&c. (4.2) Afinii Pollionis hoc Romfc inventiim, quoniam primus, Bibliothecam dicando, ingenia hominuin rem- publicam fecit. Plin. 35. 5. A little above he fays, In Bibliothccis dicantur illi, quorum immortales animse in locis iifdem loquimuir. Concerning the Greek Li- braries, fee Meurfn Ath. Ail. and Montfaucsn's Palaeo- grapbiii Graca. (43) See the frnw/j Notes upon thisPaflage in Pliny. Romas primus librorum ciipiam advexic j^^milius Pau- lus, PerfeoMacedonum rege devidto : Deinde Lucullus e Parthica preeda, Poft hos, Casfar dedit M. Varroni ncgotium caufa maxime BlbHothecK conftrucndas : Pri- mum autem RomK Bibliothecas pubhcavit Pollio, Gras- cas fimul atque Latinas, additis imaginibus in Atrio quod de Dalmatarum manubiis magniticentiflimuin in- ftruxerat. (44) Epijl. 8. lib. I. (45) Lib. 4. Epiji. 28. (46) Imagiiium amore quondam flagrafTe teftes funt S£ Atticus ille Ciceronis edito de his vojumine. Plin. (47) Moris etiam majorum fummus imitator fuir, antiquitatifque amator : Quam adeo diligenter habuit coo-nitam, ut earn totam ineo volumine expofueritquo magiftratus ornavit. Nulla eiilm lex, neque pax, nequc beltum, neque res illuftris eft populo Romano qu£e non in eo, fuo tempore fit notata : Et, quod difficillimum fuit, fic famillarum originem fubtexuit, ut ex eo viro- rum clarorum propagines poflimus cognofcere. Quibus hbtii nihil potcft elTc dulcius, iis, qui aliquam cupiditaiem habent notiiise clarorum virorum. Attigit quoque FDet:cen,credimus, ne ejus expersefltt fuavitatis. Namque verfibus.qui honore,renim gcftarum amplitudine ceteros Rom. populi prxftiterunt expofuit ; ita ut fub fmgulorum imaginibus faita, magiftratufquc eorum non amplius quaternis, quinifve vcrfibus defcripferit : Q»aA vix credendum fit tantas res tam breviter potuiffe de- clarari. Cor. Nep. in Attics. (48) EtM. Varfo, benignifllmo inventu, in- fertis voluminifaus fuarum fcecunditatum, non nomini- bus tantum feptingentorum illullrium, fed & aliquo modo imaginibus ; non paiTus intercidere figuras, auC vetuftatem Evi contra homines valere : Inventor mu- neris etiam Diis invidiofi quando immortalitatcm noa iblum dedit, &c. Plin. 35. 5. (49) Plin. lib. 7. c. 30. We find Horace complain- ing of the Honour done to Famius, by placing his B>oka and Image in a publick Library. Beatus Fan'iiui, ultra £>e!etii tap/a iinfigini : H. 1. I. Sat- 4. 0 120 Essay on the Rifey Prcgrcfsj of the Living were placed among tliofc of the Dcccalcd in pn\ ate Librai icE, as r^ppcai-s fioni Martial : Hoc tibi fnb noflra- breve carmen imagme t'i-val, §uam non obfcnris-, jmigis, A-vite, -viris. L.9. Ep. i. AND the fame Poet tells us, that the Author's PicUirc was lbmetim.cs prefixed to hii Look. ^lam brevis immenfum cepit menibrana Alaronem ! Ipjius Vultus prima tab cl la gent . L. 14.. 174. THAT private Libraries were adorned with the Portraits and Bufts of great Men, we learn from Cicero, who fpeaks of Reading under the Image of Arifiotle, or fomc other great Philofophcr, as fomething that inipired and elevated him exceedingly (5-0). So hkewife do Seneca (f i), and all the good and great Romans Ipcak. Of private Li- braries. The Conehifwis ih^t follow from all this concerning the true ufe of the dcffgning jirtsy to celebrate the praife of good endgreat Men, and their ufeful Deeds and Inventions. And for that reafm ihefe ought to be ereHed in publiek places. Of the Zeal of M. Agrippa againji banijhing Pi£luyes end Statues into private P'illas. Ti3e Topliam Col- le£lien given to Eton College on excellent Terms. FROM what hath been faid two things are evident, that well defervc our Attention. Fitrt of all, the a;reat care that was taken, among the Greeks in particular, to prelerve tlie Memory of great Men and their Virtues, and thereby to promote, and maintain the Love of true Glory. 'Twas to this excellent Ufe that the dciigning Arts ^\■ere chiefly employed by them. AND for that Effe^: 'tis obfervable in the fecond place, that fuch Aiemorials of Merit of whatever fort were fet up in publiek Places, and expofed to general View : They were the Ornaments of publiek Buildings. The Romans for fome time imitated the Greeks in this praCf ice. The Piclurcs and statues that were brought to Rome by Mum- mhis were not employed to adorn his owiiHoufe, but for the Ornament of 7?i??>^?f. Even Julms Cafar and Augtiftus plac'd Pifturcs and Statues brought from Greece, in Tem- ples, the Capitol, and other publiek Edifices oi Rome (5-2). But it feems it foon became too common a pradiee to deprive the Publiek of them, and to make them the Orna- ments of private Houies. "Pliny tells us to the honour of M. Agrippa, that he publilh'd an Oration againft this Cuftom, which was extant in his time. He Ipcaks like a true Lover of the Art, with great warmth, about the generous and noble Spirit of this Speech; the Intent of which was to fhew how unfriendly to the Arts, and tmgenerous to the Pub- lick it was to banilh or imprifon fine Pieces of Art : And that they ought to be cxpolcd to the Publiek in order to eall forth Genius, and to be iludicd by Artilfs dcfirous of im- proving themfelves and the fine Arts {53). THE Speeches made at theConfecration of publiek Libraries adorn'd with Pictures and Sculptures, as well as Books, were probably of thisnature (5-4.). And this, it feems, was an Evil that had already begun to prevail in Agrippa's time, and was likely to fpread ; exiling Pidures or Statues ; locking them up where they could not be feen ; or denying free accefs to the Curious to fee and lludy them. 'Tis faid that a great Man who had all the Inclination in the World to have a fine Colledion of Drawings and Pidures, juft come {■iom Athens, would not however eonfcnt to their being made publiek or that they Ihould be placd where there might be ready admittance to all who defir'd to fee them : And that upon this account he was gencroufly told, that it would be an In- jury to Mankind, and the polite Arts, to give them into his poaeflion on fuch cruel Terms. It was certainly on fome luch occafion ihzt M. Agrippa publilh'd his Diicourle upon the Advantages of making them publiek Ornaments inlfead of private Furniture. The Delign of his Speech was to fhew the bad Conlequcnccs to the Arts of fuch a narrow Mind. I cannot forbear taking notice to the Honour of our Country, that the fine Drawings after Antique Paintings, Statues and Sculptures zt Rome, colleded by the ingenious Mr. Topham, were, after his Death, depofited in Etojt College, for the Ufe not only of the Matters and Students there, but upon Terms in the true Spirit of (505 Epifl. ad Att. lib. 4. Epip. 10. Literis fufien- tor & recreor malotjue in ilia tua fedecula quam habcs fub imagine Arillotelis federe quain in iltorum fella (51) Qiiidni ego magiiorum virorum & imagines ha- beain, incitanien"ta animi & natales celebrem ? Quidni illos honoris caufa femper appeilem ? Quam venerati- onem prsceptoribus mels debeo, eandem illis prscep- toribus generis humani a quibus tanti boni iniliafluxe- runt. Sen, Epijh Ep. 64. {52) So Pliny x.i:\\k us, lib. 35. And we have often had occafion to obferve from Paufanias, that among the Greeks, Pi£turcs and Statues were the Ornaments of pubiick iJuildings. (53) Poft eum M. Agrippa vir rufticitati propior quam deliciis, Extat certe ejus oratio magniiica & maximo civium digna de labiilis omnibus iignifque publicandis : Quod fieri fatius fuillet, quam in villarum exilia pelli. Plin. 35. II. (54) See Plinys, Account of fucli a Speech of hi? above quoted. Chap. 6. and Decline ^Painting. - i 2 r ■a Varro\ -^w Agrippa-, on jfin'ms Tollio : It being wrote upon the Door of the Room where they arc kept, that they arc there for the Ulc of all the Lovers of the Arts. IF the Arts are indeed woi-rhy of Encoufascmcnt in a State ; the fine Models, wiiich P!£!ur,, avdSw- alone can invite Genius to difclofc itielf, or form and improve it, ouszht not to be hid. ^--es mght ts be pub- And if the Arts are applied to their principal End, which is to cjve due Fame to Me- tiuwlrttE^Ta lit, and thereby to quicken and animate us to Virtue ; nothing can be more abfurd than "ion!"^'^ to keep fuch Incentives to laudable Emulation out of fight. It js difappoinring the very End and Scope of them. IN modern Policy, employing proper means of kindling, maintaining and invigora- Th^u ■ fp t ting publick Spirit and the Love of Prailc, is much neglected. Yet /ure, as the de- (^Jht tTbfimlu^ lire of Fame was implanted in us to be an Incentive to glorious Actions, fo it is the ra^'-d in a Siau. Motive that hath produced the greatert Virtues, the moft heroick Spirits, and Itkewife the farightcft Genius's, and all the high Improvements of the ufeful or ornamental Arts. *' They whofe Hearts arc fuicerely good and virtuous, fays Cicero, do not purfue the Rc " wards of Virtue fo much as Virtue itfelf : For nothing is in their Periiiafion fo ex " ceiient as to deliver their Country from Dangers, and to be ufeful to it by thcii " Studies or Labours; they -think they have done nothing in Life, if they have done " nothing that is praife-worthy : They reckon thofc happy who are honour'd by their Fellow-Citizens for their Merit and Services i yet they do not account thofe miie- table who have repaid Good to their Country for £\'il : But of all Rewards the no- " bleft is Glory ; it is this which by perpetuating our Memory to future Ages, coni- " penfatcs the Brevity of human Life, preferving us prefent, in our abfence, and alive " after Death: Tis, in line, by the Steps of Glory that Men on Earth fcem to afcend " to Heaven {f f). He defines Glory to be the illullrious Fame of meritorious and bene " ficent Deeds to our Country, or to Mankind (ffi), willingly fprcad abtoad by all, by the " Great and Good cfpecially. 'Tis fomething foUd and real, not a Shadow ; 'tis the con- " fenting cheerful Approbation of the Good ; the uneorrupted Voice of tliofe who know *' the Excellence of Virtue : It reflects the Image of Virtuetf/}. Honour and Fame are the " Reward of Virtue conferred upon one by the fuicerc Approbation and Eftccm of his " Countrymen ; He who is thus dillinguifh'd is at once honourable and honoured. But he " who on any occafion obtains Places of Power and Dignity, which were the folc Objeft " of his Ambition, in oppofition to the Will and Dcfire of his Country ; fuch a one, I " think, hath not obtained Honour, but merely the Name of it (j-8). Honour rightly bc- " ftow'd nourifhes the Virtues, and all the Arts ; it quickens to noble Purfuits, and to an " adive Exertion of our bcft Powers and Faculties. Whatever is not duly encourased by " Praife and Honour, will lie dead and dcjecled. If Fabms, for inftance, had been ho- " nour'd for the Improvements he made in the Art of Painting, Ihould wc not, do you " think, have feen in Rome many Voljclettis's and Tarrhafius's .? 'Tis the fame with re- fpeft to all the Virtues ; all truly noble and honourable Qiialities and Arts are cxceed- ingly ftrengthen'd and quickend by Honours wifely and impartially bcftowed (fp). 'Tis " Virtue's bcft recompence, nay the Love and Deiire of it is itfelf a Virtue ; far from bc- ing a low and mercenary Paffion, it burns flrongcft in the moft virtuous Eofom. It " cannot refide but where the Love of Mankind is ardent and vigorous. 'Tis impoilibic to delight in reputable Aftions and Employments without dcl^rmg Reputation. And as " he who loves Virtue will feel picafure in praifing and honouring it; fo he who is con- fcious of a fmcere Affedion to Mankind and publick Good, muft wilh that Mankind " may be fenfiblc of his generous Difpofition, and gratefully make him fuitablc Returns " of (55) Addit hsec qure ceita vera funt, forteis & fa- incorrupta vox bene judlcantium de excellente virtute. pienteis v'lros non tarn prxmia fequi folere r^ile faifio- Ea virtuii res fonat taiiquam imago. Tujc, ^laji. lib, rum quam ipfa ret^te fafla : Tr nihif in vita, le nihil 3. ab inilie, prsclare fecilie ; fiquidem niliil fit prsftabilius viro quam periculis patriam liberare : Beatos efie, quibiis ea (58) Cum honor fit prxmium virtutis judiclo, Ru- les honori fuerit a fuiscivibus ; Ncc tamcn eos mifcros, dioqiie civium dclato ad aliquem, qui eum fententiis qui benehcio civeis fuos vlcerint : Sed tamen ex. omni- qui fufFraglis adeptus eft, is mihi &c honeftus & hono- bus prsemiis virtutls, fi eiTct habenda ratio praszniorum ratus videtur. Qui aulcm occafioiie aliqua eiiam iiivi- ampliflimum efTe prEcmium gloriam : ElTe hanc unam, tis fuis civibus, nadus eft imperium, ut ille cupiebat : qua; brevitatem vita: pofteritatis memorla confolarctur ; Hunc nomcii honoris adtptum non honorem puto. Cic. qux efficerct ut abfentes adeflemus, mortui viveremus : lie Ciar. Oraisr. 81. Hanc denique efTe cujus gradibus etiam homines in ccelum videantur afcendere, &c. Oratio pro Jiabl/io^ (59) Honos alit artes, &c. ^Kic/?. i. N" 3. N" 35. Neque aiim eft hoc diflimulandiim quod obfcurari noa poteft : fed prie nobis ferenduni, trahimur omnea iaudis (56) Gloria etl illuftris & pervulgata multorum & ftudio: Et optimusquifque maxinic gloria ducicur. Pro magnorum, vel in fjos, vel in patriam, vel In omne Jjc/j. Poet. N*" 2, Adiiibenda eft qussdam ri;vcrentia genus liominum fiima meritorum. Oralis pre Ligaria 9, & optimi cujufque & reliquorum. Nam n^gligerequid de fe quiiquc fcntiiit, non folum arrogantis eft, fed oni- (57) Eft enim gloria folida quasdam res & expreffa nino dillbluti. Dt Off. iib. 1. non adumbrata, £a eft confentiens Laus bonorum, I i 122 Jn '^iZhX on the Rife, Progre/s, "of Efteem and Approbation. Indeed to have no concern about Reputation, one mud " not only be arroganr but dilToliitc. Tlie Scnfe of^ Slianie, and tlicLove of Glory, are " the bcft Handles that Civil Policy can employ in the Government of Mankind. Hardly " will any Laws be able to reprefs Vice ; far le(s ro promote Virtue, if Men are become " infenffo'lc to Ignominy and Honour." Now 'tis not merely by Hiftory, but chiefly by Poctrv, and by the Arts of Deiign, that Virtue .and Vice arc fet in their due lights. It is by thofe Arts that Infamy and p'railc arc mod forcibly impreffed upon Aaions and Per- ■fons : And therefore it is by means of thofe Arts, when rightly cultivated and employed; that the Scnfe of Shame and Honour is prefcrved delicate and'livcly. Several excellent Autliors, modern as well as ancient, have made this Rcmaik, and highly commended ancient Policy m making ufc not only of Fainting and Statuary, but of the current Coins of their Country, to prcferve rhe Memory of great Aftious and ufeful Inven- tions, thcrebv rendering rhcm Jinftruaive in Hiflory, and Incentives to Virrue and Merit [So). The excellent Influence of fuch Methods of preferving the Memory of 'Treat Men and tlreir good Actions, is charmingly exprcflcd by Sallufi, who tells us, that 'fthius, Scipo, and other illuftrious Ramans, have often declared, that at the fight of the Statues or Porttaits of their glorious Anccftors, rhcy felt their Minds animated with a very flrong Senfe of the Beaury of Virtue, and with a truly noble Ambition to imitate their meritorious Example: Not that the Wax of which thefc Images were made, or the Figures themfclvcs, had any magical Force ; but it is the lively Memory of great Deeds revived by thefc Monuments, that kindles the virtuous Flame, and infpires with a Zeal that cannot be fatisficd but by laaving defervcd the fame Glory (tSl). THUS we have feen what a Iiigh Opinion fome of the befl: Men of all Ages have ' had of the fine Arts ; and their Sentiments about the Ufes to which they ought to be Art! aggrafidtze a applied. And indeed what is it that gives either Grace, or Digniry, or rclifh to human State. Lif^ inncnious Arts ? What clfc is it that raifes Society to true Grandeur ? Take awav the Virtues and Arts, and what remains but merely fenfual or animal Grarifi- It ■„ yirtui atdthc cations > What remains that is peculiar to Man, that exalts him above the groveling Brutes, fiirfuit nf ufiftil or intitles a Society of Men to the Charafter of Rational Society ! Can there be a Stud'us thatahm .^.^^^^^ ignominious Name than that of a rich Man whofc Plenty Ipreads Vice, EfFemi- '"Y'£,"Zf nacy, Idlenefs, and Corruprion over the Land ; his Riches being flung away on Picafures <"' "IB- f-,j beneath the Dignity of a rational Being, and which he dares not review, or reviewing dares not approve ? Wiaat a vail Drawback is it upon Enjoyments and Pnrfuits, when one cannot refled on them without Shame and Remorfe ? When one cannot fay to himfcif thcfe arc Excrcifes, thefc arc Deeds, thefc are Joys which rruly become a Man and ennoble him ; in thcfe appear the Talents and Endowments which really dignify Man and make him fuperiour to all Beings void of Rcalbn and Underllanding. And of what clfe can one pronounce that Cuisfaftory Senrcnce in his own Breaft, but the Excrcifes of Virtue, Reafon, and a weil-improv'd Imaginarion ? Let any one but ask his own Heart the queftion, and it will immediately tell him what it is alone that kind Nature hath made to be pure, uneloying, ever-growing Pleafure ; even the Excrciles of Reafon, Undcrftanding and Virtue ; and the Confeiouihefs of Worth and Merit, gene- rous and noble Deeds, and ufeful Srudics. It hath been often obferv'd, that none arc more apr to Fretfulnefs and Difcontent ; to reproach Nature for not having made iliffi- cicnt Provifion for our Happinefs, and to complain of the tedious Round of Life's dull Picafures; than thofe who are plae'd in the happicfl: Circumftanccs of outward Enjoy- ment. But the very Source and Caufe of rhcfc Mnrmurings againll Nature is thetlrongen: Proof of her Wifdom and Benignity. AVhenee proceeds rhis, but becaufe mere Affluence cannot in the nature of things iiiake a rcafonable Being happy ! It is becaufe generous vir- tuous Nature hath made us ifor a higher and nobler kind of Happinefs, rhan the moft exquifite Titillations of Senlc can yield ; the Picafures of rhe Mind. When we arraign Narure for her Niggardlineis towards us, we in effcd defu-e to have been made with more capacious Senfe.s, bur without Rcflcaion, Reafon, amoralSenfc, and Confcience: As if fenfual Enjoyments were preferable to thofe which Reafon, Virrue, and elegant Studies afford to Irim ; who can bring his Conduft, his Pnrfuits, and Employments to their Tribunal, and receive their Apprboarion for ading and bcilowing his time as it becomcth tire Excellence and Dignity of his Nature. Ler any one, whofe Time hangs heavy upon his hands, and whom neither DreCs, Pageantry, Table nor Play, can make cafy and cheerful j but amidil Plenty is ever complaining of rhe narrow tirefome Cir- cle of human Picafures ; let him but try the virtuous Employments, lay out his Time and (63) So Spanhcim, Scipk Majfel, and our own Spec- terea civitatis noftrff pr:Eclaros viros folitos ita dicere ; t.nsr and Gitanlian. Sec BuUnserm de PtSuret vete- quitm majorum imagines intuercntur, vehcmentiilime ntm, I. I. c. 3. Ea eii vitK nicmoria, lux vita:, teftis fibi aninium ad virtutcm accendi, fcilicet non ceram teniporum, nuncia virtutis, mortuorum a morte refti- illam, ne(]ue figuram tantam vim in refe habere ; fed tutio, famK gloriaique Immortalicas, vivorum propaga- memoria rerum geftarum, earn fiammam egregiis viris tio ; quse fatit ut abfeiites pra;flo Tint, & variis diiTiuf- in peflore crefcere i netjue prius fedari quam' vinus eo- que locis uno tempore reprxfencentur. rum famaui atque gloriam adKquarcnr. SnUti/i. in Bella Jiigur. See likewifc fi(/^r/«( jTfda/mn;, 1.^. f. 8. £61) Ssepe audivi Maxunium, P.Scipionem, prs- Ei:. 3. Chap. 6. and Decline Painting^ and Fortune in manly Studies, and in doing good 5 and then let him fliy, \vhcthcr A'lan hath not a large I'harc of true Happinels in his power, that brings no' Rcmorle alon"- with it, and that never Ilirfeits. The younger ^tliny liad but a fmall Eflatc i but wliat >'i'«rffr Pliny true Luxury did he enjoy who knew lb wcU how to employ it in great and ticncrous Generofiiy andVn Deeds, and how to divide his time between polite uletlil J^tudics and ^ood Adions ? ^amX ^'"^'^ To name no other Examples from ancient Hiftory, which affords lb many, let Ui take ' a Ihort review of what he did with a Fortune that now-a-days would hardly be rcckon'd a tolerable Competency ; for falfc Pleafurc is as avarittous as it is prodigal and diffolute. Tliny, the greateft Lawyer and moft elegant Writer of the Age he lived in, iu fevcral of his Epiftlcs fhcws a generous Sollicitoufncfs in recommending to the Pubiick fom.e young Men of his own Profeffion ; and very often undertakes to become an Advocate upon condition that fomc one of thafe his young Favourites might be join'd with him in order to produce Merit which Modelly otherwife would have fupprcflcd. This great Man is ever relieving his Friends. He makes a prclent to one of a confiderablc Sum he had at tirft but lent him. He pays the Debts of another that were juftiy and honour- ably contradlcd. He augments the Portion of a young Lady, that fhe might be in a con- dition to fupport the Dignity of him to whom Ihc was about to be married. He fur- nifhcs one Friend with what was neccflary to be a Roman Knight i to have the means of Icrving another, he fells a fmall Eftate for ready Money below its Value. He provides another with Money to return to his own Country, and end his Days in Tranquillity. It was the Poet Martial. He gcnerouJly religns Ibme Rights in order to put an end to Family-Divifions and Quarrels. He fettles a Competency upon his Nurfe for her comfortable Subfiftence. He founds a publick Library for the ufe of his Country: And provides Salaries for Profeffors to inttrutt the Youth in all ulcful and polite Sciences. He made an Eftablifhment for maintaining and educating Orphans and poor Children. And all this he did out of a very fmall Revenue. But his Frugality was to him a Fund of Riches, which fupphcd the Scantinefs of his Fortune, and enabled him to do all thefe generous Offices. " cejfat ex reditu, friigalitate fuppletur ; ex qua, ve- " lnt''ex fonte Itberalitas nojlra deciirrit {62)." At wlaat a dilkncc does this glorious Example calf thole, who, though born to great Fortunes, live as if they were made for themfelvcs only, and for the loweft Purfuits and Gratifications ; who look upon Wealth only as the Inftrument of Senfuality, Luxury, and vain Ollentation ; and give them- felvcs up to Enjoyments, which inftead of being ufcful are equally pernicious to them- iclves and to the Publick ; who abandoning the real Joys of Fricndlhip, Gcnerofity, Science, good Tafte and Virtue, act as if they owed nothing to their Blood, their Fa- mily, their Friends, their Fellow- Creatures, their Country; as if they owed nothing to Merit, to Humanity, to Virtue, to higcnuity, to Society and publick Good i Riches are no more than Means of being great and happy, and not the abfolutely ncecffary Means neither. For 'tis poffible to be extremely happy without great Affluence. And how mifc- rable may one be in the moft luxuriant Condition of outward Gratifications ? In what Na- ture, affedionate, kind, wife Nature, (to whom Man is dearer than to himfelf) hath plac'd our Happinefs, even the ancient Poets have often told us (63) ; but none hath better de- fcribcd the trueft Happinefs of Man, which Virtue alone can yield, than one of our own from Experience and the Heart. Kno'-ju then this Truth, {enough for Alan to know) Virtue alone is Happinefs below : The only Toint '■jvhere human Blifs Jiands jlill^ And tafies the Good without the Fall to III : Where only Merit conftant Tay receives. Is blefs'din what it takes and what it gives : ^ The Joy unequall'd, if its End it gain j And if it lo fe, attended with no pain. Without Satiety, though e'er fo blefs'd, , And but more relifi'd as the fnore difirefs'd ; The broadeji Mirth unfeeling Folly wears, Lefs p leafing far than, Virtue's very Tears. Good {62) SeehisLife by Mr. Wfn%, prefix'd to the ^'n^- any view of placing it at home, but of fixing it in iijh Tranflation of his Epiftles, Hb, 2. Epift. 4. Hb. 3. fome famous place of our Country, and to chufe in the Ep. 2. ver, z. lib. 6. Ep. 32. Ub. i. Ep. I9. Hb. 7. Temple of Jupiter ; for it feems a Prefejit worthy of Fp 2 i8,yig. lib. -^.21^ lib. i^. Ep.io. lib.S. Ep.2. the Temple^ worthy of the God. l7b.s. Ep-i9- /'^-i- -ep-S. //i.4. £>.i3. iib.S. Ep.iQ. which he concludes in this manner : A Pattern of Li- (63) How excellent is Horace's Advice and Caution ? beraiity, though iniperfefl, is at prefent extremely rare ; ^ Si mn the dehring of getting prevails fo far upon Mankind, Intendcs animim Jiudiis, Js" rebus hane/iis, that they feem not fo properly to poflefs their Wealth Invidia vel amove vigil torquebere : 21 to be pofTefsM by it. Many PafTages might be brought Incipe : qui rcBe vivendi prorcgai horam. from his Letters to prove his Tafte of the fine Arts ; Rujiicus expeiiat^ dum defluat amnis, fee particularly lib. 3. Ep. 6. to Severus upon a Corin- ■■■ ' . . - ...i. fepire aude. tman Statue. Where, after an elegant Defcription of Hot. !. I. Ep. 2j its Beauties, he concludes : I bought it indeed not with 7%e Opiilcftcc Bf a State might to k- employed in ena^ii- raghig Virtue, In- dujhy., and the in- geniaus Arts a id Sciences. 124 Essay on the Rife, Progrefs, Good from each ObjeB; from each TLce acquir'd. For ever exerciid, yet never tir'd. Never elated while one Maris offreft'd. Never dejeBed vlhik another's blefs'd. And -^here no JVants, no JViJbes can remain. Since but to vaifi more Virtue, is to gain. See the file Blifs Heav'n could on all bejlo-u; ; IVhich 'j;ho but feels, can tajte ; hut thinks, can kno-j). lilTay on Man, Ep. 4,. NOW as it is with regard to particular Perfons, fo is it lilccwifc witli rcfpcft to Societies or Bodies of Men. Wcaltli in a State is a Nulance, a poilbnous Source of Vilcnefs and Wickedncfs, if it is not employed by pubiick Spirit and good Tafte in pro- motin:; Virtue, Ingenuity, Induftry, and all the Sciences and Arts, which employ Mens noblcft Powers and Faculties, and raifc human Society to its moll amiable glorious Ettatc. 'Tis not Opulence pilfered by unfair means, or dilhoneft Commerce ; but Riches procured by Virtue, Innenuity and Induftry, maintaind by Temperance and Frugality, and laid out in the Encouragement of Virtue, Indullry, and all ingenious Arts, that aggrandizes a Nation. Let us but imagine to ourfelves a Country over-flowing with Wealth, that produces nothing but fuperfluous Tables, gaudy, fplendid Equipages, Horfc-Raccs, gla- diatorial Combats and Bull-baitings ; and in which the moll ingenious Entertainment is Rope-dancing or a Puppet-lhew, and the only cultivated Science, Cookery ; Let us ima- gine fuch a Country fupplicd with Riches by the Labour of the common People, in Tillage Manufadures and Commerce, who content themfelves with a poor Mainte- nance;' while a fmall number confurae the Produce of their Sweat and Drudgery, in every way of En)oyment to which Senle alone is requifite, and to which Reafon is ra- ther a Diminution and Hindrance than advantageous : Let us figure to ourfelves fuch a State without Sciences and Arts of any kind, except fuch a fmall Portion as is abfo- Jutely neeelfary to Agriculture, Manufaclures and Na\ igation : And then let us oppofc to this Pifture' that of another Country, in which not only all the Virtues and Arts that are requifite to bring in Riches are duly cultivated and rewarded ; but, where Riches being employed in the Encouragement of every kind of Ingenuity and Invention, Phi- lofophy moral and natural, Mathematicks, Poetry, Architeaurc, Painring, Sratuary, Sculpture, and ail the Arts, are daily making new Improvements and Advances ; no Man of Merit is unprovided for or unreUeved ; due Provifion being made for the Succour of the Unfortunate, and for rewarding the Good and Ufetul ; Senfuality is ignomini- ous ; all the pubiick Entertainments and Diverllons are ingenious and virtuous ; and the Great and Rich do not waftc their Eftates in maintaining idle, wanton, infolcirt Dome- fticks and deftroying their Health by unnatural, not Food but Poifon ; or in Furniture, the coftly Materials of which only Ihew how much good they have in their power to do; contenting themfelves with what is neat, and ellimable rather upon account of Art and Work than Subftance (S4) : And thus every degree and kind of Virtue, Genius, Science, Art, Induftry is eneourag'd, flourilhes and exerts itfelf with Spirit and Ala- crity. Let us but oppofe, I fay, thefe two Pifltnes to one another ; and then pronounce which is the greateft, the moft defirablc State ; which beft defcrves to be called a Society of Men, of rational Creatures, ingenious virtuous Beings ; for thofc alone certainly are rcafonable Beings, who delight and exert themfelves in fuch Produclions, Works and Adions as are truly worthy of and becoming the noble Faculties and Powers with which Nature hath adorned them. Can any one hefttate about giving the preference in this cafe ! What is it that hath perpetuated the Glory of Athens, a fmall State ; and that hath made it the Subjeft of Wonder and Admiration in every enlighren'd Age ? Is it not chiefly the pubiick Spirit, the Virtue, the Ingenuity of that People, and the immenli; Height to which all the Arts and Sciences arofc amongft them. ARISTOTLE in his Politicks, aird others, have juftly found fault with the Laws of Lycurgus, becaufe they wetc merely calculated to produce a military People, a Na- tion 'of Soldiers. This LegiOator, fay they, had only in view fortifying the Body, and not at all the Culture of the Mind. Why muft he banilh from his Republick all the Arts, one of the chief Fruits of which is the Polilh they give to Life and Manners > They fwecten the Heart, infpirc a focial benign Temper, and render Society lively and agreeable. Hence it came that the Lacedemonians had fomcthing in their Temper and Charafter too rough, auftere, and ferocious ; this Fault refulted chiefly from their Education, the fine Arts having no place amongft them. The hberal Arts mightily huma- nize ; Addc, quod ingenuas didiciffe fideliter Artes EmolUt mores, nec finit eJJ'e feros. Ovid. Ep. ex Ponto 1. 2. Ep.p. They (64) What a glorious Charailer does Nepas give of affluentem afFedlabat. Supellex non modica, non mul- ^i-f/tjij in ttiis refped? Elegaiis non magnificus ; fplen- ta ; ut in neulrain partem confpici poflet, &c. /« tiiJiis, norv lumptuofus, oinni diligcntia munditiam non Vit. Jltiit, Ariftotle and Plato ceTifurcd tbtLnwiaf Lycurgus, hccaufi ihey were ml calcu- lated to pyetmle Pelilenefs atid Science. Chap. 6. and Decline o/" Painting. i:^^ They foften, but faL- from effeminating, they add Strength to the Mind ,: T>oBrina fed vim promovet inptam Reifique cnltus peBora roborant {6')). Hor. J.^.. Od. 4,. LET us enquire, on the other hand, what Objedions are brought a^ainfl: the En- couragement of the ingenious Arts ; thofe principally of which I am now treatinf^. And what is commonly laid againfl them may be iumm'dupinthelc four Articles. 7iato banifh'd them from his Commonwealth. 'Pericles is blani'd for encouraging them at Athens, by very grave and wife Men, They were no inconfiderablc Caufe of the Ruin and Fall of the Roman State. And they naturally tend to cifcminatc the Mind and promote Luxury. FIRST of all it is faid, that Tlato banifli'd all the fine Arts from his Rcpubltck. ^^^^^^^nljh'dthem Now 'tis not pretended that Tlato treated the Arts of De/ign worfe than he did Poetry, ■'^"'^ ^'P"^^''^- And who, even in deference to fo great a Man, would banilh from a State that divine Art, of which that excellent Philotbpher was himfcif fo great a Lover and Imitator ? But if Poetry is left, her Sifters muft likewife ha^■e place 5 for without them, that is,, without continually borrowing from them, and calling them to her alliftance, (he could not long fubfift, or at leaft, arrive to any very confiderable degree of Perfection. Tis the fame common Genius that maintains and animates them all. But, the truth of the matter is, Tlato was not for banifhing the fine Arts ; he was too fenfible of their ad- mirable power to convey moral Infl:ru£tions into the Heart, and to recommend Virtue in the powcrfuUcft manner, to have thought of depriving Philofophy of its beft Minifters and Servants. He was only for bringing all the Arts and Sciences under the Cognizance of his philofophical Magifirates ; that the Laws and the Arts might fpeak the fame Lan- guage, and thefe might not be employed to pull down what thofe were intended to build {66). And what honcft Man and true Lover of the Arts, doth not heartily regret that ever they ITiould be alienated from Virtue, and proftituted to give falfe Charms to Vice ? Tis needlefs to lofe time in ihcwing, that Tlato's Scheme ,of regulating the Sciences is imprafticable. Tis not by ertablifhing an Orthodoxy in Poetry and her Sifter Arts, that they can be kept fl:eady to Virtue ; But the Example of Magiftrates and great Men would do in fuch Cafes what Laws cannot poflibly effeftuate. Here, good Example which is always more powerful than Laws, is the only proper Remedy (67). No Statutes can be contriv'd which would not bring very great Inconveniences along with them, not merely to Wit ; and it feems to be Tiato's chief Scope to prove, in his Ideal Rcpublick, the Weaknefs and Infufficicncy of the beft Laws, unlcfe Magiftrates or Rulers fet a good Example, and take proper care of Education. IN the next place it is faid, that Tericles is blam'd by good Men for giving too Veuch^ cenfured large Encouragement to the fine Arts. Let us then inquire what is faid on this head, fir cncouragwg Tis indeed obfcrv'd by Tiato (68), after Socrates his Mafter, in more than one place, that '^Pericles, with all the fine Works he did to ^emetrms 'Phalereus blam'd Tericles exceedingly, for fquandring away fuch a vaft Sum of Money upon one magnificent Building at the Entrance of the Acropolis {6p). But Cicero calls him one of the greateft Men amongft all the Grecians. And 'Plutarch {yo) gives an account of the Methods he took to employ all the ingenious Artifts in adorn- ing Athens, that is well worthy the Imitation of great Men. In fine, without going further into the Examination of Pericles's Character, if we will allow Cicero to decide in this queftion about the true Magnificence of great Men, Magiftrates, or Minifters of State, his Opinion amounts to thefc two excellent Obfcrvations. FIRST, "that even great Men ought to take care, not to be too extravagant in their *' Magnificence and Expences j which is a very ill thing, though it had no other harm in " it (65) See how Polybius Tpeaks of the happy Effects of fiiit antique ipfe cultu vifluque, obfequium deinde in Mufick, and all the ingenious Arts in humanizing the principem, & aimulandi amor v^lidior quatn pcena ex Minds of a People in the ftrongeft Terms, /. 4. ^.289, iegibus, & metus. Tac. Annal. lib. 3. c. 55. & 291. (68) Gcygias, 515. and Akibiadei p. II9, (66) See his Books De Legihus (ff de Repub. and a Siepk Diflertation on tliis SubjeiS, in the Memoirs of the Aca- demy of Belles Lctlres, by the Abhc Fraguier. (tg) De Of. B. 2. c. 17. (67) Pracipuus adftridli moris audlor Vefpafianus (70) PlufarcJf. in Periele. OhjeaisTiS againjf eneour aging the Arts, confidefdand onfjjefd. I z6 ^/i Essay on the Rife^ Progrefs^ " it but only that one of giving a bad Example (71) : For moft Men aix apt to imitate " the great ones in this particular, more than inany thing eUc : Whctc, for example, (fays " he) (hall wc find the Man that rivals the famous Lucullus in his Virtues ? Whereas, how " many have done it in the Statcliiicfs and Magnificence of his Country-Houfcs? But " there certainly ought to be fome Bounds fix'd and prefcrib'd to thefe things, and thofc to " be according to the iUilcs of Moderation ; but the Meafure whereby we are to judge of *' their being moderate, is their Subfcrviency to the Ornaments and Convenieneics of Life. " Now the main End of Building is Lodging, and other ncceflary Ules of a Houfc ; and " therefore the Draught and Contrivance of it IhouU! be fliitcd accordingly. But \vc " Ihould not fo much regard bare Ncceflities as not to have an Eye likcwilc to Conve- " nicnce and Magnificence. AHoufe ought to be fuited to aPerfon'sRank and Dignity; " as in all other caies a Man (liould not have refpecT: to himfelf alone, but to Other People *' alfo ; fo it is in this of a Nobleman's Houle, which ought to be very large and capaei- " ous bccaufe he ouo,ht to keep up the Laws of Hofpitality, and entertain in it multitudes " of Perfons of all forts. For a fine and large Houfc, that gives Entertainment to no " bodv, ferves but to upbraid its Owner; and cfpecially if it was ufcd to be frequently " vifit'ed under its former Mafter. For 'tis an odious thing to hi\c Pailengers cry as they " along, O damns antiqua, hen ! qttam difpari donmiare domino I Tis well if a Man " can enhance that Credit and Reputation, he has got by the Splendour of his Houfe, " but he niuft not depend upon his Houfe alone for it ; for the A-lalfer ought to bring Ho- " nour to his fine Scat, and not the fine Scat bring Honour to his Mafter." IN the fecond place he obferves, " that the beft way of laying out Money is not in " uivin^ Entertainments and Shews to the People ; but in publick and nfeful Works, in " repairing City-walls, High-ways, making Docks, Havens, Aqueducts, and the like tilings, " that may ferve to the general Ufe and Advantage of the Publiek (72)." There is amani- feft difference between thofe fumptuous ufelefs Works of Tyrants, which Tliny calls their vain Oftentation of Riches, Regiim fecimla otiofa ac Jhdta oftentatio (73) j and on account of which Tacitus condemns the falfe Magnificence Nero, and calls him In- credibilinm Cupitor (74) i and fuch Works as arc really ufeful, tending either to the Advantage or proper Ornament of a Coimtry. The Encouragement of the fine Arts is fo far from requiring Sumptuoufneis and Coftlinefs in the Materials, that it hath been obfervd on the contrary that this falfe Tafte hath ever prov'd their ruin. It is the Art and Work that ought to be valued, not the Subftance. And as the Arts ought chiefly to be employed in'rendring jufticc to Merir, and in teaching and recommending Virtue by praifing it ; fo ought they, for that efFeft, to be chiefly employed in adorning pub- hck Buildings ; the Houfes where the States of a free People aflcmblc to dehbcrate about the common Interefts of their Country ; Schools and Academies of Arts and Sciences, and other fuch places of common and publick Utility. 'Tis not againft the Arts that Seneca rails, but againft the horrid Corruption and Abufe of them when they are made Minifters to Luxury and Vice {75-). IF it is faid, that the fine Arts were no inconfiderable Caufe of the Fall and Ruin of the Roman (76) State j and that they tend to promote Luxury, and effeminate the Mind : It may be anfwer'd, that Tolybins had foretold the fad Change in the Roman Government, juft as it happen'd, in confequencc of other Caufcs (77). He obferves, that the Corruption of Manners, which muft inevitably bring after it a fatal Change of Government, from Liberty to Slavery, is in hiunan Affairs the ordinary efl^ctft of happy Sueceflcs and long Profpcrity. " WHEN a Rcpublick, fiiys he, after having gone through many Dangers, comes forth viftorious, and arriving to the very Summit of Power and Glory, hath no longer " any Rivals to difputc Power and fupreme Empire with it j fuch Profpcrity, if it is " high and permanent, never fails to introduce the Luxiu-y and corrupt Ambition, which *' muft: 88. He had good ground to fay fo of them in his time. He fpeaks of Libraries in the fame Strain, de Tranquilli- iate animi, N^g. Bibliotheca quoque ut neceJIarium domus ornamentum expolitur. Ignofcerem plane, fi e ftudiorum nlmia cupidine oriretur : nunc iftaexquifita. Si cum imaginibus fuis defcripta facrorum opera inge- niorum, in fpecicm & cultum parietum comparantur, (76) So Velleius Paterctilus, I, l. <:. 13, Non puto, dabitis, Venici, quiii magis pro rep. fuerit, manerc adhuc rudem Corinthioruni intelleiStum, quam in tan- tum ea intelligi ; & quin hac prudentia, ilia impruden- tia decori publico fuerit convenient! or. (77) Polyb. Hiji. lib. 6. See VelUks Paterculus, I. 2. ah iniiii. 6cjlhifi and Livy in many places of their Wri- tings. 'Tis faid they tend to effeminate the Mind^ and that they co'ityihiiled ia the Ruin 'J the Roman &talc. (71) Dicendum etiam eft qualem hominis ho- norati hi. principis domum placeat efle, cujus finis eft ufus : ad quem accomodanda eft :Edificaiidi defcriptio: Kt tameii adhibcnda dignitatis, &c. ornanda cflenim Nature being therefore the fole Objedl of Knowledge, and of Imitation whether in Arts or Life; all our greatcfl Pleafures and Enjoyments, all our noblcrt and wortliiefl: Exercifes muft be very nearly allied. It is the fame Stock of Powers and Facukics that capacitates us for them all : They have the fame Objeft, Rule, Meafure and End : And confequently good Tafte in Science, in Arts, and in Life, mufl: be the fame j that is, it muft be founded on the fame Principles ; lead to the fame Conclufions ; and be improveable in the fame man- ner. Accordingly, the Perfeftion of our Underftanding, does it not confift in as full and* compleat a Knowledge of Nature as we Can obtain by Study and Contemplation > (l) Compare what Ciciro fays Dt firithm Bomrurtt, Sh.2. N" 331^3*34- Quod vero a te difputatum eft maiores effe voluptates, & dolores animi quam corpo- ris Ac! altiora quadam & magnificentiora nati fumus : Nec id ex aiiimi folum partibus, in quibus ineft memoria rerum innumerabiliiim, ineft conjedura confequentium, noii multum a divinatlone difFerens, ineft moderator cupiditatis pudor, ineft ad humanam focietatem juftitis iida cuftodia : Ineft in perpetiendis laboribus, adeundifque periculis, firma & ftabilis do- loris mortifque contcmtio. Ergo hxc in animis : Tn autem membra ipfa fenfufque confidera: Qui tibi ut reliquEe corporis partes, non comites folum virtutum, fed miniftri etiam videbimtur, &c. De Nat. Dcor. lib. 2. N" 58, 59. Omnifquefenfushominum mul- to antecellit fenfibus beftiarum, Primum enim ocuU in lis artibus quarum judicium eft oculorum, in pictis. or fiflis, cselatifque formis, in corporum etiam motione atque geftu multa cernunC fubtilius. Coiorum etiam & figurarum venuftatem atque ordinem, & utita dicam decentiam oculi judicant ; atque etiam alia majora, nam & virtutis & vitiacognofcunt : Iratum, propitium, &c. Auriumque item eft mirabile quoddam artift- ciofumque judicium, Sic. The whole Defign of Marcus Antoninus^s Meditations ig to ftiew, that we are made not merely for the Plea- fures of Senfe, but for thofe of Reafon, Virtue, and Religion. There are feveral Difcourfes of Socrates in the memorable things by Xenophon to the fame purpofe. See in particular /. 4. cap. 5. See to the fame effeiS a beautiful PalTage of P!atc/ quoted by Longiniis, dt Sub- Ufmtaie, feSi. 13. as an inftance of P/«Te'j fubUme way of Writing. L 1 13 0 An Essay on the R'lfe^ Progrefs^ 01" m a juft Comprehcnrion of its Order, Wirdom, Eeauty, and Grcatncf^ in all its Operations ; The Pcrfcftion of Life and Manners, does it not confiil in conforming our Affections and Adions to that beautiful Model of Simplicity, Confilfcncy, Greatnefs, and Goodjiefs, which a rijiht underftanding of Nature fcts before us for our Imitation? And the Pcrfcftion of all the Arts of Imagination, in what elfe docs it confift but in emulating; the Beauty, the Harmony, the Grandeur, and Order of Nature, in Syflems or Works of our own Invention and Formation (2) ? MAN, fay the Ancients, is made to contemplate and imitate Nature, and to be happy by fo doin^; (3). His Dijinity, his Duty, his Happincis, principally coniilHn thefc two. The Dignity, Duty, and Felicity of a Being, mull be but diiFctent Names fignify- ing the fame thing ; they cannot be really different : And how can they be afcertain'd or dctcrmin'd, but from the Confidcration of the higheft and nobleft End, to which the Frame and Conftitution of a Being is adapted ? That is, from the Confideration of that End, towards which its Powers, Faculties, Infcindls, and Aifedions confider'd, as making by ail their mutual Rcfpefts one Whole, or one certain determinate Frame and Confti- tution, are fitted to operate (4.). Now if the Frame of Man be thus colifider'd, we fhall find that he is made, chiefly, to contemplate and imitate Nature : Eccaufe his Senfes, Powers, Faculties, Inftincls, and Affeftions qualify him for that end ; and the higheft and nobleft Pleafures he is capable of, arifc from thefe Sources. Every other infcriour Exer- cife or Gratification, In the way of ordinary Appetite, rather terminates in Diflatisfac- tion and Naufeating, than in Iblid and pure Pleafure. IF therefore it be the great Bufinefs of Education, to improve the Capacity and Tafte of thofe Employments and Sattsfadions, which are the remoteif from all Groflhefs and Difguft, and yield the higheft and mofl: lading delight ; Education ought, by confequenee, to aim chiefly at improving thofe natural Powers, Capacities, Alfcdlions, and Senfes, by which we are capable of contemplating and imitating Nature ; that is, at bringing to perfedlion that Scnfe of Beauty, Order, Harmony, Goodnefs and Greatnefs, by which alone we can enjoy Nature in Contemplation; and which alone fits for imitating it in Arts and Manners; or for receiving Satisfaftion from Conformity with it in Specula- tions and Imitations of whatever kind. Another View of the fame DoSirine can- ^ cerning Man, and the Improvetnent of his bfjl Powers arid FacuUiei. NOW this 'tis evident muft be but one Work; for from what harii been fiiid it ncceflarily follows, that good Tafte of Lcauty, Order and Greatnefs in Nature, tranl- fcrred to Life and Conduft, or to the Arts, muft produce an equally good Tafte in them, and reciprocally good Tafte of Order, Beauty, and Greatnefs, transferred from the Arts, or from Manners to Nature, muft produce a good Tafte of Nature. A found and thorough Senfe of Beauty, Greatnefs, and Order in Nature, in Life, or in the fine Arts, will therefore be bcft form'd, by fuch a Courfe of Inftrudion and Education, as exercifes the Mind in pafiing from Nature tolmitations, and reciprocally from Imitations to Nature; and in ob- Icrving that the Beauty and Perfedion of Arts, of Life, and of Nature, is the fame (j-). THE End of Philofophy, is it not to form a good Tafte of what is beautiful and admirable in Nature, orderly in Life, Condud and Society, and true and perfcd in Arts : But that Philofophy muft be one, into whatever different Parts it is branched and (z) C/ccrfj tells us, that, according to the Do£lrine Plato, all the liberal Arts and Sciences are ftri£lly united, and gives this as the Reafoii for it, that Nature their Objedt is one throughout all her Works. De Oral. lib. 3, N" 6. Ac mihi quidem veteres illi majus quiddam animo complcxi, multo plus etiam vidilie videntur qiiani quantum noflrorum ingeniorum acies intueri poteft : Qui omnia ha:c cjuec fupra & fubter unum elTe h una conilriifta ellb dix vera, omnem doiSrinam harum ingenuarum, &c. See de finibus^ lib. 4. N" 21, Phyfic^e quoque non fine caufa tributus idem eft honos ; propterea qiiod qui con- venienter nature; vi(Sturus fit, ei & proficil'cendum ell ab omni munJo & ab ejus procuratione. Neque vcro poteft quifquam de bonis aut malls vere judicare nifi omni cognita ratione natur.t, & utrum conveniat necne natura hominis cum univerfa, &c. Compare with this Di Leg. lib. 2. N" 22, £5' 23. and the PafTages that are aftei^wards quoted. rum cognitionem ccelum Intuentes capere poflent. Sunt eiiim e terra homines non ut incolas atque habitatores fed quafi fpe£tatorcs fuperarum rerum atque cceleftium quarum fpeiftacuhim ad nullum aliud genus animancium pertinet, &c. And again in the fame Book, Ipfe homo ortus eft ad mundum contemplandum & imitandum. (4) Cicero de Nat. Dcor. lib. z. N" 13. Nequeenim atque una confcnfione naturae dici poteft in uUa rerum inftitutione non eUe ah'quid — Eft etiam ilia Platonis extremum atque perfedlum Ut enim in vice, ut in pe- cudc, &c, De Leg. lib. 1. N° 7. Animal hoc provi- dum, fagax, multiplex, memor, plenum rationis & confilii, quern vocamus hominem prasclara quadam conditione generatum efle a fupremo Deo, &c. Acad, lib. 2. N" 41. Eft enim animorum ingeniorumque naturale quoddam quafi pabulum confideratio, contem- platioque naturie : Erigimur, elatiores fieri videmur, humana defpicimus : Cogicantefque fupera atque ccele- ftia hac noitra uc exigua & minima contemnimus, &c. See his elegare Defcription of Philofophy, Tufc. ^a-f lib. 5. N" 2. O vitE philofophia dux, &c. Compare, with thefe Paflagts, the Reafoning in the 5"^ Book de Finibus, 9- tofliew how the ultimate End of any Being may be determin'd. Ergo hjliiuto veterum^ lie. {3) Cicero de SeneB. N" 21. Sed credo Deos im- 'mortaleis fparfifl^e animos in corpora humana ut eflent Thus, for inftance, it is rcafonably concluded, that Gravity is a general Law of Bodies prevailing rhroughout our mundane Syrtem, becaufe every Body gravitates ; no Body is found devoid of that Qiiality, and many very diftant Operations arc reducible to it as their phylical Caufe, becaufe of their Likenefs to Effeds of the fame nature, that fill more immediately under our Cognizance. NATURAL Philofophy is, then, nothing elfe but the Knowledge of the general Analogies and Harmonies which take place in Nature, to which parri'cular Appearances are reducible. Of the Cmtmpla- lim of Nature, md (mu we are quali- ffdfirit. BUT how arc we fitted and qualify 'd by Nature for this Science j ot for finding d out the general Laws and Connedions, the Harmonics and Analogies, which conftitute hJtT.f'SrLr, the Order of the fcnfible World > Is it not by our narural Scnfe of Beauty arifing from v„iiy Regularity and Order, or, in orher words, from Uniformity amidft variety ! 'Tis this '"''V ^'"ety, «r natural Senfc improv'd and culrivated by Exercife, l4iat chiefly diftinguifhcs the natural 'fs'""'"^'''- Philofophcr from the common Herd of Spedators ; all his Satisfadions arifing from the Contemplation of Nature's Unity, Beauty, and Harmony, arc owing to this Scnfe ; that is, they belong as ptoperly to it as thofe of heating to the Ear, or of rafting to the Palate. For as witliout the Organ of Hearing we could not perceive Sounds," or without i;2 77;if lajle ferves io put us into the right itjay af dijcoverhig Jrulh, and fai'if- fying our natural (h-fire af Knowledge. We art hy eur mural Eenfe difpos'd is in- quire after moral or final Caufei, avA to delight in the Contemplation of Good. ^filiL&SAY on the Rif, Progrefs, without the Palate, taftcs ; fo no more could wc perceive Unity, Beauty, Simplicity, and be pleafcd with thcfe Perceptions, without a Senle and Difpofition adapted to them. THERE is indeed implanted in our Natures a Orong dcfue after Knowledge ; Light is not more Iweet and agreeable to the Eye, than Truth to the Undcrftandin- : The Mind of Man is naturally curious and inquiriti\'e about the Rcalons and Caules of Thili"s • it is impatient to underftand and comprehend every thnig ; what is dark to it orchid from it gives it Uncafiuefs and Difquiet ; whereas what we know, wc look upon ourfelves as in fome degree Poflcffors and Maftcrs of, and fo far we are eafy and contented. But befides tlae Satisfaclion Knowledge gives to our Curioiity, and the Pleafure that attends tire Excrcife of our rcifoning Faculty, there is another Enjoy- ment arifini' from the Perception of Beauty and Unity ; which, as it is exceedingly a^'recablc to the Mind, To we arc dircaed and guided by our natural Love of it, de- li'^dit in it, and defire after it, to that right Method of enquiiing into the Nature and Order of Things, that alone can fatisfy our Ihirft after Knowledge. For by it wc arc led to fcarch 'after Harmonies and Analogies ; to compare Effeas with Effefts, and to reduce like ones to like Caufes ; which is the only way of commg at the Know- ledge of Nature. We are dehghted with Analogy ; we are exceedingly charm'd with Unity amidft variety i and hence we arc determined to feek after Unity and Regula- rity or in one word, fettled Analogies aird general Laws. Aiad tlris wc foon find to be an equallv plcafing and ptofitable Employment, leading us very fuccefsfuliy into the Knowledge of Niturc^and giving us higher and higher delight the further we advance. Thus it is' that Nature points out to us the Method of coming at the Knowledge of its Operations and Orders. How Men ever came to purfue the Knowledge of Nature, in any other way than this to which we are fo ftrongly direftcd and invited by Nature, or by our internal Senfe of Beauty, is a Qtiellion that would lead us into too long a Di"rclIion. Tis fufficient to our prcfcnt purpofe, to have obfcrved how wc are qua- lify'd by Nature for phylical ICnowledge, and the Plcafures attending it. BUT this is not all; We have likewife by Nature a moral Senfe, or we receii'c Pleafure and Satisfaaion from Effeas that produce Good and Happinefs in Nature : Not only are we pleafcd with the Contemplation of Eifeds, Laws, and Caufes, that tend to our own Good ; but we arc delighted with the Perception of Good and Happinefs wherever we obferve or behold it ; though no other Portion of that Good and Happi- nefs fhould fall to our (hare, befides the Pleafure which the View of it affords us. Now by this moral Senfe, we are naturally led to inquire into the good EfFefts of the "cneral Laws of Nature. In confequencc of ir wc are not contented with the barely phyfical Explication of Appearances ; but are chiefly prompted to fcarch after the mo- ■ ral Ends or final Caufes of Effccls, or rather of the general Laws from which Effcfls refult. Wc perceive high delight in contemplating n.itural Beauty and Uniformity ; but it is moral Beauty that is moft fatisfaaory and delighting to our Mind : For thus, together with Unity of Defign, Goodncls and Benevolence are perceived ; and there- fore, at the fame time that our natural Senfe of Beauty is cntertain'd, our natural Love of gene'rous Intention is gratify'd ; and all our benign, focial Affeaions arc moft a- ^rceably excrcifed. WE fliall not now inquire how it ever came about, that inveftigating, moral, or final Caufes hath been at any time excluded from Philolbphy ; but certainly tliofe who tontcut themfelves with reducing Effeas to^ their phyfical Caufes, without any Reflec- tions upon the Wifdom, Goodncls, and Bcneyolence, that appear in the Laws of Na- ture, deprive themfelves of the higheff Satisfaaion the Study of Nature affords. For can 'there be a more refin'd Joy than to range at large through Nature, perceiving every where not only Unity of Defign, Harmony, and Analogy ; but Beneficence, Kindncfs, Bounty, and Goodnefs ! Now for this Satisfaftion we are qualify'd by our moral Senfe. Thefe Plcafures do as neceffarily pre-fuppofe it, as Light and Colours do the Senfe of feeing ; or Mufick, the Capacity of diftinguifiiing Harmony and Difcord in the Combination of Sounds. THUS then wc are fitted to receive Pleafure from the Study of Nature, by our" Curiofity, or Thirfl after ICnowledge ; by our Senfe of Beauty arifing from Unity of Defign, or Uniformity amidft Diverfity ; and by out moral Senfe, or our Senfe of Beauty' and Fitnefs refuiting from the Purfuir of Good ; or, in other words, from our Difpofition to delight in the Happinefs of Beings, and in the Contemplation of tire Good of a Whole,' fteadily purfucd by excellent general Laws, or by wifely and genc- roufly contrived Analogies and Harmonics. I BUT Chan. and Decline of PAiNTiNGi BUT there is yet another Source of Plcafurc to our Minds, in the Contemphtion of Nature, that dcfcrvcs to be confidct'd, depending on our natural Senfe of Great- nefs, or our Difpofition to be llruek wirh plcafing Admiration by the Greatncfs of Ob- jcfts, or by the Greatncfs of the manner in which tlicy exill and operate (6). The Mind of Man is naturally great and afpiring : It hates every thing that looks like a Re- ftraint upon it : It loves to expatiate and dilate itfelf, prove its Force and range uncon- fin'd. And therefore it is wonderfully picas'd with every thing that is noble and ele- vated, that fills it with lofty and fubUmc Ideas, and puts its Grafp to the trial. Hence an inexhauftible Source of Entertainment to the Mind in the Contemplation of Na- ture : For there is an Immenfity every where in Nature, that flings the Mind into a moft agreeable Aftonirhment, not only in the greater Profpefts ir affords in contempla- ting the Orbs that compofe the vaft and mighty Frame of the Univetfc, amidft which our Earth is fo fmall a point ; but even in confidering thofc Objefls, which in rcfpcft of our Senfes are called minute : In every Infecl, for inllance, there is an endlefs Source of Wonder and Amazemcnr, or Marks of Wildom and Contrivance of an aftonilliin"- unmeafurable Greatncfs. ,0f Minds in the Con- templaiimi of Na~ ture, is mr natural Smfe afGrealnefs^ or aur Difpofition to admire great Oh- jefls, or Greatncfs in the manner of Ohjecls. THIS muft be allowed to be a juft Account of the Contemplation of Nature or of natural Philofophy, and the Pleafures which it yields. Socrates long ago found fault ■with thofe pretended Enquirers into Nature, who amufcd thcmfclves with unmeaning- Words, and thought they were more knowing in Nature, becaufc they could "ivehi^Iv founding Names to its various Effeds ; and did not inquire after the wife and G;ood "-enc- i-al Laws of Nature, and the excellent Purpofes to which thcfc ftcadily and "unerrhigly work {■/). My Lord Venilam tells us, that true Philofophy confifts in gathcrins ?he Knowledge of Nature's Laws from Experience and Obfervation. And Sir IfaacNcw- ton hath indeed carried that true Science of Natuix to a great height of Pcrfeiftion ; of which he himfelf thuslpeaks in his Opticks, " LATER Philofophers (8) banilTi the Confidetation of fuch a Caufe out of natural Phi- " lofophy, feigning Hypothcfcs for explaining all things mechanically, and referring other " Caufcs to Mctaphylicks : Whereas the main Cufinefs of natural Philofophy is to argue from Phenomena without feigning Hypothcfes, and to deduce Caufes from Effeds, till " we come to the very firll: Caufe, which certainly is not mechanical ; and not only to " unfold the Mcchanifm of the World, but chiefly to refolve thefe and fuch like Qtie- " ftions. What is there in Places almoft empty of Matter, and whence is it that the Sun " and Planets gravitate towards one another, without denfe Matter between them * " Whence is it tliat Nature doth nothing in vain j and whence arifes all that Order " and Beauty which wc fee in the World To what end are Comets, and whence is "f it that Planets move all one and the fame way in Orbs conccntrick, wliile Comets " move (6) The Paflages of antlent Authors relating to our At cum ego aliquando audirem aliquem Icgentemijue ex Senfe of Beauty in natural Objecls, and our Senfe of quodam libro, ut ipfe dicebat, Anaxagorx, mentem moral Beauty, flial! be quoted afterwards when I come elTe qute omnia ordine difponat regatque omniumquc to fpeak of Virtue. Let it only be obferv'd here, that fit caufa : Hac nimirum caufa dcleaabar, mihique ilia tjie Nature of this Difcourfe does not allow me to en- quodammodo reflc comparata efie videbatur, mentem large more fully upon the reality of thefe Principles in nimirum omnium rei uni tfle caufam : Et ita apud nie our Natures, far lefs to anfwer the Obje£tions that have ftatucbam, fi ita res habeat, confici mentem illam gu- been made againft the Writings in which they are ex- bernatricem atque dirpofitriccm omnia ita difponcre, plain'd : Let thofe who defire to be fatisfy'd upon this itaque res fmgulas eo in loco collocate ubi fuerint rec- head, have rccourfe to xhz CharaEieriJlicks^ Trails de tilTime conflitutte. Cum h^c in animo meo rcputa- Bcau^ par M. Crsufaz, Mr. HuUbinfon's Enquiry, and rem, cum magna voluptate arbitrabar me praccptorem his Illuftrations on a moral Senfe. As for this Principle comperilTe, qui me ex animi mel fententia rerum caufas of Greatnefs, fee Longinus de b'ublim. fe^, 35. Ut mul- edocerct, illumquc mihi explicaturum, primum an terra ta alia omittam, hoc eos prtecipue intuitos exirtimo : lata fit an rotunda : Illifque rebus expofitis adjunflurum Naturam non humile nos quoddam, aut contemptum etiam copiofiorem cxplicationem cauf^ & necelTitatis : animal rcputaffe : Verum cum in hanc vitam, & in Id eft, ecquid melius, & cur ita omnino melius fuerit. liunc univerfum terrarum orbem, ceu in ampliflimiim A mirifica tamen ilia fpe, crcde mihi, excldi : Quan- quoddam nos mitterct amphithcatrum, inviitum una doquidem cum ulterius in illorum kftione progredear, ftmul & infuperabile mentibus noftris omnis magna; rei, homiiiem video nec mentequldem nec judicio ulfouten- & humanam conditionem excedentis, adeoque divinio- tcm, neque ullas caufas ad rerum compofitionem ordi- ris, ingcneravifle defiderium. Atque hinc fieri, ut hu- nemque commodi affignantem five digerentem : At juanas mentis contemplation! & conjedtuique ne totus ai^ras quofdam & stheras, allaque multa &c abfurdaquK- quidem orbis fufficiat ; fed ipfos f^pcnumcro ambientis dam pro rerum caufis collocancem. Et mihi quidem omnia coeli terminos immenfa animi agitatione tranf- videtur idem omnino illi contingere ac ei qui diceret. cendat : Quare fi quis undeqiiaque vitam hanc omi confideraverit, & quantum quod grande eft & excel- lens in cunctis rebus pulchro nitldoqueprsevaleat, intel- liget c veftigio, cui nos rei nati fimus. Itaque inftindtu illo dufli nature non exiles miramur rivulos, verum ad confpeftum ve! Danubii vel Rheni refiftimus atto- niti ; maxime omnium autem ad ipfius intuitumOceani. Ad eundem modum non igniculum aut (lammulam, &c. So Cicero, Eft id omnino verum, nam omnium magnarum artium fimt arborum altitudo nos deleililat. AdM. Brutum Orator. N** 43. {7) See Platanis Phtsdo, Edit. Steph, tm, i. p. 97. quicquid agit Socrates, mente & ratione agit : Deinde inftituens explicare caufas fingularum rerum quas agam, diceret me primum quidem hie federe, quia corpus meum ex ofTibus & nervis conftet : Offa vero fint fo- lida & firma & jiiniEliurarum difcrimina feorfim a fe in- vicem haheant : Cum ergo ofta in fuis commiifuris elevantur nervi qui modo laxantur, modo intenduntur, efficiunt ut rncmbrorum incurvandorum infledtendorum- que habeam facukatem, atque hac de caufa hie fedeam incurvusj ES'r. (8) Opticki by Sir Ifaac Nmtsny Bosk 3. 345, M tu This is a true Ac- count of natural Phikjophy, and the - Pleafures arifing from theSiu/y af Nature, according to Socrates, Lml B:icon, and Sir Ifaac Newton, 134 Jl^jal wi may i"ftr from ihii Accawtt sfmtiircl PUhfi- flr/, con^irning the right Methad of im- proving momt KttowUilg!, or thi Sciem^ of ihe moral nirU. ^« Essay ok the Rife, Progrefs, " move lU maaiieu of ways in Orbs very cxccntcick ; and what hinders the fix'd Stars " from fiUin;; upon one anotlicr > How came the Bodies of Animals to be contrived " with fo mu^hArt, and for what Ends arc their fevcral Parts ! Was tlic Eye contrived " without Skiil in Opticlcs, and the Eat without Knowledge of Sounds ! I fhall only obferve fatthet on tliis Head, that if this be the right Method of improv- ins; and purfiiing natural Philofophy, it muft ncccflarily follow, tliat the Knowledge of tlic motal World oughr liljcwifc to be cultivated in the lame manner, and can only be ar- tain'd to by the like Mctltod of enquiry : By inveftigating the general Laws, to which, if there is any Order in the moral World, or if it can be the Objcdi: of Knowledge, its Eifecfs and Appearances ntuft in like manner be reducible, as thofe in the corporeal World to theirs ; and the moral Fitncfs of thefe general Laws, or their Tendency to tire gteatct Good of the whole Sylfem to which they belong. A little Reflexion upon the- Conftitution of our Minds, or out intelleciual and moral Powers, will fiicw us, that general Laws obtain with regard to thefe, as well as in the feldiblc World. FOR, to name but two Inftances ; there is, wirh refpeft to u,s, a Law of Knowledge as fix'd .and uniform as the Law of Gravity ; in confcijience of which. Knowledge is acquit'd by Experience and Application, in proportion to our Situation for taking in Views, and to out Afl'iftances by fociil Communication. AND there is alfo a Law of Habits, in confcqucnce of which, repeated Afts pro- duce a Propenfiry to do, and a Facility of doiirg ; and, in confequencc of which, wc can acquitc the M.ifterfliip of ourfelvcs, or the Habit of afting delibeiately, aiid with matute Examination. NOW the many Effefts that will foon be found on Refleftion, to be reducible to thefe t-svo excellent gcnetal Principles or Laws of our Nature, mud convince every thinking Perfon, that were motal Philofophy ftudied and putfued in the fame way as natutal Phi- lofophy hath been fot fome time, wc Hiould quickly fee another kind of it producd, than what hath hitherto appcar'd. This is perhaps what Sir Ifaac He-jaton means, wdten he fays, " And (9) if narural Philofophy in all its Patts, by puifuing this Method ihall at " length be pctfcfted, the Bounds of moral Philofophy will be alfo enlarged. For lb " far "as we can know by natural Philofophy what is the firft Caufe, what Power he " has over us, and what Benefits we receive from him, fo far our Duty towatds him, " as well as that towatds one another, will appeat to us by the Light of Nature". Ofth, Jmiiatim of BUT having thus briefly fhewn by what Faculties, Powers, and Senfcs Man is fitted iatur,, andibe for the Contemplation of Natuie, and ditefted to the right Method of acquiring n.itu- Pleafurts accruing Knowledge ; let us ne.xt eonfider what is meant by the Imitation of Kature, and from thai Source, ^j.^^ picafnics atifing from it, and how wc arc qualify'd for them. NATURE may be imitated two ways, by ingenious Arts ; and in Life and Manners. And Man will be found fitted fot both thefe kinds of Imitation by the fame Powets, Facul- ties, and Senfcs that render liim capable of contemplating and undctftauding Nature. How tL-i art fitted far the Imitation of Nature in Life and Conduit, hy the fame natural Powers and Senfet, or Ta/les above mentioned. Cicero'j Account of the Virtues corre- fponding to the di- Jlinguijhtng Princi- ples in human Na- ture. MAN is impelled to imitate Nature in the Regulation of his Affeftions and Aftions, and fitted fot it by his Senfc of Beauty and Regulatity ; his publick Scnfe, or Delight in publick Good, and in the Affcftions and Adions that purfue it ; and his Magnani- mity, or Senfc of Gre-ttnefs. And accordingly, all the Virtues and Excellencies of hu- man Life arc reducible to thefe four ; Prudence, Benevolence, Fortitude or Magnanimit)', and Decency, or orderly and beautiful Oeconomy. THESE vittuous Affcftions ate pleafant and agreeable in the immediate Exercifc, bccanfc we arc fo m.ade and conftitutcd as to receive Plcafttrc from them by our in- ward Senfcs, in the fame manner as Light is pleafant to the Eye, or Harmony to the Ear. And they afFotd a yet higher and nobler Plcafurc upon Reflection, in confcqucnce of our Capacity of reviewing our Conduft, and approving it when it is perceiv'd to be becoming the Dignity of our Nature, and conformable to the Temper and Difpolitioii of Nature's all-governing Mind. THE Cardinal Virtues ate reduced by Cicero to thefe four above mentioned, becaufe there are four Principles in our Natures, which exalt us to the Rank and Dignity of Being we hold above merely fcnfitive Creatures. The Defire and Love of Knowledge ; our focial Fceliirg, Love of Society or Delight in publick Good ; Grcatnefs of Mind, or a Defire of Power and Petfedion ; and a Senfe of Beauty and Decorum in Charaftcrs and Aftions. All the Virtues, Duties or Excellencies of human Life can be nothing elfc (faith (9} Opticks by Sir Ifaac Newton, Book 3. p. 381. "The fourth Edition. Chap. 7. and Decline of Painting. 135 (laiili he) but thofc our pi-incipal Powcus, Faculties or Scnfcs operating, conjanclly each with proper force, towards the Perfcclion and Happinefs of our Minds, and the Beauty and Regularity of oiu" Conducl:. All thcfe mix'd with Art and conHn'd to due Bounds, make and maintain the Ballancc of the Mind ; and by their well-accorded Coutrafls pro- duce a lovely Harmony and Confiftcncy of Life and Manners. Cicero fhcws us in many different parts of his Writings, that all the Virtues are thefc Powers and Principles duly regulated, or mixing and combining with wcU-proportion'd Strength to give Nerves, Beauty, and Grace to Life. The Whole of Virtue confifts (according to that Philofo- phy) in living agreeably to Natures agreeably to what we perceive by our moral Senfe and Confciencc to be fultable to the Dignity of our Nature j agreeably to what we per- ceive, by the fame Senfe and the Study of Nature, to bethcEnd appointed to us by Na- ture J agreeably to the End pnrllicd by Nature itfclf in all its Works (10). HAD wc no Senfe of moral Beauty and Pcrfeftion, no Scnfc of Harmony and De- corum in Life and Manners ; no moral Senfe, fhewing us the Subordination in which all the inferiour merely fcnfl.cive or animal Appetites and Affeftions ought to be maintaind, we could not be capable of Virtue, wc could not approve or difapprove Aifedions and Manners. Without a Senfe of Beauty and Harmony, Greatnefs and Becomingncfs of Affections and Adions, wc coiUd no more have any Senfe of the Dignity of our Na- tures, and of acting a right part, than a blind Man can have of Colours. *Tis in confc- qucnce of moral Confciencc, or of our moral Senfe of the Beauty, Dignity, Worth, nnd Merit of Characters, Atieilions and Adions, that though we may be brib'd or ter- rify'd into the doing a bafe Aftion ; yet wc can neither be brib'd nor terrify 'd into the Approbation of it. It is in confequence of it that we are able to form any other Idea of ail Adion, bcfides that of the Qiiantity of fenftble Pleafurcs it may bring, and that we are capable of framing to ourfelves general Kulcs of Life, by the Study and Obfcrvance of which, Life is rcndcr'd uniform, confitlent, regular and beautiful , and of delighting in that moral Harmony and Beauty. THUS it is evidently the fame Scnfcs, Difpolttions, and Powers, which fit and qua- lify us for contemplating Nature with fatisfadion ; and for imitating in our Condud the moral Perfedions of its Creator and Goyernour, which arc clearly manifcrtcd by the Frame, Conflirution and Laws of Nature. And then it is that the Study of Nature muft afford the highcfl: Joy, when we feel the fame Temper and Difpofition prevailing Fn-tue necijpirily pre-fuppofes a Senfe of moral Beauty a>id PirfeStion^ and GreatiiL-fi of MhhL (10) See Marcus Jlniomnus's Malitations, Collier's Tranllacioii, p. 140. f. 26. Plealiire and Satisfaftion cuiifUls in following the Bent of Nature, and doing the things we are made for. And wliich wav is this to be comfafs'd ? By the praftice of general Kindnefs, by iiegle The chief Qualities of good Imitation by Poetry, 'Paintin^ and' Seulptute, that have been already enumerated and explained, do they not all of "them evidently pte-fuppofe thefe Faculties and Difpofitions in order to relUh them or indeed to have any Notion of them ! What clfe is it that coiUd prompt us to pur'fue and en- deavour after Truth, Beauty, Confiftcney, Decorum, Greatnefs and Grace in Conipofi- tions of any kind; or that could be delighted and charmed by thefe Qiialities when they are attained to in any human Produdion, but a natural Senfe of Beauty, Unity, De- corum, Grace and Greatnefs i In Ukcmaniier, if we hadnothingof Sympathy,'compa'irion, Benevolence Chap. 7. and Decline o/ pAiNtlMCi i37 BGiicvoIcnce and Gcncrofity in our Frame, could we think of calling forth fuch Affec- tions into AcUon, and giving them agreeable Excrcife by moving and intercfting Rcprc- fentations : Or could \vc be dclightfuily touched and affcfted by the imitative Arts in a tender focial manner, without any Difpofition or Principle in our Nature fit to be worked upon! Nothing can be more ridiculous than to fpeak of perceiving any Qiia- ^f'e ars ■^ua!ify'd lity, without a Scnie qualified to perceive it : Ecings can neither defire nor relifh any '^pj^^^^l^fiyr"'^ Entertainment for which they arc not fitted by Nature, or for which, fo to fpeak, Jiti^malr'^n ' they have no natural Appetite. On the one hand therefore, if Truth, Beauty, Great- ''en'd. nefs and Grace, and all the other Qualities that are alcribed to the fine Arts, as confti- tuting their Perfection, are not mere Sounds without a Meaning, we muft have naturally implanted in us thofe Faculties and Dilpofitions that arc requifite to comprehend and enjoy them. And, on the other hand, if we really ate poH'cfs'd of Faculties and Senfes qualify 'd to underftand and tafte thefe Qualities, the chief Excellence of the imitative Arts muft neceflarily confift in their being able to give fuitable Entertainment to fuch noble Faculties and Senfes : Or their Produdions can only be excellent in proportion to the Satisfaction they arc able to afford to them. ■THAT it is the very fimc Faculties and Difpofitions which qualify us for underftand- ing and relifhing the Beauty and Perfection of Nature, the Beauty and Perfedion of moral Condud, and the Beauty and Perfedion of the imitative Arts is fo evident, that it is indeed unaccountable how any who pretend to Tafte or Intelligence of thefe Arts, can doubt of the Keality and Naturalnefs of Virtue, and of a moral Senfe in our Make and Frame; or entertain wrong Conceptions of Nature, and doubt of the moral Scnfc and good Difpofition of our Contriver and Author. BUT fince it is no rare thing to meet with VirtuofL or profefled Admirers of the fine Arts, who call into queftion all other Beauty but that of their beloved Arts, lean- not chufe but call upon them to rcflcd, that they muft either give up the reality of the Tafte upon which they fo highly value themfelvcs, and which is indeed a very fine Accom- pliftimcnt ; or they muft of ncceftity own the reality of Virtue and of a moral Senfe ; and confequcntly acknowledge theAVifdom and Goodnefs of our Maker, the Creator and Upholder of all things, who hatii inlaid it into our Natures, and made us capable of receiving fuch noble Entertainment from it in various ways. SO ftridly are all Truths bound and united together, that having firft cftabliHied a right Idea of Virtue, and of thofe Faculties that capacitate us for perceiving and delighting iu it ; or of Nature's wife and regular Oeconomy in purfuing the general Good of the Whole j it is very eafy by obvious Confequcnces to deduce and cftablilh a jiift Notion from thence^ of the fine Arts and their principal Excellencies : And, on the other fide, if we begin by fettling a true Idea of the Excellencies of the fine Arts, and of thofe Faculties and Dif- pofitions in our Minds which qualify us for purfuing them, and receiving pleafure from them, it is very eafy by natural confequenccs from thefe Principles to fix the true Notion of Virtue and moral Excellence, whether in the Government of our own Affcdions and Aftions, or in the Adminiftration of Nature. For if the Pcrfcdion of Nature confifts in working unerringly towards the Beauty and Good of the Whole by fimplc conftftenc Laws ; and the Perfedion of Life and Manners confifts in ading in concert with Nature, and in purfuing ftcadily the Good of Mankind by well-poiied, regular and generous Affcdions ; then muft the Perfedion of the imitative Arts confift in like manner in ma- king regular and beautiful Syftems, in which every part being duly adapted and fubmit- tcd to what is principal, the Whole hath a great, noble, and virtuous Effed upon the Mind : And reciprocally, if the Beauty and Perfedion of the imitative Arts is acknow- ledged to refult from a due Subordination of Parts to the main End, and from Harmony and a noble virtuous Tendency in the Whole ; then muft our Condud and the Admini- ftration of Nature be beautiful and perfcd, only in proportion to the juft Subordination, Harmony and good Tendency that prevails in the Wliole. IF Lenity, Decency, Truth and Greatnefs are acknowledged in the imitative Arts, they muft likewilc take place with regard to Nature, for Nature itfelf muft be capable of affecting us in the fame manner. And they muft likewife take place in Life and Man- ners, in Affcdions, Adions ajid Characters ; for thefe muft be capable of touching and affeding us in the fame manner in real Life as in Imitation. The Artift derives ail his Ideas from Nature, and does not make Laws and Connexions agreeably to which lie works in order to produce certain Effeds, but conforms himiclf to fuch as he finds to be neceflarily and unchangeably eftablifhcd in Nature : All his Attempts prc-fuppofe certain Difpofitions implanted in tlie Breafts of Mankind originally by Nature itfeif, which he cannot produce if wanting, but may fuit himfelf to and work upon in the way that Nature hath appointed, and thereby render his Works exceeding pleafing and agreeable. If therefore the imitative Arts arc really capable of producing beautiful, great, and noble Effeds uponus, there muft be fomething beautiful, great and noble iii our Minds^ the improvement of N n -which JftheR^aliiyBfthfe lilies is ac~ inowledg'd in any one of thefelnjlances^ in the Conlmplaiion or fmilalisti of Na- ture, whether in Life er Arts ; ih.ir reality mujl like-wife be oujn'd in all the other In/ianieu 138 v^/; Essay on the Rife^ Progrefsj \vhich is neccflarily our Excellence and Pcrfcdion, foi" which -ux could not have been fuited, but by a Mind of iliperioui" Beauty, Nobleneli and GteatiKM>, wliole PerleLlioa confills in producing Beings capable ot" noble Ends and Purliiits, and in franiins, and adapt- ing each kind of Beings in every rcfpecl: as may bell fuit to the highclt PcrfecUon in the Whole. Farther llhtftrat'uns upon the Foimdnttoiu ofthe^rts, and of good Tafte in our Nature!, and the proper ways of cul- tivat'mg it. TO acknowledge a real Excellence and Beauty in any imitative Art, without confel- fing a real Excellence and Beauty in Nature, and the real Excellence and Worth of \'ir- ruc, is abfurdly to afcvibc a Power and Influence to Copies which the Original harh not : It is the fame as to alfcrt, that a real Objecf of which an exact Copy is taken, would not have the fame effect upon us by its real Qiialities, which thole Qualities liave upon us in the Imitation : It is to affert not only that the Artift can form Ideas which have no Foundation in Nature itfelf, or arc no wife fuggeftcd to him by it ; but that he can give Powers and Qiialities to Objefts which he copies from Nature, that are quite independent of all Nature's Laws and Eftablifhments, and in which Nature hath no part or lliarc. BUT this way of rcafoning may appear to fomc too abftrufe and raetaphyfical ; and therefore I fhall endeavour to fet the Analogy between the moral Virtues and Ciraces, and the Beauties and Graces of the fine Arts in another light, by fugge! ing briefly a few Ob- fervations of the Ancients upon this Subjedl : For, according to them, to illufiratc, prove and enforce this Infcparablc necclTary Connexion, (of which I am now treating) between the reality of Beauty, Unity, Order, Grace and Greatnefs in Nature, and their reality in the Conduct of our Affeclions and Actions, and in all ingenious Imitations of Nature by Arts, is the chief Scope of true Philofophy, the fitteft Method of forming betimes in young Minds an univerfal good Tafte ; and therefore it is the proper Bufinefs of Educa- tion. It is only fuch Philofophy that defcrves to be called the Guide of Life ((>), the Difcerner of Excellence, and the Source of all truly manly, rational, and pure Happi- nefs : Or that can produce a right Tafte of Life, and of Man's bcft Purluits, Employ- ments and Diverfions. And therefore ir is this Piiilofophy that the Eormcrs of Youtii ought to have ever in their View throughout the whole of Education. r Senfe of moral Beauty. A friEi donreaim THE Ancicuts havc often obfeiv'd, that there is a ftriift Analogy between our Scnfc end Analogy between of Bcauty in fcufiblc Objctfts, and out motal Scnfe, or our Senle of Beauty in Allec- Senfe of natural tions, Ailions and Characters. So nearly arc thefe related, or fo intimately are they blended together in our Natures, that he who hath any Tafte of Beauty in fenfible Forms, any Notion of Harmony, Rcgulariry and Unity in Bodies, muft necclfarily be Jed to transfer that Senfe to moral Objedts : And therefore if fuch a one is dinblute or irregular in his Condu£t, he muft live at continual variance with himfelf* and in down- right contradiction to what he delights in and highly admires in other Subjects. So ftrictly, f6 nearly are thofc two Scnfes allied to one another, that it is hardly poftible to fpeak of moral Objects in any other Language, than that which exprcQes the Beauties of the other kind, Hciicc it is that the belt Authors of Antiquity ipeak of the A'leallires and Numbers of Life; the Harniony, Unity and Simplicity of Manners; the Beautiful, the Decent in Adions j the Regularity, the Order, the Symmetry of Life ; the Propor- tions, the Graces of the Mind ■■, Truth, Sublimity, Cw-eatnefs, and Confiftency of Man- ners. Such is the Style of the bcft ancient Moralifts ( i o). And in explaining thclc moral Qualities, they arc conftantly referring to thofc which are analogous to them in ienfible Forms, and in tlie Productions of Fancy and Genius in Imitations of Nature. On ac- count of this Affinity arid Analogy, they have juftly concluded, that the Admiration, and Love of Order, Harmony and Proportion in whatever kind, mult be naturally im- proving to the Temper, advantageous to focial Affection, and highly ailiftant 10 Virtue, which is itfelf no other than the Love of Order and Beauty in Society : That all the Arts which havc Truth, Order and Bcauty for their Obje£t and Aim, mult have a Ten- dency to advance the Love of moral Beauty in Life and Conduct, and to check Difordcr and Irregularity : But chiefly the Contemplation of the Order of Nature, from which all our Ideas of Order and Beauty are originally copied. One of the moft picafant and entertaining Speculations in Philolbphy is the univerlal Analogy that prevails throughout Nature : The Analogy between the natural and moral World in every refpcct. 'Tis this Analogy that lays the Foundation (as it hath been frequently obferyed by many Authors) for w'hat is principal in the Works of Genius, the cloathing moral Objects witli fenlible Images, or the giving them Bodies, Shapes, and Forms in Defcription, Sculpture, and Painting. BUT (9) So Cicero adJrcfle? true Philofophy, O philofophia vitas dux, Ovirtutum indagatrix, expultrixque vitiomm? Quid modo non nos, ft-d omniiiovita hominum line te clTe potuiflet ? &c. Tuf ^ The fame Shapes and Proportions, which ™" make Beauty, afford advantage, by adapting to Aaivity and ITfc. The fame Features which occafion Deformity, create Sickhnefs and Dili:afe. The proporrionarc and regular Stare is the truly profperous, found, and narural one in every Subject. Health of the Body is the jull Proportion, Ballancc and regular Courlc of Things in a Conflirution. And what clfc is Health or Soundnefs of Mind but the harmonious State, or true and jull Ballance of the Affeaions (t i) : Or what clfc is it that produces Defo'rmiry of the moral kind, but Ibmething that tends to the Ruin and Diflblution of our mental Fa- brick > Cicero and SuintUian have illuflrated this Truth (mmqnam ■veri ffccies ah Militate dividitnr) by a variety of Examplcsj from the Struaures of animate and in- animate things ; the Fabrick of the human Body, and the Beauty of the human Mindj and then by analogous Infl:ances from Archlteaure and all the Arts {12). And hence rhc Ancients have laid it down as an univerfal Maxim in Life and Manners, in Narure and in (11) Et ut corporis efl qus-dam apta iigura membro ■ has great reafon, fince flic is a part of it herfdf And wm cum colons quadam luavitale i Eaquc dicltar pul- with as much propriety, as a Leaf belongs to the Na- chrituJo, fic m aiMmo, opjnionum, judiciorujnque ture of the Tree which bears it, fS, Manm Jm- quabihtas, & conHantia, cum Srm.tatt quadam k fta- »,«b,'s Meditations, CrfiVs Tranllation, p. i u bilitate virtutem fubfequens, aut virtutis vim ipfam con- tinens, pulchritudo vocatur. Iteraque viribus corporis, (12) Cim Oralir. lib. 3. 45, 46. Sed ut in plerif- & nervis, & efRcacitatt fimiles, fimilibus verbis, animi que rebus incredibiliter hoc natura eft ipfa fabricata ■ vires nominantur. Velocitas, fanitas, morbi. Sic. Cic. Sic in oratione, ut ea, qusc miximam utilitatera in fe •TufiuL^aiJl. Ub. 1,. -t}. ftOjfffl.i. N°28,t3- continerent, eadem haberent plurimum vel dignitatis 36. Every thing IS at eafe when the Powers of it move ve! fa;pe etiam venuffatis. Incolumitatis, acfalutisom- regnlarly and without interruption. Now a rational nium caufa, videmus hunc ftatum efle hujus totius Being 13 in this profperous Condition, when her Judg- mundi atque natura; Ha:c tantam habent vim ut nient is gain'd by nothing but Evidence and Truth ; paulum immutata cohErere non pofTint : Tantam pul- when her Defigfis are aft meant for the advantage of chritudinem, ut nulla fpecies ne excogitari quidem pof- Society. When her Defires and Averfions are confined fit oriiatior. Refene nunc animum ad liominum, vel to Obje£b within her power, when flie reffs latisfied etiam ceterarum animantium formam, & fiiruram With the Dilfnbutioiis of Providence ; for which fhe Nuliam partem carpBris fine aliqua neceiTuale affaami tstamque 140 An Essay on the Rife ^ Prcgrcfs^ in all the imitative Arts; Tliat what is beautiful is liarmonious nnd proportion'd, What is hatmonious and proportiou'd is true 5 and what is at once both beautifLil and true, is of confequcnce agi'ccablc and ;j,ood. And accordin|2;iy, Affcdions, Manners, and aJl the Arts are to be judged by this Rule (13). That which in Art is not ufcful to the AV'hole, cannot be beautifiil ; all Ornaments which do not naturally rife our of the Subjcd, and tend to fupport and maintain it, and promote the defign'd Eifcct of the W'holc, are, . for the fame reafon that they are an Incumbrance, not merely fupcrfiuouSj but noxious and hurtful with regard to the propofcd End and EfFcd of the Whole. THIS Cicero ilkiflratcs particularly by Architcdurc, which, one is apt to confldcr at firft fight as a merely ornamental Art ; and fo does Vitrtivhis more fuiJy. Cicero and Quiritilian fhcw it to be fo in Oratory ; and 'tis evidently fo in Painting and Sculpture : For is not the Truth and Beauty of every Figure mcafured in thcfe Arts, from the Per- feftion of Nature, in her juft adapting of every Limb and Proportion, to the Aftivity, Strength, Dexterity, Life and Vigour of the particular Species or Animal dcfign'd ? And in a Whole confifting of many Figures relative to one main End, doth not that Ipoil the Unity, Simplicity and Correfpondency of the M''hoie, whicii hath no neccflary or proper Conneclion with its principal Scope, but difl:ra(5is the Eye, and diverts the Atten- tion from what is chiefly intended. ALL Pieces of Art, like all Pieces of Nature, mufl make one Body, found and wcU- proportion'd in its Farts, without any cumberfome Excrefccncics, or without Parts of another kind, and not belonging to it as one patticular Whole, however beautiful thefe may be confider'd apart. We cannot indeed advance the leaft in any Relifli or Talfe of Symmetry and Proportion, without acknowledging the neccflary Connexion betwixt the Ufeful and the Beautiful. And as no Rcflcftion on Nature, and on Arts is of larger Extent, fo none can have a better, or more benign and wholcfomc Influence upon, the Mind. 'Tis by it chiefly, that the Mind is improv'd to pcrfcd good Taftc in all the Arts h conhrnid in its Love and Admiration of the beautiful and ufcful Order that prevails throughout Nature ; and kept fteady to Virtue, or the Purfuit of moral Beauty in Life and Manners. And therefore a great part of moral Philolbphy, in the ancient way of treating it, is juftly taken up in Ihewing the Conneclion of Virtue with Intc- reft; or, that Virtue is private as well as publick Good; and Vice, on the other hand, private as well as publick Mifery ; and that Nature purfues Beauty and Utility by the fame excellent Laws and Methods of Operation. Jn what Senf( ivgc- mans Imitations., or IVarks of Imagina- tion and Genitij are Imitations of the If^sU ef Nature. IN tlie third place, another Method of explaining the Beauty of \'\^orks of Genius of Painting in particular, among the Ancients, is by confidering them as good Imita- tions, not of a patt of Nature, but of Natute in general. THE Meaning of this is, that as Nature is in itfclf a beautiful W"hoIc, in which all is fubordinate to the general Good, Beauty and Perfcflion of the Whole, (and therefore Pcrfeftion is not to be look'd for in any particular Part fcparatcly, but in the A\'hole ; the Perfedion of fmgle Parts being only purfucd by Nature fo far as the general Good per- mits ;) fo ought it alfo to be in Pictures : Every Piilnre ought to be a pcrfed Whole by itfelf, and its Beauty ought to refnlt from the whole Compofirion ; not from the Per- fection of fingle Parts, but from the Subferviency of all the Parts to one main beau- tiful and great End. TheArtift cannot bring ail Nature into his Piece; he mull there- fore imitate the Whole of Nature in his Work, by chufing a noble, a great, or beauti- ful Plan, and by adapting and difpofing every particular part of his Piece in the manner that may bcft fuit to the main End of the Whole. He therefore ought not to paint De- formity, for the fake of exprcfling or reprefcnting Deformity ; but as Nature in the Whole is beautiful, fo ought his Works to be ; and the Deformities in finglc Parts, ought, as in Nature, to ferve as Foils or Contrails to fct off Ibme principal Beauty to the greater advantage. In one word, whatever particular parts arc confider'd by themfelves, the Whole ought to be harmonious and beautiful : And as in Nature, fo in Imitations, it mull only be to the greater Beauty of the Whole that any particular part is fubmittcd ; and that fo far only as the greater Beauty of the Whole requires it. THIS litatum templi, faftigii dignitas confecuta eft : Utctiam fi in ccelo ftatucretur, ubi imbcr efle non po/Tct nuUam fine faftiglo dignitatem habituruni fuiffe videatur. Hoc in omnibus item partibus orationis evenit ut utili.item ac prope necellitatem fuavitas qiiKdam ac lepos confc- quatur, &c. SecFitrrivius, /!//. 4. c. 2. The Pallage was already quoted. ^!/inti//an, lib. fi. c. 3. where he treats tliL- fame Subjefl: at great length, particularly towards the end of that Chapter. Nam ipfa ilia u(p'i'Aiia. fimplex&inafFeftata, &c. See likewife Cicfra, Orator. N" 25. Nam fic ut in epularum apparatu, &c. (13) Compare with the PafFdges already quoted, what Ciiers fays of the Ulik in the 3d Book of his Offices. totamque formam qnafi pcrfeflam reperietis arte non cafu. Quid in arborlbus, in quibus non trancus, non rami, non folia funt deniqiie, nifi ad fuam rctincndam, confervandamque naturani ? Nufquam tamen eft ulia pars nifi venufta. Linquamus naturam, arteifque vide- amus. Qiiid tarn in navigio neceffarium quam latera, quam carinre, quam mali, quam vela, quam prora, quam puppis, quam antenna ? Qi^iie tamen hanc ha- bent in fpecie venuftatem ; ut non folum falutis fed etiam voluptatis caufa inventa effe videantur. Colum- ns, k templa, & porticus fuftinent. Tamen habent non plus utilitatis quam dignitatis. Capitolii faftigium illud, & ceterarum asdium, non venuilas fed _neceirita3 ip/a fabricata eft. Nam cum effet habita ratio, quem- adtnodufii ex utraque tedti parte aqua delaberetur ; Uli- Chap. 7. ■and "Decline of Painting. THIS is thcM calling of wliat they fay, of gathering from the various Parts of Katiiie to make a beautiful Whole. This is particulaily the Meaning of wltat Ctcero favs in the Place already quoted ; where he tells us, that Zeuxis, from'thc Confidcration of many Beauties, formed his Idea of a perfeft Beauty : " Bccaufe Nature purfucs the Beauty, and " Good or Petfcaion of the Whole, and not of particular Parts" {13). The Sum of rills Obfervation amounts briefly to this. That what is called properly Shade, is not more neecffary to fet off the cnlightcn'd Parts, in rcfpea of Colouring, than fomcthing which, being analogous to it, may likewifc be called Shade, is requilite, with regard to the Choice and Difpofition of the Sabjcft, or to poetical Compofition in Painting, And it muft be fo in copying from Nature, fincc 'tis fo in Natuic itfelf : Whatever is heightened, or hath Relief, whethet in the natural or moral World, is raifcd, diftinguilhed, or made ilrong and ednfpicuous by Shade or Contrail, BUT in the fourth Place, 'tis obvioufly our moral Senfe, and our fecial Affeftions, which alFord the Mind the moft agreeable Touches of Joy and Satisfatlion. Let one exa- mine himfelf narrowly and impartially, and he Ihall find that the largell Share, even of all thofe Gtatifications which ate called fcnfible Pleafurcs, is owing to a Ibcial Principle deeply inlaycd into his Nature. What arc Riches, Titles, Honours, a Tabic, Drcfs, and Equipage, abftraftedly from all Regard to Society ! \Vliat is even Love itfelf, without the Spes imitni credula miUui? And if we attend to the Pleafurcs which Arts and Imitation yield, thcfc arc a fufficient Ptoof of the Tcndcrncis and Humanity, fo to fpcak, of oin- Make and Frame. For whence clfc is ir, that where a Succcllion of the kindly AUcftions can be carried on, even thro' Fears and Horrors, Sorrows and Griefs, the Emotion of the Soul is fo agreeable; or, that when the Paflions of this kind are skilfully excited in u.s, as in a Tragedy, we prefer the Entettainment to any one of Senfe > "Tis certainly, becaufc exert- ing whatever we have of focial Affeftion and generous Sympathy in our Natures, is of the highefl: Dehght, and ptoduces a grcatei Enjoyment in the way of Seiuimcnt, than any thing bcfidcs can do in the way of mete Senfe and vulgar Appetite. 'T I S the fame with rcfpcfl to the Deligning Arts : Whatever touches our publick Senfe, and calls into Aftion our generous, tendct, and kind Aftcaions, is that which moll agree' ably detains our Mind, and employs it. Reprcfcntations of fuch Subjetls, fo foon as dicy are fet to our View, immediately attraft us, working upon us in rhc moll plcafing, becaule in the moll liLunaiie and focial Manner. SOME have faid, that Works of Genius and Fancy pleafe us, bccaufe they employ the Mind, which naturally delights in Excrcife ; and this is undoubtedly true : But 'tis not merely bccaufe they employ us, that they pleafe us; for tho'the human Mind be naturally aftive, and made for Exercife, yet all kinds of Exereife do not equally pleafe and delight. If we attend to our own Feelings, it will evidently be perceived, that of all Exercifes the focial and affcaionatc, or the Operations of the focial Affeftions, arc the moll fatisfaftory and falling. Who was ever cloy'd by Aas of Fricndlhip, Generofity, and a publick difintercllcd Spirit! Or did ever the Workings of good and kind benign Affeaions, when excited by artful Illufion, leave Remorfc, Birternefs (14.) and Difquiet behind 'cm > Some have afcribed all the Pleafure ariling from the Imitative Arts, to the Powet of Illufion, as if we were only pleafed, bccaufe we arc deceived into imagining a Reprcfent.ition real. But hardly docs any one ablblutely forget, that it is Imitation he beholds in Dtaniatick Pieces, ot in Piftutes, and fancy the Objeas befoic him real. Or, if he fliould, yet the Pleafure he feels while he imagines fo, cannot be owing to this Deceit; Such Pleafure mud be poflerior, and can then only take Place, when the Mind rcflcas, that what it took to be real, was merely Imitation ; and wonders at the Dexterity by which it was deluded. If, therefore, Fiaions ate capable of cntettaining the Mind, previoufly to fuch Refleaion, rhat Pleafure muft he owing to fome other Difpofition or Senfe within us, upon which the Objeas rcptc- f'ented are fitted to work. And a tittle Reflexion upon the Fiflions or Reprcfcntations which afFca us mofl agreeably, or give us the greatcfi: Pleafure, will fhew us, that it is thofc which excite our focial AflxOions, and call forth generous Sentiments, that yield us the highefl: and moft fatisfaaory and lafling Entertainment. In fine, we may rcalbn in tliis manner about the Conftitiition of our Mind, and Imitations fitted to delight or picafc our Mind; if thofc Imitations, which call fotth our Pity and Compaflion into Excrcife, and intercfl us in behalf of Virtue and Merit, are indeed the Reprcfcntations that give us the highefl; Satisfaaion, it muft be coiifefl'ed that we are quafified by Nature to rccci\'e high Pleafure (15) hii:siii. Uhclor. hi). 2. ah Imlio. les meiiblcs, on neglige pour contempler ce tableau tra- pique, les grotefqLies, 6: ie.s compofitions les plus riances (14) See what is raid on ijiis Stibjcd by tlie Author of des pientres galands. En fin plus les anions que la t\iQRepxhnt Jur laPoefle fur la Peinture, T. 1. SeB. i. pncfie & la peinture depeignenr, auroient fait foufrir en La reprefeotation pathetique du factifice de fa lille de nous Thumanite, ft nous lesavionsvuesveritablement, plus Icpthe enchallee dans uu^ bord.tu doree, fait le plus bei les imitations que ces ai 's en prerciitcnt cnt de pouvoir ornatitent d'tin cabinet c]u'on a voulu rendre agrcabic pat iur nous pour nous attacher, c;^ Self. 5. O o The ch-wfVk.if„fe, producpil or excited Imita thm of human Life, prejiippofe a moral and publick Snife. Avdrccipro- cafly^ from rheRe- a/iff ofa?mraIan4 pMickSeitfe^ittnay beihferrcd^ihatQiir chkfPkafure!, ari- fii:g (tovi Imilatioji! or Viaiom, muft he of a»maUnHfoc,al 14- Essay on the Rife, Progrefs, Plcafure from focia! Affeflions, and virtuous Excixifcs ; and that our Frame and Conftitutioii is fecial and virtuous, or deeply iiitcrcfted by Nature itfelf in behalf of Worth and Merit. Reciprocally, if our focial Affcdions, and a publick Senfc, arc the Sources of our hii^hcfl: SatisfaiSions in real Life, then mufl thofe Fidtions or Rcprcfcntations which are fuitcd to them, afford us the highcft Plcafnrc, the bcft and moft agreeable Excrcife. On the one hand, if we confult our natural Difpofitions, as thcfe difcovcr themfclvcs on other Ocea- fions, we mull: quickly be led to a right Judgment, concerning the Imitations which, in Coufcqucncc of our Frame, mull needs be moft acceptable and pleafant to us: On the other hand, if we attend to the Effcfts of Imitation on our Minds, we mufl immediately perceive the Reality of Virtue; or that there is a natural Difpofition inns to be delighted by Ibcial and publick Affcftious, in a Degree far fuperior to all the Enjoyments of mere Senfc. Thus the Excellence and Naturalucis of Virtue may be inferred from the Excellencies that belong to the fine Arts; and if the former is owned, there can be no Dilputc wherein the latter coniift. TO thefc ObfciTations it may be juftly added, that there is a very great Pleafurc in rcfiedting on Arts and Works of Genius and Fancy, as the skilful Produftions of human Invention. For fo great, fo noble, and afpiring hath our Creator made the human Mind, that whatever gives it a high Idea of human Power and Perfection, or of the Force of our intcllcdVual Faculties, to rife to noble Produdions, fills it with a moft tranlporting Satif- faftion : It exalts the Mind, makes it look upon itfelf with laudable Contentment, and infpircs iti witli worthy Ambition. Wc arc fo framed as to be highly delighted with what may be confidered as oar own Acquifition, or the Product of our own Powers, that we may be thereby impelled to exert and improve ourfelves. And hence it is that wc cannot confidcr the W orks of human Genius, the great Actions of Men, or the ufeful Arts difcovered and perfcdcd by them, without faying to ourfelves, with a fccret kind of joy. Such Works are Men capable of performing, if they take fuitable Pains to improve the Faculties Nature hath kindly conferred on us! Man h fo wads as to be highly delight- nd iviih whatever prefints him luith an Idea of the Per- feSioK to luhkh hu- man Nature may be advanced hy due Culture. Some Comhfons drawn from the preceding Principles: Man it fitted and qualified for a very jtoble Degree of Hjppinef. Not for fenfrive, hut rationaliiappi- nefs. Uappincf not un- tquaUy diflributed hy Nature, upon Suppoftion thai our thief HapMnefs is from -Reafju and Jn a good •we'/ ron- (fisuted Cover 71- 7>ieiiti even the loiuer Ranks of Mankind rjjiH haue thsPleafures arifwg, from Know/edge^ and front the f?ie ^rtf,!» a iiery con- fd^rable Degree. HAVING thus briefly fuggefted the chief Sources of our highcft and nobleft PIcafures, of whatever kind ; may we not juftly conclude, that Man is fitted by Nature for a verv great and noble Share of rational Happincfs and Perfection, by being made capable of con- templating and imitating Nature ! When wc confidcr the Pleafures the Scnfes arc able to afford us, in the way of common Gratification, as our chief Provifion and Allowance ; then it is no Wonder, that Men arraign Nature, and complain of herNiggardlinefs. Cut all that can be faid of the Impoflibility of attaining Happinels by fcnlual Enjoyments; what docs it prove, but that our Happiuefs lies not in thefc low Pleafures, and muft be derived from another Source ? It was truly kind in Nature, to accompany thofe Exercifes of oiu' Senfcs, which are reqnifite to uphold our organical Frame, with certain Degrees of rewarding PIcafure, and thofe that tend to hurt or dcftroy it, with certain Degrees of admonilhing Pain. Cut our Senfes are chiefly noble and dignifying, as they are fuited ro furniGi Ma- terials, and give Employment to Imagination, Invention, Art, Reafon, and Virtue, Our Eyes and Ears, (ays Cicero, arc fuperior to rirofc of the Brutes; bccaufc there is in our Minds a Senfc of Beauty and Harmony in fenfiblc Objefts, by means of which thcfe out- ward Scnfes may be improved into Inltrumcnts, or rather Miuiltcrs, of fcverai beautiful, higiily entertaining Arts (i f). Tis our intelleftual Powers, Taftes, and Senfcs that truly ennoble us 5 bccaufc, in Conicqucncc of thcfe, our outward Organs may be made, as it were, rational Sources of pure, rcafonable, and nncloying Pleafures, far beyond the Reach of merely fentitivc Beings. It may be faid. That if our chief Happmcfs docs indeed confift in Enjoyments of the rational kind, then are Mankind upon a very unequal Footing with regard to Happinefs. I anfwcr, That fomc Inequalities amongft Mankind, even in refpect of rational Powers, arc as abfolutciy necellary to the General Good, Perfection, and Beauty of the kind, as Shades in a Pidure, or Difcords in a mufical Compofition. But uotwith- ftanding tliele necelTary Inequalities, all Men may have the Pleafures of \'irrue and Religion in a very high Degree. Take Nature's Tath, a?id mad Opinion's Leave, All States can reach it, and all Heads concei%'e j Obvious her Goods, in no Extreme they dwell } There needs kit thinking right, and meanmg •■•Melll And mourn our various -Portions as we pleafcy Equal is common Senfe., and common Eaje. EffayonMan, Epif 4. SECONDLY, their having the Pleafures of natural Knowledge, or thofe the fine Arts afford, chiefly depends, as the Happinefs of a Syfl:cm of rational Beings muft do, upon Government rightly modelled ; upon a Conftitution, Laws, and Policies that have the Publick Good for their End, and arc duly adapted ro obtain it. But in fuch Socictv, or under good (15) De Nat. Deorim, lib. 2, No. 56 57 58, 59. Defn. hoji Ifb. 2, No. 34. Chap. 7. and 'Decline of Painting. good Government, the People will not be ai'[irici.-illy kept in Darknefs, but will be gcnc- rouOy provided with all the ncccflary Means of Education, with publick Teachers to inih-Lidt them in that wife and good Admiaillration of Providence, which they ought to approve, adore, and imitate, in order to be happy 5 and to recommend themlelvcs to the Divine Favour here or hereafter. In fuch a State Ignorance will not be look'd upon, eitiier as the Source of Religion, or of civil Submillion and Obedience ; and confequently, its Subjefts will not be hood-wink'd, or deny'd the Advantages of luftrudion in Virtue, the Rights of Mankind, and true Happincls. 143 I N the third Place, where the Arts are ducly encouraged and promoted, in the manner that hath been ahxady fuggcflcd, even the common People, like thole of Athens^ will be no Strangers to the Pleafures which the fine Arts are qualify 'd to give, by their Power to tcacli and reward Virtue, and to reproach and lligmatizc Vice, while all publick Places are adorn'd with proper Works of that Nature. THE Ancients had likewife good Reafpn to conclude, from this View of the human ^w^thn- Covdufs^i Nature, and of the Pleafures for which we are principally fitted by our Frame, that the ('>;"^y '>'S the Be- Author of Nature could not have implanted a Senfe of Beauty, Order, Grcatncls, and Zht^A'ild o-'e- Publick Good in us, were he not poflefled of it himfelf in the highcll and moll pcrfed aior ,Govi-rvor,.niJ Degree. Not only is it neccilarily true, faid they, that the firll independent Mind can '^I'^-'f^-'''' "/ have no Malice, becaufe fuch a Mind can have no ptivate Intcrcfl:, oppofite to or diftinct from that of the whole, his own Creation : Put a malignant Mind, an Enemy to Order, Beauty, Truth, and Goodncfs, could not poflibly be the Autiior of thofc noble and genetous Difpofitions which he hath fo deeply inlaid into our Conftitution, to be improved into Perfection and Happinefs by due Culture (16). Far from being capable of purfuing throughout all his Works, Order, Wifdom, and the grcatcfl: Good of the whole Syllem, he could not have difpofed and fitted us for deligiiting in the Contemplation and Purfuit of Beauty, Order, and publick Good. Without fuch a Difpolition in his own Nature, he could not have implanted it in his Creatures; becaufe he could not have had any Motive to implant it in them, but what mufi: be fappofcd to proceed from the Hkc Difpofition in himfelf : Nay, he could not have produced it, becaufe he could not have had any Con- ception of it. It was thus the better Ancients teafoned concerning the all-governing Mind; and confequently, they confidered the Contemplation of Nature as his W orkmanlliip ; due AfFedion towards him, and the Imitation of his Perfeftions and Works, as the principal Sources of human Happinefs ; as the Excrcifes and Employments that contlitute our fuprcmc Dignity and PerfeClion (17). ? and good CUT the Conclufions that belong more immediately to our Defign, are thofe that may oth^r cnnchfovt be drawn from the preceding Account of human Nature, its Powers and Capacities, with ^orenearlyrelati}?^ refpecl to Education and the polite Arts. Had not then the Ancients good Ground to ^cl^cen7f^Ed!f^'^f^ infer, from the Principles that have been explained, that it ought to be the great End of on,andthi^ h^flMe. Education, to improve our natural Senfe of Beauty, Order, and Greatncfs, and fo to lead '^"d of impro'vins to juft Notions of Nature, Conduct, and Arts : And that good Tafte in all thefe mufl: be the fame, and can only be cultivated and pcrfeded by uniting all the liberal Arts and Sciences in Education, agteeably to their natural Union and Connexion ? All the Atts, iaid they, however divided and diftributed, are one ; they have the fame Rule and Standard, tend f 16) Sec M.^T!!c}ihiiif'sMr-difat!o7ii, Col.'kr's Tranjlation, p. 52, c. 27. Now c;in any Man diftover Symmetry in Iiis own Sliape, and yet take the Univcrfe for a Heap uf Rubbilli ? (§-c. So p. 57. c. 4.0. and p. 85. book 6. As Miticr is all of ir pliable and obfequious. To that So- vereign Reafun which gives Laws to ir, has neither Mo- tion nor hiclinaiion to bnng an Evil on any thing. This great Being is no way unlriendly or hortilu in hisN.icure. He form^ and governs all Lhinf^': but hurts nothing That inteltigenr Being that governs the Univerfe, has per- feift Views of every thing '• his Knowled^^e penetrates the Quality of Matter, and fees through all the Confequenccs .of his own Operations. This univerfal Caufe has no foreign Adiftant, no interloping Principle, either without: his Jurifdiction, or within it. And fee what he quotes Ironi Plato, p. 121. See how Socrates writes to the latne Purpofe. Xe?iop. Aponm. Soc. p. 4. c. 4. (17) Compare wi'h the PafTage quoted from Antotti- 7/us, Cicero de Nat. Dcoriim-, lih. 2.. No. 6. Si enim eft aliqtiid in rerum natura quod hominis mens, quod raiio, quod vis, quod poieil'as humana efHcere non poflit; eft ccrte id quod illud efiicir, homine melius. Atque res cceleftes, omnefque e^, quarum eft ordo fcmpiternus, ab homine confici non poffunt. Eft igitur id quo ilia confi- ciuncnr, homine mehus. Et taitien ex ipfa hominum fblsrtia eiVe aliquam mentcm, et eatn quidem acriorcm, e: divinam exiftimare debemus. Unde enitn lunc homo arripuit? ut ait apud Xenophonrem Socrates Ratio- nem, mentem, conlllium, cogiiaiionem, prud;n:iam, ubi inveiiimus? unde (bftulimus ? — - — ■ Quid vero.^ taiira rerum confcritiens, confpirans, continua!acognatio,qu;'ni non coget ea comprobare? —— Htec ita fieri omnibus inter fe concinentibus mundi partibus proteiiro non poi- fcnt, nifi eo uno divino, & continua;o fpiritu contineren- tLir, No. 10. Natura eft igitur, qua: contincat mundLiin omncm, eumque tueatur, & ea quidem non fine fenfj atque ratione. Omnem enim naturam necefTc eft, qu;e non foiiraria fit, neque limplex, fed cum alio juni^ta atque connexa, habere aliquem in fe piincipaium, ut in homine mentcm, in bcllua quiddam fimile menus. Iraquc necc-11^ eft illud etiam, in quo fit naturo: lotiiis principarus, tile omnium optimum, omniumque rerum poiefta;e domi- naiuque digniHimum, ^c. Ko. 55. Hi autem dubiiar.t dc mundo, cafuneipfe fir effectus, aut necelTitaie aliqua- an ratione ac mente divina : Et Archimedem arbitrantur plui' valuilTe in imitandis fphxrx converfionibus, quam natu- ram in efficiendis, prxfertim cum mukis partibus finr ilia perfefta, quam hsc fimulata folcrtius. Atque illeapud Allium paftor, qui navcm nunquam ante vidiflet, ut procul divinum, & novum vehiculum, e monte confpexit. Ex lis enim naturis quK erant, quod cffici potuit optimum efFeflum eft; doceat aliquis potuiffe melius. Sed nemo unquam docebit: Et fiquis corrigcre aliquid voler, auc dererias faciet, aur id quod fieri non potuit defiderabic, 144 Essay on the Rife, Progrefs, lend to the fame End, and mufl: therefore be mutually afliftant to one another, in pro- moting and improving that good Temper and good Tafte, the Foundations of which Nature hath laid in our Minds, but hath left to Education and Culture to finilli and bring to Per- fciflion ; that Men may be early wife, good, and virtuous, capable of the beft Purfuits ■and Employments, difpofed to Icck after them, and aycrfe to every Pleafurc and Amufe- ment that finfcs and degrades the Man. If Education aud Inftrndion are not in the leaft calculated to. fit for Life and Society, or to give a juft Notion of PleafLirc, Wortii, and Happincfs, what is its Cufuiels; or what Name can be given to its Dcfigns and Pretenlions? But if this be really the Scope it ought to aim it, how can that End be more cfFecfually accomphlhed, than by exercifurg our Rcafon and out Senfe of Truth and Ikauty about a Vai'icty of proper Objects ; and by obfcrving the Samenefs of Truth aud Beauty in every Subjed, throughout Nature, Life, and all the Arts (18) ? jiluflrationsofthis^ THE Aucicnts confidered Education in a very cxteiifivc View, as comprehending all i>y canfejering^ hoi^ thc Arts and Scicnccs, and employing them all to this one End ; to form, at the fame time, fiv^ScicJc'et J/re the Head and thc Heart, thc Scnfcs, thc Imagination, Reafon, and the Temper, that thc Taught hy the And- wliolc Man might be made truly virtuous and rational. And how they managed it, or euts^ or ought to be thought it ought to be managed, to gain this noble Scope, wc may learn from their way ^""^ of Handling any one of thc Arcs, or of Difcourling on Morals : Whatever is thc more in> mediate Subjcd of thcit Enquiries, we find them, as it hath been obfcrved, calling upon all the Arts and Sciences for its Embelliihment and Illuftration. Let us therefore conftder a Httle the natural Union and dole Dependence of thc liberal Arts, and enquire how thefe were explain'd by the Ancients. Oratory yba-xphilo- IF WC fuppofc teaching Oi'atoty to make one principal Part of liberal Education, as fopbkai anArt,ind ^y^g jullly confidcrcd at Athens and Rome to do, while thcfe States were frcej ought it ^aKd'^1intin°^' ^'^ ^ tauglit, as aucieut Authors handle it, by tracing and unfolding thc Foundations try at ai}> iit^. ^^^^^ . ^^^^ Natutcs, iu the Texture and Dependence of our Affedions, in our Scnic of thc Beautiful, the Sublime, and the Pathetick in Sentiments ; and in our Senfe of Harmony, even in Sounds, Phrafcs, and the Cadences of Periods? Ought not the Teachers of Oratory to dilUnguifh true Ornaments, and the native, genuine EmbelUnimcnts and Graces of Speech, from thc Eilfc, affedcd, and unnatural; thc Force which Sentiments give to Language, when it is elevated by them, from thc pompous and fwelling, that is empty Sound? Is it not his Bufinefs to criticife tlie various Sorts of Evidence and Argu- mentation > and to teach to dticern Sophiftry, artful Chicane, and falfc Wit, from true, clear, folid Reafoning, Strength of Argument, and Wit that is able to ftand thc Tcft of grave Examination ? Now, mufl: he not, for that End, compare Oratory with Poetry, and both with thc flmple didadick Manner of Teaching ; and enter profoundly into the Strudure of the human Mind, and into thc Nature of Truth and Knowledge, as Arijiotle^ Cicero, and §lnintilian have done ? And are not the properefl: Subjcds for the Exercifes that are requilite to form thc Orator, as they have hkewife fliewn, truly philofophical and moral; fuch as regard Nature, Society, Virtue, Laws, and thc Intcrcfts of a State, that of one's own Country in particular ? The whole Art is therefore truly philofophical, and it cannot be taught without having Recourfe to thc other Sciences, in order to explain its Rules, or fet its Beauties in full Light. It muft be ever borrowing from moral Philofophy, that is often called by Cicero, for that Reafon, The Foimta'm of Oratory. And it hath been already remarked, that we owe our Knowledge of the Painting and Sculpture of the Ancients, in a great meafure, to the excellent Ufe ancient W'riters on Oratory and Poetry have made of the former in explaining thc latter (i f>). Poetry, hvw ph:!o- fophkalnnArt^and its relation to Ora- tory and Fah;th,'g. IF the Art of Poetry ought to be taught, mufl: not the Teacher proceed in thc fame manner, by tracing its foundations in our Nature; fhcwing its bell Subjcds, and propcrclt Ornaments, its various Kinds, and the refpcdive Provinces and Laws peculiar to each Sort ? And can this be done more agreeably or advantageoully, than by comparing Poetry, which gave Rife to Oratory, with its own Oflrspring, and thc other Sifl:cr-Arts Painting and Sculpture, as ^r///f^/(? hath done (20). THE (iS) Compare thc P-afTages of Cicero already quoted, concerning rfie narural Union of the Sciences, with what he fays, De fn. I. 4. No. 13. where Educarion is com- pared to the Arc of Phidias. Ut Phidias poteit a prin- cipio iiifticuere iignum, idque perlicere: Potert ab alio inchoatum accipere ac abfolvere : Huic eft fapieiitia li- milis. Non enitn ipfa genutt hominem, fed accepic a natura itichoatum. Hanc inmeiis deber inftitutum illud quaii fignum abfolvere. Qualem igitur natura hominem inchoavit ? Et quod eft miiniis, quod opus fapientix? Quid eft, quod ab ea abfolvi ac perfici dcbeat, (1 nihil in eo quidem perficiendum eft, pneter raEionem ? Ne- cclTe eft, huic ultimum eHe, cx virturc vitam iingere, Ratioriis enim perfeilio eft virtus. Si nihil nifi corpus: fumma erunt ilia, valetudo, vacuiras doloris, pulchntu- do, &c. Nanc de hominis fummo bono quarrhur. Quid ergo duhicamiis in tota ejus natura quxrere quid fit cf- fci^tuni r See likcwile what he lays of the Pleafures of the Budy, De fin. lib. 1. No. 33. Flait igitur vokiptas corpofis, et prima qu^que avolac, fcepiufque rclinquic caulas pccnitendi, quam rccordandi- Ad altiora qu^i:- dam et tnagnilicentioraj raihi crede, Torquatij nati fu- nuis, S:c. (19) This is Arifiolltsy Cicero's, and ^intilia?i\ Me- thod. Sec iikcwirc-Lo?.'gwtfJ, SeB. 39, Harmoniamnon modo natura ad perlijadfndum deie^tanflumque elfe ac- commodatamjfedad implendosgenerofoquodam celloqtie fpiritu, &C. f2ol Sec his Poetichs, and Andreas Minturnus de Faeta, his beft Commentator. Chap. 7. and "Decline 0/ Painting. THE t\vo laft may therefore be taught, as it were by the by, in explaining tire other ■Arts. But if one was to difcourfe on them, or teach them by themfelvcs, it liatli already appeared, that they may make Reprifals itpon Oratory and Poctrv; or that tlie propereft Similitudes and Illuftrations in that Calc mutt be brottght from thcfe Arts. , T I S certainly one main End of Education, to form betimes a Taftc fot reading Hiftory ■with Intelligence and Rcfleaion. and not merely for Diverfion : Now what elfe is this but teaching or inuring Youth to make ufetul Remarks, in reading Hiftories, upon Men and Manners, Actions, Charaftefs, and Events ; the moral Springs and Caules of moral Appearances; the Beauty of Virtue, and the Deformity of Vice; the good Conlequences of the one, and the bad Effcfts of the other > And is not this true Philofophy, Ibund Politicks, and the Knowledge of Mankind ! But what could have a greater Influence in attraaing the Attention of young Minds, or imprefling remarkable Paflages of Hiftory upon their Me- mories, than to Ihew them how the Poets have dcfcribed the fame or like Aclions, and how the Pencil alfo hath, ot may do it ; and to accuftom Students to entertain themfclves m reading Hiftory, with Reflexions on the different Methods, the leveral Arts, Philofo- phy, Hiftory, Poetry, and Painting, confpiring to the lame End, take to inftil the fame ufeful important LelTons? To this we may add, that, in reading Hiftoty, the Progrcli or Decline of Arts ought not to be flightly paflcd over ; fince thcfe afford fiire Symptoms of riling or falling Liberty in any Country, that well deferve the matureft Confidcration. IF Logick is taught, what clfe is its Province, but to examine the Powers and Faculties of our Minds, their Objeds and Operations ; to enquire into the Foundations of good Tafte, and the Caufes of Error, Deceit, and falicTafte; and for that EftccT: to compare the feveral liberal Arts and Sciences with one another, and to obfervc how each of them may derive Light and Afliftancc ftom all the reft! Its Bufinefs is to give a full View of the natural Union, Connexion, and Dependence of all the Sciences, and fo to complete what 1 have been now attempting to give an imperfea Sketch of, and as it wete to draw the firfl Outlines (21). B UT if we confider what Philofophy is, we fliall yet more fully perceive what excel- lent Ufc may be made of the Arts of Defign in Education; if teaching either natural or moral Philofophy in the propereft Manner be any Part of its Aim and s'cope. Philofophy IS tightly divided into natural and moral ; and in like manner, Pifliures are of two Sorrs, natural and moral : The former belong to natural, and the othct to moral Philofophy! .For rf we refleft upon the End and Ufc of Samples or Experiments in Philofophy, it will ammediately appear rhat Pidures are luch, or that they muft have the fame EfFeft. What .^rc Landfcapcs and Views of Namte, but Samples of Natures vifiblc Beauties, and for that Reafon Samples and Experiments in natural Philofophy > And moral Pifturcs, or fucli as ■reprefcnt Parts of human Life, Men, Manners, Affiftions, and Charafters ; are they not Samples of moral Nature, or of the Laws and Connexions of the moral World, and there- lore Samples or Experiments in moral Philofophy ; In examining the one, we aft the -Part of the natural Philofoplier ; and in examining the other, our Employment is truly moral ; becaufc it is inipoffible to judge of the one, ot of the other, without comparing them with the Originals from which they arc taken, that is, with Nature : Now what is Philofophy .but the Study of Nature .> And as for the Advantage of ftudying Nature by means of -Copies, 'tis evident : For not only does the double Employment of the Mind, in comparing a Cofiy with the Original, yield a double Satisfadion to the Mind ; but by this compatin| Exercile, the Original is brought, as it were, nearer to our View, and kept more fteadily before us, till both Original and Copy are fully examined and comprehended : The Mind IS pleafed to petceive an Objed thus doubled, as it were, by Reflexion ; irs Curiofity is excited narrowly to canvafs the Refemblancc ; and thus it is led to give a clofcr and more _accui-ate Attention to the Original itfclf. Painting and Sculp- ture^loQ'-jsveaTly re- lated to a!ttbs other Arts^ andhoiu they may he taught by the by, in explaining Oratory or Poetry. Of teaching Hi/}ory, and how ths 'StudV of it comprehendi Philofophy, The true befgn of Logick is to point out the commonVni- 071, Dependence, and Co7inexio7i of all the jirts and Sciences. TheVfifuhefsofthe Depg7ii7ig ^rts il- luftratedmorefrlly, by Jheiuing their re-, latioii to natural and moral Philofo^ phy^ Pi{lures being Sari/pks or Experi- ments either in the 07ie or the other. The Advantages <^ fiudying Nature liiith the Help of Imtatioris. IF Piduics of natural Beauties aie exacT: Copies of fome particular Parts of Nature, or clone after tiicm, as they really iiappcncd in Nature; they are in that cale no more than Juch i^ppearances more accurately preferved by Copies of them, than they can be by Ima- gniation and Memory, in order to their being contemplated and examined as frequently and as ferioufly as we pleafe. Tis the fame as preferving fine Thoughts and Sentiments by \Vrituig, without trufting to Memory, that they may not be loft. Tiiis is certainly too evident to be infifted upon. On the other hand, if Landfcapes ate not copied from any particular Appearances ill Nature, but imaginary ; yet, if tiiey are conformable to Nature's Appeai-anccs and Laws, being cbmpofed by combining together fuch fcattcred Beauties of >;ature as make a beautiful Whole; even in this cale, the Study of Pidures is ftill the Study of Nature itfelf : For if the Compofition be agreeable to Nature's fettled Laws and Pro- portions, (; i) Sec [he PalTagcs referred to in the Preliminary ilemark. Miltoji particularly in his E% on Education. P p LufidfcapesorthevJt of Nature's nifible Beauties are Sam- ples or ExperimeTtit in natural Philofa- phy, whether the} are Copies after Na- ture) or i/r/aginary CompaftiO/is. An Essay on the Rife, Progrefs, portions, it may cxift : And all fuch Rcprefentations Ihcw what Nature's Laws would produce in fuppofed Circumftanccs. The former Sort may therefore be called a Regiftct of Nature, and the latter a Supplement to Nature, or rather to the Obfervcrs and Lovers of Nature. And in both Cafes Landfcapes arc Samples or Experiments in natural Philo- fophy : Bccaufe they fervc to fix before our Eyes beautiful Effcds of Nature's Laws, till \vc have fully admired them, and accurately confidcred the Laws from which fuch vifibk Beauties and Harmonies refulr. TH O' one be as yet altogether unacquainted with Landfcapes (by which I would all along be undcrftood to mean all Views and Profpefts of Natiuc) he may cafily comprehend what fuperior Pleafurcs one murt have, who hath an Eye formed by comparing Landfcapes with Nature, in the Contemplation of Nature itfclf, m his Morning or Evening Walks, to one who is not at all converfant in Painting. Such a one will be more attentive to Na- ture, he will Jet nothing efcape his Obfcrvationj becaufe he will feel a vaftPlcafure in obferving and chuftng pidurefque Skies, Scenes, and other Appearances, that would be really beautiful in Pictures. He will delight in obferving what is really worthy of being painted ; what Circumftanccs a good Genius would take hold of; what Parts he would leave out, and what he would add, and for what Reafons. The Laws of Light and Co- lours, which, properly fpeaking, produce all the various Phenomena of the vifible World, would afford to fuch an incxhauftible Fund of the moft agreeable Entertainment; while the ordinary Spectator of Nature can hardly receive any other Satisfaction from his Eye, but what may be juftly compared with the ordinary Titiliation a common Ear feels, in refpeft of the exquifite Joy a refined Piece of Mufick gives to a skilful, well-formed one, to a Perfon infti'u£tcd in the Principles of true Compofition, and inured to good Performance. NOR is another Plcafure to be palled by unmentioncd, that the Eye formed by right Inftrudioii in good Pictures, to the accurate and careful Obfervance of Nature's Beauties, will have, in recalling to mind, upon feeing certain Appearances in Nature, the Land- fcapes of great Maftcrs he has feen, and their particular Genius's and Taftcs. He will ever be difccrning fomcthing fuited to the particular Turn of one or other of them \ fomething '\\\^t2u'Titmn,2.7ouJin, Sahator Rofa, ?i Claud Lorrain, haih already reprefented, or would not have let go without imitating, and making a good Ufe of in Landfcape. Nature would fend fuch a one to Pidures, and Piifturcs would fend him ro Nature : And thus the Satisfadtiou he would receive from the one or the other would be always double. 1 N Ihort, Pictures which rcprefcnt vifibie Beauties, or the EfFe£ts of Nature in the Vifiblc M^orld, by the different Modifications of Light and Colours, in Confequence of the Laws which relate to Light, are Samples of what thefe Laws do or may produce. And therefore they are as proper Samples and Experimenrs to help and aflift us in the Study of thofe Laws, as any Samples or Experiments arc in the Study of the Laws of Gravity, Elafticity, or of any other Qiiality in the natural World. They are then Samples or Experiments in natural Ph'ilolbphy. The fame Obfervation may be thus fet in another Light : Nature hath given us a Senfe of Beauty and Order in vifiblc Objeds ; and it hath not certainly given us this or any other Senfe, for any other Reafon, but that it might be improv'd by due Culture and Excrcife. Now in what can the Improvement of this Senfe and Tafte confift, but in being able to chufe from Nature fuch Parts, as being combined together according to Nature's Laws, would make beautiful Syftems ? This is certainly its proper Bufinefs and Entertain- ment: And what elfe is this but Painting, or a Tafte of Painting ? For Painting (22) aims at vifible Harmony, as Mufick at Harmony of Somids. But how elfe can either the Eye or the Ear, the Senfe of vifible or audible Harmony, 'be formed and improved to Perfedion, but by Excrcife and Inftrudion about thefe Hannonics, by means of proper Examples? Pidurcs, therefore, in whatever Senfe they arc confidcred, have a near Relation to Philo- fophy, and a very clofe Connexion with Education, if it be any Part of its Defign to form our Tafte of Natiu'c, and improve our Senfe of vifiblc Harmonics and Beauties, or to make us intelligent Spcdators and Admirers of the vifiblc World. BUT I proceed to confider hiftorical or moral Pidures, which muft immediately be acknowledged, in Confequence of the very Definition of them, to be proper Samples and Experiments hi teaching human Nature and moral Philofophy. For what are hiftoricai Pidures, [22) There Reflexions I owe to Thtarch : Haud om- Painrcr : Aiebat rtides & arcis ignaros fpeaatores fimiles nibus idem eft judicium videndi: Etenim vifus vifu, ut effe corum, qui magnam fimul turbam faluranr; Tcitos auditus audico, vcl natura pcrfcdiar eft, vel arte exercita- autem fic arcificii ftudioros, eorum, qui fingulatim obvios rior ad pulchri explorarionem. Ad harraonias nimirum compeUant. Illos nempe non exaite in arriEicum opera & moduios murici ; ad formas veio & Tpecies judicandas infpicere, fed informem quandam opcrum concipere ima- piaores ingenio fenfuque plus valent. Quern ad mod urn ginem. Hos autem cum judicio partes operis perluftran- iiliquando Nicomachum refpondifTe fcrunc cuidam idi- tes, nillil infpedatum, nihil inobrervamm relinquere eo- ors:, qui Helenam minime pulchram fibi videri dixerat, rum qui vel bene vel male fi£t:a funt. Prorfus quemad- Sume oculos meos, & dca tibi videbitur. Ex Flutarcho modum communis quifpiam auditus dici re6te queat, qui deAvioreStobx!,Jer}no6\-, deVenere i^AmoTe. ■ tanmm voces valer dilcernere: qui vcro fonos, non jam So Pluiarchj 4e $e?iio SocratiSj ab hiiliot fpeaking ot a amplius communis, Ted arcificiofus. CT Ex.psT:tnents in word Vhihfiphy; «W the Vfefulrrcjs of futh Saraples ia teaching Morals. Chap. 7- <^^^^ Decline of Painting. Pidurcs, but Imitations of Parts of iiuman Life, Rcprcfcntations of Charatflcrs and Mail- ners .' And are not facit Rcplrcfcntations Samples or Specimens in moral Philolbphj', by which any Part of human Nature, Or of the moral World, may be brought near to out View, and fixed before us, till it is fully compared with Nature itfelf,and is found to be a true Imat^c, and confcquently to point out Ibme moral Conclufion with complete Force of Evi- dence? Moral Charaacr's and Actions defcribed by a good Pocr, arc readily owned to be very proper Subjcfts for rhe Philofopheir to examine, and compare with the human Heart, and the real Springs and Confequences of Aftions. Every one confeiits to the Truth of what Horace fays on this Subject ; Trojani belli fcriptorem, maxime Lolli^ 'J^um tu declamas Rom/e, ^ricnejle relent : Qui, quid Jit fulchrum, quid turf e, quid utile; quidnim, 'Pleriius ac •melius Chryfiffo if Crantore dicit. Hor. Ep. L. i . Ep. J. But moral Pifturcs muft be for the fame Reafon proper Samples in the School of Morals ; Tor what Paflions or Aftions may not be rcprefented by Pidures ; what Degrees, Tones, or Blendings of Affcftions ; what Frailties, what Penances, what Emotions in our Hearts; what Manners, or what Charafters, cannot the Pencil exhibit to the Life ! Moral Piftures, as well as moral Poems, are indeed Mirrours in which we may view our inward Features and Complexions, our Tempers and Dilpofitions, and the various Workings of our Affec- tions. 'Tis true, the Painter only rcprefents outward Features, Geftures, Airs, and Atti- tudes ; but do not thefe, by an univerfal Language, mark the different Aifeftions and Dif- poiitions of the Mind ! What Charafter, what Paflion, what Movement of the Soul, may not be thus mod powerfully exprcflcd by a skilful Hand! The Defign of moral PiSurcs is, tiicreforc, by that Means, to fhcw us to ourfelves j to reflcft our Image upon us, in order to attraa our Attention the more clofcly to it, and to engage us in Converfation with our- felves, and an accurate Confidcration of our Make and Frame (23). A S it hath been obferved, with refpeft to Landfcapes, fo in this Cafe likewife, Piftures may bring Parts of Narure to our View, which could never have been fecn or obferved by us in real Life- ; and they mull engage our Attention more clofely to Nature itfelf, than mere LeBons upon Nature can do, without fuch Afliftance ; nothing being fo proper to fix the Mind, as the double Employment of comparing Copies with Originals. And in general, all that hath been faid to llicw that Landfcapes are proper Samples or Experiments in natural Philofophy, as being either Regiftcrs or Supplements to Nature, is obvioufly applicable to moral Piftures, with relation ro moral Philofophy. Wc have already had Oecalion to remark, that it is becaufe the Poet and Painter have this Advantage, that whereas the Hiflorian is confined to Faft, they can feleft fuch Ciicumftances in their Repre- fentations as arc fittcft to inftruft or move ; that it is for this Reafon Arijiotle recommends thefe Arts as better Teachers of Morals than the beft Hiftories, and calls them more catholick or univerfal. I (hall only add upon this Head, that as certain dclicare VefTels in the human Body cannot be difcerncd by the naked Eye, but mull be magnified, in order to be rendered vifible ; fo, without the Help of Magnifiers, not only feveral nice Parts of our moral Fabrick would efcape our Obfervation, but no Features, no Cha- rafters of whatever kind, would be fuHieiently attended to. Now the Imitative Arts become Magnifiers in the moral way, by means of chufing thofe Circumftanccs which are propcrcfl to exhibit the Workings and Confequences of AfFcftions, in the fttongcd Light that may be, or to render them mofl flriking and confpicuous. All is Nature that is rcpre- fented, if all be agreeable to Nature : What is not fo, whether in Painting or Poetry, will be rejeaed, even" by every common Beholder, wirh G^uodcunqiie ojlendis mihi fie, incre- Mus odi. ' But a Fidion that is confonant to Natuie, may convey a moral LelTon more (irongly than can be done by any real Story, and is as furc a Foundation to build a Con- clufion upon ; flnee firom what is conformable to Nature, no erroneous or feducive Rule can be inferred. THUS, theiefore, 'tis evident that Piftures, as well as Poems, have a very near relation lo Philofophy, a very clofc Connexion with moral Infttuaion and Education. THE chief Advantage which Painting hath above Poetry, confifls in this : nt Advautis if SePniuS Tamtia^ ttbovl " Piilrj. izi) Confidcringwliat lias been fo often faid, upon the hie, (i propius attendimus, et ethici philofophi, et hifto- Union of Che Sifter Arcs v/ith Philofophy, ic may not be rici, & poecE finis eft, ■ Quare cendcjnrquidem eodecn aniifs to refer my Readers Co rhe Confeflion of one of che omnes quodammodo, fed diveriis tamen inneribus . Sifter Arts, tiiat are both fo excellent, each in its Province, 'ris worth while to obfervc, with regard to both, that human Nature may be better and more fccurely learned from their Reprefentations, than from mere Syftems of Philolbphy, for a Reafon that hath not yet been mentioned ; becaufe both Poets and Painters exhibit AfFcftions and Charafters as they conceive, or rather as they feel them, without fuffcring themfclves to be byaflcd by any Scheme or Hypothcfis. They follow the hiipulfe of Nature, and paint as fhe diftates : Whereas the Philofopher has often a favourite Suppofition in View, and is thereby tempted to ftrain and wiredraw every Appearance into a Congruity with, if not a Confirmation of his peculiar Syftem. mm ihry irrt mt- AND let evcn that be as it will, it is obvious, from what hath been faid of the Affinity T/fc 1L7" "" Po'^tfy ^'""l Painting, that the Imagination, by being convcrfant with good ta t t tiier. Pictures, mull: become abler to keep Pace with the Poet while he paints Aftions and Cha- radcrs ; and on the other hand. Acquaintance with the Works of good Poets muft add mightily to one's Pleafure in feeing good moral Paintings ; fincc by that Means rhe proper Sentiments each Figure feems difpofed, as it were, to fpeak, in a good Pidure, will readily occur to the Spcflator, in the propcrcft and moft afFefting Language. The fame will like- wife hold with regard to Landfcapes : For, on the one fide, as a poetical Defcription of any natural Beauty will be better rclilhed, in Proportion a', the Reader, in Confequenee of being accuftomed to ftudy Nature, and compare good Pidurcs with it, is abler to paint in his Imagination ; fo, on the other fide, fine Profpefts of Nature's Beauties will be more highly delightful, when they recall to the Mind a beautiful lively Defcription of it, or of any like Profped in fome good Poet. Moral Ulitatmis BUT the Conelufion I have now chiefly in View is, that good moral Paintings whe- "f''v,Jd,"f7f Z Words, or by the Pencil, are proper Samples in moral Philofophy, and ought uuhJg'TJalm- therefore to be employed in teaching it, for the lame Reafon that Experiments arc made hjaibj. ufe of in reaching natural Philofophy. And this is as certain, as that Experiments or Sam- ples of Manners, Affedions, Aftions, and Charaftcrs, muft belong to moral Philofophy, and be proper Samples for evincing and enforcing its Doctrines ; for fuch arc moral Paintings. WHEN one confiders moral Philofophy in its true Light, as defigned to recommend Fortitude, Temperance, Sclfdcnial, Gencrofity, Publick Spirit, the Contempt of Death for tlie lake of Liberty and general, Happinefs, and all the Virtues which render Men happy and great ; when moral Philofophy is confidered in this View, how many Pidtures muft immediately occitr to thofe who are acquainted with the bcft Works of the great Mafters, that naturally, and as it were ncceftarily, call up in the Mind the moft virtuous Sentiments, and noblcft Refolutions, or that are qualified to operate upon our Minds in the moft wholfome, as well as agreeable Manner? And how many more Subjcds might eafily be named, that if well executed by a good Pencil, would have the like excellent Effeds ! Sturral paurt: 5 T is indeed juft Matter of Regret, that at all times moral Subjefts have been too much pro/eTssmfl";' "cglcfted, and Superftition hath had too great a Share of tire Pencil's marvellous Aft. But tfatl^ris Mtirah. hath not hct Siftcr Poetry had the fame F.ire And, while I cannot forbear making this Complainr, yet, to dojuftice to Painters antient and modetn, I muft own, that at this very Moment, my Imagination being carried with Tranfpiort thro" the Pifturcs I have fccn, or read Defcriptions of; one calls upon me, in the ftrongeft manner, to fubmit to the cruellcft Totments, rather than forego my Honour, Integrity, Country, Religion and - ■ Confcience : Another, methinks, enables me to prefer Continence and Self-command to ■ the higheft Delights of Senfe. One fills my Soul with the nobleft Opinion of Publick Spirit and Fortitude, and the fincercft Conrcmpt of a fclfilh mercenary Temper : Anorher raifcs my Abhorrence of bale, ungenerous, cruel Luft. One warns me to guard againft - ■ Anger and Revenge, Ihewing the Defttuition that is quickly brought upon rhe Mind by every unbridled Pafiion : Another makes me feel, how divine it is to conquer ourfclves, forgive Injuries, and load even the Unthankful with Benefits. In one, I fee the Beauty of Meeknefs {z^) Flata Tieli. Arijl. Fsst. Flutarch. hi SimojiUs. So likewife Hprare ; Malum cji ^ilfura pasma. Chap. 7. and Decline of P a i n t i n d . H9 Mtckncrs andGoodnefs; in another, the Fitmncfs and Stcadincfs that becomes a. Patriot in the Caufc of Liberty and Virtue, and it infpircs me with the moft heroick Sentiments. On one hand, I am loudly called upon to examine every Fancy and Appetite, maintain the Mafterlhip of my Mind, and not raihly to truft to the moft fpccious Appearances ot Plea- furc ; On the other, 1 fee and tiemble at the direful Confcquenccs of the leaft immoral indulgence. WITH what a Variety of human Nature doth one admirable Piece prcfent me (if) ; where almoft all tire different Tempers of Mankind arc reprcfented in a polite elegant Audience to a truly divine Teacher! 1 fee one incredulous of all that is laid; another wrapt up in deep Sufpcnfe : One fays, there is fome Rcalon in what he teaches ; ano- ther is unwilling to give up a favourite Opinion, and is angry with the Preacher for attaekin.' it: One cares for none of thcfe Things; another Icofts ; another is wholly con- vmced, and holding out his Hands in Rapture, welcomes Light and Truth ; while the (^'C; neraliry attend and wait for the Opinion of thofc who arc of leading Charafters in the Al- femblv Who can behold, unmoved, the Horror and Reverence which appears in that whole Aftcmbly, where the mercenary Man falls down dead ! With what Amazement doth that blind Man recover his Sight ! How do thofe Lame, juft beginning to feel Life ui their Limbs, ftand doubtful of their new Strength ! How inexprelllble is the gracelels Indignation of that Sorcerer who is ftruck blind ! But how lhall 1 figmfy by Words, the deep°Peclin» which thcfe excellent Men have of tlie Infirmities which they relieve, by Power and Skill which they do not attribute to thcmfelves ! Or the generous Diftrefs they are in when divine Honours arc offered to em ! Arc not thefe a Reprefcntation in the moft exquifltc Degree of rhc Beauty of Holinefs ! As for that inimitable Piece, in which is drawn the Appearance of our Saviour, after his Refurrcftion, who will undertake to dcfcribe its force and Excellency ! Prcfent Authority, late Suff'ering, Humility, and Ma- iefty defpotick Command, and divine Love, are at once fettled in his cclcftial Afpeft. The Fi.nires of the Eleven Apoftles are all in the PafTion of Admiration, but difcovercd dif- ferently" according' to their Charafters ; Tetcr receives his Mafters Orders on his Knees, with an Admiration mixed with a more particular Attention ; the two next, with a more open Ecftafy tho' ftiU conftrained by their Awe of the divine Prefenee : The beloved Dif- ciple who is rhe Right of the two firft Figures, has in his Countenance Wonder drowned in Love ; and the laft Perfonage, wliofc Back is toward the Speftator, and his Side toward the Prefenee, one would fancy to be St. Thomas, as abalhcd at tlic Confcience of his former DilBdcncc; which perplexed Concern, 'tis ponlble, the great Painter thought too hard a Task to draw but by this Acknowledgment of tlte Difficulty to defcribc it. The whole Work is indeed an Excrcife of rhe higheft Piety in the Painter; and all the Touches of a religious Mind are cxpreflcd in a manner much more forcible than cair poftibly be per- formed by the moft moving Elociuence. BUT when I rcfleft upon the Power of the Pencil to cxprefs Subjcfts of all Sorts, my Mind is immediately carried into another more diffant Gallery, and prcfents me with a moft beautiful Pifture of the fine Arts, z.i\io{ Apollo the God of Wifdom, their Fatherand Lawgiver See Afollo fitting on Mount VarmJJits, under a Laurel, with a delightful Fountain at his Feet; he is playing upon a muficallnftrument, attended by the Mufcs, and the moft famous Poets, with their immortal Crowns on their Heads, all in Pofturcs of Ad- miration, which is differently cxprcflid according to their Charafters. How lovely is the God and how charming doth hisMufick appear to be, by its wonderful Effeftsonall about him'' Upon his right Hand fits Clio with her Trumpet, ready to found with higheft Tranf- port the Praifcs of Gods and godlike Men : Upon the Left is Urmia, who, turned towards Jpollo liftens with Rapture to his divine Harmony ; fhc holds a Lyre in her Hand, and her cclcftial Robe Ihews her divine liirth, and high Employment. The other Mufes ftand be- hind in two Choirs, with Books and Masks ; and tho' each hath a diftinguiftung Counte- nance and Mien, they are evidently Virgins and Sifters, the Daughters oi Jove. Not far from Clio, on her riglit hand, ftands Homer, in a long Robe, full of Infpiration, and accompanying a Heroic Song with correfpondent Aftion. There he is, the old, venerable, bUnd Bard rhe Father of Poets, juft as the Ancients have reprcfented him, with the fame fweet yet'gra^'e, majcftick, prophetical Air ! How agreeable is it to fee Virgil leading Dante to Apollo i and how charming, how incxpreflibly delightful is the whole Reprefcn- tation 1 How picalantly doth it point out the Confent and Harmony of all the Arts; and liow powerfully doth the Place given to the Ancients, recommend the Study of cm to all who would arrive at any Pcrfcaion in good Tafte, and ufefnl Science ! See agam, in ano- ther Piece the ancient Philofophers, and their Scholars ; with what profound Meditation do fbrac ftudy ' With what divine Joy do others teach and impart found Philofophy, and pro- fitable Science ; whilft feveral Students of difterent Ages and Charafters, quite in Love with true Learning, drink m Inftruftion, or take Notes with the keencft Attention, the moft agreeable (25) This Dcfcription of ihc Carrooni is ntcn fram one o' iho ffiH-MUr,, No, 116, T. 3. FiSfarci d^fcrihid. Fidurel dffcTibtd. 4 IS'O ^« Essay on the Rife, Progrejs, agreeable Docility, and higlicft Satisfaftion ! How plcailiiitly is the true Pliilofopliy of -Pi-. thagoras reprclentcd, who taught that all Nature is Mufick, pcrfcft Harmoiiv ; and that Virtue is the Harmony of Life ; or its Conformity to the Harmony of the all-govern- ing Mind, and his immcnfe melodious Creation (26) ! ^ ' WHAT cannot Painting teach or exprefsin the moft forcible Manner ! For fee there in another Piece the Conftancy, the Serenity, the Fortitude of Heroes in the Fury and Dan- ger of Aftion : How hot and terrible is the Battle ! and with what intrepid Bravcrv docs the Chief rufh into the thickcll of the Enemy ! His Countenance befpeaks Vicfory ere yet the Tyrant's Defeat is declared : One of the Captains, fraught with glad Tidin"5 is but beginning to declare his Overthrow, and to point at him, juft: falling with his Horfe thro- ttle Bridge into the River. How eager do many appear to tell the whole Conqucft, and to fhew the Emperor the dread Trophies of their Viftorv ; while other Commanders flulhcd wirh Suceefs, eagerly purfue the flying Enemy ! But 'how vain is it to attempt to equal by Words the ineffable Force of fuch a Poncil ! r i , Sr'fef ^"^'^ "^'"ftt> th« all the liberal Arts and Sciences have the ..ght mt u tcfe- ™™ intimate Relation, Dependence and Conneftion, and tliat they cannot be ™w frm, PliHo- fevered from one anothet in Education, without rendering it very incomplete and indeed ^Shf/tLZ' "'■'"1"''''= °f Kcomphlhing its noble End, which is to form betimes the Tatte and Love of t,m. ' Beauty, Truth and Harmony in Nature, in Life, and in all the Arts which imitate Nature and moral Lite. u ^bM-vir r,,-^ IN whatever View Education is conCdered, whether as it is defigncd to improve the ft'T'lh" ^ta. ^""^ Imagination, or as it is de%ncd to improve our reafoning Powers, and our cftheDiji,- inward Senle ot Beauty natmal and moral ; or, laftlv, as it is defigned to form a benevo- i.i Art, h of ,h, lent, generous, and great Temper of Mind ; in which ever of thefe Lights it is confidcred in.iij, u],. all ti,;. .Sciences amicably confpire towards it ; and it is by mixin.' and combinin.' them together, rhat all or any of thefe Ends may be moll effcftually and agreeably aceom" phlhcd. How can the Temper be bcrtcr improved, than by Refleaions on th^e Greatnefs and Benevolence of Nature, and upon tlie beautiful EfFeds of like Benevolence and Gtcatnels of Mind in our own CondutF ! And when is it that Poetry and Painting Ihew their Charms their divine Power to the greateft Perfeftion > Is it not when they are employed to difplay the Beauties of Nature, and the Beauties of thofe Virtues which emulate Nature, and when their Producfions are rruiy beautiful natut.ll Wholes > Is not the Imagination a powerful Faculty that well defervcs Culture and Improvement > Nay, is it not of the greateft Importance to have it early inrereflcd in Behalf of rruc Beauty, and fccured againft the Delnfions of Vice Luxury, and falfe PIcafure .> And how can rhis be done, but by early employiu'r it in the Contemplation of Nature, and of the true Beauties of Life, and confeqiiently by°callin.' in all the Arts to exhibit thefe in their iivelicft Colours ? What doth the Improvement of Imagination mean, but, in one Word, teaching it to paint, with Spirit and Life after Nature, according to Truth > Have we a Scnfc of natural Beauty and Harmony capable of giving us Inch a vaft Variety of truly pure and noble Pleafurcs ! and ought this Senlb to be neglcdcd in Education ? Is it worth while ro form the Ear, as moft certainly it is > and ought not the Eye likcwife to be formed to a juft, quick, and perfect Relilh, of the Har- monies It may be fitted to perceive, and delight in, by due Culture and Excrcife > About whar ought our rcaloning Powers to be cxercilc-d, but the Harmonies and Beauties of Nature the Harmonies and Beauties of Life > The chief Employment of Man's Undcrftandin<^, is the Order and Regularity he ought to promote within his own Breaft, by the right ManaW ment of his Aftcalons, and the Order, Harmony and Good, that wholefome Laws, impar- tially executed, produce in human Society. But what is it can more powerfully inforcc the Senle and Love of moral Order, than the Contemplation of the wife and good Order of Nature, and frequent ReHeftions upon that which conftitutcs true Order, Beauty and AS^yhlofliiums. Greatnefs, in the Arts which imitate Nature > Aniens is introduced by Cicero (27), altera long Conference about the Foundation of Vittue in our Natures, making a very beautiful Rcfleftion, which muft naturally lead every intelligent Reader to the Conclufion I have been all along aiming at ; even that Beauty, Truth and Greatnefs, are the fame in Nature in Life, and in all the Arts. If we attend, fays he, to what it is that chiefly picafcs us even f2(J) See D/n^fHM J^atnim^ U. 8. Pyihagorei affirmare noil dubirabant vircuiem harmoniam die, lanitacem, ncc- non omne honiim, ipliimque adeo Dcum ; Proprcreanue univerfa ha-c hainionia; poiilTimum benefiuio confiftere. (2-) kgihus, lib. 2. ab initio. Equidem, qui nunc poulTimuin liucvcnerim, faiiarintin queo: Magniecafqiic villas, & pavimcnta marmoiea, & laqueata tedta con- tciuno. Dudus vcro aquarum, quos ilh tubos & Euripos vocani, quis non, cum ha:c vidcrit, irrifent Itaque, ut tu p.iulo ante de lege & jure dilferens, ad naturam refere- bas omnia ; lie m ha rebus, qui ad rcquictcm animi, deletftationemque quxrunttir ; natura dominatuf.' ' 1 Quin ipfe vere dicam, fum ill! vilte amicior modo faitu--, aique huic omni fob, in quo tu onus, fic procreatus es. Movemur enim nefcio quo paflo locis ipiis, in quibui corum quos diligimus, aut admiramur, adfunc veftigia. Me quidem ilia; noftrte Athente non cam opcribus mag- nificis, exquifuifque antiquorura artibus dcleitant, quam recordatione fummorura virorutn, ubi quifquc habiiare, ubi fedcre, ubi difputare lit folitus ; Studiofequc ctiatn eoruni Sepulchra contemplor. Qtiare ilium, ubi tu es nacus, plus amabo poilhac locum, &c. in Chap. 7. and Decl'me of Painting. in rural Profpccls, \vc fhiU find that it is tlic iamc natural Taftc and Difpofition, from which you have derived Virtue : And now that I feel a parcieular Attachment to this Place where we arc, to what is this Plcafurc owing? is it not to my DeHght in the Remembrance of great Men and their Virtues, or to Ibme other focial alfedionarc Tie, and liindly Principle deeply inlaid into our Natures ? There is likcwiic a famous Saying of /Kmilius recorded by '^Plu- tarch, very much to the prefcnt Pnrpoie (28), Having given a very elegant Entertainment after the Conqucfl of Macedonia, he was asked how it came about that a Man always employed in great Affairs, the Difcipline of Armies, Battles, and military Arts, underftood fo well the Management even of a Feall: : Tothis he is faidtohavc replied, that 'tis the fame Tailc that qualifies for the one and the other, to range an Army in Battle-array, or to order a publick Entertainment. Theic and icvcral fuclvlike antient Apophthegms arc pregnant with Inlfruftion, and well defcrvc to be mifoldcd and explained to Youth, becaufe they afford Occafion of difcourfmg fully upon what I have now been endeavouring to fhew to be the chief End of Education, and the propcreft Method it can take. The Sum of all which amounts to this ; " That the readiclt, the raoft e£fc£tual and moft agreeable Manner " of forming an univerfal good Tafte, is by fTicwing from proper Examples, that good Taftc " is the fame cvery-whcre, always founded on the fame Principles, and eafily transferred " from, any Subjed whatever to any other ". BUT left, after all that hath been faid, this Scheme of Education (hould appear to any one too complex, and for that Rcafon hardly pradicabtc ; let us but imagine to ourfclves a School confilling of different Apartments forlnftru£lion in the fevcral Parts of ufcful Learn- ing and Philoibphy, fuitably adonied with Pidures and Sculptures, or good Prints of them i and ail I propofe muft be immediately perceived to be very ^imple, and eafily reducible to Pratftice. For in reading the antient Poets and Hiftorians, for Example, what could have a better Eff"e£t than having recourfe to inch Pieces of Painting and Sculpture as exhibit the Cuftoms, Rites and Manners defcribed or alluded to by them ? How agreeable would it be to fee the hnagcs of antient celebrated Heroes, while we read their Lives and Charafters, or to compare the-Gods as they are defcribed by Authors, with the Reprefenta- tions of them that arc given us by the Pencil or Chezil ? And how much more delightful ftill would it be to compare Fables or Adions as they are told by an Hiftorian or Poet, with the Rcprefentations of em the other Arts have given ? I need not tell thofe who are ac- quainted with the antient Remains in Italy, or with the Works of the great modern Mafters {251), that almoft the whole antient Mythology and Hiftory, all the Fables, and almoft all the great Anions that are the Subjctis of antient Poets, or that make the greateft Fio-ure in Hiftory, are to be found reprclented in a very beautiful expreflive Manner upon Antiques of one kind ot other ; and many of thofc Subjects have been Ukcwiie painted by excellent modern Mafters. And t think 'tis too obvious to be infiftcd upon, that fuch Works, that is, good Dcfigns or Prints of 'em, would have their proper Place, and be of great Ufc in the Schools, where antient Poets and Hiftorians arc read and explained. To be convinced of this, one need only read Mr. Addifoti's Dialogues on Medals, in which he fhcws what Ufe may be made of thcfe in explaining the antient Poets, or giving a more lively Idea of the Beauties of their Epithets and Dcfcriptions. Now, if the Schools of natural and moral Phiiofophy were in like manner furnilhed with proper Pictures of the natural and moral Kinds ; would it not render Lcftbns on any Subjcft in Philoibphy exceedingly agreeable, and confequently much more ftrong and infinuating, if to philofophical Reafonings and Argu- ments, was added an Explication of the ingenious Devices and Contrivances of the Imita- tive Arts to illnftrate the fame Subjeft, or to inforce the lame Lcflon? Thus, for Inftance, in difcourfing upon any Virtue, any Vice, any AfTcdion of the human Mind, and its Opera- tions, Effeds and Confequcnces, would it not ncccflarily have a very pleafant, and there- fore a very powerful Effeft upon young Minds, if they were Ihcwn, not only the Fables, the Allegories, the dramatic Rcprelentations, and the other different Methods Poetry hath invented to explain t!ie fame moral Truth, but likewife fonie Paintings and Sculptures of that fame Nature and Tendency ? i^i Thefi had us to fhe Coyclufion now aim- td at. A View of the eafy Fraiik^biiityofcbis Method of Educa- tion by ui:itir.^ the OefigniTigArts-with the other Farts of liberal Education^. THIS Plan only requires that our Youth fhonld be early inftruded in Defign or Draw- ing. For thus in teaching other Sciences, the Beauties of Painting and Sculpture might be fully explained m any Part of their following Studies occaiionally, and in Subferviency to a greater Defign. And as for teaching the Art of Defigning early, the good Confequcnces of fuch a PraiLl ice in other refpetls, or with regard even to mechanical Arts, are too evi- dent to need any Proof: 'Tis indeed furprifing that an Art of fo cxtcnfive Ufc Ihould be fo much negleded. Arifiotle recommends it llrougly as a very neccflary Part of Education with rclpecf even to the lower Ranks of Mankind (30) ; and we learn from him, that it was This Manner of Education only re- quires that Defign be taught eerly^ and the other Advan- tages of this Prac' lice are evident. (28; Plurarch. in vita j^^milii. On'y feewiiat Account Felilien give^ of ihe Works ni iiiulio Kommio^ and of" Fa/jdore and Mathuriwo, and likc- V.ile ot XJ^'rio. {7,0} Ariftoc. Polir. F.d. Wechd. />, 218. 13. 219. 12. p. 320. 4. ^1. 22^. 2. See Plutauh-i Life of Peri- cles, tt'herc lie gives ao Account of his Education. the i^Z Atl Essay on the Rife ^ Progrefs, the Pi'aflicc in Greece to inftruift the better Sort early in it. The Romans too, fo foon ■i'^ they began to educate their Youth in the liberal Sciences, followed this Method. '^Panlus JEm 'iliHS, who is celebrated for having taken particular Care of the Education of his Chil- dren, employed not only Rhetoricians and Philofophcrs, but likewilc Painters to infl:ru£l them {5 1). it hath been already obfcrved, that '^Parnphiltis not only cftabliihcd Academics in Greece for the Formation of Painters, but that by his Means it became an univcrfal Cuftom over all Greece to teach the Principles of DcHgn amongft the other elementary Sciences in liberal Education. The EJucat:o» ef the antieut Greeks W/ deferves our AttenlioK in everji Tcfpeli, fnict Erlti- (atmi is the -very Bafs of puhlick or But my prefffit De- jign was only to give jbme Notion of the VfifulnffsofthcDe- Jigtiin^Arts in Edu- ialioTt. IN Truth, the Care that was anticntly taken of Education in general, well dcfcrvcs, on every account, the moft ferious Attention of thofc, who having the Intcrcfts of their Coun- try at Heart, look upon it {to ufc the Words of a very great Man) as that by which the Foun- dation-Stones arc laid of publick or private Happincfs (3 2). No Part of it feems to have been overlooked by the -^/7.'f'?/w»J' in their better Times ; and hence chiefly their immonal Glory. I S H A L L only add, that what was called by the Antients Mufick (3 5), fecms to havfi been a very comprehcnfive Part of Education, and very different from what now paffcs under tlwt Name. Tlie Defign of it was to form the Ear, the Voice, and the Behaviour, or to teach a graceful Way of reading, ipeaking, and carrying the Body, not only on pubhcfc Occaftons, but at all Times, or even in ordinary Converfation. Cicero regrets that this Part of Education was fo much neglected amongft the Romans : And as for the manly Hxcrcifes, which had fo great a Share in anticnt Education among the Greeksand Romans, not merely to form the Body to Vigour and Agility, but chiefly to fottify the Mind, and to fit for Adion, Suffering and Hardlhip in the publick Service ; though the fameExercifcs may per- haps not be the propcrefl: inprefcntCircumltancestogainthcfeEnds, yet the Scope intended and purfucd by tiicm mufl: be acknowledged to be of lafting Ufc, or ratiier Neccflity. BUT I have accompliihed my prefent Aim, if what hath been faid of the Arts of Defign, and of their Ufefulnefs in Philofopiiy and Education, fhall be found in any Degree condu- cive to give a jufter Idea of thofe Arts than is commonly entertained, and a larger and better Notion of the Ends Education ought to have in View ; for we have fcen that a good Taftc of Life and of all the fine Arts being the fame, it muft be improved and perfected by the fame Means, even by uniting and conjoining all the liberal Arts in Education agreeably to their natural and infcparablc Connection and Dependency. CHAP. VIII. SoKt Coin-} i,f arts that follavi obvi- ouPyfrotri the A»a- hgy betiiieen Voetry aitd Pahiti»g. Jt is as eafytohf- come a goodjsidzfi of the one Art as 'of the other. Sojfie Ohfervat'mis 07i the particular Genius, CharaEiers^ lalents and Abilities of the more conjiderable modern Pai?iters, and the commendable life they made of the antient Re??tains i?i Painting as well as Sculpture ; and upon the Pieces of aiitient Pm7tting now publifhed. ENOUGH hath been faid in the preceding Chapters concerning the chief Qiialitics of a Painter, to lead every one to infer, " That whatever different Talents it may require " to be a good Poet, and to be a good Painter, a right Notion or Tafl:e of poetical or true " Compofition is equally neceflary to both". Nor is it lefs obvious from what hath been juft now laid down concerning thofe natural Faculties and Difpofirions of our Minds, which being duly cultivated by Education, form a good Tafte of Imitation, whether in Poetry or Painting ; " That whoever is capable of receiving truly rational Entertainment " from the former, if he is not likcwifc an intelligent Judge of the latter, it muft only be bccaufe he hath not turned his Mind toward the Confidcration of that other Kind of " Imitation by Drawing and Colours ; ir can proceed from this alone, that he hath not had " Opportunity of feeing and examining Pifturcs, or hath not reflected, that Painting is a " Sort of poetical Compofition, which ought to be examined in the fame Manner as that " which is peculiarly fo called". Like that other, it only prellippofes a juft Idea of the Part of Nature reprefented, and requires Comparifon with it, in order to be able to form a true Judgment concerning it ; Truth of Compofition in order to affcCt every one fuitably, who is not a Stranger to natural Sentiments, being all that is necelfary with regard to the one or the other : For both thefc Arts aim at the fame End, as we have found Socrates, Arijlotle^ Cicero, Plutarch, Philoftratiis, and other Antients obferving, though by different Means and InftrumentSj which End is a true Reprefcntation of well chofen Nature. THE (31) Plutarch, in vita ^milii. And in like manner wc are told, fevcral of the beft Emperors, Mavi us AntoTiitiut Fhi/ojophus in particular, had Painters to iniliuit them ia Drawing, anda Talle of Painting. , (32) Lord MoUfv^QTtk in liis Preface to his Accoun: of X^enmaik. (35) This is plain from the Definition of it by Ari- jlides S^inti/ianns, lih. i. Arsdecens in vocibus & mo- tibus. Neceflary to all the Ages of Life. See what Sluintilian fays of ir, Infi. lib. i. c. 3, 6, & 12. But f:e ot this, Reflexions Critiques fur la Pocfic fie far la Peiu- turc. Troifieme pari. « Chap. 8. and Decline of Painting. THE Analogy between Poetry and Painting likcwili leads very naturally toanother Con- Tl„r. i, ,he Uh clulion with rcfpea to botli thcfcArts : " One may liavea very good TiKzoi Homer, Viml cha,.a„ ™,i „. " or Horace, witlioiit being deeply verfed in tlic Niceties of Piiilofopliy, or verbal Criticilm ■ " '"'•'""s. " " Arts wliich, however ureful, do not indeed belong to thofe wliofe high Birth and Forrune J^tS// loudly call upon them ro devote themfelves to more important Studies, and to feck after ' " more ufcful Knowledge from fuch excellent antient Authors, the Knowledge of Men and " Things : In like manuct, one may have a very juft Notion of Paintina, and be capable of " receiving very ufeful Inftrudlion, as well as very great Plcafurc, from good Piaurcs, without " being protoundly skilled in the Mixtures of Colours, and in the other merely mechanical " Secrers of Painting, which cannot be learned without much Praaicc, or rarher fcrvin.^ a " long Apprcnricelhip to the Art j and ought therefore to be left to thofe who choSfe " Painti ng for rheir Profclllon, as philological Difcullions ought to be to Etymolosiifts, Grani- " maiians, and Editors ", One who in examining Pifturcs never rhinks of the Truth,'Bcauty and Spirir of a Compofition, but is wholly taken up in criticifrng the Handicraft, or mecha- nical Parr, may he not be juftly compared to him, who, without entering into the Sen- timents, the Charaacrs, rhe Spirir, Uniry, Beaury, Truth and Morality of a "ood Poem is intirely employed abour rhe Style and Words, the Alterarions, AduIrcration°s and Intet' polations that may have crept into the Text by vatious Accidents, and other fuch Inquiries of very inferior Concernment ! If he would juftly be accounted a Pcrfon of no Taftc who neither admires or blames, nor forms any Judgment at all of an Author, till he kno'ws his Name and Reputation in the World ; ought not the fame to be concluded of him who though he had fcen a Piaure ever fo often, was not at all touched by it, till fome Pcrfon' in whofcjudgmenr he confides, affured him it was done by Raphael, or fome other re' nowned Painter, and then was fuddcniy filled with the higheft Admirarion > 'T I S Truth and Beauty of Compofition that ought to be chiefly attended to in Paint- ^1' it' Iijuiri,, ing, as well as in Poetry ; But fo like are thefc Sifter-arts to one another, that there is no ™'* "S""'" -^«- Inquiiy with regard to Authors or Performances in the one Way, rhat does not likewifc as properly relarc ro Arlifls and their Performances in the other. I ftiall juft mention two '^i'h"„- ■which ate allowed to be very agreeable and ufcful Inquiries with rcfpea ro Poers or Aurhors in general and their Works ; that muft alfo be equally ufeful and pleafant with re.^ard to Painters and their Works , for 'ris nor the Dcfign of this Efliy to purfue any other Inquiries about Painting, befides thofe philofophical ones to which the ftria Analogy and Affinirv between Painting and Poetry lead us as it were by the Hand, A S the Works of anrient Poets are the bcft Models upon which modern ones can form Bch Am W themfelves, fo likewife have the Painters their anrient Models for their Study and Imita tion i thofe exqnifite Remains of antient Artifts in Painting, Statuary and Sculpture upon ■which the moft celebrated Matters in modern Times are known to have formed their Tafte. N O W it muft be no lefs pleallng or ptofitable to trace and obfcive the Ufes that Painters n i, v,r, have made of antient Pieces of An, than to trace and obfcrve the Ufes modem Poets U, t. .tjh^, „h„ have made of their beft Patterns, the antient Poets. Tis very juftly laid with refpea to Writers (i), " That over and above a juft painting of Natiue, a learned Reader will find IIITm' t a new Beauty ftipcradded in a happy Imitation of fome famous Antient, as it revives in ''''' """"" " " his Mind the PIcafnre he rook in his firft reading fuch an Aurhor ". And the fame muft hold tme with regard to Paintings, in which, one well acquainted with the Antiques finds a wife and happy Imitation of anrient Wotks. In the one Cafe as well as the other " fuch " Copyings give that kind of double Delight which we perceive when we look upon the " Children of a beauriful Couple, where the Eye is not more charmed with the Symmetry " of rhe Parrs, than the Mind, by obictving the Rcfcmblance tranfmitted fiom Patents to " their Oftspring, and the mingled Features of the Father and Mother. The Phrafes of " holy Wrir, and AlluHons ro fcvcral Pafl'ages in rhe infpired Writings, (though not pro- " duced as Proofs of Doarine) add Majefty and Authoriry to the noblcft Difeourfes of the " Pulpit ; In like manner, an Imitation of the Air of Homer and Virgil raifes the Dionitv " of modem Poetry, and makes it appear ftarely and venerable". And the judiciouslmi- tatron of ancient Remains in the Works of a Raphael or a ToulTm have the fame .^reat and agreeable Effea. o ^ A G A I N, if it be in any Degree entertaining or ufeful to inquire after the particular and .-r- diftingiulhing Genius of a Writer, as it appears in his Performance, ir muft be equally fo to ^o^Ifi/J'ZfJ. make the like Obfervations upon the particular Genius, Talents, and Charaacrs of good Pa.ntets, as thele are difcovercd by their Piaures. Such Inquiries cannot be called merelv '"ffj" ftudying Words, or Hands and Styles; but ate rather ftudying Men, Tempers, Genius's "' R r (ij Guirdiin, No. 15. 1^4 -^^^ Essay on the Rife, Progrefs, and Difoofitions ; 'ris tracino; moral ElTccl.s to their proper Springs and Caufcs. In truth, any other Marks or CiiaractcriiTicks for diltinguilTiing the Works of Authors or Artifts, bcfides thofc which are taken from their pccuiiar Turn of Mind, and their corrcfpondcnt Manner of tlunking and of communicating their Thoughts, of whatever Ufe they may be to Artifts in the one Cafe, or to Philologifls in rhc other = yet they do not belong to rational Critieifm, and fo neither fall into the Province of the Philofopher, nor of the polite Scholar. 'Ti! iL-crth whj/e to piarks upon thefe ttiio Beads ji'fimen- tioned. Offervile Irsita- tort. THOUGH in purfiiancc of my Dcfign, (which is to point out the real Ufefulncfs of Painting, and the more important as well as picafurable Inquiries with relation to it, to which the Confidcration of its Analogy with Poetry obvioufly leads us) it might be reckoned .fufficicnt to have fug<;efl:cd and recommended thefe Inquiries; yet in order to lead our young Travellers and thofe concerned in their Education to a better, a more philofophical Way of confidcringPidturcs, than feems to be the Employment of the greater Part of thole ■who arc called Virtuofi ; I Iball adventure to prefent my Readers with fomc few of the bell Reflexions that have occurred to me in reading the Lives of the more celebrated modern Painrcrs, or in feeing their Works, upon the peculiar Genius, Charaftcr and Talents of fomeof thegreatcft amongftthem, and upon the commendable Ufe they made of the antique Remains in Painting as well as Sculpture. And this will naturally lead me to make a few Animadvcrfions upon the Pieces of antient Painting that arc now publiilied ; rather to excite others, who arc better skilled in antient Literature, to make proper Ufe of fuch Re- mains of Antiquity as arc happily prcferved to us, for the Illuftration of antient Authors, than to take an Opportunity of entering, for the prefent at leaft, into Dilcuflions of that Kind. For all indeed intended from the Beginning was but to pave the Way for fuch more learned Undertakings, by endeavouring to revive a better Notion of the fine Arts, in refpecl of their Ufcfulnefs in Education, than is commonly entertained even by their greateft Admirers. 'T I S obferved by one of the bcft Writers on Painting (2), " That it is no lefs impoffible *' for a Painter than for a Poet to fucceed in Attempts not fuited to his Genius, in-vita " Miner'va {3), or unlefs he follows his natural Turn and Bent of Mind. Accordingly, " faith he, thofe Painters, who without confulting their own Genius, have fet themfclves fervilely to imitate Maftcrs of great Fame, never came near to them, and confcquently " never acquired any other Name but that of bad Copyifts ; whereas 'tis not improbable, " that if they had known their own true Genius, and had duly cultivated it, they might " have produced very good Works, and liavc gained very confiderable Reputation ". PAINTERS ought to ftudy the Performances of the beft Mailers, and above all the Remains of antient Sculpture and Painting ; and thefe they ought to imitate. But how ? |ufl: as the Poets ought to imitate Hoiner and Virgil y that is, as FirgilKimkli did Homer. And as a Poet will profit moft by Vtrgil in his Imitations of him, who thoroughly under- ftanding //tfff/fr, hath well obferved how ^/r^// hath imitated him; fo Painters will learn moft from the beft modern Mailers who ftudicd and imitated the Antiques ; if being inti- mately acquainted with the Antiques, they arc able to difcern, what happy excellent Ufe thefe noble Imitators have made of fuch unrivalled Works. The antient Rule fo well exprefled by Horace j Simite materiam vejiris, qui fcribitis, aqiiam Viribus j & verfate diu quid f err e reciifent^ ^id valeant humeri. And fo eameftly recommended by him at the fame Time that he prefles fo ftrongly the con- ftant Study of the Greek Examples or Models : -Vos exemplaria Graca No^urna verfate manu, verfate diurm (4). That Rule, I fay, extends equally to Painters and Poets ; and fcrvile Imitation in the one Cafe as well as the other will ever be rejcfted by intelligent judges (f), with O Imitatores. fervum pecus ! TIS quo magis emergit, quale fit decorum illud. Ideo, quia nihil decec invica Minerva (ur aiunr_) id eft, adveriante 6: rcpugnante nacura. Cicero de OlF. ///■■ i. No. 31. (4) Hor. de Arc. Poet. u. 39. & 268. (5) Unde pluritnij cum in hos inexplicabiles laqueos inciderunc, omnem etiam, quern, ex ingenio fuo, potue- runc habere conaEum, velut aftriffti certis legum vincu- lis, perdiderunt ; 6c magiflrum refpicienres, naturam fe- qui defierunr, Quiiu Inft. Hi'. 5. c 10, fa) Lomazzn Trattato dellaPittura, lib. 6. p. 43. And in his Tempio della Pitmra, p. 7, 10. & 39. C3) Admodum auren? tenenda Tunt fua cuique, non viciola, fed ramen propria, quo facilius decorum illud quod quiErinius reiineatur. Sic enim eft faciendum, ut contra miiverlam namram nihil contendamns ; ea camen confervafj, propriam naturam fequaniurj ut etiamli line aliagravioii arque meliora, tamen nos ftudia noftra, na- ture rc^;'jia metiamur. Neque cnim atrinet repugnarc naturce, ncc quicquam fequi, quod allequi neqiicas. Ex Chap. and Decline of Painting. 'T I S obfcrvable that when the Art of Painting was perfected in Italy, under Raphael and Mkhael-Angelo-, it was likewife very much cultivated and brought to a conllderable Degree of Pcrfedion on this Side tlie Alps, in Germany, Switzerland, Holland, Flan- ders, and France. But a Superiority in TaHe of fine and beautiful Nature is unanimoufly given to the Italians, who ftudied the Antiques, after they became able to make a proper Ufe of Statues and Baf rehefs in Painting. It is indeed generally allowed, whatever may be the Caufc of it, that the Painters of Lombard), who had not feen, or at leaft had not much ftudied the Antiques, far furpaflcd the German, Flemijh and French Painters, in Tafte of Beauty, Sweetnels, Grace, and Greatnefs ; or in other Words, in a delicate and fine Choice of Nature : But at the fame time, 'tis yielded, that thofc Lombardy Maftcrs never arrived to the Merit and Excellence \X\z Roman School, where the Antique was fedu- loufly ftudied. This Obfervation hath been often made, and therefore I iliall not dwell longer upon it. ONE Thing however I would beg leave to fuggeft upon this Subjcd, that hath not been taken Notice of, though it feems to me very probable. Thofe who ftudied the anticnt Statues, Carvings, and Bafreliefs, Raphael in particular, were for fome Time fueh ftri£l fervile Imitators of them, that their Painting was very dry, cold, and ftiff, or, in one \\''ord, Staruc-likc j that is, liker Drawings after Statues and Bafreliefs than Pic- tures ; But afterwards they became able to make a proper Ufe of Sculptures and Statues without painting in fo rigid, hard, and fervile a manner. Now, though this known Fad be commonly attributed to their joining at laft the Study of Nature itfeSf, and living Forms, to that of the Antiques, and it muft undoubtedly have been in a great mcafure owing to that ; yet may we not imagine that they were led and direftcd to this better Manner of imitating Works in Marble, Brafs, and other Metals, by the Pencil ; or to the right Notion they at kift acquired of the Difference there ought to be between Painting and Sculpture, by the anticnt Paintings that were difcovcred fome Time after the more famous Statues and Bai-reliefs had been digged up ? It feems very probable that the greater Part of the Remains of antient Grotcfque Painting in Italy were done after antient Sculptures, all of them having fo much of that Air in the Difpolition of the Figures : But is not each Figure done in fuch a manner as Ihews how Painting ought to borrow from or copy after Statues and Baf- reliefs ? TheremarkahhDif- ffrence bef.xeen tha Painters mhn ftudied mid imitated the Avtijiies, andthofi -j. bo did v»t. irai :,i ted the anticnt Statues anJ Scu!^- m?e7rce his better IJa7i7ier of imita- tin^ than jirocs ied. H O WE V E R that be, it is certain, that Raphael in particular was very fond of the antient Grotefque Paintings difcovered in his Time at Rome, at "^Puzzoli, Cum£, and other Places in Italy. He admired and ftudied them much ; he fent his Scholars, where-cver any thing of that Kind was difcovered, to copy it ; and fo had made a great CoUeclion of Drawings after antient Paintings. This we are affured of by ail the Writers of his Life. Some {6} have invidiouily faid, that having taken Copies of them, he had them dcftroyed, that the W orld might not know how much he was indebted to them in his bcft Performances. But that is neither confiftent with his extreme Love of the Art, his profefled Efteem of all antient Works, nor with his generous, benign, amiable, mienvious Temper. S O much did he and the whole Roman School ftudy the anticnt Grotcfque Paintings, that h-)u) much he they are faid ro have tranfplanted feveral Figures and Croupes of Figures from them into all ejleemeJaudjtudicd their W orks ; into their Paintings particularly in the Vatican Loges, and upon the Walls and ^-^^l Pamt- Ceilings of other Palaces at Rome ; which are therefore confidcred at Rome rather as Copies ^ ' by thofe great Matters from the Antique, than as original Works of their own. GIO V. Tf'U T> IN J, a favourite Scholar of his Mafter Raphael, made it his whole Bulinefs to make Collections of Drawings after the antient Grotcfque Paintings on Stilcco, and other antient Stucco Works, and to imitate them ; and accordingly to him it is that we owe the Revival of what is called Grotefque. 'Polydore and M^thurin, as I have ob- ferved in another Place, likewife employed their whole Time in drawing after Antiques, and copying them. AFTER what hath been faid of right Imitation in Painting and Poetry, no one will think it derogatory from the Merit Raphael, and other great Mafters, to afHrm that they ftudied and copied the Antiques ; and that the Perfcition of their Works is chiefly owing to their fo doing. One might with equal Reafon fay, that it is a Reflexion on VirgH to affirm that he imitated Homer. Felihien did not furely deftgn to dctraft from Nicolas 'PouJ/in's Pouffin like-wife Merit, but rather to exalt him, by taking fo much Pains to ftaew in what Veneration he fiudied and imitated held the antient Remains of every Kind, and the noble Ufe he made of them in all his beft anttsnt Pain- Pifturcs. Of this he gives many Inftances, and we may add one he docs not mention. 'Tis well known at Rome, 'Roujfm highly eftecmcd the celebrated antient Painting commonly called the Noz-ze Aldobrandine. There is a very fine Copy of it by him in the 'Pamphili Palace at Rome ; and I think no one who has fecu that famous antient Pidurc, will be at a Lofs (fi) Loniazzo refutes this Siory. Trarrato dclla Fictiira, lib. 6. c. 48. IS6 So Frederico Zuc- taro. Carlo Maraii, Hannibal C.Trache. tP^ai Lotnazzo Jays of the anli^nt Jin Essay on the Rife, Progrefs, a Lofs to find out that he, as it were, formed his Tafle on that Model ; and that he hath ■without Pligiarifm borrowed very confidtrably from it in almoll all his Works, particularly in his famous Sacraments, frederico Ztlccaro, who was an excellent Painter, fpcaks of this anticnt Piece with the higheft £llccm and Admiration. Carlo Marati, commonly cillcd thc"lafl: of the great Painters in Italy, is likewifc known to hai'e much admired and fiudied all the antient Paintings that fubfiftcd in his Time. He was particularly fond of the V •mu in the Barberini Palace : He retouched fome Parts of it that were decayed, and he added a Cnpid to this Piece, that his Ellccm for it might be known fo long as the Piftute is preferved. My Defign being to publilh antient Paintings, I have only given the Venus the Drapery and the Vafc. HANNIBAL CARRACIIE is likcwife faid to have held the antient Paint- ings in the higheft Veneration, and to have improved greatly at Rome by the Study of the Antiques. Mr. Richardfon has an Original Drawing by that great Matter, after one of the Compartiments in Titus's Palace at Rojue, reprefenting Coriolanus and his Mother dif- fuading or rather upbraiding him. And, as hath been already remarked, every one who is acquainted with Cuidos Wotks, will find a very great Likenefs between his Idea of Beauty, his Airs of Heads and Attiiules, and thofc in the Eurofa, and other Pieces now publifhed. In fine, iince I have had the Drawings by me of thofc and other Remains of antient Paintings from which the Engravings annexed to this Elfay are taken, I have been often vety agreeably entertained in looking over the Dcfigns of fcveral of the !;reatcft modern Mailers in the Colleftions of the Curious here, by finding very confidcrable Borrowings in the latter from thefc anticnt Paintings. And fome who arc much better acquainted with the Piftures and Drawings of the moft efteemcd Painters than I am, upon fceins my Draw- ings after anticnt Paintings now engraved, have allured mc, that there is almoft none of them that did not immediately recall to their Minds fcveral Ideas in the Works of modern Mafters, that undoubtedly muft have been taken from thofe anticnt Pieces, fince it is known that all the bcft Mafters ftudied them fo much. To give this additional Pleafure to thofe who like Painting, in examining the Drawings of the better Mafters, is one of the Rcalbns for which thcfe Samples of antient Painting arc now made publick. But not to prevent the Satisfadion that the Curious may have in tracing by themfclves the laudable Ufes that the belt Mafters in the lattcs Age of Painting have made of thofe Remains of antient Painting, as well as of Sculptures and Statues, (which is generally acknowledged) I fhalladd no more' on this Subjeft, but content myfelf with inferring in the Notes a Part of what Lomazzo (8) fays in general of the anticnt Grotefque Paintings, and of Compofitions of that Kind, in his own M^ords : And of the many remarkable Inftanccs that are recorded by Writers in their Lives of the Painters and Sculptors, of their high Regard for all the antient Remains I fliall but mention one Story that is told of Michael Angela, bccaufc it hath not been very often repcared, and is very well vouched. W c are told in the Memoirs of Monficur de Thou this very curious Faft. JVlonfieur de Thou, when he was very young, accompanied into Italy Monlieur de Foix, whom the Court of France had feirt thither. When they were at Tavia, amongft the other Rarities that Ifabelle d'EJie, gtandmother to the Dukes of Mantua, had coUcfted and ranged into excellent Order in a moft magnificent Cabinet ; there was ihewn to Monficur ) I" ''i^ IJh F,iutt, f^fiil. S { IS 8 ^« Essay 07/ the Rife, Progrefs, " Genius, and fufFcrs it to work and difplay itfclf as it really is. There is one Tliinf faith " lie a little alter, which is as it were the Salt or Spirit of Defigns, and without which I " fliould not make any great Account of them ; and this I cannot better cxprcfs than by the " " Word Chamcter. This Charadcr confifts in the Painters Alanncr of conceiving Things • " It is the Seal which diftinguilhcs his Works from all others, and which he ftamps upoii " them as the Image of his Soul. It is by this Ctuaclcr, peculiar to every one, that Pain- ters of Genius, after having ftudied under Mafters, feel themfclves impelled to give free " Scope to their own Taftc, and to fly as it were upon their ou'n Wings. He°tells us " there are three Things that ought chiefly to be confidcred in Dcfigns; Science, as he " calls it, which he defines to be a good Tafte of Compofition, and of Corredlnefs in " Drawing, together with a fufficient Knowledge of the Clair-obfcure ; Spirit, under " which he comprehends natural and lively Exprefiion of the Subjeft in general ' and of " every Objcci: in particular; and Liberty, which is nothing elfc but the Habit the Hand " hath contr-iSed of c.xpreffing with Eafe, Eoldncfs, and Freedom, any Idea the Painter " hath formed in his Mind. Dcfigns, fays he, arc excellent in Proportion as they have " thefe Qualities. He diftinguilhcs between the Charafter of Genitis, and whst he calls " the Characler in the praftical or technical Part; and very juftly concludes, that Know- " ledge of the latter Character of a Painter rather depends upon a long Habitude than a " great Capacity; and for that Rcafon it is not the ablcft Painters whofc'Decifions may be " always moft relied upon in that Point. Others very inferior to them may furpafs them " in that kind of Knowledge : The Knowiedge of the other Charaftcr requires a very clear, " diftina Head, and a very folid Judgment; but it is the pleafantcft as well as the fureft " Guide in judging of M,ifters, and in diftinguilhing their Dcfigns." The tell ■aai tf Ji- WITH tcgard to diflinguilhing Originals from Copies, the fame Author tells us ' ^ZShS'" " '''""^ """"^ Scholars, fo much in the Tafte, Manner, and' ' ■ ' ■ " Charafter of then- Mafters, that they have palTcd for the Works of their Mafters thcm- " fclves ; and that many Painters having imitated, even at home, the T,ifte of a quits " diffxrcnt School and Country ; and feveral Mafters having paOcd from one Manner to " another, it is no Wonder rliar many Pidurcs are fo equivocal; or that it is fo hard to " determine by what M.ifter they were done. Ycr this Inconvenience doth not want its " Remedy, with thofc who, not fatislied with ftudying the Characler of a Mafters Hand " have Penetration enougli to difcover that of his Spirit and Genius. An able Mafter may " eafily communicate to his Dilbiples his Manner of Handling ; but he cannot fo eafily " impart to them his Ideas, and Manner of Conception and Thinking." He diftin', Hardly can any other Rule be given for diftinguiftiing very good Copies from Origmalsj except that antient Maxim, That Copies are commonly Jiijfer and colder than the Originals' tho' done by ever fo good a Hand {li), or cjen by the Author himjelf, after his own'lVorks. They have not the fame Freedom, Eafe, and Spirit ; but if a Pifture hath Spirit and Free- dom, let it be Copy or Original, no Matter, it is an excellent Performance. That Copies generally Ihould not be lb free and eafy, or have fo much Fire and Life as Originals, is not furprizing ; fince Original Piclures have not the Spirit, Life, and Fire of the Drawings from which they are compol'ed. Drawings are, in rclpeft of fuch Piftures, Originals: And for that Reafon it muft be by the Study of Drawings, that one may not onTy belt learn tlic Charaftcrs of Mafters; but likewife, in general, form to himfelf the jufteft No- tion of Beauty, Truth, Spirit, Greatnefs, Grace, or of any other of the more eflcntial Qualities in good Compofition. Thofe who are not acquainted with Drawings, or who do not begin by ftudying them, are very apt to mind nothing in Pifturcs but the Colour- ing ; (ii) Omnibus quidem arclietypis nacuralis quxdam imitantur: Et ftaniarii qua: funt Polycleti, &: fcuiptores gratia & pulchricudo decus addit. lis vero qua: ex arche- qua: Tunc Phidiae. DiB. Bat in Dinariho. Qiiicquid altcri lypis cxprt-nx lunc, e[iamfi ad excrema imitationis pcrve- fimilc eft, neceiTe eft miniis Gr eo quod imicatur; namque nerinr, meft quippiam affL-datum, & non nacurale. Ec his qua: in cxemplum alTuniiniuE, fubeftnatura, &vera hoc pra:ccpto non rherores modo rheraras difcemunt, vis ; conrra omtiis imicacio fida ell, & ad alienum pro- led eciam pidores ca qua: funt Apellis ab iis qua; cum policum aceomraodacur, ^vinl. I/jfl. f. lo, f. z. Chap. 8. and Decline of PaintincJ. ^9 Leonardo daVinci-: ng; and to prefer Piaurcs which picafc in that rcfpeft, to others which have far fiiperiot Excellences : which is hkc preferring a fine Complexion to Seiife, Goodnefs, and every other moral Qtialification ; the Beauties of the Skin to thofc of the Mind. But enough having been already faid on that Head, in feveral Parts of thisEfliv; I proceed nowM make a few Obfcrvations on the Characlers of feme of the principal Painters. {iz) LEONARTIO 'DA VINCt \miormtah^ AndreaVerrocchio, who was ,i AndreaVcn-oi better Sculptor tlian Painter, but well skilled in fcvcr.il other Arts; in Geometry, Archi- teaiure, and Mufick ; a very clofe Student of Natiure, but too ftrici a Copier of it.' LEONARTtO muft, no doubt, have owed vety much to fuch a Matter ; but havin" naturally a far fuperior Genius, he quickly made much greater Advances in all thefe Sciences and Arts, and in feveral others. Anatomy and Poetiy in particular ; and being withal a very well-bred Man, and very much converfant in the polite World, lie was able to con- ceive much finer and nobler Ideas than his Matter, and to feka out of the vaft Variety of Nature with much better Tafte : yet partly thro' the Influence of his fivtt Inttruftions and Habits, and pattly thto' his Earneftnefs to attain to the highcft Pitch of Perfcaion, in ex- preffing his great Ideas by the Pencil, there is a remarkable Stiffiiefs in his Piaurcs; they appear too laboured ; the Contouis ate too ftrongly matk'd ; and, inttcad of havin"- a natural Carnation, his Pieces, being too much finilhcd and poliflicd, look rather like Marble than Flclh. One fees, in his Drawings cfpecially, an extraordinary Greatnefs of Genius, v.-lft Spirit, and Sttcngth of Imagination, and a very accurate Judgmcnr ; tho' at the fame' time all his Works Ihcw that he was nice and curious to a Fault, and very difcontcnted with his Hand, believing it could never reach to the Idea of Perfcaion, which he had conceived in his own Mind. There is evidently a violent Stretching to attain to fomcthing which he felt his Pencil fall fiiort of, and hardly able to come near to : This is the Chai-aaer "iven of him by Criticks; and 'tis natural to think, that in the Beginning of the Art, oncoffo vaft a Capacity, and fo great and comprehcnfivc a Mind, muft have erred juft' as he did, through this cxceflivc Ardour to bring his Piaurcs to a Height of Perfcaion, ro which the Pencil could not, in the Nature of Things, yet all at once rife, from the low State in which he found the Art. A profound Scholar, a deep Thinker, who is at the fame time very well acquainted with all the Rules of juft Compofition, is very apt to fall into the fame Error in Writing. Learning, Science, ludgmcnt. Imagination, and Genius may appear in his Works; but Ait not being hid,' nor ycr the Dili'atisfaaion of the Author with all his Corretlions and Amendments, his Compolitions are not eafy : They would nave been more agreeable, and more perfea, if he had not labotu-ed to make them mote than perfea. The Stiffhefs and Ovcrftraining that appears in the Works of Leonardo da Vilfci, is however quite different from that Ovcr-diligencc which arifes from Timorouf- ncfs and Self-diffidence, of which we ihall have Occafion afterwards to Ipeak : The one kind of Labour (hews a great and afpiring Mind, pleafed with its Ideas, but diflatisfied with the Execution ; the other ihews a Lownefs of Genius, and a Confeioufncfs of Inabi- lity to conceive great Ideas without feverc plodding, fearching, and mufing. Leonardo was not dlllatisficd with his Conceptions, but with his Hand or Pencil. ° IN y;'rfr« ■Prng-wi; his Fellow Scholar's Works, there was all the Llttlencfs, Drynefs and Infipidity of a low Genius, who painted for Bread, and nor for Glory. His'Thoui^lits being intirely fet on making Money ; and being of a very mean and fervile Spirit, it was no Wonder rhat he fcarcely fui-pafl'ed his Matter, from whom his Scholars could learn little more than the Habit of ftudying Nature; which, rho' it be the Standard of all the Imita- tive Atts, and the bcft Guide, yet the Study of it can never make a grcar Painter, if one hath not a fine Genius, or a good Eye, to contemplate Nature with ;"fomething naturally great in his Caft of Mind, to prompt and direa him to the right Study and Imitation of it, or to chufing out of Nature with Elegance and Judgment. Without that Turn of Mind, Painters will fatisfy themfclves, as many have done, with copying ordinary common Ob- jeas, inftead of more beautiful and perfea Nature. RAPHAEL, in Confcquencc of rhat Vcner.ition for a Matter, which is natural ro a good, docile, modeft Difpofition, followed at firft Teruginos Manner; but bccomin" very quickly as perfea as he, or rather fomewhat above iiim, tlrro' the fuperior Stren»th of his natural Genius, upon the firft Sight of the gteatcr Works of Leonardo da. Vinci, and Michael Angela, he was able to perceive what was defeaivc and wanting in his M'aftcr, and how much higher the Art might rife than it had yet done. No fooner did he obfcrve the ftronger Relief, and the grcatet Force and Truth of Expreffion and Charaacr in Z,f«- Kara'o's Works, and the fublimer, bolder, z^miaTAiol Michael Angelo, than he felt gteater Ideas fpfing up in his Mind; and with Gteatncfs of Invention, his own fwcet^ gracious Temper naturally mixed Swectncfs and Graqe ; fo that he very foon became that perfea (12) In drawing the folIowinEJCharaacrs I have chiefly be found more conformable to Dji P; W Ft '-t- Vs ?>^d followed my own privarejudgmen:; but what I fay will I-swaxzu. than ;o ^^/.sri "' ' Fietro Perdgind: Raphael d'tjrbiit^^ i($o ^« Essay on the Rife, Progrefs, pclfcft Mailer whofc Works arc always laid ro have been the Piclurcs of his own Mind and Charaftcr ; full of Strength, and yet exceedingly pleafing and graceful. No other Painter ever was able to give fo much Grace to his Works, becaufc no orher Painter ever poHcffed fuch a Share of it in his Make and Temper, {mcc Ajielles ; unlefs it was Corrc^/o, or Par- mesgiino : lor that Softnefs and Sweetnefs oiGnido is of a quite different Charader from the true Greatnefs of Raphael, jullly tempered by his Grace. Vajkri and others of the Florentine School will not allow, that he ever dcligned any thing with fo much Force as Biwnarotti : But I do not hcfitate to aflcrt with Felibien, " That there is another kind of " Art in Raphael's Figures, than in thofc which they fo highly exalt above all his Per- " formances ; an Art which is by fo much the more marvellous, that it is more concealed " than that of all other Painters. " And to prove his cqu.il Skill of Anatomy, or in painting the Nerves and Mufclcs, with Michael Angela, Felibien juftly mentions a Figure in one ofhisPiaurcs mA\c Vatican, qzWqA Incendio del Borgo, reprefcnting a young Man with an aged Perfon on his Shoulders, juft as Virgil defcribes Anchijes, when z^Eneas faved him from the Flames of T roy, and the Fury of the Greeks. He muft have had a very great ' Genius, to have profited fo much as he did by ib flight a View of fome oi Michael An- gela's Paintings in the Vat'ican, which is all that is pretended. And he Icems to have ov/ed more to Leanardo da Vmci than to Michael Angela ; for his Expreflion of Mufcles and Nerves was always more pure and delicate than that of Michael Angela, or freer from Affeaation of Ihewing particnlar Skill in Anatomy, It was pethaps owing to ills Imitation of Leonardo da Vinci, that his Contours, except in his laa Pieces, arc too hard and dry. The Antique, as hath been already obferved, was his Mafter, and by that alone was he furpafled, in his laft Manner, in Invention, Force of E.xprefllon, or in Grace. He defigned correftly, and was very judicious in Ordonance and Difpofition ; and being thoroughly in Love with his Art, none ever painted with more Tafte, Spirit, Freedom, and Plcafure. In his Piftures Force is duly mingled with Sweetnefs ; and he underftood perfcftly how to treat his Subjcas with dueDceotum, in reprefcnting the different Cuftoms, Habits, Arms, Dreffes, and Ornaments of Nations, and all that is called the Cujlime, which Poets and Painters ought to underftand equally well. What he chiefly failed in, is the Clair-obfcure, and the Contrafle of Lights and Shadows ; and tho' his Colouring be not difa^recable in fevcral Pieces, yet he was excelled in that Patt by Titian. Sometimes, however, he has admirably fucceedcd even in that ; for, to name but one Piece, of many ihatmi-'ht be mentioned, the famous Madanna, with the Chrijl and St. 'John, in the Puke of Tttfcany's Palace at Florence ; Can any Piflurc be more charming than it is, even :,i,Sthihrs with refpetl to Colouring > Raphael was of a very generous Temper, exceeding affable "" ' and courteous to his Scholars, and to all Mankind in general ; and therefore he was greatly beloved by all Men, and by his Scholars he was quite adored. He was very ready in giving them Afliftancc; and the beft Rule, with regatd to diftinguirhing the Pieces quite donc°by himfelf, from thofe of his Scholars, that have pafled for his, tho' they were only touched by him, is that laid down by Felibien. Thofe that are well painted, but are not corrcd in drawing, are of 'Tirnathea dUrbina, or of Tellegrino de Modena, who imitated his Colouring very well, but were ineorreft Defigners. Thole in which the Defign is prccife and exaft, but the Colouring not fo agreeable, may be of FranceJ'co Venni, another of his Scholars. Thofe in which Giulia Romano had any Share, have more Fire in the Aaions, and more Blacknefs in the Flefh. Terino del Vaga is one of them who imitated him the befl; but in his there is rather Softnefs andTendcrnefs, than Force and Grearnefs, fomcthing inclining to the feeble and languid. And now that I am fpeaking of Imitation, it is not amifs to obferve, that there was one Lorenzo Credi, a Fellow Scholar with Lea- nardo da Vinci, under Verracchio, who quitting his Mailer's Manner, to imitate Leonardo, copied him fo exaftly, that very often his Copies are miflaken for Originals. p^^^. WITH regard to Raphael's Scholars, I ihall only add to what hath been faid, that 'Penni, commonly called // Fattore, becaufc he was fo quick and expeditious in Contriving and Deligning, tho' he drew well, yet he painted but indiffctently. His quick impatient Ge- niusf after he underftood Drawing, did not allow him to fpend much Time upon the Study of Colouring, a more unplcafant, laborious Task. Raphael had fo high a Notion of his Talent at Deligning, that he employed him ranch in making Draughts for Tapeftries and other Ornaments. There arc fevcral Cielings x Rome painted by him; and it was he and Giulia Romano that finilhed the Hiftory of Canjlantine in the great Salle of the Vatican, after the Dcfigns of their Mafter Raphael. Pcnno dd Va^a TERINO 'DEL VAGA had naturally no Vivacity, no Fire ; wharcver of that appears in any of his Works was borrowed from Gmlio Romano, whdft they worked togcrhcr. He was fitter to be a Copier than an Inventor, and to that he chiefly applied himfelf. Giulio Romano O F all Raphael's Scholars, Giulia Romano came the ncarell to him in Invention and Defign ; but 1 think not in Colouring, as is laid by Felibien. It is oblerved, that Raphaels Works Chap. 8. and Decline of Painting. i6i Works had more Fire wiiilc GiuUo worked with him. Sucli was G'mlio'^ Vivacity, that he had not Patience to beftow Time on perfecting himfelt in Colouting ; Whence it is, that liis Drawings arc far preferable to his Piclnrcs. He was learned in the Antique, and fhewed accordingly great Erudition in all his Pieces. He got both his Correftnefs in Defign and his Tafte of the Antique, from the Study of the antient Remains, under the Diredion, of his Mafter; but his Boldnefs was chiefly owing to his own natural Genius. And by comparing the Works he did under Raphaeh Eye, with thofe he did entirely by himfelf we may plainly iee that his Performances diiFered from thofe of his Mafter, juft as their Tempers differed. In thofe of the Mafter, Sweetnefs and Grace are predominant ; the' there is nothing of the languid or effeminate in them : In thofe of the other. Fire and Boldnefs prevail. And while they worked together, as Raphael's Pieces had more of the Furia, as it is called by the Italians; lb the other's had lefs of the Ferocious, and were duly moderated by Raphael's, naturally fwcct and gracious Manner. I N Michael Angela Bumarottii Works, an extraordinary Force of Imagination, and Greatnefs of Genius, even to Caprice and Wildnefs, appear ; for he erred in Defign on the Side of Greatnefs. None ever better underftood the Principles of Defign ; " that Art of " marking exaftly all the Members of the human Body ; all the Bones, Veins, andMufcles; " and of giving a juft Ponderation to Figures ; of making appear in the Arms, theLcs, and " in all the Parts, more or lefs Efforts, according to the Nature of the Aftions or SufFeriniys " rcprclcntcd j and of cxprcfling in the Countenances all the different Palltons of the Mindj " of dilpofing the Draperies, and placing all things that enter into a great Compofirion, with " Symmetry, Confiftcncy, andTrutlt". This is that great Art which is lb juftly admired in the Performances of the beft Maftcrs, and which is by itlclf fufficient, without the Aid of Colours, to give a clear and lively Idea of any Objcft. Michael Angela was Mafter of this great Art to vaft Pcrfeclion ; he excelled particularly in Skill of Anatomy ; and fcems rather to have aflfefted too much to Ihew that Skill : A vaft uncommon Strcn"th of Genius fomething leaning toward the Savage and Furious charaderizes all his Works, and clearly diftinguilhcs them from thofe of any other Mafter. He is indeed extravagant in many things ; he has taken great Licences contrary to the Rules of Pcrfpctlive, and is frequently too bold in the Actions and Exprcflions of his Figures ; in his Draperies there is not all the Grace one could wilfi ; and his Colouring is frequently neither true nor a^^rceable : He was not Mafter of the Clair-obfctlre ; and with rcfpeft to Decorum, °and the Coflime, he often erred ; but he had a mafculine, daring, comprehenfive Genius. As he ftudied 'Dante very much, fo it is juftly obfcrved, that there is a great Likenefs between the Painting of the one, and the Poetry of the other. This is certain, that the grcateft Errors Michael Angela committed againft Decency in his Pifturcs, in his famous Laft Judgment in particular, if he was not milled into tly:m by that Poet, he was at leaft not more culpable in them than the Poet, who had taken the like Licences in his Poems. Raphael is faid to have learned a greater Manner from feeing fome of Michael Angela's Paintings, than he had been able to conceive before he faw them : But Michael Angela fcems to have been yet more indebted to the Painting of Luca Signarelli oiCartana, than Raphael was to him. This Liica Signarelli was excellent at defigning naked Bodies. And from a Piece which he had painted in a Chapel of the great Church at Orvietto, Michael An- gela transferred feveral Figures into his Laft Judgmeiat. FRANCESCO SEBASTIANO 'DEL VIOMBO, having ftudied Colouring at Venice under Bellini, and afterwards under Georgiane, and being naturally of a li^ht and airy Genius, had a very agreeable Colouring : Bur, though fome of his Piftures after the Dcfigns of Michael Angela are highly efteemed, yet, when he was not fupported by him, he was hardly able to go through with any great Work. He was for fome time fet up :ianae, as it has Beauty of Colounng, it was to dcfire a Pidurc more perfect than any that ever was painted by any Mafter. THE Love of Magnificence difcovcrs itfclf yet more evidently in Taid Veronefe's, Paulo Veronefe. Pidurcs, and he did really fhcw it in all his Condua. He payed no great Regard to hifto- rical Truth, or the Cojlume, in his Performances, but chiefly rtudicd to plcafc the Eye by a fine Carnation, and rich Draperies. Apelles would certainly have dcfired him not to make his Piaurcs fo rich, as he is faid to have advifed a Painter in his Time, whofc Pictures glared with magnificent Apparel, Jewels, and other fhining Ornaments, but were incor- rcd in tlic Drawing, and had very little Meaning. TINTO RET, of all the Venetian Painters, ftudied moft after the Antiques. He Timoret. took great Pains by ftudying Nature, the antient Remains, and by making Models in Clay of the Figures he intended to paint, to become correft in Defign, which he preferred to excelling in the colouring Part ; yet he imitated the Colouring of Titia% and often came very near to it. He dcfpifed the Over -fin illiing of the Fltmijh ; and as he painted very faftj fo Fruitfulncfs of Invention, Richnefs of Fancy, Force of Exprcflion, great Warmth and Vivacity appear in his Pidures. As Hannibal Carrache obfcrvcd, he was not always equal to himfelf, nor could that be well expeded of one who painted fo quick, and had lb much Life and Sprightlinefs : However, he, like the other beft Painters of all Ages, convcried much with all the learned Men of his Time ; it is certain he painted rather for Glory than for the Love of Money ; and in many of his Piftures, at the fame time tliat there is a great deal of Fire, great Freedom and. Rcadincfs, there is alfo a Corrcclnefs in DcJlgn far beyond any other of the Vmetian School. I HAVE already faid a grear deal about the Carracbes, who rcftorcd Painting when it I lannibalCarrache. was beginning to decline. Que, I think^ may fee the melancholy cloudy Temper of Hannibal in all his Countcnaiiccs : He was often difplcafcd with his Works, even after he had beftowed very great Pains upon them ; and therefore he frequently dcftroycd what he had ahnoll finilhed, and begun afreih. The Carraches united their Talents in order to perfect the Art, and it was indeed only by fiich a Conjunftion of many different Abilities andAccomplifhmcnts, thatPainting could have been brought to fuch Pcrfeaion as it was bj them. After laying afide all their Qiiarrels and Jealoufies, they joined together in the firmefi: Fricndlhip, and mutually alFifted one another. And it is no fmall Honour to them to have founded fo great an Academy, that produced fo many excellent Mailers. Let me only add, that tho' every one of the Carraches had his ditiinguilTiing Genius and Manner; yet they worked together fo jointly, and in fo friendly a Manner aided and aflifted one another, that very good Judges have not feldom been miftaken in taking the Works of Lewis in particular for thofe of Hannibal. Hannibal howcvci: was Mafl:ci-, as it were, to the other two; and whatever other Accomplifhments they were pofl'efled of, their Perfeclioa in Painting was chiefly owing to his Inftrudtions and Afliftanccs, as loon appeared after they were feparatcd ; for Augujliji applied himfelf wholly to Engraving ; and Le-j;is, when left to himfelf, quickly lolt his firft excellent Marnier. Hannibal began firfl: to form himfelf by imitating the Swcctnefs, Purity, and Gracioufncfsof Gjrrf^^. Afterwards, he lludicd the enchanting Force of Titia?i's Colouring ; but when he came to Rome, and had well confidercd the Greatnefs of the Antique, and of the Works of Michael Angela and Jiajjhael, he then began not only to dclign more correctly, but to form higher Ideas ; and ever afterwards taking Raphael principally for his Pattern to copy after, his chief Endeavour >vas to unite with Nature a fine Idea of Beauty and Perfection, neither copying the common Appearances of Nature too fervilely, nor foaring too high after fomcthing too far above Nature, or rather quite out of it. It is rcmark'd of him, that with all his Melancholy and Cloudinefs, he had a great deal of Vivacity and Wit, and faid very fincThings in Cou- verlation ; and this Temper led him frequently to amufe himfelf with painting CaricaU-ire, as they arc called, or whimlical over-charged Countenances and Charafters, a kind of Painting like what is called Burlcfquc in Poetry : Felibien mentions (13) a large Look of luch Defigns by him. G U IT) O had three Manners ; the Firft was ftronger whilfl he imitated his Mafter Guido. Le-ojis Carrache, the Second more agreeable, and the Third very negligent. There is indeed a great deal of Sweetnefs in his beft Manner : But after all, what i-'V^'^/m fays of him appears to me very juft. " He Itudicd a foft gracious Way, but there is not Strength " and Boldnels enough in his Pidures : And withal, his Style is what is called Manierato ; " there is no great Variety in hisAirs of Heads, Attitudes and Draperies". He has dcfigncd fome Figures very well in the Labours of Hercules ■-, ljut flill he is too languid and foft even in thcfc ; and it was his own Temper. Three different Manners are rather more dilliin- guilhablein Giiido xhzw in any other Mafl:er; yet there is hardly any one in whom we may not difccrn his Beginning, Progrtfs, and End, or three Manners: A firft, which always Tom III. p, 266. ■ - 1^4 Atbano. Salvatar Rofi. Pietro da Cortona. An Essay on the Rife, Progrefs, always hath a great deal of his Mafter, as even that of Raphael huiifclf had of Tietro 'Perrugim ; a fccond, in which his own Genius difcovers itfclf with confiderable Evidence and Force. And a laft, which degenerates commonly into what is called Man- ner, becaufc a Painter having ftudicd Natuie a long time, at laft fatisfies himfclf with the Habitude he hath formed of imitating it, without giving himfclf the Trouble of more Study, or of acquiring new Ideas. ^/./?^iVO chicHy excelled in painting agreeable Women, Boys, xa\Cnpids; not in painting Men. He formed himfclf not after the Antique, but after Nature entirely, after his Wife and Children ; his Wife giving him all the Afliftance fhe could by fitting to him in various Attitudes naked, and by placing her Boys before him in different pifturefque Poftures. One may fee by his Works he was of a very light, eafy, chcarful Difpolition. It is faid, that tho" he painted Nudities, yet he was very modeft and chaftc : And Mr. Bayle has been at great Pains to prove this was often the Cafe with refpeft to the mod lafcivious Writers. Yet, generally fpcaking, this Rule will hold true ; " As the Heart is, " fuch will one's Studies and Employments be : As the Tree is, fo arc its Fruits." ' 23 0 MINICHINO, preferred by Toiijln (14) to all for painting the Paffions, thofc efpecially of the rough, fiercer Kind, fpcnt a great deal of Time inftudying and di^cft- ing his Plan before he took his Pencil, and began to compofe. He had applied himfclf with great Diligence to all the Arts that have any relation to Painting, to Mathcmaticks, Archi- tefture, Philofophy and Poetry, and he converfed much with the Learned. He thou<'ht he had got over the chief Difficulty, when he had once formed a Plan of his Works that plcafcd him ; And becaufc he judged it impolUblc to paint any Pallion well without feeling it, he ufed to take all proper Methods to work himlclf into the Pallion he had a Mind to reprefcnt ; but when he did fo, he ufed to fhut himfelf up in fome very private Place ; for having been more than once fnrprizcd in thofc Studies, he was imagined to be fubjeft to mad Fits. Annihal Carrache happening to come upon him unawares, when he was paint- ing the Martyrdom of Saint Andre-js, and finding him in a violent Fit of Padion, becaufc he was juft then going to reprcfent a Soldier threatening the Apoftic, owned he had learned a grcar deal from him in that Moment. His Pidlures are not much admired by thofe who do not feek for Entertainment to the Minds but better judges have rhe fame Opinion of him with 'PonJJin, who reckoned him one of the bcft, that is, one of the moft inftruaive and moving Painters. He painted in that Way ; that is, he delighted moft in expreffin"- and moving the Paffions, becaufc he had a juft Notion of the nobleft Ufes and Ends of the Art, and was himfclf a very affiduous Student of human Nature, and of all the Authors who excelled in painting moral Life. WHO does not fee in SahatOT Rofa's Pidurcs, the Savagenefs of his Imagination ? His Genius led him moft ftrongly to paint Battles. He painted likcwife Taifages and Sea-ports ; but always in a whim/ical, wild, and favagc Tafte. TIETRODA CO RT ON As Pidures arc, as he is faid to have been, lively, ingenious, eafy, agreeable. He wrought with great Expedirion, Warmth, and Enrhufiafm' and fucceeded bcft in great Compofitions, the Tout-etifemble of which is always very noble as well as pleafing : Tho' painting faft, and in a Fit of Enthufiafm, as it were, he was not correft in his Dcfign, nor always rriie in his Exprcffion, yet his Piftures arc very great and cnterraining. He was in his natural Temper very prompt and vif^ as the French call it, and yet very engaging : He was fuch in his Converfation, and fuch alfo are hisPiftures; they arc the true Image of his Mind. REUBENS failed in what regards Tafte of Beauty, and very often in Defign ; his lively, great Mind not permitring him almoft ever to mend or change what he had done : All the Errors he commirred, he was rranfported into them by the Rapidity and Impetuouf- nefs of his Genius. He improved a little by feeing the Piaures of the Lombardi Painters ; but ftill his firft Notion of Beauty maintained the Afcendant : He always continued to paint Flemifi Faces and Proportions : Tho' he eftecmed the Antique and Raphael exceed- ingly, yet he never imitated them ; on th6 contrary, had he copied the Statues o( Apollo, Venus, Hercules, the dying Gladiator, or any other of the famous antient ones at Rome, one could not certainly have known them, fo much would he have difguil'ed and changed them in Confequencc of his own very diff'crent Tafte. His great Freedom is extraordinary : " But hence proceeded his Incorreftnefs, not in Deiign merely, but likewife in Colouring, (14) C'proit dans le terns que la pluparr des jeiines plupar: des autres peintre.';, pcrfuadez par fes paroles, et pcincrcs qui e[oicnr a Rome, atdrez par la grande repuc; lion ou eioil k-Guido, alloien: avec tnipreiiemcnt cupier ion tableau de Martyre de Saint Andre, qui eli a Saint G-egoiye L e Pou/Jivi ctoit prelque le leul qui a'a[tachoic a deir-inercelui duDominiquin, lequel dans !e meme cndroit ; ec 11 en fit li bien rcmarquer la beauie, que la pie, qui[lcren[ le Guide pour eiudier d'apres le Dominiquin — II regardoic le Dotniniquin comme le meilleur de J'eco/e del Curaehes, pour la correition du deflein, er pour les fortes expreliions. Feliblea /iir /« Viet, &c. T. IV, p 17. Chap. 8. and Decline Paint ing. " as Felibien and others have obfcrved, the Tints of his Carnations being often fo fttong, " and fo fcparatcd the one from the other, that they fccm like Spots". He was a ver/ uncommon Genius, had a very warm and hvcly Imagination, and was withal very learned, extremely well acquainted with the beft Authors, and with Mankind. I have often wiHied to have fcen two Treatifcs, which he is (aid to have left behind him in Manufcript ; It is, no doubt, a very great Lois to the Science that they have not been publilli'd ; one was about the proper Ufe that may be made of Statues in Paintii^ig, and the other contained Obfervations upon Pcrfpeaive, Symmetry, Anatomy, Architcdurc, and upon the Adioiis of the human Body, and the Exprcilions of the PaOions, all which he had himlclf dcfigncd agreeably to the bed Deicriptions of anticnr Poets. He had iikewifc coUcded from Homer, Virgily and other Poets, Dcfcriptions of Battles, Siiip wrecks, Feftivals, Entertainments, Games, and of all the different Employments and Diverfions of Mankind, together with iome Allegories and Fables, all which he had compared with Pictures of Raphael, and other great modern Mailers reprefcnting the fame or like Subjcds. In fine, his Learning, and his natural Fire, and Freedom of Mind, appear in his Works, and are indeed highly admirable ; but a good Tafte of Beauty, and of the Antique, is wanting. His Paintings in the Banqueting Houfe are juftly reckoned his Mafter-piece, and do indeed fhcw a vaft Imagination, and a very fublime grand Genius. T H O' he himfelf followed his own Tafte, yet he advifed his favourite Scholar Vandyck, Vandyck. to go to Italy for his Improvement; where, having ftudied the Works of Titian, he loon became a more agreeable Colourifl: than his Mafter Reubens. He attended principally to 'Titian's mafterly Portraits, and quickly became one of the bell Portrait Painters that ever was ; but he did not polfefs Dcfign, and the other QiiaUties neccfiary to hiftorical Com- pofition, to an equal Degree of Perfeftion. His Portraits arc well known in England, and will ever be admired by all who like what is genteel, natural, ealy and lively : 'Tis faid he was very open, free, genteel, and natural in his Convcrfation, and had an admirable Talent at entertaining thofe whom he painted, in order to produce them in their gen- tceleft, eafieft-, and moft agreeable Likenefs. I SHALL conclude with Nicolas 'PouJ/in, with whom died all the greater Talents Carlo Marratti. neccflary to good hiftorical Painting : For Carlo Marratti, commonly called the laft of the good Painters, tho' indeed his Idea of Beauty is fomething peculiar to himfelf, and never fails to pleafe at firft Sight ; yet, when well confidercd, it appears languid ; and there being very little DivciTity in his Airs of Heads and Countenances, his Pidmxs foon fatiatc and cloy. " NICO LAS TOUSSIN, fays the ingenious Aiuhor of the Reflections on Nicolas Pouffin. " Poetry and Painting, was juftly called by his Contemporaries LeT*eintre des gens d'ejprit i " or, a Painter for thofe who look for Entertainment to their Underftanding, by Truth, Science, Learning, Corrcftnefs, and good Difpofition in Pidures, or for Excrcife to their Paflions by juft Force of Expreflion" : In all thcfe did this excellent Scholar, and accurate judicious Painter, eminently excel. Had he been a better, that is, a more agree- able Colourift:, he would have been inferior to none of the Painters of any Age in which the Art hath flourilhcd. He was well verfcd in all the bcft Authors, and in Geometry, Anatomy, Architecture, and all the Sciences, the Knowledge of which is necellary to make an able Compofer in Painting, or a polite Scholar. At firft, he ftudied the charming Colouring of T';//^^revcry much ; but in Proportion as he improved in Tafte and Knowledge, he more and more attached himfelf to what regards the Truth and juftnefs of Drawing, which he muft have confidercd to be the principal, the moft cilential Part of Painting; and for which the bcft Painters, fays Felibien, Have ever abandoned the other Parts, fo foon " as they had attained toatrueldea of the chief Excellence of the Art". This great Painter, after having made very confiderable Progrefs in all the Parts of Learning and Phiiofophy, in the Study of human Nature in particular; in order to perfect himfelf in the Art of Painting, applied himfelf principally to the Study of the Antiques, and of Raphaeh Pictures and Dcfigns. It was upon thefc excellent Models that he formed his Ideas of Compofition, and his Style in Painting. In his Pittures we fee all the Evidences and Advantages of Judg- ment, and a well regulated Fancy: No Painter ever took greater Pains to improve his natural Genius and Abilities than 'RouJJin, and to acquire the Science requifite to make Painting truly pcrfett by being truly ufeful. He perfectly well underftood every thing thac is neceffary to make a great Compofition, or judicious Ordonnance in Pictures. He could diitinguiih what would be fuperfluous, and only produce Confufion in a Piece, from what ■was proper to the Subjeft; and would fet it in its belt Light, by making the principal Figures appear to the greateft Advantage ; infomuch that in his Pi£turcs there are neither too few nor too many Figures, and they are all agreeably difpofed, and properly employed, with relation to the main Subject, or the Adion that is principally reprefented. " Of tliis, " fays Felibien (i f), his Seven Sacraments, and the Pidurc reprefcnting the ftviking of the U u " i^ock, (15) F.i/fretien fur Iss vies ^ fur ks ouvrages de Teintrrs, Tom, IV. p. i;. 16^ An Essay on the Rife, Progrefs, " Rock, arc a fufficicnt Proofs for in all thcfc, all the Parrs admirably contriburc to ihi " Pcrfcftiou of the Ordonnancc, and to the agreeable Difpofition of the Figures, as well " proportioned Members fcrvc to render a Body completely beauteous. What Beaut)', " what Grace is there in his Pifturc of Rebecca .? One cannor fay of 'Ponfjin what Apelles " faid to a Painter of his Pidurc ot He/en, that not being able ro make her beautiful, he " had painted her very richly arrayed; for in that Picture her Beauty is rhc more ftrikino-, " that her Attire is very fimple and plain ; He hath hi it, and almoft all hisPicces, carefully " obfervcd rhc Decorum : And as for his Skill of human Nature, and his natLual Difpofi- " tion to moral Science, thar fufficiently appears in his Works; for no one more elfeemcd " the Painters who excelled in that Part, than he did, and all his Exprcfllons are true with- " out any Exaggeration. He hath painted all the different Paflions of Mankind in all their " various Tones and Modifications (15). His Figures do indeed fpcak to and mofl cfFec- *' tually touch the Heart. His Learning fhcws itfelf in the ftrict Regard to the Cojfmne^ " wkh which he always painted in every Circumflancc. He hath been accufed, faith " Felibien, of having preferred the Anrique to Nature ; but if thofc who fay fo, acknow- " ledge that one cannot copy after more elegant and beautiful Proportions than thofe of " the Antique Statues; and that the antient Sculptors fet thcmfclves to attain to Majcfty " and Grace in their Attitudes, by their grear Correftnefs, and the Delicacy and Simplicity " of all the Members in their Figures, avoiding carefully every thing that leffens the " Beauty of Parts, or of the Whole; are not thcfc the propercfl: Models for Imitation? " And can the Antiques be praifed without inducing one to copy after them? But 'tis faid, " One ought to know how to paint them without giving painted Figures theDrynefs and " Harducfs of Statues: This is, certainly true, and one ought, befides that, to give particular " Attention to the different Etfeds of Light upon Marble and other hard Subflances, and " upon natural BodicSj real Flclh and Blood, and real SrufFs or Silks; and h^xhToiiffin " made Men and Women, in any of his Pieces, of Erafs or Marble, inflead of Flelh ? He " knew that in order to make the mofl graceful, beauteous, and well proportioned *' Bodies, there were no better Models to be ftudied and miirated than the Statues and " Bas-reliefs of antient Artifls, thofe Mafter-pieccs of Workmanfhip, which have ever been " fo highly admired by all the Intelligent ; and which, ever fin ce the Art was at fuch a " Degree of Perfection as to have been capable of producing them, all Artifts have " thought it the bcfl thing they could do to copy after them, and endeavour to come as " near to their Excellence as pofllbly jhcy could. "PouJJin was not fo prclumptuous as ro " imagine, that by his own Genius he could form fuch pcrfedl Figures as the Venus of " Medkis, the Gladiator, the Hercules, the Apollo, the Antinous, the fVreJUers, the " Laacoon, and tlie other celebrated Pieces of antient Art, that are yet prefcrvcd to us in " Italy. He likcwife knew, that ir was impoHible to find any where fuch perfect Bodies " of Men and Women as Art had formed by the Hands of thofe excellent Maftcrs, to whom " the Manners and Cuftoms of their Country had furnilhed all the moff advantageous and " favourable Means of making a fine Choice of Nature : And that therefore, without " ftudying and following thefe Models, a Painter would unavoidably fall into many Faults; as indeed all thofe have done, who ftudying Nature alone, took indifferently for their " Models all Sorts of Perlbns, as they chanced to prcfent themfclves to them, without once " thinking of Ihunning what was defedive, ill proportioned, imperfcft or unbeautcous. " One fees in 'Poiiffins Pidures, that he made a proper Ufe of thofe admirable Remains of Antiquity, and "followed them in his Choice of Proportions, in Simplicity, Corrednefs, " Beauty and Majefty, and even in the Difpofition of his Draperies, without falling into any thing that inclines to the Hard and Dry. He underftood how to take Alliftancc " from them, whether in reprefenting Divinities or Mortals, having himfclf entered into " the Spirit and Tafte of antient Artifts, who have fo carefully diftinguifhed their Gods, " Heroes, and more ordinary Men. He knew like them how to charaderize Pcrfons of " all Ranks and Conditions of Life, of all Tempers and Difpofitions; and to all this he " has added a very confidcrable Intelligence of the Effeds of Light and Colours, as rhcy " are diverfified in Nature by different Caufcs". In fine, his manly Temper, his Accuracy, his penetrating folid Judgment, and his high Idea of the moral Ufes to which Painting might be rendered conducivic, and for which it ought chiefly to be employed, appear clearly in all his Performances, and will ever exceedingly recommend them to all who have juft Notions of the lupremc Excellence, to which Painting ought to afpirc. In his Works, without going any farther, we fufficiently fee to what excellent Purpofcs Painting may be employed, and what divine Lcffons the Pencil is able to convey in the mofl entertaining forcible manner. WHETHER thefe Obfervations are juft or not, muft be left to the Judgment of thofe who are acquainted with the Works of thofe Painters who have been mentioned : They are merely intended by way of Specimen to fhew what it is that Students of Painting ought chiefly to look for in Pidures ; or to point out the Marks and Charaderifticks, by which they ought to endeavour to be able to didinguilh the Works of different Maflers. I need (15) Tom IV. p. 90. Chap. 8. and Be dine cf PAiNTtNc, need not tell my Rcadcts, that there is hardly any Maflcr, who hath not done fomc bad, or at lead indifferent I'ielures ; and therefore one ought not to form a Judgment ofa Mailer from one Fiaure, but from many of thole which he did when he was at' his greateft Perfcftion, or from the general prevailing Excellencies of his bed Pieces, in which he hath not copied after any one, but followed his own Genius, Temper and Tafte. LO MA Z ZO, in his Treatife on Painting, and his Temple ofPaiuting, fcveral different Ways to wofk in order to give an Idea of the diftinguilliinr and Tutns of feveral Painters. He likens one to one Poet, and one to another. He allots a diffctent Planet to each, agreeably to the then received Opinion of the different Influ- ences of the Planets upon Mens Difpofitions and Tcmpctatutes of Mind, as well as of Body. He gives every one, in another Place, a different Animal for his Attendant, as a Symbol of his peculiar Charaftcri and clfewhere, he imagines a Temple with (even p'illars variouay conffituted and adoined, torcprefent the diftinguilhing Excellencies of fevcn great Mafters. I have copied in the Notes the Subftanec of what he has laid of the principal Painters (i6). And I fliall only obfcive hete, that he, wiSceindli dn fur& after him, have remark'd, that as amongft the antient Greeks, fo amongfl: the Moderns, the cffential Qualities of a good Painter were divided amongft fcveral Mafters ; and that in order to make two pcrfed Pifturcs, one, for Example, oi Adam, and another o( Eve, the two moft pcrfcft human Bodies that ever were, Admn muff have been dcfigned by Michael Angela {ij), arrd colouted by TrfMK, all the Proportions being taken from ^a/Aac/; and Eve muft have been dcfigned by Raphael, and coloured by Correge. Such two Pieces thus drawn and coloured, would be the moft perfcft Piftures, lay they, that ever were painted. 1^7 hath gone \s>mm.Tritahesd!f' Chai-adcrs i'J''"^ '/V/" Ji-nbr- the diftm- more famous (16) Perche fi vede che Leonardo ha' erpreffo i mod, & decora di Homero, Volidoro la grandezza, & furia di Virgilio^ il Bunarotto rorcurc7.a pratbnda di Dante, Raf- faello la piira MaelU dd Pelrana, j^ndrea Mawugna i'acura prudenza dell' Saniiaz.aroy Ticiano ]e vaneta deir ylriojlo, Sc Gaudsjitio la dcvoiione che fi tmva e^pre^^a ne' libri dc Sanri. I-omiicEo deila Pittura, p 283. -. Ec fra moderni fi vede per la maefta, & bel- lezza, in Halfaello, per la tiiria & grandezza nel Rojfa-, per la cura & indnftria in Ferinoj per la gratia e: leg- giadria nel Mazz.olh!o, & per la fierezza in foiidara-, &CC. p. 287. Of Raphael and Michael Angela, p, 2511. Oiiaraifi anco il pitiore che per dimoftrarli perito nell' arte dell' Anatomia non efpriraa in cutti i corpi tutri i mufcnli che I'AnatomilU trova, quando eflercica I'arte fua ne' corpi narurali, come fece Michael Angela, ma' imitando in cia il pmdcntiflimo Raj^c/Zo feg uiti la natura, U quale iii Hercole, &c. See his Tempio dslla Piltura, p. T) 0, lo- where he compares them with the antient Mailers, and fhews that the more eUential Qualities of good Painters were in like manner divided atnongft the Amients and Moderns. L'ifteiro li pnro oirervar ne gli U^af difirertt litiesherequiret to n,ake a perfi£l Fu'fuie. IF I darfl attempt to imitate that bcauthul maftetly PafTagcof in his Book of Images, to which I found it lb difficult to do Jufticc in TranQation, wiiercin he defcribes the ditFercnt Talents of antient Mafters, by calHng upon tiiem to lend each the Strokes for which he was moft renowned in any of his Works, in order to make the Pidurc of a per- fed Woman 5 I tiiink I could point out what I would require from Raphael, Leonardo, Michael Angela, Correge, Hannibal, Guida, "Dotnmkhzn, and all the moft famous modern Mafters, in order to make a perfect Piece. But I rather chufe to endeavour to give an Idea of their diftinguilhing Abilities, by naming Subjects, according to my Idea of them, fuitablc to the Genius of each, and which they cither have, or°would have executed to very great Ferfcftion, had they fet about it. I WOULD have chofcn to have had from Leonardo da Vinci, feveral Drawint^s one reprefenting the Holy Supper, the divine Author of our Religion with all his Apoftlel about him, mltituting that holy Rite, by which Chriltians were in ail Ages to commemorate his Goodncfs in dying for them ; and together with that fcveral others, in which various Cha- raftersofMen, of great Men more p.irticularly, were reprefcnted : The feus, for Example founding the Democracy sx Athens; Cato refuluig to confuft theOtacle whether he ihould adhere to the Intcrefts of Liberty and his Country, whatever it might coft him, or abandon- ing them, live an inglorious Life ; and faying, Nature hath implanted m every Man an Oracle, that clearly points out i£;hat is T>uty, to all who conjult it, or -^ill hearken to its Voice, &c. And with ihefe not a iz\^Carricature. FROM Raphael what can one wilh for, that is more inftrudivc than his Cartoons or ro I more fublime than his Transfigm-ation ? But his School Athens, and his 'ParnafTtis well deferve a Place in a Library, and would make the tincft Ornament for the belt furniftied one. To Raphael every great and graceful SubjecT: was proper, and I Ihould have chofcn The different Qua- /tries of the ?nader?t Painters might be reprefeiiied as Lu^ cian does thofe of thi aulievt ones. An Attempt to da it in ansther -way, by aj^piing to each of tbefn a SuhjeS Juitabk to his pecu- liar Genius. To Leonardo da Vioci. to antichi. p. 15. PuUdcro, Michael Angelo, & R.>ffuelh, per abellirela nollira maniera moderna al pari della andca iit cio con grandiHimo giuditio, &c. p. 40. Ciovcrna- ton di pittura fono iimili' a queili de i Cieli p a-, Michael Angela formaro del metalo del primo Govcrna-^ tore. Imitarore di' Dante. Gaudentio formato del metallo del fecondo Governatore Polidoro del rcrzo Leonardo del quarto. Raffaclto del quinto \ Andrea Mantegna del fcfto. Tniave dd Tetlimo ■ Fnion contrari p. 4.5. Animali dedicati a Governa- tori della pitrura. La onde anco gli antichiflimi Mare- matici Bohlonu i quali attribuitono a ciafcum de i planeri un animale di narura a lui conforme, come a Saturna il Drago per la terribilta, a Giove {'aquila per I'altezza a Marte il Cavallo per !a fierciza, al Sole il Leone per la fortezza, al Mercurio il Serpe per la Prudenza, ^\WLuna !l Bue per ihumanita, a Venere artribuirono Yhuomo per la ragionc, con la quale egli che nafce animale raeione- vole dee reggere e moderare turti i fuoi affeai, Sec (i-j) Lomazzo Tempio della pittura, p. 60. So Sij^. iiel.i da For/j il mictocolmo della pittura, d. fig, ids An Essay on the Rife, Progrefs, to have had all the Mufcs, all the Graces, all the Virtues, painted by him, but with their anticnt Symbols and Attributes; the Choice of -f/im/Zfj ; the Continence of t^a^/^j all the great and generous Actions of antient Heroes ; and the whole Hiftory of our Divine Teacher and his Apoftlcs ; and, together with thefc, all the plcafant Legends about Sta, Cecilia. To Jean d^Udina, Perino del Vaga, To Michael Angclo. GIULIO ROMANO fhould iiave painted forme the monftrous Audacity of the Giants, TinA. Jupiter, by his ahnighty Thunder, difcomfiting their impious Enterprize. He fhould rather have painted for me profane than lacrcd Hiftory ■■, and in that, whatever required the profoundcft Learning, and the grcateft Strength, or rather Fury of Imagination. Homer he loved; and he Ihould have painted for mc the whole Iliad i his Battles more clpccially, FROM Jea?i T>'Udina, Terino del Vaga, Mathurmo, and Ligorio (i8), I Ihould have had Copies after all the Antiques, containing a whole Syftcm of the antient Mytho- logy, and all their more remarkable Rites and Cuftoms, civil or religious ; ail their Ships and Gallics, Inftrumcnts of War, Standards, Trophies, ^c. MICHAEL A NGE LO fhould have been employed by me to reprefent the La- bours of Hercules, and to have adorned a School of Exercifcs with Forze Academice, with Poftures of Strength and Adlivity, that fhew all the Mufcling of the human Body. I would rather, however, have chofe Statues from him than Pidures ; and he (hould have done for mc all the ancient Heroes, Patriots, and Lcgiflators, as they thcmfelvcs, and the anticnt Statues of them, are defcribcd ; Mofes in particular. Before he began, and while he was meditating fuch Subjeds, I would rather have had him ftudy Homer and Virgil than ^Dante. To Paul Veronefe. To Correge. To Hannibal Car- rachc. To GuiJo. TITIAN ihould have done for me many Portraits, very many Landfcapcs, and the whole Hiftory of Venus, from the antient Poets. H^AUL VERO NESE fhould have done me one Feftival or Coronacion-Procefilon, in which I would has'c allowed him to bring out all his vaft Stock of rich Draperies. From Correge I would have demanded the Graces attending Apollo, playing upon his Harp, and civilizing lavage Beafts by his divine Mufick. Correge ihould have done for mc the Holy Family, and the Light fhould have come from the divine Infant; not common, but celcftial Light. Correge fhould have painted for me a St. John, in the fublimcft En- thufiafm, Q.om^o'im^^xzApocaypfe, with an infpired Pen, that fcemed to be moved, not by his Diredion who held it, but by an invifible Agent ; the holy Man himfelf being, as it were, quite out of the Body, and filled with the Holy Ghoft. HANNIBAL CARRACHE ihould have painted for me juft what he has done in the Farnefe Palace ; and out of the Sacred Writings, the Taking down of our Saviour from the Crofs, the Veneration of the holy Men, mingled with deep Sorrow, the tender Companion and devout Meltings of the good Women, the pious inexpreffible Grief of his bleffed Mother, who is not, however, without Hope, but bciieves his Refurre£tion. FROM Guido I would have dcfircd a Morning; a gay, his Chariot, attended by the Graces, and the Hours going Rofes. fprightly Mornint before perfuming the Air with GU E RC H I N niould have done forme a black, cloudy one, heavily bringing on fome direful Day, big, as it were, with the Fate of Cato and of Rome. Guido Ihould have done for mc divers Animals, and feveral faint languifhing Damfels : Guerchin a gloomy Night, Spedres, and frightful Forms. ALBANO fliould have painted for me Venus, with many Cupids fporting about her, in wanton, gay, amorous Attitudes ; or Diana, with her attendant Nymphs, all in the Drcls of Huntreftes; the Rapes of Eiiropa and Troferpina, and feveral other poetical Fables. To Dominichino. BUT from T)ominichino I fhould have intreatcd a whole Set of Tragedies ; Pidures reprefcnting all the great and ftrong Faflions; feveral Martyrdoms of Saints; and J^.6/^f- nia, Ajax, Clytemneftra, Orejies, and all the Subjeds of the great antient Tragedians, roAndreaddSarto A NTi R E A T>EL SARTO fhould have done for me theDcfccnt of the fiery- Tongues, and miraculous Gifts, upon the holy Apoftlcs. A R- II y a ptufieurs volumes defTmei de fa main dans plus aujourdhui. Entre celles tju'il a recberchees avec la bibliothcqLie tin due de Savoye, ou les curieux pour- foin, on voi: toutes fonei de vaifleux qui ecoien[ ancienjie- ioien[ apprendre beaucoup des ciioies que nous ne voyons ment en ufage- "Bsiihten, T. p. m. Chap. 8. and Decline of Painting. TJRMEGGIANO (hould have painted for mc fevcral tender, fofr, plcafa'it, Parmcggimo. melting Stories 5 any thing that gently touches the Sou!. TO ^PoiiJJin, however, would I have left it to paint mc an Arcadia, juft as he hath roPoufHrt. done it. For in a eharming romantictc Country, there is placed in the middle of a Field, the funeral Monument of a beautiful Arcadian Girl, who died in the Flower of her Youth as is known by her Statue laid on her Tomb after the manner of the Ancients, and this iKort Infcription, Et in Arcadia ego ; which leads two young Men and two young Wo- men decked with Garlands of Flowers to very ferious Reflexions. They fcem not a little furprized to Hnd this mournful Monument in a Place where tiicy came not to fcek for any fuch grave melancholy Objcft. One of them points out the Infcription to the others ; and one fees in all their Countenances Joy and Chearfulnefs expire, and deep Sorrow beginninc^ to feize them. One can hardly help imagining he hears them fpcak out their Thoughts about cruel Dcfliny, which neither fpares Youth nor Beauty, and againft which the hap- piefl Climate, the moll: inchanting Country, affords no Security. NOT contented with this, from his admirable Pencil, he muft have done for me all the religious Inftitutions of Chriftianity ; and alfo Subjefts of a very different Charafter; as Mofes delivering' the famiihcd Ifradites by Manna from Heaven, or by Water from a Rock, in a barren, parched Dcfart, GASTAR TOUSSIN (hould have done for me aVariety of pleafant beautiful Gafpar PoufHri," Landfcapcs, from his own fine Imagination. AND Sal-vator Rofa Ihould have painted for mc fcvcial Battles, and a great Variety of Salvator Rofa. wild lavage Prof^-efts. TEMTESTA Ihould have drawn for me a Hurricane at Sea, frighted Mariners, and To Tempeft the Ship ready to be Ihattef d into Pieces, or fink to the Bottom. 1 Ihould have defircd from Cajliglione and MoU a great Variety of Animals. AND from Reubens, Satyrs, Silemis quite drunk, Bacchante and Saturnalian Feftivals. 7i) Reubens.- TIETRO TiA CORTONJ Ihould have done for mc all the Battles Alexander. Ta Vimo da Cor^ tona. AND Tintoret the whole Hidory of Venice, its Foundation and remarkable Deliverances. To Tintoret. FROM Holhens I fhould have demanded many Portraits ; more from Rembrandt, and I'o Holben?, Rem- yct more, of the fair Sex efpecially, from Vandyck. brandr, a7!d Yan- cyck. AND thus I Ihould have had Pidurcs for all the noble Ufes of Painting ; to prefervc the Memory of Friends ; to reprefent the Charaders of antient great Men ; to raife my Ima- gination, move my Pafllons and Affedions of cvcty kind, in a truly whollbme and moral Manner ; and to inftruift me in the profoundefl: Secrets of the human Heart, in all its various and complicated Workings and Motions 5 to convey agreeable Images, and footh my Mind ; or to rouze it, and awaken great and ftrong Thoughts : Pidures to compofe me into Meditation, or to rcfrefh and chear me after Study and Labour : Pidures to com- pare with the fineft Dcfcriptions of the beft Poets of every kind ; and Pidirres to inforce the fubiimcft pureft Dodrines of moral Philofophy, and true Religion : Pidures wherein to fludy the vifiblc Beauties of Nature, and all the charming Effeds of varioufly modified Light and Colours : And Pidures in which I might view myfelf, and contemplate human Nature as in a moral Mirror : Pidures of as many Kinds as there arc of Poetry; Lyricks by Raphael and Correge ; Epick by Giulio Romano ; Tragedy by T>ominichino and "^oiifftni Comedy and Satire by Reubens; rural Beauties by Titian, with Venus, her Cupids, Nymphs, and Lovers ; Dcfcriptions of Charaders by Leonardo da Vinci ; Fables and Allegories by Guido and Albano ; great Feats of Heroes by Michael Angela Love or tender Tales by 'Parmeggiano j and melancholy gloomy Ideas by Andrea del Sarto, or Hannibal Carrache. And by way of Contrafte to a fublime and fine Tafte of Na- ro Michael ture and Beauty, I would have had a few Pidures of Carravaggio of common ordinary Carravaggio. Nature (it)). I HAVE (19^ To jiiftify what T have often faici of that Painter, qu'il le voyoit: Ainfi ils etoient bien oppofez I'an al'autre. I fliali take a Quncacion from Felibieu, T. 5. 194. Mr, Oepcndanc li I'on confidere en particulier ce qui depend Pouffin ne pouvaic rien foufliir du Caravage, & difoi: dc I'arr de peindre, on verra que Michel Angelo de Cara- qu'il etoit venu au monde pnurdetruire la peiiitiirei mais vagc I'avoic couc entier ; j'entends lait d'imiccr ce qui] il ne fjut pas sVranner de I'averlion qu'il avoir pour lui : avoir devanc fes yeux. Le Caravage a eu fes fedtateura Car il le Pciuilin cherciviic li noblelle dans r..'s fujcrs, ie Manfrede &: Ic Valemin, ^c. Car;iv.i£e fe laillu:t cn poiicr i U vcriK du nacutcl ccl X X I/O An Essay on the Rife, Progrefs, I HAVE been all this while venturing, pcrlups, too far, or taking too much upon me ; bitt wherein I am wrong or miftakcn, I lliall be glad to be let right. And if 1, by mv EolJncIs, fllall put others upon con fidcring Pidures in another more profitable XFay that'i the greater Part of thofc who arc called, or love to be called Virtuofi, do; without any Preponcifron, or blind Attachment to great Names and Authorities, I lhall .-ain one of the main Points 1 have in View in this Elfay. ^ rhr chief Rrafii ■fir Wfjut may be fca- tluded fnn tbnn, coKcsTjiiTig the Per- feSiion of Fahititig amang the Greeks. IT only remains that I fay fomcthing about thofe Pieces of airticnt Painting „c„v engraved. And 1 rhink I need not make any Apology to the Lovers of Antitiuity, for publifhing thofe curious Remains, that heretofore have been quite neglefted ; tho" they arc furcly, in rcfpect of their Antiquity, a very vahtablcTrcafttrc; as mitch fo, at Icaft, as any thing can be merely on that Account. To fuch this muft needs be a very acceptable Coi- Icftion. Far lefs need I make any Apology to the Lovets of Paintinir, for givin.T to the Publick good Engravings of anticnt Pieces of Painting, that were highly cftecmcdby the gteatcft modern Maftets, and from which they received great Afliflanccs. The few of them that have been formerly engraved (the Vema, the Rnrn; and the Marriage) are fo ladiy done, that it w.is neceflary, in Jufticc to the Antients, to publilh them ?n a truer tight. 'Tis no Wonder that thofe who had nothing elfe of antient Painting to judpe by but the bad Prints of thefe Pieces have hitherto entertained no very high Idea of the antient Roman Fainting, or at Icift of the Remains of it. I HAVE, indeed, chiefly publi.rhed them along with this Eilay, that they might ferve by way of Evidences to prove that the Accounts given in it of antient Paintin? arc not exaggerated. We have no Reafon to think that antient Writers magnified Matters, when they fo highly commend the antient Greek Painters for all the mot'e elfential Qualities of good Painting. There are indeed no Remains of Greek Painting ; but how can we doubt of their Fidelity and Impartiality in their Accounts of thcnr, fince there are Statues, Bas- RcUefs, Intaglias, Cameos, and Medals, to vouch fuflieiently for the Trutir of what they liavefaid, at the fame time, concerning thcfe Siller Arts? of which it is hatdly pollible to be an intelligent Judge, without being equally capable to form a very juft and true Opi- nion of Painting. But thcfc Remains now publilhed from excellent Drawings, v,-ith the gre.itcft Exaftnefs, pur this Matter beyond all Doubt; for they ihew what Romm P-iintin"- W.1S, if not at the Time of Augujtas, yet in After-times, when the Art is faid to liave been in greater Pcrfeclion than it was at that Period. AND from them we may judge what the Greek Fainting was, fincc the Rommi at no Time was reckoned, by the huti Roman Judges, who had Icen icveral of the moll: cele- brated Greek Piftures, equal to the Grecian : And thcfc Pieces, however beautiful can by no means be reckoned the belt Performances of Roman Mailers, or Mailers of wha'tever Country, who painted at Rome in the Time of the better Emperors, that is, of thofe who moll loved and encouraged the Arts ; being done upon the Walls and Ciclings in the fub- tcrraneous Apartments of great Palaces, built by 27;a.v, Trajan, or thi Antonines ; where it is not likely that the better .Mailers would have been employed, or, if tlrey were, that they would have exerted thcrafclvcs fo much, as in doing capital Piclures for the Orna- ment of Apartments of grcitcr State and .Magnificence, and that were oftner vifited. I SHALL now give fomc Account of them in the Order they are here annexed. As to the Colouring, 1 have added fomc number'd Sketches, by which that will be better undertlood, than by any Llefcription. He who would have a fuller Account of it in Words will be iatisficd by having recourfe to Bellorh Account of the Paintings found in the Sepulchro Najonis, and other fubter ranearr Places ar Rome ; for all rhc Remains of Paitrr- ing rhat now fubfilt, arc much the fame in that refpecl, as he defcribes thofe he has pub- lilhed from Bartoli'-:, Drawings. 1 have an excellent Copy of the Marriage, juft as it is at prcfent. The famous CoDctlion that belonged to the MaJJimi Family at Rome, and was jullly reckoned by ail. Strangers .is well as Italians, one of the greateft Curiofities at Rome is now in Dr. Richard Mead's Library : And there one may fee the Colouting of the anticnt Paintings exactly imitated hyBartoli; thefe Drawings having been faithfully done by him from the Originals, at rhc Time they were difcovered, or while rhcy were very frelh. Bur, which will be yet more fatisfadlory ro the Curious, Dr. Mead has lately got lome of the bell and moll entire, well-prcferved Pieces of that Kind rh.at were at Rome, ■ from the lame Palace of the Majimi. There they had been long kept as an invaluable Trcafure, that was never to be parted with by the Family ; But iiow thcfc admirable Ra- rities arc in rhc Poflcllion of one of the bell |itdgcs, and greateft Encouragcrs of polite Litcr.irurc, and all tiie ingenious Arts, in England: To whofe cleganr Library, and moll valuable CoUeftion of Piaures, Drawings, Medals, and other Curiolitics, all the Lovers of the Arts have vcty free and agrcci^blc Acccfs. L & 11. Chap. 8. and Decline of Painting I. & 11. THE firfl: in Order rcprcfcnts Rome; the fccond Venus, or Tlejiilia, or J-ompu (20) : The Originals arc in the lame Apartment ; the one over-againft the other in tlie Barberbu Palace at Rome. I have placed thcfe two firit, becaufe we are told by Dian Coffins {11), That the Emperor Adrian built a Temple at Rome, dedicated to Rome and Fenus ; in "which the Images of both were placed upon magnificent Thrones. And it is not impro- bable, that this i'ainting of Rome was taken ftom that Statue (22}. There is a Statue of Rome, with almolt all the iame Symbols, in the Capitol at Rome. THESE two ancient Pieces, according to the Tradition at Rome, wetc found in a fubterraneous Apartment, thought to belong to the Circus of flora, in digging to lay the Foundations of the prefent Barberini Palace. The Venns, or Volupia, with the Cupid added by Carlo Maratti, is in Breadrh nine Roman Palms, and in Height eight and one lialf. The Rome is in Height eight, and in Breadrh nine. It puts me in Mind of the many grand Epithers given to Rotne by the Poets and other Authors, and of many fine warm Addreflcs ro her (23). Thefc two, wc arc told by a very good Author, palled, for a con- fiderable Time, the one for the Work of Raphael, and the other for that ofCorrege. THIS ingenious Author's Accounr of the anticnt Paintings he had feen is worrh our Attention ; and therefore I have copied it into the Notes, in his own Words, the Lan- guage being imiverfally undcrftood (24). THE (20) Vide MantfaiKnn\ ^Antiquities. vriers ne tirent que de I'Amenqiic, & de quclques autres pays,qui n'onc un commerce regie avec I'Europe que dcpuis Bian, p. -j^, i^c. deuxlicclos. ,t r, ,- ■ • r u- „ ■ ir rf Un grand nombredesmorceiuxde la Peinture antique (21) See the Delcnptmn ofth.s rn M.vtfmm, qui „„„ ,^IXc, eft erecutc en Mo&Vque ou en Peintilte t. e. 5. fan I. whete lie ld-^ra»». How Palais que les Barberiiis ont l^aii balir dans la Ville de Palc- T- ".'J ""'"""'■y P"""^"* repreientcd by Statues, ftrine, -i vingr-cinq mille dc Rome, un grand morceau dc and in Medals, wc learn from CWm// extTum mda Ut:it, 7jive'js exprta lacerm Geographesenmetlcntpeut remplirlcs place; vuidesdeleiii-s .Audacem retf^it wammarii, laxum^uc caercens cartes. Ces vignettes reprefentent des hommes, des aui- Moi der ^emwa finim. Nadiif ^ui fubk-jat cnf^m, maux, des batimells, dcs chaftes, des ceiemonie; & plu- ^hiim piiiiieo pdhs difiritainat opo. fieurs points de I'hilloire morale & naturellc de I'K^ypte an- Mfidnr dnari vir.'i/i, pu!ihe>-qus fivero ciennc. Le nom des chofes iefquelles y font depeintes eft jirrnaluT lerrare pudar, gais^que viinaci, ^c. ccrit au-deffus eu caraifteres Grecs, a peu pies comme le nom dcs Provinces eft ecril dans une carte generalc da J his IS a very hue Defcnption : But file was reprefented Koyaume de France. in various Manim ; moft commonly as [he Learned Le PoulTin s'efl: fcrvi de qlielqucs-uncsde ces compo'i have obfen'cd, r.r/o- mam, nfinans, palmam ai tions pour cmbellir pluSeurs de les tableaux, enir'autresce- caronam ofsTsm, vt /,/,/r?r de Ulo arhe Irtmnphos ppiifi- lui qui reprefente I'arrivcede la lainte famille en Egypce caret, & wtutem vuUtarem. Every one knows that ilie Ce grand Peintre vivoit encore quand cette fuperbe Mo' IS frequently called Mater & fanSilfma parens. laiquc fur deterrce des ruines d'un Temple de Serapis, qui , ■ « e . „r . , pouvoit Men eire, pour parlcr \ notre maniere, une Cha- Before I give this Authors Words, I beg leave to pelle du Temple celebre tie la Fiirr«»»Prt,/,«,»e. Toutle obferve, that there are more anrient Paintings yet fub- monde fait que I'ancien Prenefte eft la meme ville que Pa- filhng, than he mentions, as appears by the prelent Col- leftrine. Par bonheur elle en fur tirec tres entiere & tres Icttion. And tho' many antient Paintings perillied foon bien confervee; mais malheurcufement pour les curieux after they were diicovered, for want of proper Care about ellene lortitde fon tombeau que cinq ans apres que Mon- them, yet, lucltily, Drawings were taken of moft of them lieur Suircz Eveque de Vaillbns cut fait impnmcr Ibn livre that are loft, [he .Moment they were difcovered ; which PriSneps Antiquai libri dHO. La carte dont je parle ctoic do, as much as can be, fupply the Lofs of the Originals, alors enlcvelic dans les caves de I'Eveche de Paleftrine, oQ I need not tell my Reader what antient Paintings are pub- elle etoit comma invihble. On en appercevoit feulemenr Idlied by Bellori, from the Drawings of the elder Baneli, quelqtie cholba forceden lavcr les endroits qui etoientdeia €5-r. And [here are a great many Pieces in the PoIPeftion eecouverts, &: I'on ne les voyoit encore qua laclartedes of the King o{ Naples and Sia!^, that were taken from flambeaux. Ainli MonfieurSuarez n'a pu nous donner dans Augapui's Palace in Monte Valatine ar Rowe, that have l*^" Ouvrage que la delcripnon de queltjues niorccau>: que never been engraved. As for what our Author fays of the le Cavalier del Pozzo avoir fait derTiner fur Ics lieux. Le anticnt iMofaicks, I fiiall juft take Notice, that the only Cardinal Barberin a fait graver ce monument dont j'ai parle two given in this Colieiftion are very beautiful, as lhall P'"^ long que raon fujct ne fembloit le demander, parce be afterwards obferved. His Words are, qne routes les relations devoiages que je connois n'en difent moc. Je ne Ciclie point qu il foit venu Jufques a nous aucun ta- On voitencore a Rome & dans plulieurs endroits de I'ltalie bleau des Pemtres de ancienne Grece. Ceus qui nous des fragmens de Mofaique annque, dont la pliiparr ont c-e rettenr &s Peintres de I ancienne Rome, font en li petite graves p.ir Pierro Sanfli Bartoli, qui les a inferes dans fes quin-iie & lis loot encore d une elpecc telle, qu'il eft bien diffcrenrs rcctieils. Mais pour plulieurs railbns on iugeroit dil hal; de jugta- lur I mlpcaiou de ces tableaux de I'habilete nial du pinccau des anciens, fi I'on voulnit en iuger fur ces des ineibeurs ouvners de ce tcms-,a, ni des couleurs qu'ils Mofaiques. Les curieux favent bien qu'on ne rendroic nas cinp.oyoient. Nous ne pouvons point lavoir politivement au Titien la jufticc qui lui eft due, fi I'on vouloi- ju.er de 5 lis en a voient que nous n'ayons plus ; mais il y a beaucoup Ibn nierite par celles des Mofaiques de I'Eglife de SaintWc d apparcnce qu lis n avoiciit point les couleurs que nos ou- de Veuife, qui furcnt faites lur les deCfeils de ce Majtre de In An Essay on the Rife, Progrefs, III. THE third was dug up in fcarching the Ruins in Monte Talatino, now called Ortf Farnejiani, and is at prcfcnt in Dr. Mead's, Poficffion. Tlie Figures in the Copy arc of the fame Size as in the OriginaL It rcprcfents Aiigufiits giving a Crown : But the Figure who la couleur. II eft impoffible d'i'niter avec les pierres 6c les morceaux deverrc dont les ancient fc Tone ferVis pour pcin- dre en Mofdique, routes les beauics & roues agremens qLie le pinceau d'un habile homme met dans un tableau, oil il eft mairre de vniler les couleuvs, &de fabcfur chaque point phyfiqucrout ce quil imagine, cant par rapport aux traits que par rapport aus teintes. En effet le* Mofaiques furlefquelleson !"e recriedavantaoje, ctriiL-s qii'on preud d'une certaine dillance pourdcs tableaux' fairs au pinceau, fontdes Mofaiques copiees d'apres de fimples portraits. Tel eft le porcrak du Pape Paul V, qu'on voir a Rome au Palais Bor- ghefc. II ue refte dans Rome meme qu'un petit nombre de pein- tures antiques faites au pinceau, Voici celles que je me Ibu- viens d'y avoir vucs. En premier lieu la Nopce de la Vignc Aldobrandinc, & les figurines de la Pyramide de Ceftius. Iln'ya point decurieux, quidu moins n'en ait vu des eftam- pes. En fecond lieu les peintures du Palais Barberin dans Rome, lefquelles furent trouvees dans des grorres fouterain- nes lorfqu'on jetta les fondemens de ce Palais. Ces peintures font le Payfage ou le Nymphee, dont Lucas Holftenius a public I'eftampe avec une explication qu'il avok feite de ce Tableau, la Venus retouchee par Carle Maratte, & une figure de Rome qui tient le Talladinm. Les connoiffeurs qui nc favenc pas I'hiftoire de Ces deux Frefquesjles prennen: I'urie pour etre de Raphael, & I'autre pour ecre du Cortege. On voir encore au Palais Farnefc un morceau de peinture antique trouve dans la Vigne de I'Fmpereur Adtien a Tivoli, & un refte de plafonds dans le jardin d'un parriculier aupres de Saint Gregoire. Onvoyoitauffi il y a quelquc terns plu- fieiirs morceaux dc peintures antiques dans les batimens qui font compris vulgairement fous le nom des mines dcs Thcr- mes de Titus; mais les uns font peri?, comme le tableau qui reprefentoit Coriolan, que fa mere perfuadoit de ne point venir attaquer Rome, & dont le deirein feir par Annibal Carrache, lequelaete grave plulieurs fois, eft adjourd'hui entreles mains de MoniieurCroiarle cadet, les aurres ont ete enleves. Ccft de la que le Cjrdinal MalBmi avoir tire les quatre morceaux qui palTent pour reprefenrer I'hiftoire d'Adonis & deux auTcs fragmens. Ces favantes reliques font pallees a fa mort entrc les mains du Marquis Maftimi, & Ton en voir les eftampes dans le livre de Monfieur de la Chaulfe, inritule, LeFitlure Amichi delkGrotte diRoma. Get Aureur a donnedans ce livre plufieurs defteiiis de pein- tures anriqucs qui n'avoient pas encore cie rendus publics, & entr'autres le deflein du plafond d'une chambre qui fut dc- terree aupres de S. Ericnne in Rotonda en mil fepr cens cinq, c'eft-a-dire une annee avanr Tedirion de cer ouvrage. La figure de femme peinte fur un morceau de Stuc qui etoit chez le Chanolne Virtoria, eft prefenremenr a Paris chez Monficur Crozar le jeune. II ne refte plus dans les ruines des Thermes de Titus que des peintures plus qit'a demi efFacees. Le Perede Mont- faucon nous a donne I'eftampe du morceau le plusencier qui s'y voye, lequel reprefente un payfage. On voyoit encore en mil fept cens deux dans les ruines de ' I'ancienne Capoue, eloignee de la ville modcrne de Capouc, une Gallerie enccrree, naXzimCripto Foriicus^ donclavoure etoir peinte & reprefent jit des figures qui fe jouoient dans difFerents orncmcns. li y a fcpt ou huit ans que le Prince Emanuel d'Elbeui^ en faifant travailler a fa maifon de cam- pagne, lituee entre Naples &: le Mont Vefuve, fur la bord de la Mer, rrouva un bailment orne de peinrures anrique;; mais je ne fache point que perfonne ait publie le delTcin dc ces peintures, non plus que cellcs dc la veille Capoue. Jeneconnois point d'autre; Peintures antiques faites au pinceau, £c qui fubfiflient encore aujourd'hui, outre les mor- ceaux dont je vicns de parlcr. II eft vral que depuis deux fiecles on en a deterrec un bien plus grand nombre, foit dans Rome, foit dans d'autres endroits de ritalie : maisje nef.iis par quelle fatalite, la plupart de ces peintures font peries, & il ne nous en eft demeure que les delTcins, Le C.irdinal Maflimi avoit fait un tres beau recueil de ces delFjini ; & par une avanture bizarre, c'etoitd'Erpjgneqii'il avoit rap- pones a Rome les plus grandes richeUesdefon recueil. Du- rant faNonciaturcil y avoit fait copier un portefueille qui eroit dans le cabiner du Roi d'Efpagiie, &qui contenoit le deffetn de plulieurs peintures antiques, lefquelles furent trou- vees a Rome lorfqu'on commen^a dans le feizieme fiecle d'y fouiller avec ardeur dans les mines pour y chercher des de- tiris de I'antiquite. Le Cavalier Del Pozzo, dont le nom eft fi celebre parmi les amateurs de la peinture, le meme pour qui le Pouftin peignit fes premiers tableaux des lepc Sacrcmensj avoit faitauffi un tres beau receuilde dclleins d'apres les peintures antiques que le Papc regnant a achete depuis quclques annces pourlc nieicrcdans u Bibliotheque particulierc qu'il s'eft formee. Mais prcfquc toures les peintures d'apres lefquelles ces dcni'ins I'urent faits fonr perie.;, celles du tombeau des Na- fons qu'on dererra pres dc Pontemole il y a quar ante- quatre ans, ne liubliftent deja plus. Il ne nous eft refte des pein- tures de cc Mauioleeque les copies coloriees, que furent fiiites pour le Cardinal Mallimi, & les eftanipes gravees par Pietro Sandii Bartoli, lefquelles font avec les explications du Bellori un volume in folio imprime a Rome. A peine de- meuroir-il il y a deja quinze ans quelques veftiges des pein- rures originales, quoiqu'on euc attcnticn de paficr dt-iTLis une teinture d'ail, laquelle eft fi propre a conferver les Frefques. Malgrc cetce precaution elles fe four detruites d'elles memes. Les Anciquaires prctendent que c'eft la deftinee de routes !e.s peintures anciennes, qui duranr un grand nombre d'an- iiees ont ete entcrrees en des lieux fi bien etoufte, que I'air exterieur ait ete long-rems fans pouvoir agir fur elles. Get air exierieur les detruir aufti-rot qu'elles redeviennent expo- fees -i fon aflion, au lieu qu'il n'eodommage les peintures enterrees en des lieux oii il avok conferve un libre acces, que comme il endommage tons les tableaux peints a Frefque. Ainli les peintures qu'on deterra il y a vingt ans a la Vigne Corfmi, batic fur le Janicule, devoient durer aicore long- terns. L'air eKierieur s'etoit conferve un libre acces dans les tombeaux dont elles ornoicnt les murailles; mais par k faure du proprieraire elles ne fubliftereiic pas long-tems. Heureufemen: nous en avons les eftampes graveci par Bar- roll. Cetre avanture n'arrivera plus deformais. Le Pape regnant qui a beaucoup de goiar pour les Arts, & qui aimc les antiquites, n'ayant pia empecher la deftruftion des pein- rures de la Vigne Corlini fous le Pontifical d'un aurre n'a point voulu qLie les curicux pulTent reprocher au fien de pa- reilsaccidens, qui font peur eux des malhcurj lignales. I[ fit done rcndre un Edit des le commencement de fon regne par le Cardinal Jean Baptifte Spinola, Camerlingue du Saint Siege, qui defend a tons les proprietaires des lieux ou Ton aura trouve quelques veftiges de peinture anrique de demolir la ma^onnericouelles feroient attachees fans une permiffion cxprelFe. On con^oit bien qu'on ne pent fans remerire entreprendre un paralelle de la peinture antique avec la peinture moderne fur la foi des fragmens de la peinture anrique qui ne fubfiftent plus qu'endomm-ge du moins par le rems. Ce qui nous refte, &qui etoir peint fur les murailles, n'a ete f^it que long-tems ap^rcd la mort des Peintres celebres de la Grece. Or il pa- roit par les ecrits des anciens que les Peintres qui travaille- renr a Rome fous Augufte, Sc ious fes premiers fuccelTeurs, furenr tres infericuts a Zeuxis, & a fes illuftrcf contempo- rains. Pline, qui compofoit fon hiftoire ious Vefpaficn, quand les Arts avoient acteint deji le plus haut point dc per- fedion oii ils parvinrenr fous les Cefars, ne eke aucun ta- bleau de la premiere clalTe qu'il donne lieu de croire avoir e;e fait en ce tems-lii, parmi les rableaux qu'il compte comme un des plus beaux ornemens de la Capirale de I'Uni- vers. On ne i'juroit done aiTeok aucun jugement certain en vcrtu des' fragmens de la peinture anrique qui nous reftent, fur le dcgre de perfeftion oti les anciens pourroieni: avoir ports ce bel Art. On ne fauroir meme decider par ces fragmens du degre de perfection ou la peinture pouvoit eire lorlqu'ils furent faits. ^^Avant quede pouvok juger fur un certain ouvrage de I'etat oii I'Art etok lorfque cet ouvrage fut fait, il faudroi: favoir pofnivemcnt en quelle eltime I'ouvrage a etc dans ce lems-la, & s'y'l y a palli: pour un ouvrage excellent en fon genre. , Quelle injuftice, parexemple, nc fcroir-on pas a norre fiecle, fi Ton jugeoit un jour de Tetat oii la Poelie Dramatique auroit ere de noire terns fur les tragedies de Pradon, ou fur les Comedies de Hautcroche ? Dans les terns les pkisfeconds enanilans excellens, ilfe rencontre en- core un plus grand nombre d'artilans mediocres. II s'y fair encore pkisde mauvais ouvrages quede bons.Or nous cour- rions le i ilque de prononcer fur la fol d'un de ces ouvrages mediocres, fipjrexemple, nous voulions juger de I'eiat oil la peinture etoit a Rome fous Augufte, par les figures qui fontdans la Pyramide de Ceftius, quoiqu'il loktres probable que ces figures pcintes a frefque aycnr etc faites dans le rems meme que le Maufole fut eieve, & par conl'equcnt fous le regne de cet Empcreur. Nous ignorons quel rang puuvoit tenir entre !es Peinrres de fon rems I'Anilan qui les fit ^ 6c cequi ie palFe aujourd'hui dans tous les pays nousapprend fuffilaracntque la cable fait diliribuer fouvencles ouvrages les Chap. 8. and Decline Painting. ■who receives it is wanting. It is not improbable that it ircprcfcuts Angnpis rcftoting the Crown to Thraates, of which Horace fpcaks {25-): ■ — ' — Jns imperiumqiie Phraatcs Cxfaris accefit genibus minor. Ep. L. I. Ep; XII. V. 2/. THOSE who arc acquainted with Medals will cafily find out his chief Attendants. Meccnas and Jgrippa. are there, and the rcmotcft Pcrfon is, not improbably, Horace; at Icaft it is as like to his Delcription ofhimfclf as any of thofe Figures in Intaglia's, that are called Horace by the Learned, and is not unlike to them (26}. IV. THE fourth rcprefents the Ceremonies of an anticnt Marriage; the Original is well known by the Name of Nozze Jldobrandine : it is in the Ftlla Aldobrandina at Rome ; and where it was found we learn fully from Frederico Zuccaro, that excellent Painter, who was prcfent when it was dug out of the Ruins of Mccenas's Palace : He cleaned it himfelf, and placed it where it now is. I have given his Account of it in his own Words (27), becaufe 'tis very different from that which is given of it ac the Bottom of the common very bad Print of it. THE Figures in this beautiful Piece arc about three Roman Palms in Height. I have a very fine and a very exad Copy of it in Colours, by Camillo "Paderni, that was done from the Original when I was lafl: at Rome in the Year 1737. The Marriage Pomp, and feveral other Ceremonies reprcfcnted in this Piece (28), the Balhfulnefs of the Bride in particular, are often defcribcd by the Poets. Ja7n nupta trepidat follicitus piidor^ Jam produnt lachrymas flammea fimplices. Claud, in Nupt. Hon. Aug. 5c Mar. Fefcin. THE (ame Poet thus defcribcs other Ceremonies of Marriage : Flammea njirgtneis accommodat ipfa captllis : Ante fores jam pompa. fonat, pilentaqite facram Traradiant du£iura nunm. Calet ohvius ire Jam princeps Dc Nup. Hon. & Mar. THE remarkable Bafhfulnefs of the Bride in this Piece is charmingly exprcfled by Statins (zc)) .■ Lumi?ia demiffam, & dulci probitate rubentem. Sylv. L. I. Epit. Stcllje & Violant. V. 12. V. trovarano una f^anza, ove era rlmafto un peixo di muro in piedi nel quale era dipinca una graciola, e bella hifto- m a frefclio, con figure dentro, di trc palmi in circa aho, colorire da ecccltente mano, che merico effer ftimaco quel pezzo di muraglia, e porcato alia luce, e pofto nel giardmo del cardinale AUohrandino a monre Magnapoii, e cofi ben confervata tra quelle ruinc, che fu maraviglia, ed io che fui per force uno di quelli primi a vederk, e lavarla, e neuarla di mia mano diligenremente, la viddi coll ben confcrvaca e frefcha come fe fuffe farra pur all' hora, che n'hcbbi un gufto fingulare e fui caufa di farla portare alia luce. L. II. del dircgno efterno, P. 37. del Cavalier Frederico Xuuaro neridea d'pitrore TcuUuri) &c. fiS) This Piece appears to me to be a copy from a Baf-relief; and diere arc feveral anticnt Baf-reliefa- repre- fcnting the Ceremonies of Marriage ac Rome. See Kemiet'5 Homan Antiquities, where a very remarkable one is mentioned. And, indeed, as I have already fald, mofl; of che antient Paintings tliat have been, or are now publillied, ac leaft mofi: of them I have feen, appear to me to be only Copies in Painting from 'Statues or Baf- rcliefs) bu: moft excellent ones. (29) The Commentators obferve on thatPaffige, Hot iifio; efl tcif ■^ctp&it'ai', &c. apud Xenoph. de rep. Laced. — Videcur etiam Fapinius VioIantUlam efBngere ad illud S'lHt d-ycthjAtt apud Faufan. in^ttkis, p. 103, Scribic ab Icaria ereitam fuilTe La'ccdietnaiie, eo loci ubi Tenelape 2 Y rogata les plus confiderables a des Artifans trfes ioferieurs a ceux qu'clle fair negliger. Nous pouvons bien comparer la fculpture antique avec la notre:, parceque nous I'ommes cercains d'avoir encore aujourd'hui les chef-d'ceuvres de la fculpture GrccqLje, c'eft-a-dire, cequi s'elt fait de plus beau dans rantiquitc. LcsRomainsdans lefieclede leur fplendeur, qui fut celui d'Augufle, ne difpucerenr aux lUuftres de la Grece que ia ■ fcience du Gouvernement. lis les reconnurent pour leurs maitres dans ies Arts, & nommement dans 1' Art de la fculp- turejScc. Refietiwns fur laPoefie& la Beifitre.T.l.S. 38. (25) He feems to allude ro fome fuch Munificence of Augufiui, Carm. L. 11. Od. II. {z6) SeeEp. L.I. Ep. XX. and fect7r/7;i's Gems. Ma la pictura per vero non puo havcre fi lunga vita, ne la fragiliti de'i fuoi colori fotto-pofta a lemplici accideiiti reliftere nelle tele, e ravole, comeancho pietre, e muraglie in che li opera. Nientedimeno ella ancora ha' vita di piu fecoli, e piu ancora ne haverebbe fe fi potelTe difFendere per fc fella dalli accidenti ftrani, tutca via anco elTa tra le dette ruine e grorie di Roma fi va fcuo- prende, e moftrando in qualche parte la fuadurata, come pochi mefi lono, fu' fcoperco fu'l monce di lanta Maria Maggiore ne gU horti Mecenaci da quei cavatorij che continuamente vanno cercando qua e la fotto terra, per irovar ftatue> marmi, e figure fotterrate, in quelle ruine, An Essay on the Rife, Progrefs, THE fifth is a fine Image of old Age, Curve, SeneSus ; it puts me in Mind of the old Woman done by Lala. fo much commended by yan,,, for a very natural P.clure of that I T may perhaps reprcfent Tallas difguifed in the Likencfs of an old Woman when llie came to chaftifc the Vanity of ^rachne, agreeably to Ovids Defcription : Pallas mtm fimulat ; falfofque in tempra canos Addit. Ovid. Met. L. VI. V. 26. Talibus obfcuram refecnta ejl Pallada diBh Mentis inofs, longaqiie genas confeBa feneCia. Ibid. V. gtJ. OR 1 may reprcfent one of the Fates ; for as thefe and all other imaginary Beings are differently reprefcnted by the Poets, lb, no doubt, they were reprcfentcd in very vSoJs Manners by Sculptors and Painters {30). The Original is in the Barkrini Palace ™ tis very well prelervcd, and 15 about two Palms in Height. ' VI. T HE fcth is a Piece very much admired for the Boldncfs and Strength with which the Character is mark d. There is not, indeed, in any Remain of antient Workmanlhin a better exprelled Charaftcr of a Satyr (3 1). The Original is in the Barber.n, Pa aec cie- fully prefcrved, and very frclh m the Colouring. It is about two Palms in HeiWit. VI!. THE fcvcnth is a Siren {12), agreeable to Of i/s Defaiption : ■ Vobis, Acheloides, unde Tluma pedefqtie aumm, cum ■virginis or a geratis ? An quia, cum kgeret vernos Proferpina/crM, In comitum numero mifite, Sirenes eratis .? Sitam poftquam toto frujira quxjijiis in or be j 'Protimis ttt vejlramjentirent lequora cur am. rogara ab ipfo pacre ut maneret fecum in patria, velata facie, &c. It is often alluded :o by thePocrs; {oCaluHus inNuP. Jul. & Man. ^ And L. II. Od. XIX. Tardat in^pni/us pudar. l^:r tHus, Tyrio w toro Totus imviinsnt libi. So r,hillur, L. Eleg. 4. VtJuwiiprimumVlr^o dUuBa marilo, Inpitur tenerai ore ruhente ^enai. XJt cum cojitexuiir ajnaranthis aibapusUte Ljfia, Autumto Candida mala rubent. Ima uidebatur talis ilhdere palla, ^c. See likewife I^ucati. de Nupt. Caton.f^ Marc, The Com- menticorshare obferycd on ihefe PalTages of the Poets ■ n«s'«<, verenindam ilium tuborum, colorem viriuiis ere d.cebat: & ?ithia, Arif.uli, filia, incerrogata qui Cbi color videreiur pulchernmus, cum, relijondi?, oui in ingenuis ex pudore enarcerecur. & aures Capripedum SalyrorMtit acutas. (32) Sec the Difference between tlie Syms and Uar f^rr, &c. defcribed by M„tfa„a« in his Anticluities. See likew.fe his Di.riam Italic,,.. See likewife Am. A.gufin, DijloE. Dial. V. It is well worth while ro read nay Lord Vcmlaa on this allegorical Story. See alfo JEban. d, A„v,.l. Cap. XXIII 1. ,7. Mr. V^No c" on the Odyjfcj, L. XII. v. 51. /'"^otes Next where r/j' Sirens dwell you plow the Seas ■ Their Song is Death, and makes Dejlruaion pleafe, &c. The Criticks have greatly laboured to explain what was the FoundatLon of this Fiftion of the Siren, - We are lllands iiamcd S,m„,/,, that he near Caprea in Italy and chieBy inhabited the Promontory of MinerTa, uDOn the Top of which that Goddefs had a Temple, as fom" Ep.' LXXVII ' " "f*""-- f^o) See a fine Defcription of them l^upiiis Felei & Thetidos. Cum interea injirmo quatientis corpora motu, y mdkas Farce ceperunt edere cantus. His corpus tremulum cosnpleilens undic^ue .yejlis, &c. See On. Met. L. IV. v. 34. Aut ducunt lanas, aitt Jiamina pollice verfant, ^c U l) See Paufania,, L. I. ia Atticis : Where therp IS a long Account of Satyrs. See Plutarch in vita S,Z and the Commentators on Horace, L I. Od. j Hymftarumpe lives cum Satyris ciori, &c. a Catullus de {'"'^lifi fp^culatur vertice Pallas. Here there was a renowned Academy, in rhe Reign of the Siren, famous lor Elotjuence and the liberal Sciences, which gave Occafion for the Invention of this Fable of the Swcetncfs of the Voice, and aitraftive Songs of the Ssrens. But why then are they fabled to be Deftroyers, and painted in fuch dreadful Colours ? Wc are told, that at lall the Students abufed their Knowledge to the Co- louring of Wrong, the Corruption of Manner,!, and Sub- verhon .if Government; that is, in the Language of Poetry, they were feigned to be transformed into Mon- iters, and with their MuCck ro have enticed PalTengers to their Rum, who there confumed their Patrimony, Snd poifoned their Virtues with Riot and Effominacy. The Place is now called Map, &c. " / ' '= Chap. 8. and Bedim of Painting. Tojfe fuper fliiCtm alarum infijlere remis Oftajlis : facilefqiie'Deos habuiftis ; & arttis Vidijlis vejiros 'j'ubitis flavefcere pennis. Ne tamen tile canor mulcendas natus ad aiires, Tantaqtie dos oris lingtiie deferderet iifum, Virginei vultus, if -vox htmana remanfit. 6v. Met. Lib. V. V. fj-j. S O Claudian in Sirenas : Duke malum felago Siicn, -volucrefque puelU Scyllxos inter fremitus, avidamq; Charybdin, ^c. It is a Mofaiek and was dug up in tltc Farnefe Gardens at Rome in the Year 17,7, and is abont four Palms m Height, and ahiioft the fame in Breadth. " vni. THE cightli is likcwifc a Mofaick, (and thefc ate the only two Specimens I have "iven .n tins Colledton of^A/...^ Painting) it rcptefents the Rape o( sLfa, a d t tS-embles' m feveral Ctreumftanees a fce Pidute of this Story, beautifully linhTbTAMlks Tatms, and both do OvidS Dcfcription : ^ -demies Fert frdidarn: pa-vet h£c: littufque ablata reliaum Rejjiicit; & dextra cornn tenet ; altera dorfo Impojita ejh trcmuU Jmiiantiir flamine vejles. Ov. Met. L. II. V. 873 (33). The Original is in the Barberiru Palaee, but I could not certainly leatn where it was found %IIT n rJ'fS ''"S '° R""'^ of Temple of fortZT^t l7f:i now called Talejlr.na. It ts in Height 4 P. and + on. and' in Breadth 4 p' DC. THE ninth is very curious, and well dcferves the Kne^unn ,i,„ t j t . . • Sen te rofeim Titana uocari Gentis Achxmcnix ritn, feu pr^/iat Ofirm trtmfermn, feu Perfei/a^ rupibus antri Indignatafequi torquentem cornua Mithram. Thcb. L. I. V. 1717 (3J-). (5;) Sec On,l. F.,Jl. L. V V, 60: Ilia jubafn dextra, (^'c- Of what may be coiledled l,„m the Ancients concerafne Wh , of Work L, I. Cap. Vlir. D, M.f...,ri,^: VV here be fpeaks btii d, f mentis, and then ol AJ./i,vi t-iCtures Sequirur itacjue Mulivarios tuiCTe, oui Ibliim feu tttaium, parietcs & apfides, ,eHer,s ac fcumfc nlar- moreis ad eiSste. return & anitnantium vermicularunt Quare ^(r.™,,, L. 1. C. VII. dixit, I'ulfa deii.de ex humo pav.menta in cameras rranlicrc ex vitro. Scd drferre P„,.f,.,, L. [. de^^^f. y.fi„,„i, Om„e gmra exculiiim eft pifluris, non cera infulii, & diftbfii CO loci Hmm, led tcHLlis minutis in otnneeenus coloris mats aptatutri.rjust Seres alia,, & botninSs imitaniur id genes mulivi defcribitur a Mamlio, L. V. Anifa, am f, lilt, „,ll, fi„i, Vertere apus p^jjtiit, taratqus ac^airere dotem Malsria:, & narm lapidam mifiert cokres St„lf,„i„„ faiiet f,„ah lannarUTnnpli,, ' Caudoitemi^ue tiovum catlnm per teHa tojianlh. Several Paffages from Vli,,, and other Authors, are .JUOted to the l„„e Purpofe. Copying Piftures in M.fakt IS noiv brought to very great Pcrlbaion at Rmne Ui) Parte feconda, p, 42. GcmmcAntiche di Lira f^^) The Commentators obfervcj Quod autem dici- tur tarqHentem Cornua, ad illud pertinet, quod hmula- crutn ejus fingitur reluaantis rauri cornua retentare: quo fignificatur lunam ab eo lumen accipere, cum cteperit ab ejus radiii fegrcgari. There is another Figure in this Piece, With fome of the Symbols of the Ilea Magna, but drawn by Horfes; whereas Ihc is painted in a triumphal Car drawn by Lions. So 0 W i Car huic genus acre hones Pra,Unt infilitas adjuga turna juhas ! Defer, m. Cpit: Ferlta, mollila per illam Creditor, ,d lurru tepfeata fuo ef. Alcur turrita caput ejl ornata coron. ! An Phrygus turret uriiiu. III, dedit ? Ann,„t,&c. Faft. L. IV. v.ai; /»« IS beautifully defcribed by Oiid' thus:' Fmma arbitrii, tempus dlffenfat iniauis : Ilia rap,tj,„n„. f,p,„ .'^^^ SSip.e ruit, furiUnda ruit : totum^u, per .rhcn tulmmat, ^ c^tis iriwnph.t e,,l,. Ad. Ltv. Aug. V. 371. Aft Essay on the Rife ^ Progrefs, It is taken from Bartolh coloured Drawing, done from the Original, upon Vellum, in the Maffimi Colleilion already mentioned, now belonging to Dr. Mead. X. &c. THE tenth, eleventh, twelfth, thirteenth, fourteenth, fifteenth, iixtecnth, are like- wife taken from Drawings of Bartoli in the fame CoUeftion, done after the Originals: They made the Ornament of one Ceiling in what is called Titus's Palace, now called Orti Gualtierl. We may guefs at the Sizes of thcfe Compartiments from thofe that remain uneffaced, which are in Height a little more than two Roman Palms, and in Breadth two. The tenth reprcfents 'Jupiter on his Eagle carcfllng 'Jimo, probably, becaufe Minerva is there; yet he was wont to receive his Daughter Venus very kindly, according to Virgil. Olli fiibridens hominnm fator atqne T>eorum Vttltu, quo ctelum tempefiatefque ferenat^ OJcnla liba-vit nat£. Mn. L. I. v. 25-9. THE eleventh, twelfth, thirteenth and fourteenth, rcprefent Nymphs mounted on different Animals, juft as Claiidian defcribes the Nereids : Choris quatitiir mare ferta per omnem Neptnni dij'perfa domnm, Cadmeia Indit Lencothoe, franatque rofis Dclphina Paljemon. Canitiem Glaucus ligat irnmortalibus herbis (36). Mec non W»r« and Qni,. So Ora/; ice Fa(i. L. HI. y. 2,-. i-. . , . ^t crcp^t in msdin laurus adu^a full Fall L IV An Essay on the Rife, Progrep, XXIX. THE twenty-ninth, a Woman with thz Modias on her Head, as Fortune is foractimes reprelcnted, is given as a Specimen of Portrait Painting, from the Original in the Majfmi Palace at Rome : ln;Mcight P. .and in Breadth i P. and 3 on. XXX. THE thirtieth, with-tlieArm lifted up, is:remarkablc for the bold Pronunciation of the Mufcles. The Original is now in Dr. Mead's Policflion. XXXI. &c. THE thirty-firll, thiity-fccond, thirty-third, thirty-fifth, and fo on to the forty-eighth, arc from Originals in the Rofpigliofi Palace at Rome, where they arc well preferved. XXXIV. THE thiity-fourth is from the Oiiginal in the Farnefe Palace, which is in Height almoft 6 P. and in Breadth a little more than two. The Length of the Figure is P, Thofe from the RofpjglioJiV:i]:ic^ were found in the Yeat 1718, in what is called Terme di Cim- Jlantino. And indeed the forty-fixth and forty-feventh (39), are bad enough to be of that rhfe^ avdtbefeoTi- Age, and are given as a Specimen of the fad Decline of the Art about or rather before that 'menJe/-^"1 But the Others fcem to be of a better Age. Tliere are fome Pieces of Landfcape ISn^w'g". '" amongft them, but what may be inferred from thefe, with Regatd to Skill of Pcrlpcftivc, I leave to others to determine. THE thirty-fifth a Piece of Landfcape and Architefture, is of the lame Size with the Original. The thirty-firft is in Height I P. and 4, on. and in Breadth i P. The thirry-third, in Hcighr i P. and 3 on. and in Breadth fomething lefs than one P. And the Mcafures of all the reft are much about the fame, XLVUI, XLIX, and L. THE remaining three, forty-eight, forty-nine, and fifty, are from Tittis's Palace, and the Originals arc of the fame Dimenfions with the others already mentioned that were found in the fame Ruins. So that upon the whole, there are in this Specimen of antient Roman Painting twenty-nine, done from Originals, yet fubfifting. And the other twenty-one are front excellent Drawings taken by very good H.tnds from the Originals, ■while they were frclh. The greater Part of thofe twenty-one arc from Drawings of the elder Bartoli. There are belides thofe publifhed by Bellori, Holftenius, and others, and thofe in this Collcftion, a gteat many other Pieces in Italy, particularly in the Poffeffioa of the King of Naples and Sicily, which ai-e well worth engraving. But I found it diiE- cult and expcnfivc enough for me to get at thofe Originals, or original Drawings, from which this prefcnt Colleftion is taken. I employed one of the bell Hands in Rome, for copying the Antique, to Draw for me ; and as his Drawings have given very great Satis- faiiion to all who have fccn them, lb I hope the Engravings will gain Reputation and Bufi- jicfs to one who now is certainly equal to any Work of the moft diiScuIt Kind in that Way, and hath done his utmoft to plcafe in this, by keeping fttiftly to the Drawings. Before I engaged him to do the whole Work, he had given me a few Specimens, which were fully fatisfaftory to fome of the bcft Judges hct c, who did me the Favour to compare them carefully with the Drawings ; and certainly pronounced very impartially, fincc they did not know his Name, till they had declared rhemfclves entitely fatisfied with his Performance, and were very defirous to have the Engraving well performed, as well for my fake, as out ©f Hegatd to Truth and Art. (39) Thefe two are [he only Pieces in this Colleftion that are mcni^cd by the Drawer. CON- Chap. 8. and Decline of Painting; CONCLUSION. THUS have I fct before my Readers, in the bcft Order I could, the moft material Obfervations upon, tlic Riic, Progrefs, Decline, and Ufcfulncfs of Painting, that had ever occurred to mc in my Reading, or Refledioiis, whilfl: I was in Italy, more cfpecially, where every one who hnth previouily conceived any Notion of the Arts of Defign, is unavoidably engaged to purfuc the Study of them to great Length. BUT fincc, whether in difcourfing of the Antiquity of Painting, and of the high Efteem in whicli it was held by anticnt Poets and Philofophers, or of the Authorities from which the Account I give of antient Painters, and their Works, is brought j whether in giving the Hiftory of the more celebrated antient Painters, and of the dirtinguifhing Qua- lities and Excellencies for which their Works are commended by the beft antient Judges : In pointing out the State of the other Arts amongft the Antients whilft^ Painting flourilhed or declined, and the Ufes to which all the fine Arts either a£tually were employed in their bcfl: Times, or thbfe that were ever thought by the beft judges of every Age to be their propereft and mofl: becoming Ends : In tracing the Pleafures which good Painting is quali- fied to afford us, to their Foundations and Sources in our Nature, which are found to be the fame with thofe that render us capable of good Tafte in Life, or of virtuous, happy, and becoming Conduit : Since in handling all thefe, and fcveral other Subjeds relative to Painting, the main Point aimed at and always kept in View, is the Connexion of Painting with Poetry, and of both with Philofophy, and the happy Ufc that might be .niade of them in Education : Since, in one Word, I have only chofcn to treat of Painting for this very Rcafon, that, by Hicwing the ftridl Relation of an Art to Philofophy, wliicii is commonly imagined to be very remote from it, and from all the ferious Purpofes of liberal Education, I might at the fame time do Juftice to that Art, and fet Philofophy and Education in a jufter Light. Upon all thefe Accounts, I fay, it will not be improper to conclude thisEflay with a Ihort Recapitulation of fome of the chief Principles it is deiigncd to confirm, and upon the Truth of which all the Reafoning in it wholly depends. Thofe on the one Hand, who have fully comprehended my Defign, will not be dilplcafcd to find fome Maxims of very great Importance, with Refped to Education, let in various Views. On the othet Hand, thofe who have not perhaps hitherto fully entered into my Scope, may now at laft difcover it In the Concluiion, and fo be able to rccal the Whole into their Minds with a more clear Comprchcnfion of the chief Purpofe and Intent of every Part : And to thofe, who know that Mens Underftandings are rather more different from one another than tlicir Eyes, 'tis needlefs to make an Apology for exhibiting Truths of any Moment in various Points of Sight, or in diverfe Lights. NOW the natural Connexion and Dependence of all the liberal Sciences and Arts, and the Fitnefs of uniting them in Education, evidently appears, whether we confider the Objcfts and Ends of the Sciences and Arts; or the natural Connexion and Dependence of all thofe rational Faculties and Difpofitions in our Natures, which it is the End of Education, that is, of Science and Art to cultivate and improve. And it will be no lefs manifeft if wc .confider either our natutal Propenfion to imitate, trace Analogy and Likencfs, compare and copy, and the agreeable Effefts which Imitations or Copies naturally have upon our Minds; or in the laft Place, if we attend to the Advantages allowed to Poetry, which muft likewifc belong to Painting, fincc thefe Advantages do indeed only belong to Poetry, as it is a Painting Art. In one Word, in order to be convinced of the Fitnels of combin- ing all the liberal Arts and Sciences in Education, one need but rcflecl that there can be but two Objeds of human Speculation and inquiry. Truths themfelvcs, and Languaf^es, that is, the vatious Ways of expreffing, embellilhing, or enforcing Truths on our Minds. ALL the Sciences muft be one, or very ftriclly conneftcd and allied, bccaufe Nature, their Objea, is one. Wliat doth any Science natural or niotal, or howfbevcr it may be denominated, inquire into ! Is it not into I'omc Part of Nature, fome Eftabliihmcnt or Connexion in Nature; or, in other Words, is it not into tlic Frame and Conllitution, the Connexions and Dependencies of fome particular Objcft in Nature? But if univcrfal Nature be one Whole, and all its Parts being Members, fo to fpeak of one Body, are intimately related to, or r.ithcr united with the Whole, and with each Part of the VVhole, then the Conlider.ation of any one Part muft lead to the Examination of many Parts, or rathet of all the Parts to which out Refeatches can reach; and our Knowledge of anyone Member muft be more full and adequate, or more dcfcftivc and imperfeft, in Proportion to what Share of its Connexions in the Whole wc arc able to ttace and difcover. To make this fi;fficiently clear, wc need only to obferve, that Man himfelf is the propereft Objea of human -iSo yln Essay on the Rife, Progrefs, human Inquhics. But Man bcuig evidently related to Nature as a Patt, Inquiries about Man mud mean Inquiries about all Man's Connexions and Dependencies; for how cH'e can his Rank and Situation be known, or how elfc can we form a true fud^mcnt of his Relation to the Whole, and to the Authdr of the Whole, and of his naturafEnd Dutv and Dignity ! To know, Man cannot mean to know only his corporeal Frame his fenfitivc Faculties, and his Connexions with fcnfiblc Objeds, lince he hath likewife moral Powers and Difpofitions : Nor can it mean merely to know his moral Powers and Dilnofitions Jince he hath alio fcnfitive Faculties, and corporeal Dependencies : And in Truth hi^ lenfitnx Faculties, and his Connexions with the fenfible World, are fo min-led' and blended with his moral Powers, Difpofitions and Connexions, as makin" one Frame or Conftitution, that it is impoffiblc to undcrftand one or other of th?m bv fcnarnf^ Conlideration. '-f'""-'- r?^-^^^"'"*^ '''."'"'y ''^ " f'"' gi-rat Secret of Education or Of Inftrnfton in the Science of Man, mull confift in being able to lead Students in the mod natnral Way and Order thro" the various Connexions and Laws of Nature, upon which Man ■ hath any Dependence, or the Knowledge of which is ncceffaty to give liiin a iuft View of himlclf, and of the Relation he beats to Nature, and Nature to him > I may pcrhaos foon attempt to give a Specimen of fuch Inftrudion in human Natute, by which the Con' nexion of all the Sciences, by whatever different Names they are diftinguifhed and of the Manner of con)oining them in Education, will evidently appear. Mean time 'tis obvious from the very Nature of Science, of rhe Science of Man in particular, that the chief thin.' to be ftudicd by thofe concerned in Education, is the mod natural, or rimplelt and eafiell Order in which Students of Nature may be led gradually from one Connection in Nature to another to as full a View of Nature as can be attained to. Since thus alone can Man have a jufl Idea of himfelf, or of his Site, Dignity, Scope and End. aV'^.k"' Nature being one, all the Sciences which inquire inro Nature as one Whole mull be One, or (Iriaiy and intimately related; all the liberal Arts are for the famcReafon One, and clofely conneacd: For what are all thefe, as they are diftinguimed from the merely didaflick Art of fetting forrh or difplaying Truths, that is, Fafts, oi the Connexions ol Nature, with Simplicity and Perfpicuity; What arc they but ib many different Ways of entertaining the Imagination with pleallng Views of ccrrain natnral Connexions and their beaurcous ElFcas; Or of imprcffing on the Mind fomc ufcful Rules and Maxims for our Condua, founded upon Narure's Laws and Connexions, by fuch Reprefentations of them as are mod likely, in Confcqucnce of our Frame and Conftitution, to find calleft Accels, fink deepeft into, and take firmed Hold of our Hearts! Or Lallly Of aftuallv exciting fuch Workings of the natural Affcaions as are not only pleafant in the Exetcifc but have a happy Influence on the Tcmpet? If we examine all the liberal Arts Poetry' Oratory, or the Arts of Dclign, we diall find that all their Aims and Eflrbrrs in Confc- qnencc of their general Definitions, are reducible to one or other of thefe three Ends jud mentioned : Whence it mud follow, that the great Art in Education lies in knowin.- how to employ all thefe Arts or Languages in their Turn, by choofing proper Examples from each ot rhem, m order ro give pleafing, indruaive, or wholfome Views of any Con- nexion m Narnre, fo foon as it is difcovcred by Experience, or by Rcafonin"- from Expe ncncc : Ot the Beauties of the fenlible World, by means of poetical Defcriptions and Landlcapes : For fuch Defcriptions and Landfcapes only are poetical which ati true or reprelcnt pleafing Effeas agreeably to Nature's Laws and Connexions : And of the s'eau- ties of the moral World, by fuch poetical Compofitions exprcffcd cither by Words or by Lines and Colours, as do likewife truly rcprcfent Nature's moral Laws, and thcir'ElFeas and Operations ; or d-rvc to fend home into the Mind with great Force fuch rules of Con- dud, and fuch moral Conclufions, as do naturally rcfiilt from the Knowled-^c of certain Connexions relative to Nature, and to us as Parts of Nature. If every Connexion in Nature be not only wotth out knowing, but really relative to us in fome Refpca then every Science, by whatever Name it is called, belongs to us in fome De-ree; and if fo then mud every Art likewife belong to us, and to tight Education, which is capable of recommending, infinuating, or inforcing and imprefling any Piece of ufcful Knowledge But there IS no Conneaion in Nature, which Oratory, Poetry, and Painting, may not be employed to recommend, infinuare or inforce. They ought all therefore to be employed and made Ufe of m Education. I need not add that it mud neceflarily be true in the Nature ot Things, that fomc Objcas of Nature will bear a nearer Relation to us, and confequently itiotc intimately concern us than others, that have a temoter Connexion with us • And therefore the Bufinefs of Education is, dill keeping the Unity of Nature in View to lead m the hrd Place, and with the greared Attention, to thofe Relations which mod nearly ijgard us, and for that Reafon to employ the infinuating, recommending or inforcini Arts chiefly, to imprels ftrongly upon our Minds thofe Coiiclufions that refult from them ° THE Chap. 8. md Decline of Painting. THE natural Union and Connexion of all the liberal Arts and Sciences, and the Nccef* fity or Fitncfs of uniting thcni in Education will likcwifc appear, if we attend to the natural Union and Dependence of thofe Faculties, Capacities, and Difpofitions of our Minds, which it is the chief End of Education to improve and perfed. Our Underftanding or Reafon, our Imagination, and our moral Temper, are allowed to be the Faculties and Difpofitions which Education ought to be calculated to improve and perfed. Now the natural Union and Dependence of thefc Faculties is too evident to be infixed upon. Hardly can the moral Temper be moulded into a right Form, or long prelervc it, if Rcafon and Judgment arc not found, or weil rcplenilhed with true and wholfome Science ; or if the Imagination be quite negleded and left to ramble without any Inftrudion or Guidance : Nor can Science indeed have its due Influence upon the Heart and Temper, if Fancy is not employed to reprefent its Difcoverics and Leflbns in its warming as well as enlightening Methods of Painting them; that is, in other Words, of giving them Strength, Relief, and Heat. It is Imagination, and not mere Teaching, that touches the Heart and moves the Aft"edions. All the liberal Arts ought therefore to be employed in Education ; Reafoii to lay open Truths and prove their Reality; and Oratory, Poetry, and Painting, to imprcfs them upon the Mind, and to work the Affedions into the Temper which Truths ought to produce correfpondent to them. What Virtue would a Teacher not only exhibit in the ftrongcrt Light, but fully recommend to Students, and cftabhih in their Minds? Is it, for Example, publick Spirit, the Mother of all the Virtues ? Then let Reafon ihcw throughout all Nature as far as our Enquiries can extend, tiie Benevolence, the publick Love of ^ Nature's Author ever purfuing the general Good of the Whole, by fimple, uniform, gene- 'ral Laws. Let Reafon prove its Fitncfs and Becomingnefs ; but let Oratory, Poetry, and Painting, make us feel its fwcet Influence on the Mind while it prevails and operates, and all the direful Effects on the other Hand, as well as vile Deformities of every immoral Indulgence ; that is, of every Purfuit that is repugnant to publick Spirit and true Benevo- lence. Let well painted Characters and Adions, Allegories, Fables, dramatick Compo- iltions and Pictures, concur to this End, to kindle the noble PaiTion which Rcalbn dcmonftrates to be an Imitation of Nature, and as fuch to be our greatefl: Glory, our plea- fantcd Exercilc, the worthiefl; Part wc can ad ; to be at once our Dignity and Happinefs, In order to fct forth the Fitncfs of employing all the Arts and Sciences in Education, 1 have infifted, in the fe\'enth Chapter, at great Length, upon thofe moral Difpofitions in our Natures, which it is the principal End of Education to improve by Inftrudion and Exercife for borli muft be joined in order to form the Heart, or to efl:ablilh good Prmcif les and good Habits. And let any one rcfled upon the clofc Union and Dependence of thofe Di^ofitions; namely, our Scnfc of Beauty natural and moral, our generous, benevolent, focial Propenfity, and our Love of Grcatnefs ; and he will immediately perceive how imperfed Education muft be with regard to their Improvement, if all the Arts are not called in to give proper Exercife and Inftrudion to thefc Difpofitions; for how can thefc be cultivated and improved but by taking a right View of their Nature and Operations i and, which is principal, by bringing them forth into Adion by means of proper Examples. By fhewing us how generous, beautiful, and great, Nature is in all her Produdions; and by making us feel, as well as perceive, when it is that Imitations of Nature by any liberal Arc give tiie highcft, the nobleft, the moft tranfporting Touches of Joy to our Minds by their generous, beautiful, and great Effeds upon them, in like manner as all the Parts of Nature itfelf mo-\'c and affcd us when we have a juft View of them. Arc thefc then our bcft and moft dignifying Faculties and Diffiofitions; are they the Sources of our beft and moft becoming Pleafures ; and ought we not chiefly to feck after Pleallire in their fuitable Excrcifes and Employments ? It muft be owned at Icaft, that Education docs not take proper Method iot gaining us main End, if it does not employ fuitable Means to Iccure us againft being mifled by our Imagination, and by falfe corrupted Arts into wrong Principles and Habits, by fhewing us early their genuine Scope, and trueft Excellence. This is leaving us open to one of the moft dangerous Somxcs of Depravity, not only inTaftc but in Temper, for thcfe will always go Hand in Hand : If the one be impure or corrupt, the other muft be fo too. And, indeed, whatever Philofophers or others have faid concerning the won- derful Power of Imagination, are fo many ftrong Arguments for taking right Care about it in Education, to give it early a good, pure, and benevolent Turn. THE Neceflity, or at leaft Fitncfs of uniting all the liberal Arts and Sciences in Edu- cation, does alio appear from the Confideration of one very remarkable Inftind or Dilpo- J^tion, of very great Uiefulncfs, and of proportionable Strength in our Natures, and that is our Propenfity to imitate, our natural Delight in Copies^ or in tracing Analogy and Likenels, and the wonderful EfFed thefc have to excite our Curiofity and Attention, and to engage us in a clofe and accurate Examination of Originals. Every one muft needs have recognized this Principle in his Nature on many Occafions, But if it fhould be doubted of, let one but make the Experiment on himfeit^ and obfcrve whether a Portrait that 3 A immediately An Essay on the Rife, Progrefs, immcdiitdy recals to his mind the Air and Countenance of a Friend, docs not foon make him better acquainted with all the diftinguilhing Particularities in that Air and Face than ever he was before ; It neceflarily makes him recollcft the Original with great Attention, and go over and ovct again every Turn, Caft , and Feature in it, with an Exaftnefs he never thought of before, on Account of the double Satisfadion arifmg from the double Employ- ment of the Mind in comparing the Copy with the Original. And docs not the fame happen in feeing well-painted Landfcapcs ! It makes one advert to feveral beautiful Inci- dences of Light and Shade, which, tho' they may have been often feen in Nature, ir is but now when they are recalled to Mind by Imitation, that one gives due Attention to them, and feels all their Beauty. It is juft fo with Regard to well-painted moral Charafters and Aaions, whether by the Pencil or by Poetry. True Reprcfentation makes us fay this is Nature, and rccals to our Mind many like Inftanccs of it in real Life, that made however but a flight Inipreflion upon us, till now that they arc revived by a good Copy ; and the Mind is delightfully engaged in paffing from Imitation to Nature, and in making an exaft Comparifon. Now if this be true, all Imit.itions of any Connexions ot Appearances in Nature worth our Attention, muft be of excellent Ul'c in Education, not only in recom- mending and enforcing known Truths, but likewife in gaining our Attention to Nature itfelf, in order to difcovcr Connexions, and draw due Inferences from them. The Fitnefs of teaching Phyficks by a Courfe of Experiments, is readily acknowledged ; but fo far as any Arts copy Nature, fo far do they furnilh us with Experiments ; and for the fame Rea- fon that Experiments are ufeful, or have a good Effed in teaching any Part of Nature, or inforcing any Piece of Knowledge upon the Mind, all Imitations of Nature being Experi- ments, mull have the fame Eftcft with Regard to that Part of Knowledge of which they are Specimens or Experiments : And eonlcqucntly, in genera], the bcft Way of teaching Nature, phyfical or moral Nature, muft be by calling all good Imitations of Nature, or all Experiments to our Affiftance. This Reafoning is certainly good, unlels it be faid that Imitations of Nature, by Painting or Poetry, are not Imitations ; or that Imitations and Copies arc not Experiments. For if it Ihould be faid that Painting or Poetry can go but a little Way in Imitation : I anfwer, that fo far as they can go they fumifh Experiments; and as they go Hand in Hand, fo there is no Part of the fcniiblc World ; none of its Laws or Appearances; and rhere is no Part of our moral Fabrick, or none of its Laws, Con- nexions and Operations : No beautiful ElTcft of Light, Colours and Shade, (that is all the vifible World); no Affection or Pailion of the Heart, no Air of Face, no Effort of Body, no Charafter, no Sentiment, no Struggling, no Emotion of the Mind, (that is all the moral World), that may not be painted by the Pencil as well as by Words. THE Union and Connexion of all the Arrs and Sciences, and the Fitnefs of uniting them in Education, appears when we attend to the nccefl'ary Confcquenees of what is gene- rally acknowledged concerning the Excellence and Ufefulnefs of Poetry either for inflrua- ing or moving: For if that be owned, the Arts of Defign muftlikewiic be allowed to be of great Ufefulnefs for the fame Ends and Purpofes, fince Poetry is only able to accom- plifh thefe Ends as it is a Painting Art ; or Unce what renders ir fo excellent in moving or inftrufting us, is irs being able to rear up, by Words, in the Imagination, true confident lively Pictures. One of irs moft elfential diftinguilhing Excellencies, eonfifts in conveying pleafant, forcible, animaring Images, into the Mind ; and accordingly the furcft Rule of trying Poetry is by examining the Piftures ir raifes in the Fancy, their Truth, Life and Vigour. As well therefore may we doubt, whether the Study of Nature itfelf is requifire to a Tafle of Poetry, as whether Acquaintance with Pidurcs be fo. Could no more be faid either of Poetry or Painting, than that they ate capable of affording us ingenious Amufement (which is however far from being the Cafe), yet, confidering how becoming human Dignity, and of what Importance to the Mind and Temper it is, that all our Recreations and Pleafures Ihould be ingenious, or partake in fome Degree of our higher Faculties ; for that veiy Reafon is it fit that all the Atts that tend to improve and refine the Imagination, Ihould have Place in Education. And a Taftc of Poetty and Painting may be bctrer, that i;, more cafily formed conjunftly, than a Taftc of cither of them can be fepa- r.itely ; lincc, depending on the fame Principles of Truth and Beauty, and upon the fame Rules, Maxims and Foundations, they mutually illnftrate and fet off each other. Poetical Trurh, whether in Painting or Poetry, being the fame with Nature, the Study of Truth in both thefe Arts is the Study of Natuie : And Nature will always be ftudied with moft Sarisfadion and Accuracy, when it is refleaed back upon us by various Sorts of Copies or Imitations, and when thefe are compared with Nature, and with one another. I T is allowed that Poetry can not only inftrua in an agreeable, infinuating Manner, but that it is able to work upon our Minds dircftly by exciting good Difpolirions, Refolutions and Affeaions in them. Its dramatick Pieces, niore cfpecially, are moral Imitations;, which being confonant to the Principles of human Nature, and their Operarions and Effefts, do really denionftratc the fatal Confcquenees of bad Tempers, and wrong difpro- portioncd Chap. 8. and Decline of Painting. portioned AfFcdHons, and the moll: eligible, amiable Confcqucnccs of Virtue. And there- fore criticizing fucll Pieces, or examining their Conduft and Snbicrviency to fuch virtuous Ends, is really Icarchmg into human Nature by means of Copies, ITncc all mud be founded upon our moral Frame and Conftitution. But fuch Pieces arc more than a moral School ; they not only teach, perfuade and convince, but they adually infufc good Paflions into the Mind, and work upon it in a wholfome, virtuous Manner, that leaves it an excel- lent Temper not cafiiy effaced ot corrupred. They are powerful LelTons, but that is not all ; their chief Excellence confifts in their being more than LelTons. They arc "ood Exercifc to the Mind ; Excrcife that really produces worthy Affcdlions, with which the Mind is highly plcafed, and the Operations of which it cannot chufe but approve, whilll it adually feels their happy agreeable Influences. Now moral Pidurcs have the lame Pro- perries, rhc fame Tendency, the fame excellent Influence. Criricizing fuch Compofitions therefore in like Manner, is Undying human Nature; and the immediate EfFed of good moral or hiftorical Pifturcs upon the Mind, is either dircftly virtuous, or at leaft exceed- ingly ftrengthcning and alliftant to Virtue. Scifio's Self-command, or Herades's brave Choice, will have not a lefs powerful Effcft when they are well Painted, than when they are well told ; and both Ways of rcprel'cnting thcfe Subjeds being united, they mnft have a doubly (Irong Influence upon the Heart : For thus I'everal Charms combine to give Virtue its full Force ; to let its intrinlick Beauty in a due Light, and to inflame the Mhid with a ftrong and lively Scnfe of its divine Excellence and happy Effefls (40). What Pity is it then that the fine Arrs arc not folely employed to their bc'fl: and nobleft, their only genuine Purpofes; and in purfuing whidi, they alone can difplay all their Beaury and Sublimity ! What Pity is it that they arc at any time vilely abufed and proftituted to give falfe deceitful Cliarms ro Vice ! It is by recommending Virtue that they will moft effi:aually recommend themfclves. Virtue is the Jupreyiie CImrm in Nature, in Afe&ions, in Manners, and m Arts. (39) See a juft Cnmmendation of (he Mufes, or Arts, ad Augvnum. And in Mr- Tbompfm's Liberty, Pare 2 iri thde vd'pe&, mTheom/i Uyl/wni6. and inHorace, L. 2)55, &c.— and Part 5. L. 3 74, acc. Carm. L. 4. Od 8. compared witli Ep, L. 2. Ep. 2. FINIS. BOOKS lately publilTied, printed for, and Sold by A. Millar, over-againft St. Clement's Church, in the Strand. I. A Complete CoUcaion of the Hl^arualy Political, J\ and Mifcelbneoiis Works of John Milton : Correctly prinrcd from the Original Editiojit. With an HifloTical and Critical Account of the Life and Writings of the Author ^ containing feveral Original Papers of his, never before putiUlbed; and a large jilphabetical In- dex. By Thomas Birch, A. jM. and F. R. 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A Difcourfe of Governreient with relation to Militias. 2, and 3. Difcourfes concerning the Affairs of ScotUnd j written in the Year 1(198. 4. Difcorfe delle Cofe di Spagni fcritto nel mefe di Luglio 1698. 5. A Speech upon the State of the Na- tion, in April 1701, 6. Speeches by a Member of the Parliament, which began at Edinburgh the 6th of May 1705. 7. An Account of a Converfition concerning a right Regulation of Governments for the common Good of Mankind: Jn a Letter to the Marquis of Moutrofe, the Earis of Rothes, Eoxiurgh and Haddington, from London the ill of December 1705. V. The Works of Mr. Thomfon, in 2 Vols. Vol. I. containing Spring, Simmer, Autumn, Winter ; a Hymn on the Stafom ; a Poem facred to the Memory of Sir J. Newlon ; Britannia, a Poem ; and Sophonisba, a Tragedy, — Vol, II, containing Antient and Modern Italy compar'd, Greece, Rome, Britain, und the ProfpeSl, being the five Parts of Liberty, a Poem j a Poem to the Memory of the late Lord Chancellor Talbot ; and Aga- wemnoji, a Tragedy. Either of the Volumes are to be had fcparate. N. B. There are a few Copies remaining of thofe printed en a fuperfine Royal Paper, in 2 Vols. 4°. VI. Travels into Muscovy, Persia, and Part of the East Indies. Containing an accurate Defcription of whatever is moft remarkable in thofe Countries. And embelliflied with above 520 Copper Plates, reprefenting the fincft Profpeifts, and molt conliderable Cities in thefe Parts j the different Habits of the People i the fin- gular and extraordinary Birds, Fifties, and Plants, which are there to be found: As Hkewife the Antiquities of thofe Countries, and particularly the noble Ruins of the famous Palace of Persepolis, called Cbelminar by the Perfans. The Whole being delineated on the Spot, from the rePpCiSive Objefts. To which is added, an Account of the Journey of Mr. Isbrants, Amballador from Mufcovy-, through Rit£ia and Tartary, to China j togeiher with Remarks on the Travels of Sir John Chardin, and Mr. Kempfer, and a Letter written to the Author on that Subjeft. In z Vols. By M. Cornelius Le Bruyn. Tranllated fi-om the Original French. VII. Selectus Diplomatu.m & Numismatum ScoTi^E Thesaurus, in duas partes diftributus: Prior Syllogen comple6titur veterum Diplomatum five Charta- rum Regum & Procerum Scotia, una cum eorum Sigillis, a Duncano II. ad fatobum I. id eft, ab Anno 109+, ad 1412. Adjunfta funt reliquorum Scoti/e & Magn^e BriTanni^e Regum Sigilla a prs;di£i:o Jacoho I. ad nuperam duorum regnorum in unum, Anno 1707, coalitionem : Item Charalieres tcAbbre- viaturte in antiquis codicibus MSS, inftrumentifque ufi- lat^. Pofterior continet Numifmata tarn Aurea quam Argentea fingulorum Scotia Regum, ab Alexandro I. ad fupradidtam regnoruni coaHtionem perpetua ferie dc- du£ta; fubnexis qu;E reperiri poterant eorundcm Regum Symbolis Heroicis. Omnia fummo artificio ad Prototy- porum (imilitudinem tabulis ^eneis exprefia; adjeftis fin- gulorum Diplomatum, recentiore fcriptur^ forma, Jeri ilidem incifis exemplis. Ex mandato Pariiamenti Scotici collegir, digeflit & tantum non perficienda curavit egre- gius ac patriarum Antiquitatum callentiffimus vir Jacobus Andersonus, Scriba Regius. Qux operi confummando deeranr, fupplevit, & Prefa- fatione, Tabularura Explicatione, aliilque Appendicibus, rem Scotis: diplomaticam, nummariam & genealogicam baud parum iiluftrantibus, auxit & locupletavit Thomas Ruddimannus, A. M. VIII. Collections relating to the History of Marv Queen of Scotland. Containing a greac Number of Origi?ial Papers never before printed. Alfo a few fcarcc Pieces reprinted, taken from the beft Co- pies. Revifed and publifhed by Ja.mes Anderson, Efq; with an explanatory Index of the obfolete Words, and Prefaces Hiewing the Importance of thefe Collections. In 4 Vols. IX. The Hiftory of the Union of Great Britain^ done from the Publick Records; containing, i. A gene- ral Hiftory of Unions in Britain. 2. Of Affairs of both Kingdoms introduitory to iheTreaty. 5. Of the laft Treaty properly called the Union. 4. Of the carrying on the Treaty in England, next in Scotland. 5. The Proceedings and Minutes of the Parliament of Scotland, with Obfervations thereon, as finifhed there, and exem- plified in England; in which is contained the Right and Method of eleffing the Peers and Commons; and ail the Articles relating to both Kingdoms, as confirm'd by the Pariiament of Great Britain : To which is added an Appendix of Original Vouchers. X. Georgii Buchanani Scoli, Poetarum fui faculi facile Principis, Opera Omnia, ad optimorum Codicum fidera fummo ftudio recognira, & cafligata: nunc pri- mum in unum colledla, ab innumeris fere mendis, qui- bus plerique omnes Editiones antea fcatebant, repurgata j ac variis infuper notis aliifque utiliffimis acceffionibus itluftrata & auda. Folio, curante Tho. Ruddimanno, A. M. 2. Tom. XI. A Syftem of Heraldry, Speculative and Prac- tical. With the true Art of Blazon, according to the moft approved Heralds in Eur§pe ; illuftrated with fuit- able Examples of Armorial Figures and Atchievcmcnts of the moil conliderable Sur-names and Families in Scotla?id, &CC. Together with Hifiorical and Genealt^i- cal Memorials relarive thereto. By Alexander Nisbet, £fq; Folio. XII. Elements of Chemistry : Being the annual Leftures of Herman Boerhaave^ M. D. formerly Pro- feffor of Chemifry and Botany, and late ProfcfTor of Phyfick in the Univerficy of Leyden. Tranllated from the Original Latin, by Timothy Dallowe, M. D. with feveral Alterations and Additions communicated by the Author to the TranHator, for the Improvement of this Edition. In 2 Vols. Xli [. An Enquiry into the Nature of the human Soul ; wherein the Immateriality of the Soul is evinced from the Principles of Reafon and Philofophy. In 2 Vols. " He who would fee the jufteft and prccifeft Notion of " God and the Soul, may read this Book; one of the " moft finiftied of the Kind, in my humble Opinion, " that the prefent Times, greatly advanced in true Phi- " lofophy, have produced.' Warburton's Divine Legation of Mofes demon- flrated. Page 395. of the firft Edition. XIV. The Mythology and Fables of the Antients, explain'd from Hiftory. By the Abbe Banier, Mem- ber of the Royal Academy of Infcriptions and Belles Lettres. Tranjlated from the Original French. In the Prefs, and will be publifhed at Lady-Day 1740. A New Edition of the Works of the Lord Chan- CELLOR Bacon, in 4 Vols. Folio. To which will be prefixed, A New Life of the Author, with feveral Pieces of his Lordfhip's, "not inferted in the lafl: Edition : And no Pains fhall be wanting to give all the Perfeftion that can be defired, both for Beauty and Corredtnefs. The Encouragers of this Undertaking are defired to fend in their Names to A. Millar, over-againft St. Clement's Church in the Strand j for, as there are but 500 Copies to be printed, if any remain unfubfcrib'd for, they will be Ibid at an advanced Price, as he did in his late beautiful Editions of Harrington and Mil- ton ; And the Time fixed for the Publication fliall be puniftually kept, or the Money returned. The Price of the fmali Paper, in Sheets, to the Sub- fcribers, is Three Pounds Ten Shillings, and the large Paper Five Guineas ; one Moiety of each to be paid down at fubfcribing, and the other on the Delivery of the Book. f i i t ,1 » ■ I •j ...... .JUS -1^