THE 
 
 ART of PAINTING 
 
 O F 
 
 CHARLES ALPHONSE DU FRESNOY. 
 
 Tranilated into ENGLISH VERSE 
 
 B Y 
 
 W I L L I A M M A S O N, M. A. 
 
 With ANNOTATIONS 
 B Y 
 
 Sir JOSHUA REYNOLDS, Knt 
 
 Prefident of the R o y a l A c a d e m y. 
 
 Y o R K: 
 Printed by A. Ward, and fold by J. Dodsley, Pall-Mail; T. Cadell in 
 the Strand ; R. Faulder, New Bond-ftreet, London ^ and J. Todd, York. 
 
 M.DCC.LXXXIII. 
 
EPISTLE 
 
 T O 
 
 Sir JOSHUA REYNOLDS. 
 
 WHEN Dryden, worn with licknefs, bow'd 
 with years, 
 
 Was doom'd (my Friend let Pity warm thy tears) 
 
 The galling pang of penury to feel, 
 
 For ill-plac'd Loyalty, and courtly Zeal, 
 
 To fee that Laurel, which his brows o'erfpread, 
 
 Tranfplanted droop on Shadwell's barren head, 
 
 The Bard opprefs'd, yet not fubdu'd by Fate, 
 
 For very bread defcended to tranflate : 
 
 And He, whofe Fancy, copious as his Phrafe, 
 
 Could light at will Expreffion's brighteft blaze, 
 
 On Fresnoy's Lay employ'd his ftudious hour; . 
 
 But niggard there of that melodious power, 
 
 His pen in hafte the hireling tafk to clofe, 
 
 Transform'd the ftudied ftrain to carelefs profe, 
 
 Which, fondly lending faith to French pretence, 
 
 Miftook its meaning, or obfcur'd its fenfe» 
 
 a 3 Yet 
 
EPISTLE, &c. 
 
 Yet ftill he pleas'cl, for Dryden ftill muft pleafe, 
 Whether with artlefs elegance and eale 
 He gHdes in Profe, or from its tinkHng chime, " 
 By varied paufes, purifies his rhyme, 
 And mounts on Maro's plumes,, and foars his ^ 
 heights fublime. 
 
 This artlefs Elegance, this native fire 
 Provok'd his tuneful Heir * to ftrike the Lyre, 
 Who, proud his numbers with that profe to join, 
 Wove an illuftrious wreath for Friendfhip's fhrine.. 
 
 How oft, on that fair flirine when Poets bind' 
 The flowers of S^g, does partial Paffion Hind 
 Their judgment's eye ! How oft does Truth difclaim 
 The deed, and fcorn to call it genuine Fame ! 
 How did fhe here, when Jervas was the theme. 
 Waft thro' the Ivory Gate- the Poet's dream ! 
 How view, indignant, Error's bafe alloy 
 The fterhng luftre of his Praife deftroy, 
 Which now, if Praife like his my Mufe could coin, 
 Current thro' Ages, fhe would ftamp for Thine. 
 
 Let Friendfliip, as fhe eaus'd, excufe the deed • 
 With Thee, and fuch as Thee, flie mufl fucceed^ 
 
 Mr. Pope, in his Epiflle to Jervas, has thefe lines 
 . ^^^^ thefe inftruaive leaves in which confpire 
 
 Fresnoy's clofe art with Dryden's native £re 
 
^ i S T L E, &c. vii 
 
 But what, if FafLion tempted Pope aftray ? 
 The Witch has fpells, and Jervas knew a day 
 When mode-ftruck BeiJes and Beaux were proud to 
 come 
 
 And buy of him a thoufand years of bloom, f 
 
 Ev'n then I deem it but a venial crime : 
 Perifti alone that felfifh fordid rhyme, 
 Which flatters lawlefs Sway, or tinfel Pride ; 
 Let black Oblivion plunge it in her tide. 
 
 From Fate like this my truth-fupported lays, 
 Ev'n if afpiring to thy Pencil's praife, 
 Would flow fecure ; but humbler Aims are mine ; 
 Know, when to thee I confecrate the line, 
 'Tis but to thank thy Genius for the ray 
 Which pours on Fresnoy's rules a fuller day : 
 Thofe candid fliridures, thofe reflexions new. 
 Kefin'd by Tafl:e, yet ftill as Nature true, 
 Which, blended here with his inftrudiive flrains, 
 Shall bid thy Art inherit new domains ; 
 Give her in Albion as in Greece to rule, 
 And guide (what thou haft form'd) a Britifli School. 
 
 And, 
 
 t Alluding to another couplet in the fame Epiftle. 
 Beauty, frail Flower, that every Seafon fears, 
 Blooms in thy colours for a thoufand years* 
 
viii EPISTLE, &c. 
 
 And, O, if ought thy Poet can pretend 
 Beyond his fav'rite wifli to call thee Friend, 
 Be it that here his tuneful toil has dreft 
 The Mufe of Fresnoy in a modern veft ; 
 And, with what fkill his Fancy could beftow,. 
 Taught the clofe folds to take an eafier flow ; 
 Be it, that here thy partial fmile approv'd 
 The Pains he lavifh'd on the Art he lov'd. 
 
 Oct. 10, 1782. 
 
 W. MASON. 
 
 PREFACE. 
 
P R E F A C E. 
 
 ^ I ^HE Poem of M. Du Fresnoy, when con- 
 Jl fidered as a Treatife on Painting, may un- 
 queftionably claim the merit of giving the leading 
 Principles of the Art with more precilion, concife- 
 nefs, and accuracy, than any work of the kind that 
 has either preceded or followed it; yet as it was 
 publilhed about the middle of the lall: century^ 
 many of the precepts it contains have been fo fre- 
 quently repeated by later writers, that they have loft 
 the air of novelty, and will^ confequently, now 
 be held common ; fome of them too may, perhaps, 
 not be fo generally true as to claim the authority of 
 abfolute rules : Yet the reader of tafte will always 
 be pleafed to fee a Frenchman holding out to his 
 countrymen the Study of Nature, and the chafte 
 Models of Antiquity, when (if we except Le Sueur 
 and NicoLO Poussin, who were Fresnoy's contem- 
 poraries) fo few Painters of that nation have regarded 
 either of thefe archi types,. The modern Artift alfo 
 will be proud to emulate that fimplicity of ftyle, 
 which this work has for more than a century recom- 
 mended, and which, having only very lately got the 
 better of fluttering drapery and theatrical attitude, is 
 become one of the principal tefts of Pidlurefque 
 excellence. 
 
 b But 
 
X PREFACE. 
 
 But if the Text may have loft fomewhat of its 
 original merit, tke Notes of Mr. Du Piles, which 
 'have hitherto accompanied it, have loft much more. 
 Indeed it may be doubted whether they ever had 
 merit in any confiderable degree. Certain it is that 
 they contain fuch a parade of common-place quo- 
 tation, with fo fmall a degree of illuftrative fcience, 
 that I have thought proper to expel them from 
 this .edition, in order to make room for their betters. 
 
 As to the poetical pov/ers of my Author, I do not 
 fuppofe that thefe alone would ever have given him a 
 place in the numerous libraries which he now holds.; 
 and I have, therefore, often wondered that M. De 
 Voltaire, when he gave an account of the authors 
 who appeared in the age of Louis XIV. ftiould dif- 
 mifs Fresnoy, with faying, in his .decifive manner, 
 that his Poem has fucceeded with fuch perfons as 
 could bear to read Latin Verfe, not of the Auguftan 
 Age*. This is the criticifm of a mere Poet. 
 No body, I ftiould fuppofe, ever read Fresnoy 
 to admire, or even critiqife his verfification, but 
 
 either 
 
 * Du Frenoi (Charles) ne a Paris peintre & poctc. Son poen^e 
 
 la peinture a reulTi auprcs de ccux qui peuvent lire d'autres vers latins que 
 ccux du fiecJe d'Augulle. Siecle dc Louis XIV. Tom. I. 
 
P R E F A C E. xi 
 
 either to be inftruded by him as a Painter, or im- 
 proved as a Virtuofo. 
 
 It was this latter motive onlj, I confefs, that led 
 me to attempt the following tranflation ; which was 
 begun in very early youth, with a double view of 
 implanting in my own memory the principles of a 
 favourite art, and of acquiring a habit of verfifica- 
 tion, for which purpofe the clofe and condenfed ftile 
 of the original feemed peculiarly calculated, efpe- 
 cially when confidered as a fort of fchool exercife.. 
 However the talk proved fo difficult, that when I 
 had gone tlirough a part of it I remitted of my 
 diligence, and proceeded at fuch feparate intervals, 
 that I had paffed many pofterior produflions thro' 
 the prefs before this was brought to any conclufion in 
 manufcript ; and, after it was fo, it lay long ne- 
 gledled, and would certainly have never been made 
 pubhc, had not Sir Joshua Reynolds requefted a 
 fight of it, and made an obliging oiFer of illuftra- 
 ting it by a feries of his own notes. This prompt- 
 ed me to revife it with all poffible accuracy ; and 
 as I had preferved the ftridures which my late 
 excellent friend Mr. Gray had made many years 
 before on the verfion, as it then ftood, I attended 
 to each of them in their order with that deference 
 
 ^ 2 which. 
 
xii P R E F A C E. 
 
 which every criticifm of his muft demand. Be- 
 fides this, as much more time was now elapfed 
 fmce I had myfelf perufed the copy, my own eye 
 was become more open to its defeds. I found the 
 rule which my Author had given to his Painter 
 full as ufeful to a Writer, 
 
 (Aft ubi conlilium deexit fapientis amici 
 Id tempus dabit, atque mora intermiffa labori.) 
 And I may fay, with truth, that having ,become 
 from this circumftance, as impartial, if not as fafti- 
 dious, to my own work, as any other critic could 
 poffibly have been, I hardly left a fingle line in it 
 without giving it, what I thought, an emendation. 
 It is not, therefore, as a j-uvenile work that I now 
 prefent it to the public, but as one which I have 
 improved to the utmoft of my mature abilities, in 
 order to make it more worthy of its Annotator. 
 
 In the preceding Epiftle I have obviated, I hope, 
 every fufpicion of arrogance in attempting this work 
 after Mr. Dryden. The fingle confideration that 
 his Verfion was in Profe were iii itfelf fufEcient ; 
 becaufe, as Mr. Pope Jias juftly obferved, Verfe and 
 even Rhyme is the beft mode of conveying precep- 
 tive truths, "as, in this way they are more fhortly 
 expreffed, and more eafily retained*." Still lefs need 
 
 I 
 
 P See his Advertifcment before the Eflay on Man. 
 
PREFACE. xiii 
 
 I make an apology for undertaking it after Mr. 
 Wills, who, in the year 17545 publifhed a Tranf- 
 iation of it in Metre without Rhyme 
 
 This Gentleman, a Painter by profeffion, affum- 
 ed for his motto, 
 
 Tradlant Fabrilia Fabri ; 
 but however adroit he might be in handling the tools 
 of his own art, candour muft own that the tools 
 of a Poet and a Tranflator were beyond his manage- 
 ment ; attempting alfo a tafk abfolutely impoffible, 
 that of expreffing the fenfe of his Author in an 
 equal number of lines, he produced a verfion which 
 (if it was ever read through by any perfon except 
 myfelf) is now totally forgotten. Neverthelefs I 
 muft do him the juftice to own that he underftood 
 the original text ; that he detected fome errors in 
 Mr. Dryden's Tranflation, which had efcaped Mr. 
 
 b 3 Jervas 
 
 * I call it fo rather than Blank Verfe, becaufe it was devoid of all harmony 
 lof numbers. The beginning, which I fhall here infert, is a fufficient proof 
 of the truth of this aflertion. 
 
 As Painting, Poefy, fo fimilar 
 To Poefy be Painting ; emulous 
 Alike, each to her fifter doth refer, 
 Alternate change the office and the name ; 
 JVIute verfe is this, that fpeaking picture call'd. 
 
 From this little fpecimen the reader will eafily form a judgment of the- 
 whole. 
 
xiv P R E F A C E. 
 
 Jervas (affifted, as it is faid, by his friend Mr. Pope) 
 in that corre6l:ed Edition which Mr. Graham infcribed 
 to the Earl of Burlington ; and that I have myfelf 
 fometimes profited hy his labours. It is alfo from 
 his Edition that I reprint the following Life of the 
 Author, which was drawn up from Felibien and 
 other Biographers by the late Dr. Birch, who, with 
 his ufual induftry, has colkaed all they have faid: 
 on Fresnoy's fubjed^ 
 
 THE 
 
THE 
 
 LIFE 
 
 O F 
 
 Monf. DU FRESNO Y. 
 
 CHARLES ALPHONSE DU FRESNOY was born at 
 Paris in the year 1611. His father, who was an emi- 
 nent apothecary in that city, intending him for the profeflion 
 of phyfic, gave him as good an education as poffible. During 
 the firfl year, which he fpent at the college, he made a very 
 coniiderable progrefs in his ftudies : but as foon as he was 
 raifed to the higher cla(res, and began to contrad: a tafte of 
 poetry, his genius for it opened itfelf, and he carried all the 
 prizes in it, which were propofed to excite the emulation of 
 his fellow-fludents. His inclination for it was heightened 
 by exercife ; and his earlieft performances flievved, that he 
 was capable of becoming one of the greatefl poets of his age, 
 if his love of painting, which equally polTeffed him, had not 
 divided his time and application. At lafl he laid afide all 
 thoughts of the ftudy of phylic, and declared abfolutely for 
 that of painting, notwithftanding the oppofition of his pa- 
 rents, who, by all kinds of feverity, endeavoured to divert 
 him from purfuing his paffion for that art, the profeffion of 
 which they unjuftly confidered in a very contemptible light. 
 But the flrength of his inclination defeating all the meafures 
 taken to fupprefs it, he took the firfl: opportunity of cultiva- 
 ting his favourite fludy. 
 
 He \va.s nineteen or twenty years of age when he began to 
 learn to defign under Francis Perier ; and having fpent two 
 
 years 
 
xvi The LIFEofM. DUFRESNOY. 
 
 years in the fchool of that painter, and of Simon Voiiet, he 
 thought proper to take a journey into Italy, where he arrived 
 in the end of 1633, or the beginning of 1634. 
 
 As he had, during his fludies, applied himfelf very much 
 to that of geometry, he began, upon his coming to Rome, 
 .to paint landHcips, buildings, and antient ruins. But, for the 
 firft two years of his refidence in that city, he had the utmoft 
 difficulty to fupport himfelf, being abandoned by his parents, 
 who refented his having rejeded their advice in the choice of 
 his profeffion ; and the little flock of money, which he had 
 provided before he left France, proving fcarce fufficient for 
 the expences of his journey to Italy. Being deftitute, there- 
 fore, of friends and acquaintance at Rome, he was reduced to 
 fuch diftrefs, that his chief fubfiftence for the greatefl part of 
 that time was bread and a fmall quantity of cheefe. But he 
 diverted the fenfe of his uneafy circumftances by an intenfe 
 and indefatigable application to painting, till the arrival of 
 the celebrated Peter Mignard, who had been the companion 
 of his ftudies under Vouet, fet him more at eafe. They 
 immediately engaged in the flriaeft friendfhip, living toge- 
 ther in the fame houfe, and being commonly known at Rome 
 by the name of the Infeparabks, They were employed by 
 the. Cardinal of Lyons in copying all the beil pieces in the 
 Farnefe Palace. But their principal ftudy was the works of 
 Raphael and other great mailers, and the antiques ; and they 
 were conflant in their attendance every evening at the academy 
 in defigning after models. Mignard had fuperior talents in 
 praaice^ but Du Frefnoy was a greater mafter of the rules, 
 hiflory, and theory of his profeffion. They communicated 
 to each other their remarks and fentiments, Du Frefnoy 
 furnifliing his friend with noble and excellent ideas, and the 
 
 latter 
 
The L 1 F E of M. D U F R E S N O T. xvil 
 
 latter inflxudling the former to paint with greater expedition 
 and eafe. 
 
 Poetry fhared with Painting the time and thoughts of Du 
 Fresnoy, who, as he penetrated into the fecrets of the latter 
 art, wrote down his obfervations ; and having at la-fl: acquired 
 a full knowledge of the fubjedl, formed a defign of wfiting a 
 Poem upon it, which he did not£nifh till many years after, 
 when he had confulted the beft writers, and examined with 
 the utmoft care -the moft admired pidures in Italy. 
 
 While he refided there he painted feveral pidures, particu- 
 larly the Ruins of the Campo Vaccino, with the city of Rome 
 in the figure of a woman ; a young woman of Athens going 
 to fee the monument of a lover ; ^neas carrying his father to 
 his tomb ; Mars finding Lavinia fleeping on the banks of the 
 Tyber, defcending from his chariot, and lifting up the veil 
 which covered her, which is one of his bell; pieces ; the birth 
 of Venus, and that of Cupid. He had a peculiar eflieem for 
 the works of Titian, feveral of which he copied, imitating 
 that excellent Painter in his colouring, as he did Carrache in 
 his defign. 
 
 About the year 1653 he went with Mignard to Venice 
 and travelled throughout Lombardy; and during his fiiay in 
 that city painted a Venus for Signor Mark Paruta, a noble 
 Venetian, and a Madonna, a half length. Thefe pidures 
 
 c iliewed 
 
 * This is the account of Monf. Felibien, Entret'iens fur les vies et fur les 
 ^mvrages-des plus exccllens peintres, torn. 11. edit. Lond. 1 705, p. 333. But the 
 late author oi ylbrege de la vie des plus fa?neux peinlres, part 11. p. 284, edit. 
 Pjr. 1745, in 4to, fays, that Frefnoy went to Venice v/ithout Mignard j and 
 that the latter, being iniportujied by the letters of the former, made a viiit to 
 him in that city. 
 
xviii The LIFE of M. D U F R E S N O Y. 
 
 /hewed that he had not ftudied thofe of Titian without 
 fuccefs. Here the tVvO friends feparated, Mignard returning 
 to Rome, and Du Frefnoy to France. He had read his 
 Poem to the bell: Painters in all places through which he 
 paffed, and particularly to Albano and Guercino, then at Bo- 
 logna ; and he confulted feveral men famous for their Ikill 
 in polite literature. 
 
 •»■ 
 
 He arrived at Paris in 1656, where he Todged with MonC 
 Potel, Greffier of the council, in the ftreet Beautreillis, where 
 he painted a fmall room j afterwards a picture for' the altar of 
 the Church of St. Margaret in the fuburb St. Antoine. 
 Monf. Bordier, Intendant of the finances, who was then 
 iinifhing his houfe of Rinci, now Livry, having, feen this 
 pidture, was fo highly pleafed with it, that he took Du Fref- 
 noy to that houfe, which is but two leagues from Paris, to 
 paint the Salon. In the ceiling was reprefented the burning 
 of Troy^ Venus is landing by Paris, who makes her remark 
 how the fire eonfumes that great city ; in the front is the 
 God of the river, which runs by it, and other deities : This 
 is one of his heft performances, both for difpofition and 
 colouring. He afterwards painted a confiderable nuniber of 
 pictures for the cabinets of the curious, particularly an altar- 
 piece for the Church of Lagni, reprefenting the afiumption 
 of the virgin and the twelve apoftles, all as large as life. At 
 the Hotel d'Erval (now d'Armenonville) he painted feveral 
 piaures, and among them a ceiling of a room with four 
 beautiful landfkips, the figures of which were by Mignard. 
 As he underflood Architecture very well, he drew for Monf. 
 de Vilargele all the defigns of a houfe, which that Gentleman 
 built four leagues from Avignon > as likewiie thofe for the Hotel 
 de Lyonne, and for that of the Grand Prior de Souvre. The 
 
 high 
 
The LIFE of M. D U F R E S iSJ O Y. xix 
 
 high altar of the Filles-Dieu, in the flreet St, Denis, was alfo 
 defigned by him. 
 
 The' he had finifhed his Poem before he had left Italy, and 
 communicated it, as has been already mentioned, to the befl: 
 judges of that country; yet, after his return to France, he 
 continued flill to revife it, with a view to treat more at length 
 of fome things, which did not feem to him fufficiently ex- 
 plamed. Fhis employment took up no fmall part of his time, 
 and was the reafon of his not having finifhed fo many pidures 
 as he might otherwife have done. And tho' he was defirous 
 to fee his work in print, he thought it improper to publifli it 
 without a French tranflation, which he deferred 
 
 undertaking" 
 
 from time to time, out of diffidence of his own fkill in his 
 native language, which he had in fome meafure loft by his 
 long refidence in Italy. Monf de Piles was therefore at laft 
 induced, at his defire, and by the merit of the Poem, to tranf- 
 late it into French, his verfion being reviled by Du Frefnoy 
 himfelf; and the latter had begun a commentary upon it, 
 when he was feized with a palfy, and after languifliing four or 
 five months under it, died at the houfe of one of his brothers 
 at Villiers-le-bel, four leagues from Paris, in 1665, at the age 
 of fifty-four, and was interred in the parifli Church there. 
 He had quitted his lodgings at Monf. Potel's upon Mignard's 
 return to Paris in 1658, and the two friends lived together 
 from that time till the death of Du Frefnoy. 
 
 His Poem was not publiflied till three years after his death, 
 when it was printed at Paris in i2mo. with the French ver- 
 fion and remarks of Monf de Piles, and has been juftly ad- 
 mired for its elegance and perfpicuity. 
 
 THE 
 
T H E 
 
 RT of PAINTING 
 
 W IT H T HE 
 
 Original Text (ubjoinedl 
 
THE ART OF PAINTING. 
 
 TR U E Poetry tHe Painter's power dirplays ; 
 True Painting emulates the Poet's lays ; 
 The rival Sifters, fond of equal fame. 
 Alternate change their office and their name ; 
 Bid lilent Poetry the canvafs warm,= 
 The tuneful page with fpeajcing Pidure charm. 
 
 What to the ear fublimer rapture brings, 
 That ftrain aloue the genuine Poet fings 
 
 D E ARTE G R A P H I C A. 
 
 UT Pidura Poefis erlt ; fimilifque Poeii 
 Sit Pidura ; refert par aemula quaeque fororem, 
 Alternantque vices & nomina ; muta Poefis 
 Dicitur haec, Pidtura loquens folet ilia vocari. 
 
 Quod fuit auditu gratum cecinere Poets; 
 
 A 
 
C 2 ] 
 
 That form alone where glows peculiar grace, 
 The genume Painter condefcends to trace: id 
 No fordid theme will Verfe or Paint admit, 
 Unworthy colours if unworthy wit. 
 
 From you, blefl: Pair ! Religion deigns to claim 
 Her facred honours ; at her awful name 
 High o'er the ftars you take your foaring flight, 15 
 And rove the regions of fupernal light. 
 Attend to lays that flow from tongues divine^ 
 Undazzled gaze where charms feraphic fhine,; 
 Trace beauty's beam to its eternal fpring, 
 And pure to man the fire cceleftial bringo 20 
 
 Quod pulchrum afpe(ftu Pidlores pingere curant : 
 
 Quaeque Poetarum numeris indigna fuere, 
 
 Non eadem Pidlorum operam fludiumq; merentur : 
 
 Ambas quippe facros ad religionis honores 
 Sydereos fuperant ignes, aulamque tonantis mo 
 Ingref&, Divum afpedy^ alloquiou^ue fruunturj 
 Oraque magna Deum, , & didci obicrvata reportant, 
 ;Coeleflemque fuorum operuin mortaljbus aguem. 
 
[ 3 ] 
 
 Then round this globe on joint purfuit ye ftray^ 
 Time's ample annals ftudioufly furvey ; 
 And from the eddies of Oblivion's ftream, 
 Propitious fnatch each memorable theme. 
 
 Thus to each form 5 in heav'n, and earth, andfea, 25 
 That wins with grace, or awes with dignity, 
 To each exalted deed, which dares to claim 
 The glorious meed of an immortal fame, 
 That meed ye grant. Hence, to remoteft age, 
 The Hero's foul darts from the Poets page ; 30 
 Hence, from the canvafs, ftill, with wonted ftate, 
 He lives, he breaths, he braves the frown of Fate. 
 
 Inde per hunc Orbem fludiis coeuntibus errant^ 
 Carpentes quae digna fui, revolutaque luftrant 15 
 Tempora, quaerendis confortibus argumentis. 
 
 Denique quaecunqj in coelo, terraque, marique 
 Longius in teinpus durare, ut pulchra, merentur, 
 Nobilitate fua, claroque infignia cafu. 
 
 Dives & ampla manet Pidtores atque Poetas 23 
 Materies ; inde alta fonant per faecula mundo 
 Nomina, magnanimis Heroibus inde fuperfles 
 Gloria, perpetuoque operum miracula reliant: 
 
 A 2 
 
[ 4 3 
 
 Such powers, fuch praifes, heav'n-born Pair, belong 
 To magic colouring, and creative fong. 
 
 But here I paufe, nor afk Pieria's train, 3 5 
 Nor Phoebus felf to elevate the ftrain ; 
 Vain is the flov^'ry verfe, when reafoning fage^ 
 And fober precept fill the ftudied page ; 
 Enough if there the fluent numbers pleafe, 
 With native clearnefs, and inftrux^live eafe. 4a 
 
 Nor fliall my rules the Artift's hand confine, 
 Whom Pradice gives to ftrike the free defign.; 
 Or banifli Fancy from her fairy plains, - 
 Or fetter Genius in didadlic chains 1 
 
 Tantus ineft divis honor artibus atque poteflas. 
 
 Non mihi Pieridum chorus hie, nec Apollo vocandus, 25- 
 Majus ut eloquium riumeris, aut gratia fandi 
 Dogmaticis illuflret opus rationibus horrens : 
 Cum nitida tantum & facili digefla loquela, 
 Ornari praecepta negent, contenta doceri. 
 
 Nec mihi mens animufve fuit conftringere nodos 30; 
 Artificum manibus, quos tantum dirigit ufus ; 
 Indolis ut vigor inde potens obftricftus hebefcat, 
 Normarum numero injmani^ Geniumq; moretur i 
 
[ 5 ] 
 
 No, 'tis their liberal purpofe to convey 
 That fciendfic fkill which wins its way 
 On docile Nature, and tranfmits to yovith, 
 Talents to reach, and tafte to relifh truth ; 
 While inborn Genius from their aid receives 
 Each fupplemental Art that Pradlice gives. 50 
 
 'Tis Painting's firft chief bufinefs to explore, 0/ ihe 
 
 Beautiful, 
 
 What lovelier forms in Nature's boundlefs ftore, 
 Are beft to Art and antient Tafte allied, 
 For antient Tafte thofe forms has beft applied, 
 
 'Till this be learn'd, how all things difagree ; 5:5 
 How all one wretched, blind barbarity !. 
 
 Sed rerum ut pollens ars cognitione, gradatim 
 
 Naturae fefe infinuet, verique capacem 35 
 
 Tranfeat in Genium;. Geniufq; ufu induat artem. 
 
 Praecipua imprimis artifque potillima pars eO:, pjichro 
 Nolle quid in rebus natura crearit ad artem 
 Pulchrius, idque modum juxta, mentemque vetuftam : 
 
 Qua fine barbaries caeca & temeraria pulchrum 40 
 Negligit, infultans ignotae audacior arti, 
 
 A 3 
 
t 6 3 
 
 The fool to native ignorance confin'd, 
 
 No beauty beaming on his clouded mind ; 
 
 Untaught to reHfli, yet too proud to learn, 
 
 He fcorns the grace his dulnefs can't difcern. 6© 
 
 Hence Reafon to Caprice refigns the ftage, 
 
 And hence that maxim of the antient Sage, 
 
 Of all vain fools with coxcomb talents curft, 
 " Bad Painters and bad Poets are the v/orft." 
 
 When firft the orient rays of beauty move 
 Theconfcious foul, they light the lamp of love, 65 
 Love wakes thofe warm defires that prompt our chace, 
 To follow and to fix each flying grace : 
 But earth-born graces fparingly impart 
 The fymmetry fupreme of perfed art ; 
 
 Ut curare nequit, quae non modo noverit efle ; 
 Illud apud veteres fuit unde notabile didum, 
 ** Nil Pidore malo fecurius atque Poeta." 
 
 Cognita amas, & amata eupis, fequenTq; cupita; 
 Faffibus affequeris tandem qua? fervidus urges : 
 Ilia tamen quas pulchra decent ; non omnia cafus 
 Qualiacumque dabunt, etiamve limillima veris : 
 
C 7 3 
 
 For tho' our cafual glance may fometimes meet 70 
 With charms that ftrike the foul, andfeem compleat. 
 Yet if thofe charms too elofely we define. 
 Content to copy nature line for line, 
 Our end is loft. Not fuch the Matter's care. 
 Curious he culls the perfedl from the fair ; 75 
 Judge of his art, thro' beauty's realm he flies,, 
 Seleds, combines, improves, diverfifies ; 
 With nimble ftep purfues the fleeting throng. 
 And clafps each Venus as fhe glides along. 
 
 Yet fome there are who indifcreetly ftray, 80 of mory 
 Where purblind Pradice only points the way. 
 Who ev'ry theoretic truth difdain. 
 And blunder on mechanically vaiov 
 
 and Pradlice, 
 
 Nam quamcumque modo fervili baud fufficit ipfam 
 Naturam exprimere ad vivum ; fed ut arbiter artis^ 50 
 Seliget ex ilia tantum pukherrima Pidor; 
 Quodque minus pulchrum, aut mendofum, corriget ipfe 
 Marte fuo, formae Veneres captando fugaces. 
 
 Utque manus grandi nil nomine pradiica di^nuni 
 
 *-* De Specula- 
 
 Affequitur, primum arcanse quam deficit artis ^^tionc &Praxi. 
 
 Lumen, & in prasceps abitura ut casca vagatur^ 
 
[ 8 ] 
 
 Some too there are within whofe languid breafts, 
 A lifelefs heap of embryo knowledge refts, 
 When nor the pencil feels their drowzy art. 
 Nor the fkill'd hand explains the meaning heart. 
 In chains of Sloth fuch talents <lroop confin'd : 
 'Twas not by words Apelles charm'd mankind. 
 
 Hear then theMufe; tho' per fed beauty towers 90 
 Above the reach of her defcriptive powers, 
 Yet will fhe ftrive fome leading rules to draw 
 From fovereign Nature's univerfal law ; 
 Stretch her wide view o'er antient Art's domain, 
 Again eftablifh Reafon's legal reign, 95 
 
 Sic nihil ars opera manuum privata fupremum 
 Exequitur, fed languet iners uiti viiida lacertos 5 
 Difpofitumque typum non lingua pinxit Apelles. 
 
 Ergo licet tota normam haud poflimus in arte to 
 Ponere (cum nequeant quae funt pulcherrima dici) 
 Nitimur hrsc paucis^ fcrutati fumma magiftrae 
 Dogmata Natyr^^ fartifque exemplaria prima 
 Altius intuiti-i /ic mens habilifque facultas 
 
[ 9 ] 
 
 Genius again correal with Science fage. 
 
 And curb luxuriant Fancy's headlong rage. 
 
 Right ever reigns its ftated bounds between. 
 
 And Tafte, like Morals, loves the golden mean." 
 
 Some loftj theme let judgment firft fupply, lOO ni. 
 
 of the Sub- 
 Supremely fraught with grace and majefty ; 
 
 For fancy copious, free to ev'ry charm 
 
 That lines can circumfcribe or colours v/arm. 
 
 Still happier if that artful theme difpenfe 
 
 A poignant moral and inftrudive fenfe. 105 
 
 Then let the virgin canvas fmooth expand, Inveniion the 
 
 ^ ihil Part of 
 
 To claim the fketch and tempt the Artift's hand : ^''"''"^. 
 
 Indolis excolitur, Geniumque Scientia complete 65 
 Luxurianfque in monftra furor compefcitur Arte. 
 ** E/l modus in rebuSiJunt certi denique fines , 
 " ^os ultra citraque nequit confijiere reBum*' 
 
 His pofitis, erit optandum thema nobile, pulchrum, in. 
 
 De Argument- 
 
 to. 
 
 Quodque venuflatum, circa formam atque colorem, 70 
 Sponte capax, amplam emeritaD mox praebeat Arti 
 Materiam, retegens aliquid falis & documenti. 
 
 Tandem opus aggredior: primoq; occurrit in albo inventionHma 
 
 ^ ^° r u Piftura; Pars. 
 
 Difponenda typi, concepta potente Minerva, 
 
 B 
 
[ ] 
 
 Then bold Invention all thy powers diffLife, 
 Of all thy fillers thou the nobleft Mufe. 
 Thee evVy Art, thee ev'ry Grace infpires, no 
 Thee Phoebus fills with all his brighteft fires. 
 Difpoiidon, or Chufe fuch judicious force of fhade and licrht 
 
 Oeconomy cf C3 
 
 the whole, i^^.^^ ^j^^ theme, and fatisfies the fight ; 
 
 Weigh part wdth part, and with prophetic eye, 
 The future power of all thy tints defcry; 115: 
 And thofe, thofe only on the canvas place, 
 Whofe hues are focial, whofe effed: is grace. 
 
 The suhua Vivid and faithful to the hiftoric page, 
 
 to be treated 
 
 faithfully. Exprefs the culloms, manners, forms, and age ; 
 
 *7 I*-' 
 
 Machina, quas noflris Inventio dicitur oris. 
 
 Ilia quidem prias ingenuis inflruda fororum 
 Artibus Aonidum, & Phcsbi fublimior xRu. 
 '7: ^ Qiisrendafque inter pofituras, luminis, umbrse, 
 Scmiar ^H'-^^ futurorum jam prsfentire colorum 
 
 Par erit harmoniam, captando ab utrifque venuftum. 8a 
 V. Sit thematis genuina ac viva exprefiio, juxta 
 
 Fidelitas Ar- 
 gument!. Textum antiquorum, propriis cum tempore formisv 
 
C " 3 
 
 Nor paint confpicuous on the foremoft plain 120 
 Whatever is falfe, impertinent, or vain ; vr. 
 
 Every fore-Ip; 
 
 But like the Tragic Mufe, thy luflre throw, b/rej^fled!" 
 Where the chief adion claims its warmeft glow. 
 
 This rare, this arduous tafk no rules can teach, 
 No fkill'd preceptor point, no praAice reach ; 1 2 5 
 'Tis Taftcj 'tis Genius, 'tis the heav'nly ray 
 Prometheus ravifh'd from the car of day. 
 
 In Egypt firft the infant Art appear'd, 
 Rude and unform'd; but when to Greece fhe fleer'd 
 
 Nec quod inane, nihil facit ad rem, five videtur 
 Improprium, minimeque urgens, potiora tenebit 
 Ornamenta operis Tragicas fed lege fororis, 
 Summa ubi res agitur, vis fumma requiritur Artis. 
 
 Ifta labore gravi, fhudio, monitifque magiftri 
 Ardua pars nequit addifci : rariffima namque, 
 Ni prius aethereo rapuit quod ab axe Prometheus 
 Sit jubar infufum menti cum flamine vitae. 
 Mortali baud cuivis divina hxc munera dantur; 
 ,Non uti Daedaleam lice£ omnibus ire Corinthum^ 
 
 B 2 
 
 Inane rejicica 
 dum. 
 
 85 
 
 90 
 
C 12 } 
 
 Her profperous courfe, fair Fancy met the Maid; 13a 
 Wit, Reafon, Judgment^ lent their powerful aid;. 
 Till all compleat the gradual wonder fhone. 
 And vanquifh'd Nature own d herfelf outdone.. 
 
 'Twas there the Goddefs fixt her bleft abodes^ 
 There reign'd in Corinth, Athens, Sicyon, Rhodes^ 
 Her various votaries various talents crown'd. 
 Yet each alike her infpiration own'd : 
 Witnefs thofe marble miracles of grace^ 
 Thofe tefts of fymmetry where ftill we trace 
 All Art's perfedion : With reludant gaze 140 
 To thefe the Genius of fucceeding days 
 Looks dazzled up, and, as their glories fpread, 
 Hides in his mantle his diminifh'd head. 
 
 JEgy^to informis quondam pidtura reperta, 
 GrsEcorum ftudiis, & mentis acumine crevit : 
 £gregiis tandem illu^lrata & adulta magiftris,. 95 
 Naturam vifa efl miro fuperare labore. 
 
 .Quos inter, Graphidos Gymnafia prima fuere 
 Portus Athenarum, Sicyon, Rhodes, atque Corinthus^, 
 Diibaria inter fe modicum ratione laboris ; 
 Ut patet ex veterum Statuis, formae atque decoris i 00 
 
[ X3 ] 
 
 Learn then from Greece, ye YoutKs, Proportion's 
 
 Defign or Pb- 
 
 laW, fition the fe- 
 
 * cond Part ot 
 
 Inform'd by her, each juft Position draw ; 145 
 SkihSjl to range each large unequal part. 
 With varied motion and contrafted art ; 
 Full in the front the nobler limbs to place. 
 And poife each figure on its central bafer. 
 
 But chief from her that flowing outline take, 1 5 0 
 Which floats, in wavy windings, like the fnake, 
 Or lambent flame; which, ample, broad, and long, 
 Reliev'd not fwell'd, at once both light and fl:rong, 
 Glides thro' the graceful whole. Her art divine 
 Cuts not, in parts minute^ the tame deflgn, 155 
 
 Archetypis ; queis pofterior nil protulit aetas 
 Condignum, & non inferius longe, arte modoque. 
 Horum igitur vera ad normam pofitura legetur: 
 
 Graph is feu 
 
 Grandia, inaequalis, formofaque partibus amplis Pofitura fe- 
 
 ^ ^ cunda Pidurie 
 
 Anteriora dabit membra, in contraria motu 105 p^"^^* 
 
 Diverfo variata, fuo librataque centro j 
 
 Membrorumque finus ignis flammantis ad inftar, 
 Serpenti undantes flexu ; fed laevia, plana, 
 Magnaque figna, quali fine tubere fubdita tadlu, 
 
 B 3 
 
r H ] 
 
 But by a few bold ftrokes, diftind: and free^ 
 
 Calls forth the charms of perfed: fymmetry. 
 
 True to anatomy, more true to grace. 
 
 She bids each mufcle know its native place ; 
 
 Bids fmall from great in juft gradation rife, i6© 
 
 And, at one vifual point, approach the eyes. 
 
 Yet deem not. Youths, that perfpedive can give 
 Thofe charms compleat by which your works fhall 
 live ; 
 
 What tho' her rules may to your hand impart 
 A quick mechanic fubftitute for art; 165 
 Yet formal, geometric fhapes fhe draws ; 
 Hence the true Genius fcorns her rigid laws, 
 
 Ex longo deducfta fluant, non feda minutim. j jq 
 
 Infertifque toris Tint nota ligamina, juxta 
 Compagem anatomes, 6c membrificatio Grsco 
 Deformata modo, paucifque exprefTa lacertis, 
 Qualis apud veteres ; totoque Eurythmia partes 
 Componat; genitumque fuo generante fequenti 
 Sit minuSj & pundio videantur cunfca fub uno. 
 
 Regula certa licet nequeat profpedica did, 
 Aut complementum graphidos ; fed in arte juvamcii;, 
 Et modus accelerans operandi ; at corpora falfo 
 
[ IS ] 
 
 By Nature taught he ftrikes th' unerring lines, 
 Confults his eye, and as he fees defigns. 
 Man's chanp;efu] race, the fport of chance and time, ^ht. 
 
 Variety in the 
 
 Varies no lefs in afpedl than in cHme ; Figures. 
 Mark well the difference, and let each be feen 
 Of various age, complexion, hair, and mein. 
 
 Yet to each fep'rate form adapt with care ix. 
 
 Conformity oF 
 
 Such limbs, fuch robes, fuch attitude and air, 1 75 lid iTapery 
 
 to the Head.. 
 
 As befl: befit the head, and beft combine 
 To make one whole, one uniform defign ; 
 Learn ad:ion from the dumb, the dumb fhall teach x. 
 
 Aftion of 
 
 How happieft to fupply the want of fpeechr imitaTed? ^ 
 
 Sub vlfu in multis referens, mendofa labafcit : 120 
 Nam Geometralem nunquaai funt corpora juxta 
 Menfuram depicta oculis, fed qualia vila. 
 
 Non eadem forms fpecies, non omnibus aetas 
 iEqualis, fimilefque color, crinefque figuris : 
 Nam, variis velut orta plagis, gens difpare vultu efl. 125 
 
 Singula membra, fuo capiti confcrmia, fiant 
 Unum idemque fimul corpus cum veftibus ipfis ; 
 Mutorumque filens pofitura imitabitur acflus, 
 
 viir. 
 
 Varietas in 
 f igui'is. 
 
 iX. 
 
 Figur.i (it una 
 membris et 
 vefHbus. 
 X. 
 
 Mutorara ac- 
 tiones imi- 
 
[ i6 ] 
 
 xr. . Fair in the front in all the blaze of light, i 
 
 The principal o ^ 
 
 Figure. ^j^^ Htro of thy piece fhould meet the fight, 
 Supreme in beauty ; lavifh here thine Art, 
 And bid him boldly from the canvas ftart ; 
 
 Groups of Fi- 
 gures. While round that fov'reign form th' inferior train 
 
 In groups collected fill the pidur'd plain : 185 
 
 Fill, but not croud ; for oft fome open fpace 
 
 Muft part their ranks, and leave a vacant place, 
 
 Left artlefsly difpers'd the fever'd Crevi^ 
 
 At random rufli on our bewilder'd view ; 
 
 Or parts with parts in thick confufion bound, 190 
 
 Spread a tumultuous Chaos o'er the ground. 
 
 Prima figurarum, feu princeps dramatis, ultro 
 
 Figura prin- ^ r,. 
 
 ceps. Proliliat media in tabula, fub lumiiie primo 130 
 Pulchrior ante alias, reliquis nec operta figuris. 
 XII. Agglomerata fimul fint membra, ipfasque figurse 
 
 Figurarum 
 
 giobi feu cu Stipentur, circumque globos locus ufque vacabiti 
 Ne, male difperfis dum vifus ubique figuris 
 Dividitur, cundtifque operis fervente tumultu ;i3j; 
 Partibus implicitis, crepitans confufio furgat. 
 
XTfl. 
 
 Diverfity of 
 Attitude ia 
 Groups 
 
 C ^7 ] 
 
 In cvry figured group the judging eye 
 Demands the charms of contrariety, 
 In forms, in attitudes expe6^:s to trace, 195 
 Diftindl inflexions, and contrafted grace, 
 Where Art diverfely leads each changeful line, 
 Oppofes, breaks, divides the whole defign ; 
 Thus when the reft in front their charms difplay, 
 Let one with face averted turn away, 200 
 Shoulders oppofe to breafts, and left to right. 
 With parts that meet and parts that fliun the fight. 
 This rule in pradice uniformly true 
 Extends alike to many forms or few. 
 
 Yet keep thro' all the piece a perfedl poize : 205 ^ ^^l^^ 
 If here in frequent troops the figures rife, 
 
 ce to 
 
 be kept in the 
 Pidure. 
 
 Inque figurarum cumulis non omnibus idem 
 Corporis inflexus, motufque; vel artubus omnes 
 Converfis pariter non connitantur eodem; 
 Sed quasdam in diverfa trahant contraria membra, 
 Tranfverfeque aliis pu^nent, & caetera frangant. 
 Pluribus adverfis averfam oppone figuram, 
 Ped:oribufque h.umeros, & dextera membra fmillris, 
 Seu multis conftabit opus, paucifve figuris. 
 
 Altera pars tabulse vacuo neu frigida camj^o, 
 Aut deferta fiet, dum pluribus altera formis 
 
 XIIT, 
 
 Pofituraruni 
 diverfitas in 
 cumulis. 
 
 140 
 
 14c XIV. 
 
 Tabulas libra- 
 
 nientum. 
 
C i8 1 
 
 There let fome objed tower with equal pride 
 And fo arrange each correfpondent fide 
 That, thro' the well-conneded plan appear 
 No cold vacuity, no defer t drear, 2ia 
 Of xfckum. Say does the Poet glow with genuine rage, 
 er 0 ^'^"'"^j^^ crouds With pomp and noife his buftling ftage ? 
 Devoid alike of tafte that Painter deem, 
 Whofe flutt' ring works with num'rous figures teem;; 
 A tafk fo various how fliall Art fulfill, 2 1 5 
 
 When oft the fimpleft forms elude our fkill ? 
 But, did the toil fucceed, we ftill fliould lofe 
 That folemn majefty,, that foft repofe, 
 
 Fervida mole fua fupremam exfurgit ad oram, 
 Sed tibi fic pofitis refpondeat utraque rebus, 
 Ut fi aliquid furfum fe parte attollat in una. 
 Sic aliquid parte ex alia confurgat, & ambas 
 j^^quiparet, geminas cumulando sequaliter oras. 
 XV. PI uribus implicitum perfonis drama fupremo 
 
 Numcrus Fi- 
 
 gurarun». gencre, ut rarum eft,, multis ita denfa figuris 
 
 Rarior eft tabula excellens; vel adhuc fere nulla 
 Prffiftitit in multis, quod vix bene praeftat in una: 
 Quippe folet rerum nimio difperfa tumultu,. 
 Majeftate carere gravi, requieque decora^ 
 
C 19 ] 
 
 Dear to the curious eye, and onlj found, 
 Where few fair objects fill an ample ground. 220 
 Yet if fome grand important theme demand 
 Of many needful Form.s a bufy band, 
 Judgment will fo the feveral groups unite, 
 That one compacted whole fFiall meet the fight. 
 
 The joints in each extreme diftindly treat, 225 xvi. 
 
 The Joints of 
 
 Nor e'er conceal the outline of the feet: the Feet. 
 
 The hands alike demand to be expreft 
 In half-fhewn figures rang'd behind the reft. 
 Nor can fuch forms with force or beauty fiiine, xvii 
 
 The Motion 
 
 Save when the head and hands in adion join. 2 30^4hlheHeud! 
 
 Nec fpeciofa nitet, vacuo nifi libera campo. 
 Sed fi opere in magno, plures thema grande requirat 
 Efle figurarum cumulos, fped:abitur una 
 JMachina tota rei ; non fingula quasque feorfim. 
 
 Praecipua extremis raro internodia membris 
 Abdita fmt ; fed fumma pedum vefligia nunquam. 
 
 Gratia nulla manet, motufque, vigorque figuras 
 Retro aliis fubter majori ex parte latentes, 
 Ni capitis motum manibus comitentur agendo, 
 
 C 2 
 
 160 
 
 XVI. 
 Internodia & 
 I'edcs. 
 
 XVI I . 
 Motus Manu- 
 i 6 C urn motui ca- 
 pitis jungen- 
 dus. 
 
[ 2° ] 
 
 Each air conftrain'd and forc'd, each p;efture rudea, 
 
 XVIII. ' t> 5» 
 
 Wliat Things - , 1 • 1 
 
 aretobeavoid- Wnate cr coiitracts or cramps the attitude, 
 
 ed in the Di- 
 
 thQ Piece. ^ With fcorn difcard. When fqnares or angles join^ 
 When flows in tedious parallel the line, 
 Acute, obtufe, v/hene'er the £hapes appear, 235 
 . Or take a formal geometric air, 
 
 Thefe all difpleafe, and the dilgufted eye 
 Naufeates the tame and irkfome fymmetry. 
 Mark then * our former rule ; with contraft ftrong 
 And mode tranfverfe the leading lines prolong, 
 For thefe in each deflgn, if well expreft, 241 
 Give value, force, and luftre to the reft. 
 
 XVIII. Difficiles fugito afpedus, contradlaque vifw 
 
 Qax fugienda 
 
 in dii'tribu- Membra fub ins:rato, motufque, adufque coadlos ; 
 tione & com- ° 
 
 pofiuone. Qyodque refert fignis, redos quodammodo tradus^ 
 
 Sive parallelos plures fimul, & vel acutas, 170 
 Vel geometrales (ut quadra, triangula) formas- : 
 Ingratamque pari fignorum ex ordine quandam 
 Symmetriam I fed prsecipua in contraria femper 
 Signa volunt duel tranfverfa, ut * diximus ante,. 
 Summa igitur ratio fignorum habeatur in omni. ly.^ 
 Compofito j dat enim reliquis pretium, atque vigorem, 
 
 * Rule XIII, 
 
C ] 
 
 Nor yet to Nature fuch ftrid homage pay 
 
 < . - - - Nature to be 
 
 As not to quit when Genius leads the way: accommoda- 
 
 •' ted to Gemus. 
 
 Nor yet, tho' Genius all his fuccour fends, 245 
 Her mimic powVs tho' ready Mern'ry lends, 
 Prefume from Nature wholly to depart,. 
 For Nature is the arbitrefs of art. 
 In Error's grove ten thoufand thickets fpreaJ, 
 Ten thoufand devious paths our fteps miflead ; 250 
 'Mid curves, that vary in perpetual twine, 
 Truth owns but one diredl and perfedl line. 
 
 Spread then her genuine charms o'er all the piece, xx. 
 
 ^ ^ A The Antique 
 
 Sublime and perfeA as they glow'd in Greece, be copied. 
 
 Non ita nature aftanti fis cuique reviniflus,. 
 Hanc pr-cEter nihil ut genio ftudioque relinquas; 
 Nec fine tefte'rei natura, artifque magiftra, 
 Quidlibet ingenio, memor ut tantummodo rerumi 
 Pingere pofTe putes ; errorum eft plurima fylva, 
 Multiplicefque vias, bene agendi terminus unus, 
 Linea redla velut fola eft, & mille recurvae ^ 
 
 Sed juxta antiques naturam imitabere pulchram, 
 Q^alem forma rei propria, objedumque requirit. 
 
 C J 
 
 XIX. 
 
 Natura genio 
 acconimodan- 
 da. 
 
 180 
 
 XX. 
 
 Signa antiqua 
 NaturcE mo- 
 j.g r'dui-n conftitu- 
 unt. 
 
[ 22 ] 
 
 Thofe genuine Charms to feize, with zeal explore 
 Thevafes, medals, ftatues, form'd of yore, 25$ 
 Relievos high that fwell the column's ftem. 
 Speak from the marble, fparkle from the gem : 
 Hence all-majeftic on th' expanding foul, 
 In copious tide the bright ideas roll ; 26Q 
 Fill it with radiant forms unknown before, 
 Forms fuch as demigods and heroes wore : 
 Here paufe and pity our enervate days, 
 Hopelefs to rival their tranfcendant praife. 
 How^fJ.paint Peculiar toil on fmgle forms beftow, 
 
 There let Expreffion lend its finifh'd glow; 
 
 There each variety of tint unite 
 
 With the full harmony of fhade and light. 
 
 Non te igitur lateant antiqua numifmata, gemm^^ 
 
 Vafa, typi, ftatuae, csilataque marmora fignis, 
 
 Quodque refert fpecie yeteram pofl fecula mentem : 
 
 Splendidior quippe ex illis affurgit imago, 
 
 Magnaque fe rerum facies aperit meditanti ; 
 
 Tunc noftri tenuena fxcli miferebere fortem, 
 
 Ciim fpes nulla fiet rediturje asqilalis in fEvum. 
 
 quomodoTrac- Exquifita fiet forma, dum fola figura 
 ^anda» 
 
 Pingitur j & multis variata coloribus ello. 
 
[ 23 J 
 
 free o'er the limbs the flowing vefture eall, ^^^^ 
 The light broad folds with grace majeftic plac'd ; . ^ ^ 
 And as each figure turns a different way, 271 
 Give the large plaits their correfponding play ; 
 Yet devious oft and fwelling from the part, 
 The flowing robe with eafe fliould feem to ftart; 
 Not on the form in ftiff adhefion laid, 275 
 But well reliev'd hj gentle light and fliade. 
 
 Where'er a flat vacuity is feen^ 
 There let fome fhadowy bending intervene,: 
 Above, below, to lead its varied line^ 
 As beft may teach the diftant folds to join; 28a- 
 
 Lati, ampllque finus pannorum, & nobilis ordo 195 .xxn. 
 
 Quid in Panniff- 
 
 Membra fequens, fubter latitantia lumine 5c umbra obiemndum. 
 
 Exprimet; ille licet tranfverfus faspe feratur, 
 
 Et circumfufos pannorum porrigat extra 
 
 Membra fin us, non contiguos, iplifque figuras 
 
 Fartibus imprelTos, quafi pannus adhaereat illis ; 20» 
 
 Sed. modice expreffos cum lumine fervet & umbris : 
 
 Quaeque intermiffis paffim funt difTita vanis, 
 Copulet, indudis fubterve, fuperve lacernis^ 
 
T 24 ] 
 
 And as the limbs by few bold ftroke$ expreft 
 Excel in beauty, fo the liberal veft 
 In large, diftind, unwrinkled folds fhould ily ; 
 Beauty's beft handmaid is Simplicity, 
 
 To diff 'rent Ranks adapt their proper robe 285 
 With ample pall let monarchs fweep the globe; 
 In garb fuccind and coarfe, array the Swain. 
 In light and filken veils the Virgin train. 
 
 Where in black fhade the deeper hollow lies 
 Affifting art fome midway fold fupplies 29Q 
 That gently meets the light, and gently fpreads 
 To break the hardnefs of oppofing fhades. 
 
 Et Membra, ut magnis, paucifque exprefla lacertis, 
 Majeftate aliis prseftant, forma, atque decore : j^o^ 
 Haud fecus in pannis, quos fupra optavimus amplos, 
 Perpaucos finuum flexus, rugafque, ftriafque. 
 Membra fuper, verfu faciles, inducere praeftat. 
 
 INaturaeque rei proprius fit pannus, abundans 
 Patriciis^ fuccindus erit, craiTufque bubulcis^ ^giQ 
 Mancipiifque levis teneris, gracilifque puellis. 
 
 Inque cavis maculifque umbrarum aliquando tumefcet. 
 Lumen ut excipiens, operis qua mafia requirit, 
 Latius extendat, fublatifque aggreget umbris. 
 
[ 25 J 
 
 Each nobler fymbol claflic Sages ufe xxin. 
 
 ° OfPidurefque 
 
 To mark a Virtue, or adorn a Mufe, ornament. 
 Enfigns of War, of Peace, or Rites divine, 295 
 Thefe in thy work with digiiity may fliine : 
 But fparingly thy earth-born ftores unfold, xxiv. 
 
 Ornamnent of 
 
 Nor load with gems, nor lace with tawdry gold ; ^^weis!"'^ 
 Rare things alone are dear in Cuftom's eye, 
 They lofe their value as they multiply. 300 
 Of abfent forms the features to define, xxv. 
 
 OftiieMo(^l. 
 
 Prepare a model to dired thy line ; 
 Each garb, each cuftom^ with precifion trace, ^^^^ 
 Unite in ftrid decorum time with place ; P'^'^^" 
 And emulous alone of genuine fame, 305 xxvir. 
 
 Grace and 
 
 Be Grace, be Majefty thy conftant aim, ^^'^'"y* 
 
 Nobilia arma juvant Virtutum ornantque figuras, 
 Qualia Mufarum, Belli, cultufque Deorum. 
 Nec fit opus riimium gemmis auroque refertum ; 
 Rara etenim magno in pretio, fed plurima vili. 
 
 Quae deinde ex vero nequeant praefente videri, 
 Prototypum prius illorum formare juvabit. 
 
 Conveniat locus, atquc habitus ; ritufque decufque 
 Servetur : Sit nobilitas, Charitumque venuftas, 
 
 D 
 
 215 xxiir. 
 
 Tabula* Orna- 
 
 220 
 
 mentum. 
 
 XXIV. 
 
 Ornamentum 
 Auri & Gem- 
 marum. 
 
 XXV, 
 Prototypus. 
 
 XXVI. 
 Conveniencia 
 re rum cuin 
 Scena. 
 
 xxvir. 
 
 Charites & 
 
I 26 ] 
 
 That Majefty, that Grace fo rarely given; 
 To mortal man, not taught by art but Heaven. 
 xxviiT, In all to fage propriety atten<l, 
 
 Every Thing 
 
 piace/'°^" Nor fink the clouds, nor bid the waves afcend;3ia 
 Lift not the manfions drear of Hell or Night 
 Above the Thunderer's lofty arch, of light 
 Nor build the column on an ofier bafe„ 
 But let each obje6l know its native place. 
 XXIX. Thv laft. thy nobleft tafk. remains untold, 31c 
 
 ThePaffions. J ^ J ^ ^ 
 
 Paflion to paint, and fentiment unfold ; 
 Yet how thefe motions of the mind difplay ! 
 Can colours catch them, or can lines portray ? 
 
 (Rarum homini munus, Coelo, non arte -petendum.) 
 XXVIII. Nature fit ubique tenor, ratioque fequenda. 
 
 Res qugeque i /• ^ 
 
 locum fuum [^qd viciiia pedum tabulata excella tonantis 225 
 
 teneat. 
 
 Aftra domus depidla gerent, nubefqu^, notofque ; 
 Nec mare depreffam laquearia fumma, vel Orcum ; 
 Marmoreamque feret cannis vaga pergula molenj : 
 • Congrua fed propria femper ftatione locentur, 
 XXIX. Hsec prffiter, motus animorum, & eorde repoftos 230 
 Exprimere afFecflus, paucifque colonbus iplam 
 
C 27 ] 
 
 Who fliall out pigmy Pencils arm with might 
 
 To feize the Soul and force her into fight? 320 
 
 Jove, Jove alone ; his highly-favor'd few 
 
 Alone can call fuch miracles to view. 
 
 But this to Rhet'ric and the Schools I leave, 
 
 Content from antient lore one rule to give, 
 
 By tedious toil no Paffions are expreft, ' 325 
 His hand who feels them ftrongeft paints them 
 beft," 
 
 Yet fhall the Mufe with all her force profcribe cotw? oVna- 
 
 ^ ment to be 
 
 Of bafe and barbarous forms tliat Gothic tribe "'"''^''^' 
 
 ;Pingere poffe animam, atque oculis praebere videndam, 
 "^* Hoc opus, hie labor eft. Fauci, quos (^quus amavit 
 '** J^ppiter, aut ardens evexit ad cethera virtus.. 
 
 Bis Jimiles fotuere' manu miracula tanta, 23 j 
 
 Hos ego Rhetoribus tradandos defero ; tantum 
 lEgregii antiquum memorabo fophifma magiftri, 
 *\ V Tius affeSlus animi vigor exprimk ardens, 
 
 Solliciti nimiiim quam fedula cur a labor is, 
 
 Denique nil fapiat Gothorum barbara trito 240 
 Ornamenta modQ, faeclorurn & monftra maloru m ; Ornamenta 
 
 fagienda 
 
 D 2 
 
 XXX. 
 Gothorum 
 
E 28 ] 
 
 which fprang to birth, what time, thro' luft of fway^ 
 Imperial Latium bad the world obey: 330 
 Fierce from the north the headlong Demons flew, 
 The wreaths of Science withered at their view, 
 Plagues were their harbingers, and War accurft^. 
 And Luxury of every fiend the worfl: ^ 
 Then did each Mufe behold her triumphs fade, 335 
 Then penfive Painting droop'd the languifh'd head'^ 
 And forrowing Sculpture, while the ruthlefs flame 
 Involved each trophy of her fifl:er's fame,. 
 Fled to fepulchral cells her own to fave,. 
 And lurk'd a patient inmate of the grave. 340 
 Meanwhile beneath the frown of angry Heav'n, 
 Unworthy ev'ry boon its fmile had given, 
 
 Queis ubi bella, famem, & peftem, difcordia, luxus,, 
 Et Romanorum res grandior intulit orbi,, 
 Ingenuae periere artes, periere fuperbos 
 Artificum moles fua tunc miracula vidifc 245- 
 Jgnibus abfumi Pidura, latere coadta. 
 Fornicibus, fortem & reliquam confidere cryptis i 
 Marmoribufque diu Sculptura jacere fepultis.. 
 Imperium interea, fcelerurn gravitate fatifcens. 
 
[ 29 ] \ 
 InvolvM in Error's cloud, and fcorn'd of light 
 The guilty Empire funk. Then horrid Night, 
 And DuUnefs drear their murky vigils kept, 345 
 In favage gloom the impious Ages flept^ 
 Till Genius, ftarting from his rugged bed, 
 Full late awoke the ceafelefs tear to fhed 
 For perifti'd Art; for thofe celeftial Hues, 
 Which Zeuxis, aided by the Attic Mufe, 350 
 Gave to the wond'rins; Eye : She bad his name, t^rthrrd'p^t 
 
 ^ of Painting. 
 
 With thine,, Apelles ! gild the Hfts of Fame, 
 With thine to Coloring's brighteft glories foar, 
 The Gods applaud him, and the World adore. 
 
 Horrida nox totum invafit, donoque fuperni 25a 
 Luminis indignum, errorum caligine merfit, 
 Impiaque ignaris damnavit faecla tenebris. 
 Unde coloratuna Graiis hue ufque magiftris 
 Nil fupereft tantorum hominmm, quod mente modoque 
 Noftrates j;.uvet artifices, doceatque laborem; 25-5 
 Nec qui Chromatices nobis, hoe tempore, partes. ^'!c^sVnh 
 Reftituat, quales Zeuxis tractaverat olim, 
 Hujus quando maga velut arte acquavit Apellem 
 Pia:orum archigraphum, meruitque coloribus altani 
 Nominis a^terni famani, toto orbe fonantem^ 260 
 
 D 3 
 
[ 30 ] 
 
 Alas ! how loft thofe magic mixtures all ! 35 - 
 No hues of his now animate the wall ; 
 How then fhall modern Art thofe hues apply, 
 How give Defign its finifli'd dignity f 
 Return fair Coloring ! all thy lures prepare^ 
 Each fafe deception, every honeft fnare, j6o 
 Which brings new lovers to thy fifter's train, 
 Skilful at once to charm, and to retain ; 
 Come faithful Siren ! chaft feducer ! fay, 
 What laws control thee, and what powers obey. 
 
 Know firft that Light difplays and fliade deftroys 
 Refulgent Nature's variegated dyes. 
 
 Thus bodies near the light diftindly fliine 
 With rays dired, and as it fades decline. 
 
 Hxc quidem ut in tabulis f^JIax, fed grata venuftas, 
 Et complementum graphidog, mirabile vifu, 
 Pulchra vocabatur, fed fubdola, lena fororis : 
 Non tamen hoc lenociniuni, fucufque, dolufque 
 Dedecori fuit unquam j illi fed femper honori, ^265 
 Xaudibus & mentis J banc ergo noffe juvabu. 
 
 Lux varium, vivumque dabit, nullum umbra, colorem. 
 
 Quo magis adverfum eft corpus, lucique propinquum, 
 Clarius eft lumen ; nam debilitatur eundo. 
 
[ 31 3 
 
 Thus to the eye oppos'd with ftronger light 
 They meet its orb, for diftanee dims the fight. 37Q 
 
 Learn hence to paint the parts that meet the view;^JxxL^^ 
 
 r 1 * i 1 It of the Tints 
 
 In fpheric forms, of bright,, and equal hue of Light aod 
 
 While from the light receding or the Eye 
 
 The finking outlines take a. Winter dye. 
 
 Loft and confus'd progreflively they fade, 37^ 
 
 Not fall precipitate from light to fliade. 
 
 This Nature didates,. and this Tafte purfues. 
 
 Studious ia gradual gloom her lights to lofe, 
 
 The various whole with foft'ning tints to fill 
 
 As if one fmgle head employ' d her ikilL 380^ 
 
 Thus if bold Fancy plan fome proud defign-,. 
 
 Where many various groups divide or join, 
 
 Quo magis eft corpus diredum, oculifque propinquum^ 
 Confpicitur melius ; nam vifus hebefcit eundo. 271 
 
 Ereo in corporibus, quse vifa adverfa, rotcindis,^, xxxi. 
 
 o -T ' i Tonorum Lu- 
 
 Integra funt, extrema abfcedant perdita fignis bTarum^atio." 
 
 Corifufis, non prascipiti labentur in umbram- 
 
 Clara gradu, nee adumbrata in clara alta repente 2%^: 
 
 Prorumpant fed erit fenfim hinc atque inde meatus^ 
 
 Lucis & umbrarum i capitifque unius ad inftar, 
 
 Totum opus, ex multis quamquam fit partibus, unus^ 
 
C 32 ] 
 
 (Tho' fure from more than three confufion fprings) 
 One globe of light and fhade o'er all £he flings ; 
 Yet fkilFd the feparate mafles to difpofe, 385 
 Where'er, in front, the fuller radiance glows, 
 Behind, a calm repofing gloom flie fpreads, 
 Relieving fliades with light, and light with fliades. 
 And as tlie centre of fome convex glafs 
 Draws to a point the congregated mafs 390 
 Of dazzling rays, that, more than nature bright, 
 Refledl each image in an orb of light, 
 While from that point the fcatter'd beams retire, 
 Sink to the verge and there in fliade expire ; 
 
 Luminis umbrarumque globus tantummodo fiet, 
 
 Sive duas, vel tres ad fummum, ubi grandius efTet 28p 
 
 Divifum pegma in partes ftatione remotas. 
 
 Sintque ita difcreti inter fe, ratione colorun;, 
 
 Luminis, urnbrarumque, antrorfum ut corpora clara 
 
 .Obfcura umbrarum requies fpedanda relinquat; 
 
 Claroque exiliant umbrata atque afpera campo. 28^ 
 
 Ac veluti in fpeculis convexis, eminet ante 
 
 Afperior reipsa vigor, & vis auda colorum 
 
 Partibus adverfis ; magis 6c fuga rupta retrorfum 
 
 illorum eft (ut yifa minus vergentibus oris) 
 
[ 33 3 
 
 So ftrongly near, fo foftly diftant throw 39 
 On all thy rounded groups the circling glow. 
 
 As is the Sculptor's fuch the Painter's aim, 
 Their labor different, but their end the fame 5 
 What from the marble the rude chiffel breaks 
 The fofter pencil from the canvas takes, 40c 
 And, fkill'd remoter diftances to keep. 
 Surrounds the outline pale in fliadows deep : 
 While on the front the fparkling luftre plays. 
 And meets the eye in full meridian blaze. 
 True Coloring thus in plaftic power excells, 405 
 Fair to the vifual point her forms ihe fwells, 
 
 Corporibus dabtmus formas hoc more rotundas. 
 
 Meiite modoque igitur plaftes, & pidor, eodem 
 Difpofitum tradabit opus; quae fculptor in orbem 
 Atterit, hxc rupto procul abfcedente colore 
 Aflequitur pidlor, fugientiaque ilia retrorfum 
 Jam fignata minus confufa coloribus aufert : 
 Anteriora quidem direde adverfa, colore 
 Integra vivaci, fummo cum lumine & umbra 
 Antrorfum diflincfla refert, velut afpera vifu; 
 Sicque fuper planum inducit leucoma colores^ 
 
 E 
 
[ 34 3 
 
 And lifts them from their flat aeral ground 
 Warm as the life, and as the ftatue round. 
 
 « 
 
 xxxn. jj^ filver clouds in aether's blue domain, 
 
 Denle and 
 
 opake Bodies ^ r i i • 
 
 ^^'th iranHu- Qj. ckar mirroT or the watry plam 410 
 
 cent ooes. 
 
 If chance fome folid fubftance claim a place,. 
 Firm and opaque amid the lucid fpace. 
 Rough let it fwell and boldly meet the fight, 
 Mark'd with peculiar ftrength of fhade and light ; 
 There blend each earthy tint of heavieft fort, 415 
 At once to give confiftence and fupport, 
 While the bright wave, foft cloud, or azure Iky,, 
 Light and pellucid from that fubftance fly. 
 
 Hos velut ex ipsa natura iinmotus eodem -^oo 
 Intuitu circum flatuas daret inde rotundas. 
 XXII. Denfa figurarum folidis quce corpora formis 
 
 Corpora denfii 
 
 & opaca cumSubdita funt tad:u, non tranflucent, fed opaca 
 
 tranflucenti- 
 
 In tranflucendi fpatio ut fuper aera, nubes, ' 
 
 Limpida ftagna undarum, & inania castera debent -^QJ 
 
 Afpenora illis prope circumflantibus effe ; 
 
 Ut diftindta magis firmo cum lumine & umbra,, 
 
 Et gravioribus ut fuflenta coloribus, inter 
 
 Aerias fpecies fubfiftant Temper opaca : 
 
 Sed contra, procul abfcedant perlucida, denlis 310 
 Corporibus leviora \ uti nubes, aer, & undaj. 
 
[ 35 3 
 
 Permit not two confpicuous lights to fliinc xxxm. 
 
 •*■ ^ There mult 
 
 With rival radiance in the fame defio; 
 
 o ' ^ the Pidture. 
 
 But yield to one alone the power to blaze 
 And fpread th' extenlive vigor of its rajs. 
 There where the nobleft figures are difplay'd ; 
 Thence gild the diftant parts and lefTening fade : 
 As fade the beams which Phoebus from the Eaft 
 Flings vivid forth to light the diftant Weft, 426 
 Gradual thofe vivid beams forp-et to fliine. 
 So gradual let thy pidur'd lights decline. 
 
 Non poterunt diverfa locis duo lumina eadem xxxiii. 
 
 Non duo eK 
 
 In tabula paria admitti, aut asqualia nino-i • ^^^^ Lumina 
 
 ^ 1 1 to in TiibuhuTi 
 
 Majus at in mediam lumen cadet ulque tabellain m^^^^^^- 
 
 Latius infufum, primis qua fumma figuris 31 ^ 
 
 Res agitur, circumque oras minuetur eundo: 
 
 Utque in progreflu jubar attenuatur ab ortu 
 
 5olis, ad oecafum paulatlm, & ceffat eundo ; 
 
 Sic tabulis lumen, tota in compage colorum. 
 
 Prime a fonte, minus fenfim declinat eundo. 320 
 
 E 2 
 
C 36 I 
 
 The fculptur'd forms which fome proud Circus 
 grace, 
 
 In Parian Marble or Corinthian Brafs, 43a 
 lUumin'd thus, give to the gazing eye, 
 Th' expreffive head in radiant Majefty, 
 While to each lower limb the fainter ray- 
 Lends only light to mark, but not difplay : 
 So let thy pencil fling its beams around, 435 
 Nor e'er with darker fhades their force confound, 
 For fhades too dark diffever'd fhapes will give, 
 And fink the parts their foftnefs would relieve ; 
 Then only well reliev'd, when like a veil 
 Round the full lights the wandring fhadows fteal 
 Then only juftly fpread, when to the fight 441 
 A breadth of fliade purfues a breadth of light. 
 
 Majus ut in flatuis, per compita ftantibus urbis, 
 Lumen habent partes fuperas, minus inferiores ; 
 Idem erit in tabulis ; majorque nec umbra, vel ater 
 Membra figurarum intrabit color, atque fecabit : 
 Corpora fed circum umbra cavis latitabit oberrans ; 32 
 Atque ita quseretur lux opportuna figuris, 
 Ut late infufum lumen lata umbra fequatur^ 
 
[ 37 1 
 
 This charm to give, great Titian wifely made 
 Tjie clufter'd grapes his rule of light and fliade. 
 
 White, when it fhines with unftain'd luftre clear, of^wSL^^ni 
 
 Black. 
 
 May bear an objed back or bring it near,, 446 
 Aided by black it to the front afpires„ 
 That aid withdrawn it diftantly retires y 
 But Black unmixt, of darkeft midnight hue. 
 Still calls each objed nearer to the view. 450 
 
 Whate'er we fpy thro' color'd light or air^ TiSJaion. 
 
 , of Colours. 
 
 A ftain congenial on their furface bear. 
 
 While neighboring forms by joint refledion give. 
 
 And mutual take the dyes that they receive.. 
 
 Unde, nec immerltb, fertur Titianus ubique 
 Lucis & umbrarum normam appellafle racemum, 
 
 Purum album efle poteft propiufque magifque remotum : xxxiv. 
 
 ^ 1 i i Album & Ni- 
 
 Cum nigro antevenit propius j fugit abfque, remotum; 3318^"^. 
 Purum autem nigrum antrorfum venit ufque propinquum. 
 
 Lux fucata fuo tingit mifcetque colore 
 Corpora, ficque fuo, per quem lux funditur, aer. 
 
 Corpora junda fimul, circumfufofque colores 335 xxxv. 
 
 Colorura re- 
 
 Excipiunt, propriumque aliis radiofa refledunt, ^edio. 
 
[ 38 ] 
 
 xxxvL B^^t where on both alike one equal light ac ^ 
 
 The Union of " 455 
 
 Colours. Diffufive fpreads, the blending tints unite. 
 
 For breaking Colors thus (the.antient phrafe 
 By Artifts us'd) fair Venice claims our praife ; 
 She, cautious to tranfgrefs fo fage a rule, 
 Confin'd to fobereft tints her learned fchool, 460 
 For tho' fhe lov'd by varied mode to join 
 Tumultuous crowds in one immenfe defign, 
 Yet there we ne'er condemn fuch hoftile hues 
 As cut the parts or glaringly confufe ; 
 In tinfel trim no foppiOi form is dreft, 465 
 Still flows in graceful unity the veft, 
 
 -uSloL. ^^^^^^^ ^^q"^^^ luce propinquls, 
 
 Participes, mixtofque fimul decet elFe colores, 
 Hanc normam Veneti pidores rite fequuti, 
 (Qu^ fuit antiqnis corruptio dida cotoriim ) 
 Cum plures opere in magno pofuere figuras, 
 Ne conjunda fimul variorum inimica colorum 
 Congeries formam implicitam, & concifa minutis 
 Membra daret pannis, totam unamquamque figuram 
 Affini, aut uno tan turn veflire colore, 3 ^ 
 
nter- 
 pofitionof Ais. 
 
 [ 39 ] 
 
 And o'er that veft a kindred mantle fpreads. 
 Unvaried bnr by power of lights and fhades, 
 Which mildly mixing, cvry focial dye 
 Unites the whole in lovelieft harmony. 47^ 
 
 When fmall the fpace, or pure the ambient air, jxxvrr 
 
 ~„r..; a 
 
 Each form is feen in bright precifion clear 5 
 But if thick clouds that purity deface. 
 If far extend that intervening fpace, 
 There all confus'd the objeds faintly rife, 475 
 As if prepared to vanifh from our tyes. 
 
 Give then each foremoft part a touch fo bright, ^1 
 That, o'er the reft, its domineering light 
 
 XXXVI IT. 
 e Relation 
 of Dillances» 
 
 Suntfoliti; variando tonis tunlcamque, togamque, 
 Carbafeofque finus, vel amicum in lumine & umbiu 
 Contiguis circum rebus fociando colorem. 
 
 Qua minus eft fpacii aerei, aut qua purior aer, 
 Cunda magis diftincba patent, fpeciefque refervant : 
 Quaque magis denfiis nebulis, aut plurimus aer 
 Amplum inter fuerit fpatium porrcdus, in auraa 
 Confundet rerum fpecies, & perdet inanes. 
 
 Anteriora magis femper finita, remotis 
 Incertis dominentur & abfcedentibus, idque 
 
 xxxvir, 
 
 Aer Interpo- 
 litus. 
 
 xxxvni. 
 
 Di^tantiaIum 
 Relatio. 
 
 355 
 
[ 40 ] 
 
 May much prevail ; yet relative in all 
 
 Let greater parts advance before the fmall. 480 
 
 Shkf°a^di ^^"""^^r forms, when diftantly we trace. 
 Are mingled all in one compared mafs ; 
 Such the light leaves that clothe remoter woods. 
 And fuch the waves on wide extended floods. 
 
 r/diiaTed ^^""^ contiguous part be firm allied, 485 
 
 Nor labour lefs the feparate to divide ; 
 Yet fo divide that to th' approving eye 
 They both at fmall and pleafing diftance lie. 
 o^lZfS Forbid two hoftile Colours clofe to meet 
 
 each other ne- * 
 
 vertobe join- And wiii with middle tints their union Wt, 490 
 
 xMore relatlvo, ut majora minoribus extent. 
 
 cul dirtantia 
 
 Co^p™'ro- Cunda minuta procul mafTam denfantur in unam * 
 
 Ut folia arboribus fylvarum, & in ^quore fludus. 
 ContS & Contigua inter fe coeant, fed diffita diftent. 
 
 Diftabuntque tamen grato, & difcrimine parvo. .^o 
 
 XLI * • 
 
 Contraria ex- -^xtrema extremis contraria jungere noli; 
 
 trema fugien-Q i j- 
 
 da. bed medio fint ufque gradu fociata coloris. 
 
C 41 ] 
 
 Yet varying all thy tones, let fome afpire 
 Fiercely in front, fome tenderly retire. 
 
 Vain is the hope by coloring to difplay 
 The bright effulgence of the noontide ray, 
 Or paint the fuU-orb'd Ruler of the fkies 495 
 With pencils dipt in dull terreftrial dyes ; 
 But when mild Evening flieds her golden light ; 
 When Morn appears array'd in modeft vi^hite ; 
 When foft fuffulion of the vernal fliower 499 
 Dims the pale fun ; or, at the thund'ring hour. 
 When, wrapt in crimfon clouds, he hides his head, 
 Then catch the glow and on the canvas fpread. 
 
 XLII, 
 
 Diverflty of 
 Tints and Co- 
 lours, 
 
 XLlir. 
 
 The Choice of 
 Light. 
 
 Corporum erit Tonus atque color variatus ubique; 
 Quaerat amicitiam retro j ferus emicet ante. 
 
 Supremum in tabulis lumen captare diei, 
 Infanus labor artificum ; cum attingere tantum 
 Non pigmenta queant : auream fed vefpere lucem, 
 Seu modicum mane albentem ; five stheris adam 
 Poft hyemem nimbis transfufo fole caducam 
 Seu nebulis fultam recipient, tonitruque rubentem. 
 
 F 
 
 XLII, 
 Tonus&Golor 
 varii. 
 
 365 XLIII. 
 Luminis de- 
 lectus. 
 
 570 
 
[ 42 J 
 
 xLiv. Bodies of polifli'd or tranfparent tone^ 
 
 of certain 
 
 iingw the" Of metal, chryftal, iv'ry,, wood, or ftone 
 
 pradical Part. 
 
 And all whofe rough unequal parts are rear'd, 505: 
 The fhaggy fleece, thick fur, or briftly beard ; 
 The liquid too ; the fadly melting eye, 
 The well-comb'd locks that wave with gloffydye;, 
 Plumage and filks; a floating form that take. 
 Fair Nature's mirror the extended lake,. 510 
 With what immers'd thro' its calm medium fhines- 
 By reflex light, or to its furface joins :. 
 Thefe firfl: with thin and even fliades portray, 
 Then, on their flatnefs, ftrike th' enlivening ray,. 
 Bright and diftindl, and laft with ftrid: review, 515; 
 Reftore to every form its outline true. 
 
 ^Liv. Lsvia que lucent, veluti cryftalla, metalla, 
 
 Quedam circa ^ ' ' 
 
 iraxini. Ljgna, offa, & lapides ; villofa, ut vellera, pelles. 
 
 Barbae, aqueique oGuli, crines, holoferica, pIumjE; 
 
 Et liquida,' ut flagnans aqua, reflexseque fub undis 
 
 Corporeae fpecies, & aquis contermina cund:a, 
 
 Subter ad extremum liquide fint pida, fuperque 
 
 Luminibus percuffa fuis, fignifque repoflis. 
 
' - [ 43 ] 
 
 By mellowing llcill thy Ground at diftance caft, j-^^^y-^'^ 
 
 r 1 1 n Picture, ■ 
 
 Free as the Air, and traniient as its blaft ; 
 There all thy liquid Colors fweetly blend. 
 There all the treafures of thy Palette fpend, 52Q 
 And ev'ry form retiring to that ground 
 Of hue congenial to itfelf compound. 
 
 The hand that colors well, muft color bright ; of viv,.- 
 
 city of Colors 
 
 Hope not that praife to gain by fickly white ; 
 
 But amply heap in front each fplendid dye, C2c; xlvh. 
 
 J ^ i y J J of Shadows. 
 
 Then thin and light withdraw them from the eye, 
 Mix'd with that fimple unity of fhade, xLvur. 
 
 • The Pifture 
 
 As all were from one nngle palette fpread. g^^^ of on* 
 
 Area, vel campus tabulas vagus efto, levifquc 
 
 Campus T^^^ 
 
 Abfcedat latus, liquideque bene undus amicis 
 
 Tota ex mole coloribus, una five patella; 380 
 
 Quaeque cadunt retro in campum, confinia campo. 
 
 Vividus efto color, nimio non pallidus albo ; ^ 
 
 ' ^ Color vividus 
 
 »1*/-/' I-' n i- J "on tamen 
 
 Adverlilque locis ingeltus plurimus, ardens ; pallidus. 
 Sed leviter parceque datus vergentibus oris, 
 
 Cun(5ta labore fimul coeant, velut umbra in eadem. qSc^. xlvit. 
 
 ' o J Umbra. 
 
 Tota fiet tabula ex una depi(fla patella. ^ xlviii 
 
 ^ ^ Ek una Patella 
 
 fit Ta-bula. 
 
 F 2 
 
[ 44 ] 
 
 le Looking- 
 
 Much will the Mirror teach, or Evening gray,. 
 
 afs the Pain- ^ 
 
 ^'s bell Ma- When o er iome ample fpace her twilight ray 53a 
 Obfcurely gleams ; hence Art fliall beft perceive 
 On diftant parts what fainter hues to give. 
 
 Whatever the Form which our firft glance com- 
 
 L. 
 
 A half Figure 
 or a whole one 
 before others. mauds, 
 
 Whether in front or in profile he Hands, 
 Whether he rule the group, or fingly reign, 535 
 Or fhine at diftance on fome ample plain,. 
 On that high-finifh'd Form let Paint beftow 
 Her midnight fliadow, her meridian glow.. 
 A Poruait Portrait claims from imitative arr 
 
 Refemblance clofe in each minuter part, 540- 
 And this to give, the ready hand and eye 
 With playful fkill the kindred features ply 
 
 SpeaiLm Pic- ^^^^^ natura fpeculum prsclara docebit ; 
 
 toruni Magi- ^ i r /- ^ ^ 
 
 ikr. ^u^que procul lero Ipatus Ipedantur in amplis. 
 
 Dimidk Fi- Dimidia effigies, qux fola, vel integra plures 
 
 gura, ve] inte- a*.t r^ji r> 
 
 gia ante alias. ^^i^s polita ad lucem, ftat proxima vifu, 3^0. 
 Et latis fpedtanda locis, oculifque remota, 
 Luminis umbrarumque gradu fit pi<5la fupremo. 
 
 mc,kl' Partibus in minimis imitatio jufta juvabit 
 Effigiem, altcrnas referendo tempore eodem 
 
c 45 1 • 
 
 From part to part alternately conveys 
 The harmonizing gloom, the darting ray 
 With tones fo juft, in fuch gradation thrown, 54.5 
 Adopting Nature owns the work her own. 
 
 Say, is the piece thy Hand prepares to trace lh. 
 
 The Place o 
 
 Ordain'd for nearer fight^^ or narrow fpace ? 
 
 Paint it of foft and amicable hue :. 
 
 But, if predeftin'd to remoter view, 550 
 
 Thy ftrong unequal varied colors blend ; 
 
 And ample fpace to ample figures lend liii: 
 
 Large Lights*. 
 
 Where to broad lights the circumambient fhade 
 In liquid play by labor juft is laid 
 
 LIL 
 
 Confimiles partes, cum luminis atque colons- 29'S 
 Compofitis, juftilque tonis ; tunc parta labore 
 Si.facili 6c vegeto micat ardens, viva videtur.- 
 
 Vifa loco angufto tenere pingantur, amico 
 Junda colore, graduque^ procul quae pida, ferocl Locus Taba 
 
 Sint & inaequali. variata colore, tonoque. ^oa 
 Grandia figna volunt fpatia ampla, ferofque colores.. 
 Luminii lata, undas fimul undique copulet umbras. 
 
 F 3- 
 
 LIIL 
 Lumina lata. 
 
[ 46 ] 
 
 Liv. Alike with livelieft touch the Forms portray, err 
 
 The Quantity ^ J ^ -5 3 
 
 Shade to be Where the dim window half excludes the day ; 
 
 adapted to the ^ 
 
 plfturf^^^ But, when expos'd in fuller light or air, 
 
 A brown and fober caft the group may bear. 
 • u- , Fly ey'ry Foe to elegance and grace, 
 
 Things which J J D t) ' 
 
 ableii Paint- Each yawulug hollow, each divided fpace; 560 
 Whate'er is trite, minute, abrupt, or dry, 
 Where light meets fhade in flat equality; 
 Each theme fantaftic, filthy, vile, or vain, 
 That gives the Soul difguft, or fenfes pain % 
 Monfters of barbarous birth, Chimasras drear, 565 
 That pall with uglinefs, or awe with fear, 
 
 Liv. Extremus labor. Jn ta'bulas demiiTa feneflris 
 
 Quantitas Lu- 
 
 ^;;^'^^;;;'^^^j5Si fuerit lux parva, color clarifl'imus efto : 
 
 exponenda. -it. • j 
 
 Vividiis at contra, oblcurulque, m lumine aperto. 405 
 LV. Qu$ vacuis divifa cavis, vitare memento ; 
 
 Errores & Vi- 
 
 tiaPiaurcE. jrita, minuta, fimul qua^ non ftipata dehifcunt, 
 Barbara, criida oculis, rugis fucata colorum; 
 Luminis umbrarumque tonis sequalia cundtaj 
 Fceda, cruenta, cruces, obfcoena, ingrata, chimeras, 410 
 Sordidaque & mifera, & vel acuta, vel afpera tadu 5 
 Quasque dabunt formcE", temere congefta, ruinam. 
 
[ 47 ] 
 
 And all that chaos of fharp broken parts. 
 Where reigns Confufion, or whence Difcord ftarts. 
 
 Yet hear me, Youths ! while zealous yt forfake^i^.^^f-^^^. 
 
 tial Part of a 
 
 Detefed faults, this friendly caution take, ^^o^^'^^^^- 
 Shun all excefs ; and with true Wifdom deeniy 
 That Vice alike refides in each extreme. 
 
 Know, if fupreme Perfedion be your aim. 
 If claflic Praife your pencils hope to claim, 
 Your noble outlines muft be chafte, yet free, 575 
 Connected all with ftudied Harmony ; 
 Few in their parts, yet thofe diftind and great ; 
 Your Coloring boldly ftrong, yet foftly fweet.. 
 
 Lvn. 
 
 The idea of a 
 beautiful Pic- 
 ture. 
 
 Implicitas aliis confundent mixtaque partes. 
 
 Dumque fugis vitiofa, cave in contraria lab! . 
 Damna mali; vitium extremis nam femper inhseret, 415 
 
 Pulchra gradu fummo, graphidos ftabilita vetuftse 
 Nobilibus fignis, funt grandia, diffita, pura,. 
 Terfa, velut minime confufa, labore ligata^ 
 Partibus ex magnis paucifque effidta, colorum 
 Corporibus diftindta feris, fed Temper amici^. 420 
 
 Lvr. 
 
 Prudentia ir* 
 Pidtore. 
 
 LVII. 
 
 Elegantiumi 
 Idasa Taba. 
 larum. 
 
[ 48 ] 
 
 Lviii. Know he that well bep;ins has half achieved 
 
 Advice to a o » »-* 
 
 3oung ^•'^^••j^jg deftin'd work. Yet late fliall be retriev'd 580 
 That time mifpent, that labour v/orfe than loft. 
 The young difciple, to his deareft coft, 
 Gives to a dull preceptor's tame defigns : 
 His tawdry colors, his erroneous lines 
 Will to the foul that poifon rank convey, -58^ 
 Which life's beft length fhall fail to purge away. 
 
 Yet let not your untutor'd childhood ftrive 
 Of Nature's living charms the fketch to give, 
 Till fkill'd her feparate features to defign 
 You know each mufcle's lite, and how they join. 
 
 LViii. Qi^i bene caspit^ uti fadi jam fertur habere 
 
 Pidor Tyro, 
 
 Dimidium; Pid:urani ita nil fub limine primo 
 
 Ingr.ediens, puer oiFendit damnofius arti, 
 
 Quam varia errorum genera, ignorante magiftro. 
 
 Ex pravis libare Typis, mentemque veneno ^25 
 
 Inficere, in toto quod non abftergitur svo. 
 
 Nec graphidos rudis artis adhuc cito qualiacunque 
 Corpora viva fuper fludium meditabitur, ante 
 Illorum quam fymmetriam, intornodia, formam 
 
Art nuili: be 
 fubfervienc to 
 the Painter. 
 
 Diver fit V and 
 
 C 49 ] 
 
 Thcfe while beneath fome Matter's eye you trace, 
 Vers'd in the lore of fymmetry and grace, 
 Boldly proceed, his precepts fliall impart 
 Each fweet deception of the pleafing art ; 
 Still more than precept fhall his pradice teach, 595 
 And add what felf-reflediion ne'er can reach. 
 
 Oft when alone the ftudious hour employ 
 On what may aid your art, and what deftroy : 
 Diverfity of parts is fure to pleafe, 
 
 Jr ail the various parts unite with cafe ; 6oOpf.'afing'''^ 
 As furely charms that voluntary ftyle, 
 Which carelefs plays and feems to mock at toil : 
 For labor'd lines with cold exadlnefs tire, 
 'Tis Freedom only gives the force and fire 
 
 Noverit, infpe(flis, dodo evolvente magiilro, 430 
 
 Archetypis, dulcefque dolos prasfenferit artis. 
 
 Plufque manu ante ocalos quam voce docebitur ufus. 
 
 QuiEre artern quaecanque juvant ; fuge qu^que repugnant. vIS l^^.f " 
 Corpora diverfas nature junda placebunt; Aai/'"''^"'^ 
 
 Sic ea qus facili contempta labore videntur : .0 r Ocuios^/ecre- 
 
 yr^ ... '^•^■^ant diverfitas 
 
 /t^tnereus quippe ignis ineft & fpiritus illis • ^p^"^ f'^ci- 
 
 ^ * Jitas, quas Spe- 
 
 Gciatim Ars di- 
 citur. 
 
 LIX. 
 
[ 50 ] 
 
 Ethereal, fhe, with Alchymy divine, 605 
 Brightens each touch, ennobles ev'ry line 
 Yet Pains and Practice only can beftow 
 This facile power of hand, whofe liberal flow 
 With grateful fraud its own exertions veils : 
 I-Ie beft employs his Art who beft conceals. 610 
 Lxi. This to obtain, let Tafte with Judgment join'd 
 
 The Original 
 
 SfdI'andlheThe futurc whole infix upon thy mind^ 
 
 Copy on the 
 
 Be there each line in truth ideal drawn, 
 Or e'er a colour on the canvafs dawn ; 
 Then as the work proceeds, that work fubmit 
 To fight inflindive, not to doubting wit ; 616 
 .The eve each obvious error fwift defcries, 
 
 The Compals J 
 
 Eyes! ' ^ Hold thcu thc compafs only in the eyes. 
 
 Mente diu verfata, manu celeranda repentr. 
 Arfque laborque operis grata fic fraude latebit : 
 Maxima deinde erit ars, nihil artis ineffe videri. 
 
 Nec prius inducas tabulae pigmenta Golorum, 440 
 meiuel^Ajo-^ quam figna typi ftabilita nitefcant, 
 
 graphus in * 
 
 Et menti prssfens operis fit pegma futuri. 
 Lxii Prsevaleat fenfus rationi, qus officit arti 
 
 Circinus in . i • • n 
 
 ocniis. Confpicuae ; inque oculis tantummodo circinus elto. 
 
C 51 ] 
 
 Give to the didates of the Learn'd refpedl, „ .f xii 
 
 1 ' Pride an 
 
 Nor proudly untaught fentiments rejedl, 6 20 Painting! 
 
 Severe to felf alone ; for felf is blind. 
 
 And deems each merit in its offspring joln'd : 
 
 Such fond delufion time can beft remove, 
 
 Concealing for a while the child we love ; 
 
 By abfence then the Eye impartial grown 625 
 
 Will, tho' no friend afTift, each error own; 
 
 But thefe fubdued, let thy determined mind 
 
 Veer not with ev'ry critic's veering wind, 
 
 Or e'er fubmit thy Genius to the rules 
 
 Of prating fops, or felf-important fools; 630 
 
 Utere dodlorutn monitis, nec fperne fuperbus 44c Lxm. 
 
 ' r r ^^-^ Superbia Ptc- 
 
 Difcere, quae de te fuerit fententia vulgi : 
 Eft CJECUs nam quifque fuis in rebus, 6c expers 
 Judicii, prolemque fuam miratur amatque. 
 Aft ubi confilium deerit fapientis amici. 
 Id tempus dabit, atque mora intermiffa labori. 450 
 Non facilis tamen ad nutus, & inania vulgi 
 Didta, levis mutabis opus, geniumque relinques : 
 
 G 2 
 
 tori nocet plu- 
 rimum. 
 
[ 52 ] 
 
 Enough if from the learn' d applaufe be won r 
 Who doat on random praifes, merit none. 
 Kno'^tiryfeif Nature's fympathetic Power, we fee^, 
 
 As is the Parent, fuch the Progeny : 
 Ev'n Artifts, bound by her inftind:ive law, 63 5' 
 In all their works their own refemblance draw : 
 Learn then " to know thyfelf," that precept fage 
 Shall beft allay luxuriant Fancy's rage, 
 Shall point how far indulgent Genius deigns 
 To aid her flight, and to what point reftrains. 640 
 But as the blufhing Fruits, the breathing Flowers,. 
 Adorning Flora's and Pomona's bowers. 
 When forcing fires command their buds to fwell, 
 Refufe their dulcet tafiie, their balmy finell ; 
 
 Nam qui parte fua fperat bene pofle mereri 
 Multivaga de plebe, nocet fibi, nec placet uUi. 
 LXiv. Cumque opere in proprio foleat fe pingere picftor, 4^^ 
 
 Nofce teipfurn 
 
 (Prolem adeo fibi ferre parem natura fuevit) 
 
 Proderit imprimis pidori yvoo^i cexujor, 
 
 XJt data quas genio colat, abftineatque negatis. 
 
 Frudlibus utxjue fuus nunquam eft fapor, atque venuflas 
 
 Floribus, infueto in fundo, prsscoce fub anni ^^cx 
 
 Tempore, quos cultus violentus & ignis adegit : 
 
[ 53 J 
 
 So Labor's vain extortion ne'er achieves 645 
 
 That grace fupreme which willing Genius gives. 
 
 Thus tho' to pains and practice much v/e owe, Perpn^Jiiy 
 
 n pradice, and 
 
 Tho' thence each line obtains its eafy flow^ doeafiiywhat 
 
 J ^ you nave con- 
 
 , , ceived. 
 
 Yet let thofe pains, that prad;ice ne'er be join'd, 
 To blunt the native vigor of the mind. 650 
 When fjhines the Morn, v/hen in recruited courfe^, 
 
 Tne MorniDg 
 
 1 r • • n 1 1 • ' r "^*^'^ propes 
 
 The Ipirits now, devote their acflive lorce work. 
 To every nicer part of thy defign, 
 
 But pafs no idle day without a line :. Eve^fpiyd» 
 
 fomething. 
 
 And wandering oft the crouded ftreets along, 655 Lxviir. 
 
 The Method 
 
 The native geftures of the paffing throng nat^af^p"?;- 
 
 Hons. 
 
 Attentive mark, for many a cafual grace, 
 Th' expreffive lines of each impaffion'd face 
 
 Sic nunquam, nimio quae funt extorta labore,. 
 Et pid:a invito genio, nunquam ilia placebunt. 
 
 Vera fuper meditando, manus labor improbus adfit :; 
 
 ^ ^ Quod mente 
 
 Nec tamen obtundat genium, mentifque vigoreno, 465 Manu^com- 
 
 proba. 
 
 Optima noftrorum pars matutina dierum^ lxvi. 
 
 ^ ^ Matutinum 
 
 Difficili banc igitur potiorem impende labori. bcrr"?puimr 
 
 LXVII. 
 
 Nulla dies abeat, quin linea dud:a fuperlit: singulis pie- 
 
 ^ ^ BUS aliquid fa- 
 
 Perque vias, vultus hominum, motufque notabis ^'Txviii. 
 
 Affedtus inob- 
 
 Libertate fua proprios, pofitafque figuras 47"^ l^aJ^s ^ "^^"^ 
 
 G 3 
 
C 54- ] 
 
 That bears its joys or forrows undifguis'd, 
 May by obfervant Tafte be there furpriz'd. 660 
 Thus, true to Art, and zealous to excel 
 Ponder on Nature's powers, and weigh them well; 
 Explore thro' earth and heaven, thro' fea and fkies, 
 The accidental graces as they rife ; 
 ofdi?Tabie-^^^ whilc cach prefent form the Fancy warms, 665 
 
 Book. , _ 
 
 Swift on thy tablets fix its fleeting charms. 
 
 To Temperance all our livelieft Powers we owe, 
 She bids the Judgment wake, the Fancy flow ; 
 For her the Artift fhuns the fuming feaft, 
 The Midnight roar, the Bacchanalian gueft, 670 
 And feeks thofe fofter opiates of the Ibul, 
 The focial circle, the diluted bowl ; 
 
 Ex fefe faciles, ut inobfervatus, habebis. 
 ^j^J^- ^_Mox quodcumque marl, terris, & in aere pulchrum 
 
 Non defint pu 
 £iHares. 
 
 Contigerit, chartis propera mandare paratis, 
 Dum pra^feiis animo fpecies tibi fervet hianti. 
 
 Non epulis nimis indulget Pidtura, meroque 475 
 Parcit: Aiiiicorum nifi cum fermone benigno 
 Exhauftam reparet meiitem recreataj fed inde 
 
[ 55 ] 
 
 Crown'd with the Freedom of a fingle life. 
 
 He flies domeftic din, Htigious ftrife ; 
 
 Abhors the noify haunts of buftling trade, 675 
 
 And fteals ferene to folitude and fhade ; 
 
 There calmly feated in his village bower, 
 
 He gives to nobleft themes the ftudious hour. 
 
 While Genius, Pradice, Contemplation join. 
 
 To warm his foul with energy divine : 680 
 
 For paltry gold let pining Mifers figh, 
 
 His foul invokes a nobler Deity ; 
 
 Smit with the glorious Avarice of Fame, 
 
 He claims no lefs than an immortal name : 
 
 Litibus, & curis, in ccrlibe libera vita, 
 
 Seceflus procul a turba, ftrepituque remotos, 
 
 Villarum, rurifque beata filentia qusrit : 4^0 
 
 Namque recalleao, tota incumbente Minerva, 
 
 Ingenio, rerum fpecies prjefentior extat; 
 
 Commodiufque pperis eompagem ampleaitur Gmnem. 
 
 Infami tibi non potior fit avara peculi 
 Cura, aurique fames, m.odica quam forte beato, 4^5 
 Nominis sterni, & laudis pruritus habendas, 
 Condignae pulchrorum operum mercedis in mum. 
 
t 56 ] 
 
 Hence on liis Fancy juft Conception /Lines, 685 
 True Judgment guides his Hand, true Tafte refines^ 
 Hence ceafelefs toil, devotion to his art, 
 A docile temper^ and a generous heart ; 
 Docile, his fage Preceptor to obey, 
 Generous, his aid with gratitude to pay, 690 
 Bleft with the bloom of youth, the nerves of health. 
 And competence a better boon than wealth. 
 
 Great Bleffings thefe ! yet will not thefe empov/er 
 His Tints to charm at every labouring hour : 
 All have their brilliant moments, when alone 695 
 They paint as if fome ftar propitious fhone. 
 Yet then, ev'n then, the hand but ill conveys 
 The bolder grace that in the Fancy plays : 
 
 Judicium, docile ingenium, cor nobile, fenfus 
 
 Sublimes, firmum corpus, florenfque juventa, 
 
 •Commoda res, labor, artis amor, dodlufque magifter; 4^0 
 
 Et quamcumque voles occafio porrigat anfam, 
 
 Ni genius quidam adfuerit, fydufque benignum, 
 
 Dotibus his tantis, nec adhuc ars tanta paratur. 
 
 .Diflat ab .ingenio longe manus. Optima doais 
 
[ 57 3 
 
 Hence, candid Critics, this fad Truth confeft, 
 Accept what leaft is bad, and deem it bell ; 70Q 
 Lament the foul in Error's thraldom held, 
 Compare Life's fpan with Art's extenfive field, 
 Know that, ere perfed: Tafce matures the mind, 
 Or perfedl pradlice to that Tafte be join'd. 
 Comes age, comes ficknefs, comes contracting pain, 
 And chills the warmth of youth in every vein. 
 P^ife then, ye youths ! while yet that v/armth 
 infpires, 
 
 While yet nor years impair, nor labour tires, 
 While health, while ftrength are yours, while that 
 mild ray, 
 
 Which flione aufpicious on your natal day, 710 
 
 Cenfentur, quae prava minus ; latet omnibus error ; 495 
 Vitaque tarn longs brevior non fufficit arti. 
 Definimus nam poffe fenes, cum fcire periti 
 Incipimus, do6lamque manum gravat aegra fenedlus ; 
 Nec gelidis fervet juvenilis in artubus ardor. 
 
 Quare agite, O juvenes, placido quos fydere natos 50© 
 Pacifera& ftudia alleClant tranquilla Minervae ; 
 
 H 
 
[ 58 ] 
 
 Conduds you to Minerva's peaceful Quire, 
 Sons of her choice, and fharers of her fire, 
 Rife at the call of Art : expand your breaft, 
 Capacious to receive the mighty gueft, 
 While, free from prejudice, your adlive eye 
 Preferves its firft unfullied purity ; yi6 
 While new to Beauty's charms, your eager foul 
 Drinks copious draughts of the delicious whole. 
 And Memory on her foft, yet lafting page. 
 Stamps the frefh image which fhall charm thro' 
 age. 720 
 The^Sod When duly taught each Geometric rule, 
 
 of Studies for 1 • 1 r 1 n 
 
 ajoung Pain- Approach With awful ftep the Grecian fchool, 
 
 Quofque fuo fovet igne, fibique optavit alumnos ! 
 Eja agite, atque anitnis ingentem ingentibus artem 
 Exercete alacres, dum Arenua corda juventus 
 Tiribus exftimulat vegetis, patienfque laborum ell: ; ■ 505 
 Dum vacua errorum, nuUoque imbuta fapore 
 Pura nitet mens, & rerum fitibunda novarum, 
 PrjEfentes haurit fpecies, atque humida fervat ! 
 OrdoSdio- -^" Geometrali prius arte parumper adulti 
 
 Signa antiqua fuper Graiorum addifcite formam 510 
 
 rum 
 
C 59 ] 
 
 The fculptur'd reliqiies of her fkill furvey,^ 
 Mufe on by night, and imitate by day ; 
 No reft, no paufe till, all her graces known, 725 
 A happy habit makes each grace your own. 
 
 As years advance, to modern mafters come, 
 Gaze on their glories in majeftic Rome ; 
 Admire the proud produdions of their fkill 
 Which Venice, Parma, and Bologna fill ; 730 
 And, rightly led by our preceptive lore. 
 Their ftyle, their coloring, part by part, explore. 
 See Raphael there his forms celeftial trace, 
 Unrivaird Sovereign of the realms of Grace. 
 
 Nec mora, nec requies, noduque diuque labori, 
 Illorum menti atque modo, vos donee agendi 
 Praxis ab afliduo faciles affueverit ufu. 
 
 Mox, ubi judicium emenfis adoleverit annis. 
 Singula, quae celebrant primal exemplaria claffis 515 
 Romani, Veneti, Parmenfes, atque Bononi, 
 Partibus in cundtis pedetentim, atque ordine redlo, 
 Ut monitum fupra efl:, vos expendifTe juvabit. 
 
 Hos apud invenit Raphael miracula fummo 
 Duda modo, Venerefque habuit quas nemo deinceps. 520 
 
 H 2 
 
[ 6o J 
 
 See Angelo, with energy divine, 735 
 Seize on the fummit of corred defign. 
 Learn how, at Julio's birth, the Mufes fmird, 
 And in their myftic caverns nurs'd the child, 
 How, by th'Aonian powers their fmile beftow'd, 
 His pencil with poetic fervor glow'd ; 740 
 V/hen faintly verfe Apollo's charms convey'd, 
 He oped the fhrine, and 2 11 the God difplay'd : 
 His triumnhs mere than mortal pomp ?^dorns, 
 With m.ore than mortal rage his Battle burns, 
 His Heroes, happy Heirs of fav'ring fame, 745 
 More from his art than from their adtions claim. 
 
 Quidquid erat formae fcivit Bonarota potenter, 
 
 Julius a puero mufarum edudus in antris, 
 Aonias referavit opes, graphicaque poeii. 
 Quae noil vifa prius, fed tantum audita poetis. 
 Ante oculos fpecftanda dedit facraria PhcEbi ; 525 
 Quaeque coronatis complevit bella triumphis 
 Heroum fortuna potens, cafufque decoros, 
 Nobilius re ipsa antiqua pinxilTe videtur. 
 
[ 6i ] 
 
 Bright, beyond all the reft, Correggio flings 
 His ample Lights, and round them gently brings 
 The mingling fhade. In all his works we view 
 Grandeur of ftyle, and chaftity of hue. 750 
 
 Yet higher ftill great Titian dar'd to foar, 
 He reach'd the loftieft heights of coloring's power 
 His friendly tints in happieft mixture flow. 
 His fhades and lights their jufl: gradations know,, 
 He knew thofe dear delufions of the art, 755 
 That round, relieve, infpirit ev'ry part r 
 Hence deem' d divine, the world his merit own'd, 
 With riches loaded, and with honors crown'd.. 
 
 Clarior ante alios Corregius cxtitit, ampla 
 Luce fuperfufa, circimi coeuntibus umbris, 530 
 Pingendique modo grandi, & tradtando colore 
 Corpora. Amicitiamque, gradufque, dolofque colorum, 
 CoQipagemque ita difpofuit TitianuSy ut inde 
 Divus fit didus,. magnis et honoribus audlus,,. 
 
 H 3 
 
[ 62 ] 
 
 From all their charms combin'd, with happy 
 toil, 
 
 E)id Annibal compofe his wond'rous ftyle : 760 
 O'er the fair fraud fo clofe a veil is thrown 
 That every borrow'd Grace becomes his ov/n. ' 
 Naturfand ^^cn to praifc like theirs your fouls afpire, 
 
 Experience 
 
 perfeaArt. Catch from their works a portion of their fire; 
 
 Revolve their labors all, for all will teach, 765 
 Their finifh'd Pidure, and their flighteft fketch. 
 Yet more than thefe to Meditation's eyes 
 Great Nature's felf redundantly fupplies : 
 Her prefence, beft of Models ! is the fource 
 Whence Genius draws augmented power and force; 
 Her precepts, beft of Teachers ! give the powers. 
 Whence Art, by pradice, to perfedlion foars. 
 
 FortunfEque bonis : Quos fedulus Hannibal omnt^ 53^ 
 In propriam mentem, atque modum mira arte coegit. 
 Lxxi. Plurimus inde labor tabulas imitando iuvabit 
 
 Natura & Ex- 
 
 femper^^^^^^^^^^ operumque typos ; fed plura docebit 
 
 Natura ante oculos praefens j nam firmat & auget 
 Vim genii, ex illaque artem experientia complet. 540 
 Mult a fuperfileo qucs comment aria dicent. 
 
[ 63 J 
 
 Tliefe ufeful rules from time and chance to fave, 
 In Latian Strains, the ftudious Fresnoy gave ; 
 Gn Tiber's peaceful banks the Poet lay, 775 
 What time the Pride of Bourbon urg'd his way, 
 Thro' hoftile camps, and crimfon fields of fiain, 
 To vindicate his Race and vanquifli Spain ; 
 High on the Alps he took his warrior ftand. 
 And thence, in ardent volley from his hand 780 
 His thunder darted ; (fo the Flatterer fmgs 
 Li Jl rains beji Jutted to the Ear of Kings) 
 
 Hasc ego, dum memoror fubitura volubilis sevi ' 
 Cunda vices, variifque olim }3eritura rumis, 
 Pauca fophifmata fum graphica imniortalibus aufus 
 Credere pieriis, Romae meditatus : ad Alpes, , 
 Dum fuper infanas moles, inlmicaque caftra 
 Borbonidam decus & vindex Lodoicus avorum, 
 Fulminat ardenti dextra, patriseque refurgens 
 
[ 64 J 
 
 Aild like Alcides, with vindidive tread, 
 Crulli'd the Hifpanian Lion's gafping head. 
 
 But mark the P rot em-policy of Jlate : 785 
 IVowj while his courtly numbers I tranjlate^ 
 The foes are friends^ in focial league they dare 
 On Britain to let fip the Dogs of War.^" 
 Vain efforts all^ which in difgrace fhall endy 
 If Britain^ truly to herfelf a friend^ 790 
 T'hro all her realms bids civil difcord ceafe^ 
 And heals her Empire s wounds by Arts of Peace, 
 Roufey then^ fair Freedom I fan that holy flame 
 From whence thy Sons their dearefl hlefftngs claim ; 
 Still bid them feel that fcorn of lawlefs fway^ 795 
 Which Inter efl cannot hlind^ nor Power difmay : 
 So fhall the T'hrone^ thou gavfl /^^ Brunswick line^ 
 Long by that race adorn thy dread Palladium floine, 
 
 THE END. 
 
 Gallicus Alcide5 premit Hifpani ora Leonis. 
 
 FINIS. 
 
The few Notes which the Tranflator has in- 
 ferted, and which are marked M. are merely critical, 
 and relate only to the Author's Text or his own 
 Verfion, 
 
N 
 
 ART 
 
 O T E S 
 
 ON THE 
 
 OF PAINTING 
 
 NOTE r. Verse r. 
 Two Stjier Mufes, with alternate Jire, C^c,~ 
 
 MDU PILES opens his annotations here, with mucli 
 • learned quotation from TertuUian, Cicero, Ovid, and 
 Suidas, in order to (hew the affinity between the two Arts. 
 But it may perhaps be more pertinent to fubftitute in the 
 place of it all a fingle paffage, by Plutarch afcribed to Si- 
 monides, and which our Author, after having quoted Horace, 
 has literally tranflated, Zooy^u^ploci' ^vc^ ^eErrOMENHN r^v 
 nomif, TTolwiv S'i XirnXAN tyiv ^<oy^oc(p:oiu. There is a Latin 
 line fomewhere to the fame purpofe, but Lknow not whether 
 antient or modern. 
 
 Poema 
 
 Efl Pidura loquens, mutum Pidura Poema. M.. 
 
 NOTE IL Verse 33. 
 Such powers, fuch praifes, heavn-born fair^ belong 
 T 0 magic colouring, and perfuafive fong. 
 That is to fay, they belong intrinfically and of right. Mr. 
 Wills, in the preface to his verfion of our Poet, firft detefted 
 the falfe tranflations of Du Piles and Dryden, which fay, " fo 
 
 1 2- much 
 
68 NOTES. 
 
 much have thefe Divine Arts been honored j" in confequencc 
 of which the Frenchman gives us a note of four pages, enu- 
 merating the inftances in which Painting and its profeflbrs 
 have been honored by kings and great men, antient and mo- 
 dern. Frefnoy had not this in his idea : He fays, " tantus inefi 
 divis honor artibus atque poteftas," which Wills juftly and 
 literally tranflatcs» 
 
 Such powcra, fuch honors are in arts divine. M. 
 
 NOTE III. Verse 51. 
 ^Tis Paintings Jirjl chief bujinefs to explore. 
 What lovelier forms in nature's boundlefs jiore^ 
 Are beji to art and antient tajle allied. 
 For antient tajie thofe forms has beft applied. 
 
 The Poet, with great propriety, begins, by declaring what 
 is the firjl chief bufnefs of Theory,, and pronounces it to be a 
 jknowledge of what is beautiful in nature : 
 
 That form alone, where glows peculiar grace. 
 The genuine Painter condefcends to trace, 'uer, 9. 
 There is an abfolute Beceffity for the Painter to generalize his 
 notions ; to paint particulars is not to paint nature, it is only 
 to paint circum fiances. When the Artift has conceived in his 
 imagination the image of perfedl beauty, or the abftrad: idea 
 of forms, he may be faid to be admitted into the great Council 
 of Nature, and to 
 
 *« Trace Beauty's beam to its eternal fpring, 
 *' And pure to man the fire celeftial bring." njer, 19. 
 To facilitate the acquifition of this ideal beauty, the Artifl: is 
 recommended to a ftudious examination of antient Sculpture. 
 
 R. 
 
 NOTE 
 
NOTES. 69 
 
 NOTE IV. Verse 55. 
 
 ^ill this be learned, how all things dif agree. 
 
 How all one wretched, blind barbarity / 
 The mind is diftradled with the variety of accidents, for fo 
 they ought to be called rather than forms ; and the difagree- 
 ment of thofe among themfelves will be a perpetual fource 
 of confufion and meannefs, until, by generalizing his ideas, he 
 has acquired the only true criterion of judgment; then with 
 a Majlers care 
 
 Judge of his art, thro' beauty's realms he flies, 
 
 Seledts, combines, improves, diverfifies. ver. 76. 
 It is better that he (hould come to diverfify on particulars 
 from the large and broad idea of things, than vainly attempt 
 to afcend from particulars to this great general idea ; for to 
 generalize from the endlefs and vicious variety of aBual forms, 
 requires a mind of wonderful capacity; it is perhaps more than 
 any one mind can accompliih : But when the other, and, I 
 think, better courfe is purfued, the Artift may avail himfelf 
 of the united powers of all his predeceflbrs. He fets out with 
 an ample inheritance, and avails himfelf of the feleaion of 
 
 N O T E V. Verse 63. 
 Of all vain Fools with Coxcomb talents curft. 
 The fententious and Horatian line, (fays a later French 
 Editor) which, in the original, is placed to the fcore of the 
 Antients, to give it greater weight, is the Author's own. I 
 fufped, however, that he borrowed the thought from fome 
 antient profe writer, as we fee he borrowed from Plutarch 
 before at the opening of his Poem. M. 
 
 NOTE 
 
70 NOTES. 
 
 N O T E VI. Verse 64. 
 When Jirfi the orient beams of Beauty ?nove. 
 The original here is very obfcure ; when I had tranflated 
 the paflage in the cleareft manner I was able, but necelTarily 
 with fome periphrafis, I confulted a learned friend upon it, 
 who was pleafed to approve the verfion, and to elucidate the 
 text in the following manner: ** Cognita," (the things known) 
 in line 45, refers to ** Nolle quid in natura pulchrius," (the 
 thing to be learned) in line 38 ; the main thing is to know what 
 forms are mofl beautiful, and to know what forms have been 
 chiefly reputed fuch by the Antients. In thefe when once 
 known, i. e. attended to and conlidered, the mind of courfe 
 takes a pleafure, and thus the conjciom foul becomes enamoured 
 with the objed:, 6cc. as in the Paraphafe» M. 
 
 NOTE VIL Verse 78. 
 With nimble Jiep purjues the fleeting throngs 
 And clafps each Venus as Jhe glides along. 
 The power of expreffing thefe tranfitory beauties is perhaps 
 the greateft effort of our art, and which cannot be attained to 
 till the Student has acquired a facility of drawing nature cor- 
 redly in its inanimate flate. R. 
 
 NOTE VIII. Verse 80. 
 Tet fome there are who indifcreetly fray. 
 Where purblind praSlice only points the way, 
 Pradice is juftly called pur blinds for practice, that is to- 
 lerable in its way, is not totally blind : an imperceptible theory, 
 which grows out of, accompanies, and direds it, is never 
 wholly wanting to a fedulous pradice ; but this goes but a 
 little way with the Painter himfelf, and is utterly inexplicable 
 to others. 
 
 To 
 
N O T E S. 71 
 
 To become a great proficient, an Artift ought to fee clearly- 
 enough to enable him to point out to others the principle on 
 which he works, otherwife he will be confined, and what is 
 worfe, he will be uncertain. A degree of mechanical pradice, 
 odd as it may feem, muft precede theory : The feafon is, that 
 if we wait till we are partly able to comprehend the theory of 
 art, too much of life will be pafied to permit us to acquire 
 facility and power : fomething therefore muft be done on truft, 
 by mere imitation of given patterns before the theory of art 
 can be felt. Thus we fhall become acquainted with the ne^ 
 cejjitiesoi the art, and the very great want of I heory, the fenfe 
 of which want can alone lead us to take pains to acquire it : 
 for what better means can we have of knowing to a certainty, 
 and of imprinting ftrongly on our mind our own deficiencies, 
 than unfuccefsful attempts ? This Theory will be beft under- 
 ftood by, and in, Practice. If Practice advances too far before 
 Theory, her guide, flie is likely to lofe her Vv'ay, and if flie 
 keeps too far behind, to be difcouraged. R. 
 
 NOTE-IX. Verse 89. 
 ^Twas not by words Ape lies charm d mankind. 
 
 As Frefnoy has condefcended to give advice of a prudential 
 kind, let me be permitted here to recommend to Artifts to 
 talk as little as pofiible of their own works, much lefs to 
 praife them and this not fo much for the fake of avoiding 
 the charader of vanity, as for keeping clear of a real detriment; 
 of a real productive caufe which prevents his progrefs in his 
 art, and dulls the edge of enterprize. 
 
 He who has the habit of infinuating his own excellence to 
 the little circle of his friends, with whom he comes into 
 contadt, will grow languid in his exertions to fill a larger 
 fphere of reputation ; He will f^ll into the habit of acquiefcing 
 
72 NOTE S. 
 
 in the partial opinions of a few ; he will grow reftive in his 
 own ; by admiring himfelf, he will come to repeat himfelf, 
 and then there is an end of improvement. In a Painter it is 
 particularly dangerous to be too good a fpeaker, it leffens the 
 necefTary endeavours to make himfelf mafter of the language 
 which properly belongs to his art, that of his pencil. ThiSt 
 circle of felf-applaufe and refledled admiration, is to him the 
 world, which he vainly imagines he has engaged in his party> 
 and that further enterprize becomes lefs neceffary. 
 
 Neither is it prudent for the fame reafon to talk much of a 
 work before he undertakes it, which will probably thus be 
 prevented from being ever begun. Even fhewing a pidure in 
 an unfinilhed ftate, makes the finifhing afterwards irkfome s, 
 the artift has already had the gratification which he ought to 
 have kept back, and made to ferve as a fpur to haften its com- 
 pletion. R. 
 N O T E X. Verse icq. 
 Some lofty theme let judgment Jirfl fupply^ 
 Supremely fraught with grace and majefty. 
 
 It is a matter of gre^t judgment to know what fubjedls are 
 or are not fit for painting. It is true that they ought to be 
 fuch as the verfes here diredl, full of grace and majefly ; but 
 it is not every fuch fubjett that will anfwer to the Painter. 
 The Painter's theme is generally fupplied by the Poet or Hi- 
 ilorian : But as the Pamtcr fpeaks to the eye, a ftory in which 
 fine feeling and curious fentinient. is predominant, rather than 
 palpable fituation, grofs intereft, and diftmd: paffion, is not 
 fo proper. 
 
 It fhould be likewife a ftory generally known ; for the Pain- 
 ter, reprefenting one point of time only, cannot inform the 
 Spedlator what preceded that event, however necefTary in order 
 to judge of the propriety and truth of the cxprefiion and cha- 
 racter 
 
NOTES. 73 
 
 radler of the A(5lor. It may be remarked that adlioQ Is the pria- 
 cipal requifite to a fubjedt for Hiftory- pain ting, and that there 
 are many fubje6ts which, tho' very interefting to the reader, 
 would make no figure in reprefentation ; thefe are fucli as 
 confid in any long feries of action, the parts of which have 
 very much dependency each on the other ; they are fuch where 
 any remarkable point or turn of verbal expreflion makes a 
 part of the excellence of the ftory ; or where it has its effect 
 from allufion to circumjla?ices not a5lually prefent : an inftance 
 occurs to me of a fubje(S which was recommended to a Painter 
 by a very difl:ingui£hed perfon, but who, as it appears, was 
 but little converfant with the art; it was what pafied between 
 James II. and the Duke of Bedford in the Council which 
 was held jufl: before the Revolution. This is a very flriking 
 piece of hiftory; but it is fo far from being a proper fubjed:, 
 that it unluckily poflelTes no one requifite neceflary for a pic- 
 ture; it has a retrofpe6t to other circumftances of hiftory of a 
 very complicated nature ; it marks no general or intelligible 
 adlion or pafiion ; and it is necefi^arily deficient in that variety 
 of heads, forms, ages, fexes, and draperies which fometimes, 
 by good management, fupply by pidurefque eftedt the want of 
 a real interefi: in a hiftory. R. 
 
 NOTE XI. Verse io6. 
 Then let the virgin canvas fmooth expand^ 
 To claim the Jketch and tempt the Artiji's hand, 
 I wifh to underftand the lafi: line as recommending to the 
 artift to paint the fketch previoufly on canvas, as was the 
 practice of Rubens. 
 
 This method of painting the fketch, inftead of merely draw- 
 ing it on paper, will give a facility in the management of 
 colours, and in the handling, which the Italian Painters, not 
 
 K. having 
 
74 NOTES. 
 
 having this cuilom, wanted; by habit he will acquire equal 
 readinefs in doing two things at a time as in doing only one ; a 
 Painter, as I have faid on another occafion, if poffible, fhould 
 paint all his ftudies, and confider drawing as a fuccedaneum 
 when colours are not at hand. This was the practice of the 
 Venetian Painters, and of all thofe who have excelled in 
 colouring; Corregio ufed to fay, Chavea i fuoi diJJ'egni nella 
 Jlremka de Vennelli. The method of Rubens was to fketch 
 his compofition in colours,, with all the parts more determined 
 than Iketches generally are ; from this fketch his Scholars ad- 
 vanced the picture as far as they were capable, after which he 
 retouched the whole himfelf. 
 
 The Painter's operation may be divided into three parts f 
 the planning, which implies the fketch of the general com- 
 pofition ; the transferring that defign on the canvas j and the 
 finifhing, or retouching the whole. If, for difpatch, the 
 Artifl looks out for affiftance, it is in the middle only he can 
 receive it; the firft and lafl mufl be the work of his own hand. 
 
 R 
 
 NOTE XII. Verse io^. 
 ^hen bold Invention oil thy powers diffufe^ 
 Of all thy Sijlers thou the nohlefi Mufe, 
 The Invention of a Painter confifts not in inventing the 
 fubjed:, but in a capacity of forming in his imagination the 
 fubje<5l in a manner befl accommodated to his art, tho' wholly 
 borrowed from Poets, Hiftorians, or popular tradition : For 
 this purpofe he has full as much to do, and perhaps more, 
 than if the very ftory was invented ; for he is bound to follow 
 the ideas which he has received, and to tranflate them (if I 
 may ufe the exprefTion) into another art. In this tranflation 
 the Painter's Invention lies ; he mufl in a manner new-caft the 
 whole, and model it in his own. imagination : To make it a 
 
 Painter's 
 
NOTES. 75 
 
 Painter's nouriOiment it mufi pafs through a Painter's mind. 
 Having received an idea of the pathetic and grand in Intelle5iy 
 he has next to confider how to make it correfpond with what 
 is touching and awful to the Eye, which is a bufmefs by itfelf. 
 But here begins what in the language of Painters is called 
 mention, which includes not only the compofition, or the put- 
 ting the whole together, and the difpofition of every individual 
 part, but likewife the management of the back-ground, the 
 effed: of light and fliadow, and the attitude of every figure 
 or animal that is introduced or makes a part of the work. 
 
 Compofition, which is the principal part of the Invention of 
 a Painter, is by far the greateft difficulty he has to encounter, 
 every man that can paint at all, can execute individual parts ; 
 but to keep thofe parts in due fubordination as relative to a 
 whole, requires a comprehenfive view of his art that more 
 ilrongly implies genius than, perhaps, any other quality what-- 
 ever. R. 
 NOTE XIII. Verse ii8. 
 yivid and faithful to the hijioric page, 
 Exprefs the cufioms, manners, forms, and age. 
 Though the Painter borrows his fubje£t, he confiders his 
 art as not fubfervient to any other, his bufinefs is fomething 
 more than afiifting the Hifi:orian with explanatory figures ; as 
 foon as he takes it into his hands, he adds, retrenches, tran- 
 fpofes, and moulds it anew, till it is made fit for his own art; 
 he avails himfelf of the privileges allowed to Poets and Pain- 
 ters, and dares every thing to accomplifh his end by means 
 correfpondent to that end, to imprefs the Spedator with the 
 fame interefl: at the fight of his reprefentation, as the Poet 
 has contrived to do the Reader by his defcription ; the end is 
 the fame, though the means are and muft be different. Ideas 
 intended to be conveyed to the mind by one fenfe, cannot 
 
 K 2 always, 
 
76 NOTES. 
 
 always, with equal fuccefs, be conveyed by another, our author 
 has recommended it to us elfewhere to be attentive 
 
 On what may aid our art, and what deftroy. wr. 598. 
 Even the Hiftorian takes great liberties with fads, in order to 
 interefl his readers, and make his narration more delightful ; 
 much greater right has the Painter to do this, who (tho' his 
 work is called Hiftory-Painting) gives in reality a poetical 
 reprefentation of events. 
 
 NOTE XIV. V ERSE 120. 
 
 Nor paint co?jfpicuous on the foremoji plain 
 
 Whate er IS faljey impertinent ^ or vain. 
 This precept, fo obvious to common fenfe, appears fuper- 
 £uous, till we recolledl that fome of the greateft Painters have 
 been guilty of a breach of it; for, not to mention Paul Veronefe 
 or Rubens, whofe principles, as ornamental Painters, would 
 allow great latitude in introducing animals, or whatever they 
 might think neceffary, to contraft or make the compofition 
 more pidurefque, we can no longer wonder why the Poet has 
 thought it warth fetting a guard againfl it, when fuch men as 
 RafFaelle and the Caraches, in their greateft and moft ferious 
 works, have introduced on the foreground mean and frivolous 
 eircumftances. 
 
 Such improprieties, to do juftice to the more modern 
 Painters, are feldom found in their works. The only excufe 
 that can be made for thofe great Artifts, is their living in an 
 age when it was the cuftom to mix the ludicrous with the 
 -ferious, and when Poetry as well as Painting gave into this 
 fafhion. 
 
 NOTE 
 
K O f E S. 
 
 NOTE XV. Verse 124. ' 
 ^his rare, this arduous tafk no rules can teach. 
 This mufl be meant to refer to Invention, and not to the 
 precepts immediately preceding, which relating only to the 
 mechanical difpofition of the work, cannot be fuppofed to be 
 out of the reach of the rules of art, or not to be acquired 
 but by the afiiftance of fupernatural power. R. 
 
 NOTE XVI. Verse 127.. 
 Prometheus ravijh'd jrom the Car of Day. 
 
 After the lines in the original of this pafTage, there comes 
 in one of a proverbial caft, taken from Horace * : Non uti 
 Daedaliam licet omnibus ire Corinthum."* I could not intro- 
 duce a verfion of this with any grace into the conclufion of the 
 fentence; and indeed I do not think it connects well in the 
 original. It certainly conveys no truth of importance, nor adds 
 much to what went before it. I fuppofe, therefore, I fhall be 
 pardoned for having taken no notice of it in my tranllation. 
 
 Mr. Ray, in his Colledion of Englifh Proverbs, brings this 
 of Horace as a parallel to a ridiculous. Er>glifh one, viz. Every 
 mans nofe will not make Jhoeing-hornk It is certain, were a 
 Proverb here introduced, it ought to be of Engli(li growth to 
 fuit an Englifh tranflation ; but this, alas ! would not fit my 
 purpofe, and Mr. Ray gives us no other. I hold myfelf, 
 therefore, excufeable for leaving the line untranHated. M. 
 
 K ^ NOTE 
 
 * Horace's line runs thus, (Epiftle 17, Book I. line 36.) 
 Non cuivis Homini contingit adire Corinthum. 
 
^8 NOTES. 
 
 NOTE XVII. Verse 130. 
 'fill all compleat the gradual wonder jhoney 
 And 'uanquifljd Nature ownd herfelf outdone. 
 In ftria; propriety, the Grecian Statues only excel Nature 
 by bringing together fuch an affemblage of beautiful parts-as 
 Nature was never known to heftow on one objecSt : 
 For earth-bofn graces fparingly impart 
 The fymmetry fupreme of perfect art. ver, 68. 
 It muft be rernembered, that the component parts of the 
 moft perfedt Statue never can excel Nature ; that we can form 
 no idea of Beauty beyond her works : we -can only make this 
 rare alTemblage ; and it is fo rare, that if we are to give the 
 name of Monfter to what is uncommon, we might, in the 
 5Vords of the Duke of Buckingham, call it 
 
 A faultlefs Monfter which the world ne'er faw. R. 
 
 NOTE XVIII. Verse 144. 
 tjearn then from Greece^ ye youths. Proportion s laiv. 
 Informed by her, each jufi pojition draw, 
 Du Piles has, in his note on this pafTage, given the mea- 
 fures of a human body, as taken by Frefnoy from the ftatues 
 of the antients, which are here tranfcribed. 
 
 The Antients have commonly allowed eight heads to their 
 Figures, though £bme of them have but feven ; but we ordi- 
 narily divide the figures into ten faces * j that is to fay, from 
 the crown of the head to the fole of the foot, in the following 
 manner : 
 
 From the crown of the head to the forehead is the third 
 part pf a face. 
 
 " The face begins at the root of the loweft hairs which 
 are upon the forehead, and ends at the bottom of the chin. 
 
 " The 
 
 * This depends on the age and quality of the perfons. The Apollo and Venus of 
 Medicis have more than ten faces. 
 
NOTES. 79 
 
 ** The face is divided into three proportionable parts y the 
 
 firfl contains the forehead, the fecond the nofe, and the third 
 
 the mouth and the chin j from the chin to the pit betwixt 
 
 the collar-bones are two lengths of a nofe. 
 
 ** From the pit betwixt the collar-bones to the bottom of 
 
 the breaft, one face. 
 
 t( * From the bottom of the breafts to the navel, one face. 
 
 <t ^ From the navel to the genitories, one face. 
 
 From the genitories to the upper part of the knee, two 
 faces. 
 
 ** The knee contains half a face; 
 
 *^ From the lower part of the knee to the ankle, two faces. 
 
 *' From the ankle to the fole of the foot, half a face. 
 
 ** A man, when his arms are ftretched out, is, from the 
 longeft finger of his right hand to the longeft of his left, as 
 broad as he is long.. 
 
 From one fide of the breads to the other, two faces. 
 
 ** The bone of the arm, called Humerus, is the length of 
 two faces from, the fhoulder to the elbow. 
 
 From the end of the elbow to the root of the little finger, 
 the bone called Cubitus, with part of the hand, contains two 
 faces. 
 
 From the box of the £houlder- blade to the pit betwixt 
 the collar-bones, one face. 
 
 If you would be fatisfied in the meafures of breadth, 
 from the extremity of one finger to the other, fo that this 
 breadth fhould be equal to the length of the body, you muft: 
 obferve, that the boxes of the elbows with the humerus, and 
 
 of 
 
 * The Apollo has a nofe more. 
 
 f The Apollo has half a nofe more; and the upper half of the Venus de Medicis- 
 is to the lower part of the belly^ and not to the privy-parts. 
 
8o NOTES. 
 
 of the humerus with the (houlder-blade, bear the proportion 
 of half a face when the arms are ftretched out. 
 
 The fole of the foot is the fixth part of the figure. 
 
 The hand is the length of a face. 
 
 The thumb contains a nofe. 
 
 The infide of the arm, from the place where the mufcle 
 difippears, which makes the breafi:, (called the Pedtoral Mufcle) 
 to the middle of the arm, four nofes. 
 
 From the middle of the arm to the beginning of the 
 liead, five nofes. 
 
 " The longeft toe is a nofe long. 
 
 The two utmoft parts of the teats, and the pit betwixt 
 the collar-bones of a woman, make an equilateral triangle. 
 
 ** For the breadth of the limbs, no precife meafures can 
 be given, becaufe the meafures themfelves are changeable, ac- 
 cording to the quality of the perfons^ and according to the 
 movement of the mufcles." Du Piie^. 
 
 The meafures of the antient ftatues, by Audran, appear to 
 be the moft ufeful, as they are accompanied with the outline 
 of thofe figures, which are moft diflinguifhed for corrednefs. 
 
 R. 
 
 NOTE XIX. Vers-e 150. 
 Bui chief from her that f owing outline take. 
 The French Editor who republifhed this Poem in the year 
 1753» (eighty-five years later than the firfi: edition of Du Piles) 
 remarks here, that Noel Coypel, (called Coypel le Poufi"in) 
 in a difcourfe which he publiflied and addreffed to the French 
 Academy fays, That all which our Author has delivered 
 concerning outlines (Contours) in this paiTage, does not ap- 
 pear to him to convey any precife or certain rules. He adds, 
 
 that 
 
 * He calls hirafelf, in the Paris Edition, intitled, '« L'licole d'Uranie," LeSieur 
 M. D. Q^^ The Abbe De Marfy's Poem, intitled, Piaura, is annexed to Du Frefnoy's 
 in that edition. * 
 
NOTES. 8i 
 
 that it is indeed almofl a thing impoffible to give them, parti- 
 cularly in what regards grace and elegance of outline. Ana- 
 tomy and Proportion, according to him, may enable a perfon 
 to defign with corredinefs, but cannot give that noble part 
 of the art, which ought to be attributed to the mind or un- 
 derftanding, according to which it is more or lefs delicate." I 
 think Frefnoy has hinted the very fame thing more thaa 
 once ; and, perhaps, like Coypel, lays too great a flrefs on the 
 mental faculty, which we call Strength of Genius ; but the 
 confideration of this does not come within the province which 
 I have allotted myfelf in thefe critical notes. M. 
 
 NOTE XX. Verse 162. 
 Tet deem not, Touths, that PerfpeSiive can gi've 
 Thofe charms complete , by which your works Jhall live. 
 The tranflator has foftened, if not changed, the text, which 
 boldly pronounces that Perfped:ive cannot be depended on as 
 a certain rule. Frefnoy was not aware that he was arguing 
 from the abufe of the Art of Perfpedlive, the bufineis of 
 which is to reprefent objeds as they appear to the eye, or as 
 they are delineated oa a tranfparent plane placed between the 
 fpedator and the objed:. The rules of Perfped:ive, as well 
 as all other rules, may be injudicioufly applied; and it muft 
 be acknowledged that a mifapplication of them is but too 
 frequently found even in the works of the mofl; confiderable 
 artifts : It is not uncommon to fee a figure on the fore- 
 ground reprefented near twice the fize of another which is 
 fuppofed to be removed but a few feet behind it this, tho* 
 true according to rule, will appear monftrous. This error 
 proceeds from placing the point of diftance too near the point 
 of fi2;ht, by which means the diminution of objeds is fo 
 ludden, as to appear unnatural, unlefs you fland fo near the 
 
 L pidure 
 
82 NOTES. 
 
 pi(flure as the point of diftance requires, which would be too 
 near for the eye to comprehend the whole pidlure ; whereas, 
 if the point of diftance is removed fo far as the fpedlator may 
 be fuppofed to fland in order to fee commodioufly, and take 
 within his view the whole, the figures behind would then 
 fuffer under no fuch violent diminution. Du Piles, in his 
 note on this palTage, endeavours to confirm Frefnoy in his 
 prejudice, by giving an inftance which proves, as he imagines, 
 the uncertainty of the art. He fuppofes it employed to de- 
 lineate the Trajan Pillar, the figures on which, being, as he 
 fays, larger at the top than the bottom, would counterad the 
 effects of perfpedive. The folly of this needs no comments 
 I fhall only obferve, by the by, that the fa6t is not true, the 
 figures on that pillar being all of the fame dimeafions. R.. 
 
 NOTE XXI. Verse 162. 
 Tef deem not, Touths, that Perfpe£iive can give 
 T^hoje char?ns complete, by which your works jhall live. 
 I plead guilty to the charge in the preceding note. I have- 
 tranflated the pafFage, as if the text had been /2^/ Comple-*- 
 mentum Graphidos, inftead of aut, and confequently might 
 have been thus con-ftrued : " Perfpedive cannot be faid to be 
 ** a fure rule or guide to the complete knowledge of Paint- 
 " ing, but only an affiftance, &c." This I did to make the 
 pofition more confonant to truthj and I am pleafed to find; 
 that it agrees much better with Sir Jo£hua's Annotations than 
 the original would have done. Du Piles, in the former part 
 of his note, (which 1 know not for what reafon Mr. Dryden 
 omitted) fays thus: " It is not in order to rejedl: Perfpedlive 
 ** that the Author fpeaks thus 3 for he advifes it elfewhere in 
 ** his Poem*, as a fiiudy abfolutely neceffary. Neverthelefs, 
 
 "I 
 
 • I fup^ofe he alludes to the 5P9th line. 
 
 In Geometrali prius arte parumper aduid. 
 
NOTES. 83 
 
 I own this paffage is not quite clear, yet it was not my 
 "fault that the Author did not make it more intelligible; 
 " but he was fo much offended with fome perfons who knew 
 
 nothing of Painting in general, fave only the part of Per- 
 " fpedtive, in which they made the whole art of it to confifl:, 
 
 that he would never be perfuaded to recal the expreflion, 
 
 though I fully convinced him, that every thing thefe people 
 *' faid was not of the leaf! confequence." Du Piles feems to 
 tell this tale (fo little to the credit of his friend's judgment) 
 merely to make himfelf of confequence ; for ray own part, I 
 can hardly be perfuaded that a perfon who has tranflated a 
 work fo inaccurately as Du Piles has done this, did it under 
 ** the Author's own eye, and corrected it till the verfion was 
 
 intircly to his own mind," which, in his preface, he aiferts 
 •was the cafe, M. 
 
 NOTE XXII. Verse 174. 
 Yet to each fefrate form adapt with care. 
 Such limbst fuch robesy fuch attitude and air. 
 
 As bejl befit the head — 
 
 As it is neceffary, for the fake of variety, that figures not 
 only of different ages, but of different forms and characters be 
 introduced in a work where many figures are required, care 
 mufl be taken that thofe different charaders have a certain 
 confonance of parts amongfV themfelves, fuch as is generally 
 found in nature ; a fat face, for inftance, is ufually accompa- 
 nied with a proportional degree of corpulency of body ; an 
 aquiline nofe for the mofl part belongs to a thin countenance, 
 with a body and limbs correfponding to it; but thofe are 
 obfervations which mufl occur to every body. 
 
 Yet there are others that are not fo obvious, and thofe who 
 have turned their thoughts this way, may form a probable 
 
 L 2 conjecture 
 
84 NOTES. 
 
 conjedure coticerning the form of the reft of the figure from 
 a part, from the fingers, or from a fingle feature of the face ; 
 for inftance, thofe who are born crook-backed have commonly 
 a peculiar form of lips and expreffion in their mouth that 
 ftrongly denotes that deformity. R, 
 
 N O T E XXIII. Verse 17^. 
 Learn ablion from the dumb, the dumb fiaU teach 
 How happieji to f up ply the want of fpeech. 
 
 Gefture is a language we are born with, and is the moft 
 natural way of expreffing ourfelves : Painting may be faid 
 therefore in this refpe£t to have the fuperiority over Poetry. 
 
 Yet Frefnoy certainly means here perfons either born dumb,, 
 or who are become fo from accident or violence. And the 
 tranflator has, therefore, rendered his meaning juftly; but 
 perfons who are born dumb are commonly deaf alfo, and their 
 geftures are ufually extravagant and forced ; and of the latter 
 kind examples are too rare to furnifh the Painter with fuffi- 
 cient obfervation. I would wifli to underftand the rule, as 
 didating to him, to obferve how perfons, with naturally good 
 expreffive features, are affeded in their looks and adions by 
 any fight or fentiment which they fee or hear, and to copy 
 the geftures which they then filently make ufe of ; but he 
 fhould ever take thefe lefiTons from nature only, and not 
 imitate her at fecond-hand, as many French Painters do, who 
 appear to take their ideas, not only of grace and dignity, but 
 of emotion and pafiion, from their theatrical heroes, which 
 is imitating an imitation, and often a falfe or exaggerated 
 imitation. R. 
 
 NOTE 
 
NOTES. 85 
 
 NOTE XXIV. Verse 180. 
 Fair in the front, in all the blaze of light, 
 The Hero of thy piece fhould meet the fights 
 
 There can be no doubt that this figure fhould be laboured 
 in proportion as it claims the attention of the fpedtator, but 
 there is no neceffity that it Ihoald be placed in the middle of 
 the pidlure, or receive the principal light y this condu6l, if 
 always obferved, would reduce the art of Compofition to too 
 great a uniformity. 
 
 It is fufficient, if the place he holds, or the attention of 
 the other figures to him, denote him the hero of the piece. 
 
 The principal figure may be too principal. The harmony 
 ©f compofition requires that the inferiour charadlers bear fome 
 proportion, according to their feveral flations, to the hero of 
 the work. 
 
 This rule, as enforced by Frefnoy, may be faid more pro- 
 perly to belong to the art in its infant Hate, or the firfi: pre- 
 cept given to young fiudents j but the more advanced know 
 that fuch an apparent artificial difpofi.tion would be in reality 
 for that reafon inartificial, JK^. 
 
 NOTE XXV. Verse 193;., 
 fn evry figurd group the judging eye 
 Demands the charms of contrariety^. 
 The rule of contrafi:ing figures, or groups, is not only uni- 
 verfally known and adopted, but it is frequently carried to- 
 fuch excefs, that our Author might, perhaps, with more 
 propriety have fixed his caution on the other fide, and recom- 
 mended to the artifi:, not to deftroy the grandeur snd fimpli- 
 city of his defign by violent and afFeded contrafis.. 
 
 The artlcfs uniformity of the compofitions of the old Gothic 
 Painters is far preferable to this falfe refinement, this ofien- 
 
 L 3 tatioua 
 
m NOTES. 
 
 Nations difplay of academic art. A greater degree of contraO: 
 and variety may be allowed in the pidurefque or ornamental 
 flile ; but we muft not forget they are the natural enemies of 
 Simplicity, and confequently of the grand ftile, and deftroy 
 that folemn maje/iy, that foft repofe, which is produced in a 
 great meafure by regularity and uniformity. 
 
 An inftance occurs to me where thofe two qualities are fe- 
 .parately exhibited by two great Painters, Rubens and Titian; 
 the pi(^ure of Rubens is in the Church of St. Auguftine at 
 Antwerp; the fubjed: (if that may be called ia fubjed where 
 no ftory is reprefented) is the Virgin and infant, Chrift, placed 
 high in the pidure on a pedeftal, with many.faints about 
 them, and as many below thern, with others on the fteps, to 
 ferve as a link to unite the upper and lower part of the pidlure. 
 
 The compofition of this pidure is perfedl in its kind; the 
 Artift has Ihewn the greateft fkill in difpofmg and contrafting 
 more than twenty figures vv'ithout confufion and withouj: 
 .crouding; the whole appearing as .much animated and in 
 jnotion as it is poffible, where nothing is to be done. 
 
 The piOure of Titian, which we would oppofe to this, is 
 in the Church .of the St. Frare at Venice. The peculiar 
 charader of this piece is Grandeur and Simplicity, which 
 proceed in a great meafure from the regularity of the com- 
 pofition, two of the principal figures being. reprefented kneel- 
 ing, directly oppofite to each other, and nearly in the fame 
 attitude, this is what few Painters would have had the cou- 
 rage -to venture ; Rubens would certainly have rejeded fo 
 unpidturefque a mode of compofition, had it occurred to him. 
 
 Both thofe pidtures are equally excellent in their kind, anci 
 may be faid to charadlerife their refpedlive authors. There is 
 a buftle and animation in the work of Rubens; a quiet, folemn 
 rnajefty in that of Titian. The excellence of Rubens is the 
 
 pidurefquc 
 
NOTES,! 87 
 
 pidurefque efFeds which he produces. The fuperior merit 
 of Titian is in the appearance of being above feeking after any. 
 fuch artificial excellence. 
 
 N O T E. XXVI. Verse 218... 
 
 ^ — ^ . we Jlill JImild lofi 
 
 ^hat fokmn majejly, that foft repoje^ - 
 
 Dear to the curious eye^ and only found 
 
 Where few fair objeSis fill an ample ground-. 
 It has been faid to be Hannibal Caracci's opinion, that a ■ 
 perfect compofition ought not to confift of more than twelve 
 figures, which he thought enough to people three groups, 
 and that more would deflroy that majefty and repofe fo necef- - 
 fary to the grand ftile of Painting. 
 
 NOTE XXVII. Verse 223. 
 "judgment will fo the fever al groups unite, 
 Tihat one compa5ied whole fhall meet the fight. 
 Nothing fo much breaks in upon, and deflroys this com-- 
 padtnefs, as that mode of compofition which cuts in the 
 middle the figures on the foreground, tho' it was frequently 
 the practice of the greateft Painters, even of the heft age : 
 Michael Angelo has it in the Crucifixion of St. Peter; Raf- 
 faelle in the Cartoon of the Preaching of St. Paul ; and Par- 
 megiano often fhewed only the head and fhoulders above the 
 bafe of the pidlure : However, the more modern Painters, 
 notwithfbanding fuch authorities,.cannot be accufed of having; 
 fallen into this error. 
 
 But, fuppofe we c-arry the reformation Hill farther, and' 
 not fufFer the fides of the pidure to cut ofif any part of the 
 figures, the compofition would certainly be more round and 
 compact. within itfelf: AH fubjeds, it is true, will not admit 
 
 off 
 
88 NOTES. 
 
 of this ; however we may fafely recommend it, unlefs the 
 circumftances are very particular, and luch as are certain to 
 procure fome ftriking efFett by the breach of fo juft a rule. 
 
 R. 
 
 N O T E XXVIII. Verse 243. 
 Nor yet to Nature fuch jiritl homage pay. 
 As not to quit when Genius leads the way ; 
 Nor yet, though Genius all his fuccour feuds. 
 Her mimic powrs though ready Memory lends, 
 Prefume from Nature wholly to depart ; 
 For Nature is the /irbitrefs of Art. 
 Nothing in the art requires more attention and judgment, 
 or more of that pov/er of dilcrimination, which may not im- 
 properly be called Genius, than the fleering between general 
 ideas and individuality for tho' the body of the work muft 
 certainly be compofed by the firft, in order to communicate a 
 charader of grandeur to the whole ; yet a dafli of the latter is 
 fometimes neceffary to give an intereft. An individual model, 
 copied with fcrupulous exadnefs, makes a mean ftile like the 
 Dutch; and the negledt of an adual model, and the method 
 of proceeding folely from idea, has a tendency to make the 
 Painter degenerate into a mannerift. 
 
 It is necelTary to keep the mind in repair to replace and 
 refrefhen thofe impre{rions of nature which are continually 
 wearing away. 
 
 A circumftance mentioned in the life of Guido, is well 
 worth the attention of Artifts : He was alked from whence he 
 borrowed his idea of beauty, which is acknowledged fuperior 
 to that of any other Painter; he faid he would Ihew all the 
 models he ufed, and ordered a common Porter to fit before 
 him, from whom he drew a beautiful countenance ; this was 
 intended by Guido as an exaggeration of his condud j but his 
 
 intention 
 
NOTE S. S9 
 
 intention was to ihew that he thought it necefTary to have 
 fome model of nature before you, however you deviate from 
 it, and correct it from the idea which you have formed in your 
 mind of perfed: beauty. 
 
 In Painting it is far better to have a model even to depart 
 from, than to have nothing fixed and certain to determine 
 the idea : There is fomething then to proceed on, fomething 
 to be correded ; fo that even fuppofmg no part is taken, the 
 model has ftill been not without ufe. 
 
 Such habits of intercourfe with nature, will at leaft create 
 that variety which will prevent any one's prognofticating what 
 manner of work is to be produced, on knowing the fubjedt, 
 which is the moft difagreeable character an Artift can have. 
 
 R. 
 
 NOTE XXIX. Verse 265. 
 Peculiar toil on Jingle forms bejiow. 
 There let exprejjion lend its finiflod glow. 
 When the pidure confifts of a fingle figure only, that figure 
 mufi: be contrafied in its limbs and drapery with great variety 
 of lines : It is to be as much as poflible a compofition of 
 itfelf. It may be remarked, that fuch a complete figure will 
 never unite or make a part of a group ; as on the other hand, 
 no figure of a well-condu6ted group will fi:and by itfelf. A 
 compofition, where every figure is fuch as I fuppofe a fingle 
 figure ought to be, and thofe likewife contrafted to each 
 other, which is not uncommon in the works of young artifts, 
 produces fuch an afi^emblage of artifice and afiedtation as is ia 
 the highefi: degree unnatural and difguftful. 
 
 There is another circumfiiance which, tho* not improper 
 in fingle figures, ought never to be pradlifed in hiftorical 
 pidlures, that of making any figure looking out of the pidlure, 
 that is, looking at the perfon who looks at the pidlure. This 
 
 M conduct 
 
90 NOTE S. 
 
 condud in hiflory gives an appearance to that figure, of having 
 no connection v^^ith the reft, and ought, therefore, never to be 
 pradlifed except in ludicrous fubjeds. 
 
 It is not certain that the variety recommended in a fingle 
 figure, can with equal fuccefs be extended to colouring ; the 
 difficulty will be in difFufing the colours of the drapery of 
 this fingle figure to other diftant parts of the pidure, for this 
 is what harmony requires this difficulty, however, feems to 
 be evaded in the works of Titian, Vandyck, and many others,, 
 by dreffing their fingle figures in black or white. 
 
 Vandyck, in the famous portrait of Cardinal Bentivoglio, 
 was confined in his drefs to crimfon velvet and white linen ; 
 he has, therefore, made the curtain in the back-ground of the 
 fame crimfon colour, and the white is diffufed by a letter 
 which lies on- the table, and a bunch of flowers is likewife 
 introduced for the fame purpofe, 
 
 NOTE XXX. V ERSE 275^. 
 Nof on the form in Jiiff adhefion laid. 
 But well relievd by gentle light and JJjade, 
 The difpofing the drapery fo, as to appear to cling clofe 
 round the limbs,- is a kind of pedantry which young Painters 
 are very apt to fall into, as it carries with it a relifh of the 
 learning acquired from the antient ftatues ; but they fliould 
 recollect that there is not th& fame neceffity f^r this pradtice 
 in painting as in fculpture. 
 
 NOTE XXXI. Verse 297. 
 But fparingly thy earth-born Jiores unfold, 
 Nor load with gems, nor lace with tawdry gold. 
 Finery of all kinds deHroys grandeur, which in a great 
 meafure proceeds from fimplicity ; it may, however, without 
 
 impropriety 
 
NOTE S. 91 
 
 impropriety be introduced into the ornamental ftile, fuch as 
 that of Rubens and Paul Veroaefe, R. 
 
 NOTE XXXII. Verse 308. 
 That majejiy, that grace fo rarely given 
 To mortal man, not taught by art but heaven. 
 It is undoubtedly true, and perfedly obvious, that every 
 part of the art has a grace belonging to it, which, to fatisfy 
 and captivate the mind, mufl be fuperadded to corrednefs. 
 This excellence, however exprefTed, whether by Genius, Tafte, 
 or the gift of Heaven, I am confident may be acquired ; or 
 the Artift may certainly be put into that train by which it 
 fhall be acquired, though he muft, in a great meafure, teach 
 himfelf by a continual contemplation of the works of thofe 
 Painters, who are acknowleged to excel in grace and majefty, 
 which will teach him to look for it in nature, and induftry 
 will give him the power of expreffing it on canvas. R. 
 
 NOTE XXXIII. Verse 315. 
 The lajif the noblejl tajk remains untold, 
 Paffion to paint and Sentiment unfold. 
 This is truly the nobleft talk, and is the finifhing of the 
 fabric of art ; to attempt this fummit of excellence, without 
 having firft laid that foundation of habitual corredtnefs, may 
 truly be faid to build caflles in tlie air. 
 
 Every part which goes to the compofition of a picture, even 
 inanimate objeds, are capable to a certain degree of conveying 
 fentiment, and contribute their (hare to the general purpofe 
 of ftriking the imagination of the fpedlator. The difpofition 
 of light, or the folding of drapery, will give fometimes a 
 general air of grandeur to the whole work. R. 
 
 NOTE 
 
92 NOTE S. 
 
 NOTE XXXIV. Verse 325. 
 By tedious toil no pajjions are exprej}. 
 His hand who feels them Jlrongefi paints them bejl, 
 
 A Painter, whatever he may feel, will not be able to ex- 
 prefs it on canvas, without having recourfe to a recolle(5tioa 
 of thofe principles by which that paffion is exprefled; the 
 mind thus occupied, is not likely at the fame time to be 
 poflelTed with the paffion which he is reprefenting, an image 
 may be ludicrous, and in its firft conception make the Painter 
 laugh as well as the Spe(5tator ; but the difficulty of his art 
 makes the Painter, in the courfe of his work, equally grave 
 and ferious, whether he is employed on the mofl ludicrous, 
 or the moft folemn fubjedts. 
 
 However, we may, without great violence, fuppofe this rule 
 to mean no more, than that a fenfibility is required in the 
 Artifl, fo that he fliould be capable of conceiving the paffionts 
 properly before he fets about reprefenting it on canvas. R. 
 
 NOTE XXXV. Verse 325. 
 By tedious toil no Pajjions are exprejl. 
 His hand who feels them frongefi paints them beji, 
 «* The two verfes of the text, notwithstanding the air of 
 antiquity which they appear to have, feem moft probably to be 
 the Author's own," (fays the late French Editor) y but I fup- 
 pofe, as I did on a fimilar adage before, that the thought is 
 taken from antiquity. With refped: to my tranflation, I beg 
 leave to intimate, that by feeling the pafTions flrongeft, I do 
 not mean that a paffionate man will make the befl painter of 
 the paffions, but he who has the cleared conception of them, 
 that is, who feels their efi^ed on the countenance of other men, 
 as in great adors on the ftage, and in perfons in real life 
 fljrongly agitated by them : perhaps my tranflation would have 
 
 been 
 
N O T E S. 93 
 
 Been clearer and more confonant with the above judicious ex- 
 plication of Sir Jofhua Reynolds, if it had run thus, 
 He who conceives them ftrongeft paints them beft. 
 
 NOTE XXXVI. Verse 348.- 
 
 Full late awoke the ceafelefs tear to floed- 
 
 For perijh'd art. 
 The later French Ed^tor,^who has modernized the ftyle of 
 Du Piles tranflation,yJays here,, that he has taken the liberty 
 to fof ten this pafTage, and fias tranflated iV// fuperejiy hy prefque 
 rien, inftead of Du Piles verlion, // ne nous a rietz rejie de leur 
 Peinture, being authorized to make this change by the late 
 difcoveries of antient painting at Herculaneum but I fcarce 
 think that,, by thefe difcoveries, we have retrieved any thing 
 ©f antient colourings which is the matter here in queftion, 
 therefore I have given my tranflation that turn. M. 
 
 NOTE XXXVir. Verse 350, 
 
 ^ Por thofe celejlial hues 
 
 Which Zeuxis, aided by the Attic Mufe, 
 
 Gave to the wondering eye 
 
 From the various antient Paintings, which have come down 
 to us> we may form a judgment with tolerable accuracy of 
 the excellencies and the defeds of the art amongft the antients. 
 
 There can be no doubt, but that the fame corrednefs of 
 delign v/as required from the Painter as from the Sculptor; 
 and if the fame good fortune had happened to us in regard to 
 their Paintings, to poffefs what the Antients themfelves 
 efteemed their mafter-pieces, which is the cafe in Sculpture, 
 I have no doubt but we fhould find their figures as corredtly 
 drawn as the Laocoon, and probably coloured like Titian. What 
 difpcfes me to think higher of their colouring than any re- 
 
 M 3 mains 
 
94- N O 1* E S, 
 
 mains of antient Painting will warrant, is the account which 
 Pliny gives of the mode of operation ufed by Apelles, that 
 over his finiflied pidure he fpread a tranfparent liquid like 
 ink, of which the effed was to give brilliancy, and at the fame 
 time to lower the too great glare of the coJour : abfoluta 
 operaa tramento illindat ita tenui, ut id ipfum re^ercuffu claritates 
 
 colorum excitaret. Et turn ratione magna ne colorum claritas 
 
 cculorum aciem offenderet. This pafTage, tho' it may poffihiy 
 perplex the critics, is a true and an artift-like defcription of 
 the effedl of Glazing or Scumbling, fuch as was pradifed by 
 Titian and the reft of the Venetian Painters; this cuftom, or 
 mode of operation, implies at leaft a true tafte of what 'the 
 excellence of colouring confifts, which does not proceed from 
 fine colours, but true colours; from breaking down thefe fine 
 colours which would appear too raw, to a deep-toned hright- 
 nefs. Perhaps the manner in which Corregio pradifed the 
 art of Glazing was fiill more like that of Apelles, which was 
 only perceptible to thofe who looked clofe to the pidure, ad 
 manum intuejiti demm appareret I whereas in Titian, and'fiill 
 more in Baflan and others his imitators, it was apparent on 
 the flighteft infpedion : Artifls who may not approve of Gla 
 zmg, mufl ilill acknowledge, that this pradice is Bot that of 
 ignorance. 
 
 Another circumftance, that tends to prejudice me in favour 
 of their colouring, is the account we have of fome of their 
 principal painters ufing but four colours only. I am convinced 
 the fewer the colours the cleaner will be the efFe«a of thofe 
 colours and that four is fufficient to make every combination 
 required Two colours mixed together will not preferve the 
 brightnefs of either of them fingle, nor will three be as bright 
 as two : of this obfervation. fm^ple as it is. an Artift. who 
 wifhes to colour bright, will know the value. 
 
 In 
 
V 
 
 NOTES. 95 
 
 In regard to their power of giving peculiar expreffion, no 
 corredt judgment can be formed ; but we cannot well fuppofe 
 that men, who were capable of giving that general grandeur 
 of chara(5ler which fo eminently diftinguifhes their works in 
 Sculpture, were, incapable of expreffing peculiar paffions. 
 
 As to the enthuliaftic commendations beftowed on them br 
 their contemporaries, I confider them as of no weight. The 
 befl words are alv/ays employed to praife the beft woi-ks : Ad- 
 miration often proceeds from ignorance of higher excellence. 
 What they appear to have moft failed in is compofition, both 
 in regard to the grouping of their figures, and the art of dif- 
 pofmg the light and (hadow in mafTes. It is apparent that 
 this, which makes fo confiderable a part of modern art, was 
 to them totally unknown. 
 
 If the great Painters had poffeffed this excellence, fome 
 portion of it would have infallibly been diffufed, and hav€ 
 been difcoverable in the works of the inferior rank of Artifts, 
 fuch as thofe whofe works have come dov/n to us, and which 
 may be confidered as on the fame rank with the Paintings that 
 ornament our public gardens : fuppofing our modern pidures of 
 this rank only were preferved for the infpedion of ConnoilTeurs 
 two thoufand years hence, the general principles of com- 
 pofition would be ftill difcoverable in thofe pidures however 
 feebly executed, there would be feen an attempt to an union 
 of the figure with its ground, fome idea of difpofing both 
 the figures and the lights in groups. Now as nothing of thi* 
 appears in what we have of antient Painting, we may conclude,, 
 that this part of the art was totally negleded, or more pro- 
 bably unknown. 
 
 They might, however, have produced fingle figures which 
 approached perfedion both in drawing and colouring; they 
 might excel in a Solo, (in the language of Muficians)Miough 
 
 they 
 
96 NOTES. 
 
 they were probably incapable of compofing a full piece for a 
 concert of different inftriiments. 
 
 NOTE XXXViri. Verse 419. 
 Permit not two confpicuous lights to jhine 
 With rival radiance in the fame defign. 
 The fame right judgment which profcribes two equal lights, 
 forbids any two objects to be introduced of equal magnitude 
 or force, fo as to appear to be competitors for the attention of 
 the fpe(flator. This is common; but I do not think it quite fo 
 common, to extend the rule fo far as it ought to be extended : 
 even in colours, whether of the warm or cold kind, there fliouid 
 be one of each which fhould be apparently principal and pre- 
 dominate over the reft. It muft be obferved, even in drapery, 
 that two folds of the fame drapery be not of equal magnitude. 
 
 R. 
 
 NOTE XXXIX. Verse 421. 
 IBut yield to one alone the power to blaze ^ 
 And Jpread tU extenftve vigor of its rays. 
 
 Rembrant frequently pradifed this rule to a degree of af- 
 fedation, by allowing but one mafs of light; but the Vene- 
 tian Painters, and Rubens, who extradled his principles from 
 their works, admitted many fubordinate lights. 
 
 The fame rules, which have been given in regard to the 
 regulation of groups of figures, muft be obferved in regard to 
 the grouping of lights, that there ftiall be a fuperiority of one 
 over the reft, that they fhall be feparated, and varied in their 
 ftiapes, and that there fhould be at Jeaft three lights ; the 
 fecondary lights ought, for the fake of harmony and union, 
 to be of nearly equal brightnefs, though not of equal magni- 
 tude with the principal. 
 
 The 
 
N O T , E S. 9; 
 
 The Dutch Painters particularly excelled in the management 
 of light and ihade, and have (hewn, in this department, that 
 confummate fkill which entirely conceals the appearance of 
 art. 
 
 Jan Steen, Teniers, Oflade, Du Sart, and many others of 
 that fchool, may be produced as inftances, and recommended 
 to the young artift's careful ftudy and attention. 
 
 The means by which the Painter works, and on which the 
 efFedl of his picture depends, are light and (liade, warm and 
 Gold colours : That there is an art in the management and 
 difpofition of thofe means will be eailly granted, and it is 
 equally certain, that this art is to be acquired by a careful 
 examination of the works of thofe who have excelled in it. 
 
 I (hall here fet down the refult of the obfervations which I 
 have made on the works of thofe Artiflis who appear to have 
 beft underftood the management of light and fhade, and who 
 may be confidered as examples for imitation in this branch of 
 the art. 
 
 Titian, Paul Veronefe, and Tintoret, were among the firfi: 
 Painters who reduced to a fyftem what was before prad:ifed 
 without any fixed principle, and confequently negle(fled occa- 
 iionally. From the Venetian Painters Rubens extraded his 
 fcheme of compolition, which was foon underftood and adopt- 
 ed by his countrymen, and extended even to the minor Painters 
 of familiar life in the Dutch School. 
 
 When I was at Venice the method I took to av?iil myfelf of 
 their principles was this : When I obferved an extraordinary 
 effcO: of light and fhade in any pid:ure, 1 took a leaf of my 
 pocket-book, and darkened every part of it in the fame grada- 
 tion of light and fhade as the pidure, leaving the whire paper 
 untouched to reprefent the light, and this without any atten- 
 tion to the fubjedl or to the drawing of the figures. A few 
 
 N trials 
 
NOTES. 
 
 trials of this kind will be fufficient to give the method of their 
 condudt in the management of their lights. After a few trials 
 I found the paper blotted nearly alike; their general praftice 
 appeared to be, to allow not above a quarter of the pi£lure for 
 the light, including in this portion both the principal and 
 fecondary lights; another quarter to be as dark as poffible; and 
 the remaining half kept in mezzotint or half fhadow. 
 
 ►•Rubens appears to have admitted rather more light than a 
 quarter, and Rembrant much lefs, fcarce an eighth ; by this 
 condudl Rembrant's light is extremely brilliant, but it cofls too 
 much; the reft of the pidure is facrificed to this one objed. 
 That light will certainly appear the brighteft which is fur- 
 rounded with the greateft quantity of {hade, fuppofmg equal 
 Ikill in the artift. 
 
 By this means you may likewife remark the various forms 
 and fhapes of thofe lights, as well as the objedts pn which- 
 they are flung, whether on a figure, or the fliy, on a white 
 napkin, on animals, or utenfils, often introduced for this pur- 
 pofe only: It may be obferved likewife what portion is ftrongly 
 relieved,, and how much is united with its ground, for it is^ 
 neceflary that fome part (tho' a fmall one is fufficient) fhould 
 be iliarp and cutting againft its ground, whether it be light 
 on a dark, or dark on a light ground, in order to give firm- 
 nefs and diftindnefs to the work ; if on the other hand it is 
 relieved on every fide, it will appear as if inlaid on its ground. 
 Such a blotted paper, held at a diftance from the eye, will 
 ftrike the Spedator as fomething excellent for the difpofition- 
 of light and lhadow, though he does not diftinguifh whether 
 it is a Hiftory, a Portrait, a Landfcape, dead Game, or any 
 thing elfe, for the fame principles extend to every branch of 
 the art. 
 
 Whsther 
 
NOTES. 99 
 
 Whether I have given an exa6t account, or made a juft 
 
 divifion of the quantity of light admitted into the works of 
 
 thofe Painters, is of no very great confequence; let every 
 
 perfon examine and judge for himfelf ; it will be fufficient if 
 
 I have fuggefted the method of examining pidures this way, 
 
 and one means at leafl of acquiring the principles 'on . which 
 
 they wrought. R. 
 NOTE XL. Verse 441. 
 
 nen only juftly fpread, when to the fight 
 A breadth of jhade pufues a breadth of light. 
 The higheft finifhing is labour in vain, unlefs at the fame 
 time there J^e preferved a breadth of light and fhadow ; it is a 
 quality, therefore, that is more frequently recommended to 
 ftudents, and infifted upon than any other whatever j and, per- 
 haps, for this reafon, becaufe it is moft apt to be neglected, 
 the attention of the Artift being fo often entirely abforbed ia 
 the'*detail. 
 
 'To illuftrate this, we may have recourfe to Titian's bunch 
 of grapes, whicli we will fuppofe placed fo as to receive a 
 broad light and iTiadow. Here though each individual grape 
 on the light fide has its light and fliadow and reflexion, yet 
 altogether they make but one broad mtfs of light; the flighteft 
 Iketch, therefore, where this breadth is preferved, will have 
 a better effect, will have more the appearance of coming from 
 a mafter-hand; that is, in other words, will have more the 
 charadleriftic and generale of nature than the moil laborious 
 finifhing, where this breadth is loft or negleded. R, 
 
 NOTE XLI. Verse 469. 
 Which mildly mixing, evry facial dye 
 f Unites the whole in lovelieft harmony. 
 The fame method may be ufed to acquire that harmonious 
 
 N 2 effed 
 
100 NOTE S. 
 
 efFed of colours as was recommended for the acquifition of 
 light and fhade, by adding colours to the darkened paper;, 
 but as thofe are not always at hand, it may be fufficient,. if 
 the picture, which you think worthy of imitating, be con- 
 fidered in this light, to afcertain the quantity of warm and the 
 quantity of cold colours. 
 
 The predominant colours of the pidure ought to be of a 
 warm mellow kind, red or yellow, and no more cold colour 
 iliould be introduced but what will be juft enough to ferve 
 as a ground or foil to fet off and give value to the mellow 
 colours, and never itfeif be principal; for this purpofe a 
 quarter of the pidure will be fufficient ; thofe cold colours^ 
 whether blue, grey, or green, are to be difperfed about the 
 ground or furrounding parts of the pidure, wherever it has 
 the appearance of wanting fuch a foil, but fparingly employed 
 in the mafTes of light. 
 
 I am confident an habitual examination of the works of 
 thofe Painters, who have excelled in harmony, will, by de- 
 grees, give a corrednefs of eye that will revolt at difcordant 
 colours as a mufician's ear revolts at difcordant founds. 
 
 NOTE XLIL Verse 517. 
 By mellowing Jkill thy ground at dijiance caji 
 Free as the air, and tranjient as its blajl. 
 By a ftory told of Rubens, we have his authority for alTert- 
 ing that to the efFed of the pidure, the back-ground is of the 
 greateft confequence. 
 
 Rubens, on his being defired to take under his inftrudion 
 a young painter, the perfon who recommended him, in order 
 to induce Rubens the more readily to take him, faid, that he 
 was already fomewhat advanced in the art, and that he would 
 be of immediate afliftance in his back-grounds. Rubens 
 
 fmiled 
 
NOTES. loi 
 
 fmiled at his limplicity, and told him, that if the youth was 
 capable of painting his back-grounds he flood in no need of 
 his inftrudlions that the regulation and management of them 
 required the mofl comprehenfive knowledge of the art. This 
 Painters know to be no exaggerated account of a back-ground, 
 when we confider how much the efFed: of the picture depends 
 upon it. 
 
 It muft be in union with the figure, fo that it fliall not have 
 the appearance, as if it was inlaid like Holbein's portraits, 
 which are often on a bright green or blue ground : To pre- 
 vent this efFed:, the ground mufl partake of the colour of the 
 figure; or, as exprelled in a fubfequent line, receive all the 
 treafures of th^ palette; the back-ground regulates likewife 
 where and in what part the figure is to be relieved. When 
 the form is beautiful, it is to be feen diflindly, when, on the 
 contrary, it is uncouth or too angular, it may be lofl in the 
 ground : Sometimes a light is introduced in order to join and 
 extend the light on the figure, and the dark fide of the figure 
 is lofl in a flill darker back-ground; for the fewer the outlines 
 are which cut againfl the ground the richer will be the effed, 
 as the contrary produces what is called the dry manner. 
 
 One of the arts of fupplying the defed of a fcantinefs of 
 drefs by means of the back -ground, may be obferved in a 
 whole-length portrait by Vandyke, which is in the cabinet of 
 the Duke of Montagu ; the drefs of this figure would have an 
 ungraceful effed; he has, therefore, by means of a light back- 
 ground, oppofed to the light of the figure, and by the help 
 of a curtain that catches the light near the figure, made the 
 effedl of the whole together full and rich to the eye. R. 
 
 NOTE 
 
102 NOTE S. 
 
 NOTE XLIII. Verse 523. 
 The hand that colours well muft colour bright^ 
 Hope not that praife to gain by Jickly white. 
 
 All the modes of harmony, or of producing that efFe<£l of 
 colours which is required in a .pi(fture, may be reduced to 
 three, two of which belong to the g rati d flile and the other 
 to the ornamental. 
 
 The firll: may be called the Roman manner where the 
 colours are of a full and ftrong body, fuch as are found in the 
 Transfiguration ^ the next is that harmony which is produced 
 by what the Antients called the corruption of the colours, by 
 mixing and breaking them till there is a general union in the 
 whole, without any thing that (hall bring to your remem- 
 brance the Painter's pallette, or the original colours j this 
 may be called the Bolognian ftile, and it is this hue and effedt 
 of colours which Ludovico Carracci feems to have endeavoured 
 to produce, though he did not carry it to that perfedion which 
 we have feen lince his time in t^e fmall works of the Dutch 
 fchool, particularly Jan Steenj where art is completely con- 
 cealed, and the Painter, like a great Orator, never draws the 
 attention from the fubje(5l on himfelf. 
 
 The laft manner belongs properly to the ornamental flile, 
 which we call the Venetian, where it was firft pra<5|ifed, but is 
 perhaps better learned from Rubens; here the brighteft colours 
 poflible are admitted, with the two extremes of warm and ' 
 cold, and thofe reconciled by being difperfed over the pid:ure, 
 till the whole appears like a bunch of flowers. 
 
 As I have given inftances from the Dutch fchool, "where 
 the art of breaking colour may be learned, we may recom- 
 mend here an attention to the works of Watteau for excel- 
 lence in this florid ftile of painting. 
 
 To 
 
NOTES. 103 
 
 To all thefe different mannerS) there are fome general rules 
 that muft never be negleded; firft, that the fame colour,, 
 which makes the largeft mafs, be diffufed and appear to re- 
 vive in different parts of the pidure, for a fingle colour will 
 make a fpot or blot : Even the difperfed fiefli colour, which 
 the faces and hands make, require their principal mafs, which 
 is heft produced by a naked figure ; but where the fubjedl will 
 not allow of this-, a drapery approaching to flefh- colour will 
 anfwer the purpofe ^ as in the Transfiguration, where a wo- 
 man is clothed in drapery of this colour,, which makes a prin- 
 cipal to all the heads and hands of the pidlure ; and, for the. 
 fake of harmony, the colours,, however diftinguillied in their 
 light,, fhould be nearly the fame in their fliadows, of a 
 
 ■ ** fimple unity of fhade, 
 
 ** As all were from one fingle pallette fpread." 
 And to give the utmofl force, ftrength, and folidity to your^ 
 work, fome part of the pidlure fliould be as light and fome; 
 ?.s dark as poiible 5, thefe two extremes are then to be harmo- 
 nifed and reconciled to each other. 
 
 Inflances, where both of them are ufed, may be obferved^ 
 in two-pidures of Rubens, which are equally eminent for the 
 force and brilliancy of their effed ; one is in the cabinet of 
 the Duke of Rutland, and the other in the chapel of Rubens 
 at Antwerp, which ferves as his monument; In both thefe 
 pidlures he has introduced a female figure drefied in black fatin,. 
 the fhadows of which are as dark as pure black, oppofed to the 
 contrary extreme of brightnefs, can make them. 
 
 If to thefe different manners we add one mare, that in 
 which a filver-grey or pearly tint is predominant, I believe 
 every kind of harmony that can be produced by colours will 
 be comprehended. One of the greateft examples in this mode 
 is the famous marriage at Cana,, in St. George's Church at 
 
 Venice.; 
 
104 NOTES. 
 
 Venice, where the fky, which makes a very confiderable part 
 of the pidure, is of the hghteft blue colour, and the clouds 
 perfedly white, the reft of the picture is in the fame key, 
 wrought from this high pitch. We fee likewife many pic- 
 tures of Guido in this tint; and indeed thofe that are fo, are 
 in his beft manner. Female figures, angels and children, 
 were thefubjedts in which Guido more particularly fucceededj 
 and to fuch, the cleannefs and neatnefs of this tint perfedlly 
 correfponds, and contributes not a little to that exquifite beauty 
 and delicacy which fo much diftinguifhes his works. To fee 
 this ftile in perfection, we muft again have recourfe to the 
 Dutch fchool, particularly to the works of the younger 
 Vandevelde, and the younger Teniers, wbofe pidlures are 
 valued by the connoilTeurs in proportion as they polTefs this 
 excellence of a filver tint. Which of thefe different ftiles 
 ought to be preferred, fo as to meet every man's idea, would 
 be difficult to determine, from the predilection which every 
 man has to that mode, which is pradifed by the fchool in 
 which he has been educated ; but if any pre- eminence is to be 
 given, it muft be to that manner which ftands in the higheft 
 eftimation with mankind in general, and that is the Venetian, 
 or rather the manner of Titian^ which, fimply confidered as 
 producing an effedt of colours, will certainly eclipfe, with its 
 fplendor, whatever is brought into competition with it : But, 
 as I hinted before, if female delicacy and beauty be the prin- 
 cipal objed , of the Painter's aim, the purity and clearnels of 
 the tint of Guido will correfpond better, and more contribute 
 to produce it than even the glowing tint of Titian. 
 
 The rarity of excellence in any of thefe ftiles of colouring 
 fufficiently fhews the difficulty of Succeeding in them : It may 
 be worth the Artift's attention, while he is in this purfuit, 
 particularly Jo guard againft thofe errors which feem to be 
 
 annexed 
 
NOTES. 165 
 
 annexed to or thinly divided from their neighbouring excel- 
 lence ; thus, when he is endeavouring to acquire the Roman 
 ftile, without great care, he falls into a hard and dry manner. 
 The flowery colouring is nearly allied to the gaudy effed of 
 fan-painting. The fimpliclty of the Bolognian flile requires 
 the niceft hand to preferve it from infipidity. That of Titian, 
 which may be called the Golden Manner, when unfkilfully 
 managed, becomes what the Painters call Foxy; and the filver 
 degenerates into the leaden and heavy manner. All of them, 
 to be perfed; in their way, will not bear any union with each 
 other ; if they are not diftin^^ly feparated, the efFedt of the 
 pidure will be feeble and infipid, without any mark or diftin- 
 guiflied charader. - R, 
 
 NOTE XLIV. Verse 538. 
 On that htgh'finifld d form let pamt hejiow 
 Her midnight'jhadoWi her meridian gloiv. 
 It is indeed a rule adopted by many Painters to admit in no 
 part of the back-ground, or on any objed: in the pidure, flia- 
 dows of equal ftrength with thofe which are employed on the 
 principal figure; but this produces afalfe reprefentation. With 
 deference to our Author, to have the flrong light and fhadow 
 there alone, is not to produce the befl natural efFed: ; nor is 
 it authorifed by the pradice of thofe Painters who are mofl: 
 diftinguifhed for harmony of colouring : A condud:, there- 
 fore, totally contrary to this is abfolutely neceffary, that the 
 fame ftrength, the fame tone of colour, fhould be diffufed over 
 the whole pidure. 
 
 I am no enemy to dark fliadows ; the general deficiency to 
 be obferved in the works of the Painters of the lafi: age, as 
 well as indeed of many of the prefent, is a feeblenefs of efFed; 
 they feem to be too much afraid of thofe midnight fhadows, 
 
 O which 
 
io6 NOTES. 
 
 which alone give the power of nature, and without which a 
 pidture will indeed appear like one wholly wanting folidity 
 and flrength. The lighleft and gayeft ilile requires this foii 
 to give it force and brilliancy. 
 
 There is another fault prevalent in the more modern Pain- 
 ters, which is the predominance of a grey leaden colour over 
 the whole picture ; this is more particularly to be remarked 
 when their works hang in the fame room with pidures well 
 and powerfully coloured. Thefe two deficiencies, the want 
 of flrength, and the want of mellownefs or Warmth, is often 
 imputed to the want of materials, as if we had not fuch good 
 colours as thofe Painters whofe works we fo much admire^ 
 
 R. 
 
 NOTE XLV. Verse 579. 
 
 Know he that well begins has half, atchievd 
 
 His dejiind work " 
 
 Thofe Mafters are the beft models to begin with who have 
 the feweft faults, and who are the moll: regular in the condudt 
 of their work. The firft ftudies ought rather to be made on 
 their performances than on the produdions of the excentric 
 Genius : Where ftriking beauties are mixed with great defe(5ts, 
 the fludent will be in danger of miflaking blemifhes for 
 beauties, and perhaps the beauties may be fuch as he is not 
 advanced enough to attempt. j^^ 
 
 NOTE XLVI. Verse 584. 
 ■ his erroneous lines 
 
 Will to the foul that poifon rank convey , 
 Which life's bejl length fiall fail to purge away. 
 Tafle will be unavoidably regulated by what is continually 
 before the eyes. It were therefore well if young fludents 
 eould be debarred the fight of any works that were not free 
 
 from 
 
N O T E S. 107 
 
 from grofs faults till they had well formed, and, as I may 
 fay, hardened their judgment : they might then be permitted 
 to look about them, not only without fear of vitiating their 
 tafte, but even with advantage, and would often find great 
 ingenuity and extraordinary invention in works which are 
 under the influence of a bad tafte. R» 
 
 NOTE XLVII. Verse 601. 
 As furdy charms that voluntary Jiile, 
 Which carelefs plays and feems to mock at toiL 
 This appearance of eafe and facility maybe called the Grace 
 or Genius of the mechanical or executive part of the art. 
 . There is undoubtedly fomething fafcinating in feeing that 
 done with carelefs eafe, which others do with laborious diffi- 
 culty : the fpedator unavoidably, by a kind of natural inftina, 
 feels that general animation with which the hand af the Artift 
 feems to be infpired. 
 
 Of all Painters Rubens appears to claim the firft rank for 
 facility both in the invention and in the execution of his 
 work ; it makes fo great a part of his excellence, that take it 
 away,' and half at le aft of his reputation will go with it. R. 
 
 NOTE XLVIII. Verse 617. 
 "The eye each obvious error fwift dejcries. 
 Bold then the compafs only in the eyes. 
 A Painter who relies on his compafs, leans on a prop which 
 wiU not fupport him : there are few parts ^f his figures but 
 what are fore-fhortened more or lefs, and cannot, therefore, 
 be drawn or correded by meafures. Though he begins his 
 ftudies with the compafe in his hand as we learn a dead lan- 
 guage by Grammar, yet, after, a certain time, they are both 
 flung afide, and in their place a kind of mechanical corrednefs 
 
 O 2 of 
 
io8 NOTES. 
 
 of the eye and ear is fubfdtuted, which operates without any 
 confcious effort of the mind. 
 
 NOTE XLIX. Verse 620. 
 Give to the diSlates of the learn d refpedl. 
 There are few fpedators. of a Painter's work, learned or 
 unlearned, who, if they can be induced to fpeak their real 
 fenfations, would not be profitable to the Artifl. The only 
 opinions of which no ufe can' be made, are thofe of half- 
 learned connoiiTeurs, who have quitted Nature and have not 
 acquired Art. That fame fagacity which makes a man excel 
 m his profeffion muft affift him in the proper ufe to be made 
 of the judgment of the learned, and the opinions of the vulgar 
 Of many things the vulgar are as competent judp-es as the 
 mofl learned connoilfeur, of the portrait, for inflance, of an 
 animal; or, perhaps, of the truth of the reprefentations of 
 fome vulgar paffions. 
 
 It muft be expected that the untaught vulgar will carry 
 with them the fame want of right tafte in the judgment they 
 make of the effea or charader in a pidure as they do in 
 life, and prefer a ilrutting figure and gaudy colours to the 
 grandeur of fimplicity, but if this fame vulgar, or even an 
 infant, miftook for dirt what was intended to be a fhade it 
 may be apprehended the lhadow was not the true colour of 
 nature, with almoil as much certainty as if the obfervatioa 
 had been made by the moft able connoiffeur. r 
 
 NOTE L. Verse 703. 
 Know that ere perfe^ tafie matures the mind. 
 Or perfea pradice to that tajie be join'd 
 However admirable his tafle may be, he is but half a Parnter 
 who can only conceive his fubjedl, and is without knoJedge 
 
 of 
 
NOTE S. 109 
 
 of the mechanical part of his art ; as on the other fide his 
 {kill may be faid to be thrown away, who has employed his 
 colours on fubjeds that create no intereft from their beauty, 
 their character, or exprellion. One part often abforbs the whole 
 mind to the negled: of the reft; the young ftudents, whilft at 
 Rome, ftudying the works of Michael Angelo and Raftaelle, 
 are apt to lofe all relifti for any kind of excellence, except 
 what is found in their works : Perhaps going afterwards to 
 Venice they may be induced to think there are other things 
 required, and that nothing but the moft fuperlative excellence 
 in defign,,, character, and dignity of ftile, can atone for a de- 
 ficiency in the ornamental graces of the art. Excellence muft 
 of courfe be rare; and one of the caufes of its rarity, is the 
 necefilty of uniting qualities which in their nature are contrary 
 to each other; and yet no approaches can be made towards 
 perfedlion without it. Every art or profefiion requires this 
 union of contrary qualities, like the harmony of colouring, 
 which is produced by an oppofition of hot and cold hues. 
 The Poet and the Painter muft unite to the warmth that ac- 
 companies a poetical imagination, patience and perfeverance ; 
 the one in counting fyllables and toiling for a rhyme, and the 
 other in labouring the minute parts and finilliing the detail of 
 his works, in order to produce the great efted: he defires : 
 They muft both poftefs a comprehenfive mind that takes in 
 the whole at one view, and at the fame time an accuracy of 
 eye or mind that diftinguilhes between two thiing's that, to an 
 ordinary fpedator, appear the fame, whether this confifts in 
 tints or words, or the nice difcrimiaation on which expreffioa 
 and elegance depends » R. 
 
 O 3 
 
 NOTE 
 
no NOTES. 
 
 -^N O T E LI. Verse 715. 
 While free from prejudice your aSiive eye 
 Preferves its fir ft unfullied purity. 
 
 Prejudice is generally ufed in a ba:d fenfe, to imply a pre- 
 diledion, not founded on reafon or nature, in favour of a 
 particular mafter, or a particular manner, and therefore to be 
 oppofed with all our force; but totally to eradicate in advanced 
 age v^^hat has fo much affifted us in our youth, is a point to 
 which we cannot hope to arrive the difficulty of conquering 
 this prejudice is to be confidered in the number of thofe caufes 
 ■which makes excellence fo very rare. 
 
 Whoever would make a rapid progrefs in any art or fcience, 
 muft begin by having great confidence in, and even prejudice 
 ^in favour of, his inftrudor ; but to continue to think him 
 infallible, would be continuing for ever in a ftate of infancy. 
 
 It is impoffible to draw a line when the Artift fhall beo-in 
 to dare to examine and criticife the works of his Mafler, or 
 of the greatefl mailer- pieces of artj we can only fay, that it 
 will be gradual. In proportion as the Scholar learns to analyfe 
 the excellence of the Mafters he efteems.; in proportion as he 
 comes exablly to diHinguilh in what that excellence con fifls, 
 and refer it to fome precife rule and fixed flandard, in that 
 proportion he becomes free. When he has once laid hold of 
 their /r/W///^', he will fee when they deviate from it, or fail 
 to come up to it; fo that it is in reality through his extreme 
 admiration of, and blind deference to, thefe Maflers, (without 
 which he never would have employed an intenfe application 
 to difcover the rule and fcheme of their work) that he is 
 enabled, if I may ufe the expreffion, to emancipate himfelf, 
 even to get above them, and to become the judge of thofe of 
 whom he was at firfl the humble difciple. R. 
 
 NOTE 
 
NOTES. Ill 
 
 NOTE LII. Verse 72I0 
 When duly taught each geometric rule. 
 Approach with awful Jiep the Grecian fcJoooL 
 The firft bufinefs of the ftudent is- to be able to give a true 
 reprefentation of whatever objedt prefents itfelf, juft as it ap- 
 pears to the eye, fo as to amount to a deception, and the geo- 
 metric rules of perfpedive are included in this ftudy; this is 
 the language of the art, which appears the more necelTary to 
 be taught early, from the natural repugnance which the mind 
 has to fuch mechanical labour after, it. has acquired a relilh fon 
 its higher departments. . 
 
 The next ftep is to acquire a knov/ledge of the beauty of 
 Form^ for this purppfe he is. recommended to thefludy of the 
 Grecian Sculpture; and for compofition, colouring,, and expref- 
 fion to the great works at Rome, Venice, Parma, and Bo~ 
 loo-na • he begins nov/ to look for thofe excellencies which 
 addrefs themfelves, to the imagination, and confidcrs deception 
 as a fcaffolding to be now thrown afide, as of no importance 
 to.thia. finifhed idea of the art. . R._ 
 
 N O T E LIII. Verse 725. 
 JVb reji, no paufe, till all her graces known^. 
 A happy habit makes each grace your- own. 
 To acquire this excellence, fomething more is required 
 than meafuring ilatues or copying pidures. 
 
 I am confident the works of the antient fculptors were pro^ 
 duced, not by meafuring, but in confequence of that correal- 
 nefs of eye which they had -acquired by long habit, which 
 ferved them at all times, and on all occafions, when the com- 
 pafs would fail : There is no reafon why the eye Ihould not 
 be capable of acquiring equal precifion and exadnefs with the 
 organs of hearing or fpeaking. We know that an infant, 
 
 who 
 
112 NOTES. 
 
 who has learned its language by habit, will fometimes correal 
 the moft learned grammarian who has been taught by rule 
 only : The idiom, which is the peculiarity of language, and 
 that in which its native grace is feated, can be learned by 
 habit alone. 
 
 To poffefs this perfevfl habit, the fame condud is neceffary 
 in art as in language, that it (hould be begun early, whilfl the 
 organs are pliable and impreffions are eafily taken, and that we 
 fliould accuftom ourfelves, whilft this habit is forming, to fee 
 iDeauty only, and avoid as much as polTible deformity or what 
 is incorrect : Whatever is got this way may be faid to be pro- 
 perly made your own, it becomes a part of yourfelf, and 
 operates unperceived. The mind acquires by fuch exercife a 
 kind of inftindive reditude which fttperfedes all rules, R. 
 
 "NOTE LIV. Verse 733. 
 See Raphael there his forms celefiial trace, 
 Unrivaird Jove reign of the realms of grace. 
 The pre-eminence which Frefnoy has given to thofe three 
 great Painters, Raffaelle, Michael Angelo, and Julio Romano, 
 fufficiently points out to us what ought to be the chief objed 
 of our purfuit. Tho' two of them were either totally ignorant 
 or never pradifed any of thofe graces of the art which proceed 
 from the management of colours or the difpofition of light 
 and fhadow; and the other (RafFaelle) was far from being 
 eminently fkilful in thefe particulars, yet they alljuflly deferve 
 that high rank in which Frefnoy has placed them; Michael 
 Angelo, for the grandeur and fublimity of his charaders, as 
 well as for his profound knowledge of defign ; RafFaelle, for 
 the judicious arrangement of his materials, for the grace, the 
 dignity, and expreffion of his charaders; and Julio Romano, 
 for pofTeffing the true poetical genius of painting, perhaps, 
 to a higher degree than any other Painter whatever. 
 
 In 
 
NOTES. 113 
 
 In heroic fubjeds it will not, I hope, appear too great re- 
 finement of criticifm to fay, that the want of naturalnefs or 
 deception of the art, which give to an inferior llile its whole 
 value, is no material difadvantage : The Hours, for inftance, 
 as reprefented by Julio Romano, giving provender to the horfes 
 of the Sun, 'would not ftrike the imagination more forcibly 
 from their being coloured with the pencil of Rubens, tho' he 
 would have reprefented them more naturally j but might he 
 not pofiibly, by that very adl, have brought them down from 
 their celeftial flate to the rank of mere terreflrial animals ? In 
 thefe things, however, I admit there will always be a degree of 
 uncertainty : Who knows that Julio Romano, if he had pof- 
 feffed the art and pradtice of colouring like Rubens, would not 
 have given to it fome tafte of poetical grandeur not yet attained 
 to? 
 
 The fame familiar naturalnefs would be equally an imper- 
 fedion in charaders which are to be reprefented as demi-gods, 
 or fomething above humanity. 
 
 Tho' it would be far from an addition to the merit of thofe 
 two great Painters to have made their works deceptions, yet 
 there can be no reafon why they might not, in fome degree, 
 and with a judicious caution and feledion, have availed them- 
 felves of many excellencies which are found in the Venetian, 
 Flemifh, and even Dutch fchools, and which have been in- 
 culcated in this Poem. There are fome of them which are 
 not in abfolute contradiction to any ftile : The happy difpofition, 
 for inilance, of light and lhadej the prefervation of breadth 
 in the maffes of colours j the union of thefe with their ground; 
 and the harmony arifing from a due mixture of hot and cold 
 hues, with many other excellencies, not infeparably connect- 
 ed with that individuality which produces deception, would 
 furely not counteract the effea: of the grand ilile ; they would 
 
 only 
 
114 NOTES. 
 
 only contribute to the eafe of the fpev!l:ator, by making the 
 vehicle plealing by which ideas are conveyed to the mind, 
 which otherwife might be perplexed and bewildered with a 
 confufed aflbmblage of objeds ; it would add a certain degree 
 of grace and fweetnefs to flrength and grandeur. Tho' the 
 excellencies of thofe two great Painters are of fuch tranfcen- 
 dency as to make us overlook their deficiency, yet a fubdiied 
 attention to thefe inferior excellencies muft be added to com- 
 plete the idea of a perfed: Painter. 
 
 Deception, which is fo often recommended by writers on 
 the theory of painting, inftead of advancing the art, is in 
 reality carrying it back to its infant ftate : the firfl: effays of 
 Painting were certainly nothing but mere imitation of indi- 
 vidual objeds, and when this amounted to a deception, the 
 artift had accomplillied his purpofe. 
 
 And here I muft obferve, that the arts of Painting and 
 Poetry feem to have no kind of refemblanee in their early 
 ftages : The iirft, or, at leaft, the fecond ftage of Poetry in every 
 nation is the fartheft removed poffible from common life : 
 Every thing is of the marvellous kind; it treats only of heroes, 
 wars, ghofts, inchantments, and transformations. The Poet 
 could not exped to feize and captivate the attention, if he 
 related only common occurrences, fuch as every day produced ^ 
 whereas the Painter exhibited what then appeared a great effort 
 of art, by merely giving the appearance of relief to a flat fuper- 
 ficies, however uninterefting in itfelf that objed: might be; 
 but this foon fatiating, the fame entertainment was required 
 from Painting which had been experienced in Poetry. The 
 mind and imagination were to be fatisfied, and required to be 
 amufcd and delighted as well as the eye; and when the art 
 proceeded to a ftill higher degree of excellence, it was then 
 found that this deception not only did not affift, but even in 
 
 a 
 
NOTES. ii^ 
 
 a certain degree countei-aded the flight of imagination 5 hence 
 proceeded the Roman fchool, and it is from hence that Raf- 
 faelle, Michael Angelo, and Julio Romano ftand in that pre- 
 heminence of rank in which Frefnoy has juftly placed them. 
 
 R. 
 
 NOTE LV. Verse 747. 
 Bright y beyond ail the reft, Correggio Jiings 
 His ample lights^ and round them gently brings 
 
 T^he mingling ftjade. 
 
 The excellency of Correggio's manner has juftly been ad- 
 mired by all fucceeding Painters. This manner is in dired 
 oppofition to what is called the dry and hard manner which 
 preceded him. 
 
 His colour, and his mode of finifhing, approach nearer to 
 perfeaion than thofe of any other Painter; the gliding motion 
 of his outline, and the fweetnefs with which it melts into 
 the ground ; the cleannefs and tranfparency of his colouring, 
 which flop at that exad medium in which the purity and 
 perfeaion of tafte lies, leave nothing to be widied for. Ba- 
 rochio, tho', upon the whole, one of his mod fuccefsful imi- 
 tators, yet fometimes, in endeavouring at cleannefs or bril- 
 liancy of tint, overfhot the mark, and falls under the criticifm 
 that was made on an antient Painter, that his figures looked 
 as if they fed upon rofes. R. 
 
 NOTE LVI. Verse 767. 
 Tet more than thefe to meditations eyes. 
 Great 'Natures felf redundantly fuppUes. 
 Frefnoy, with great propriety, begins and finifhes his Poem 
 with recommending the ftudy of Nature. 
 
 This is in reality the beginning and the end of Theory: 
 It is in Nature only we can find that Beauty which is ;hc 
 
 P 2 gi'eat 
 
ii6 NOTES. 
 
 great obje<5l of our fearch, it can be found no where elfe; we 
 can no more form any idea of Beauty fuperior to Nature than 
 we can form an idea of a fixth fenfe, or any other excellence 
 out of the limits of the human mind; we are forced to con- 
 fine our conception even of heaven itfelf and its inhabitants 
 to what we fee in this world ; even the Supreme Being, if he 
 is reprefented at all, the Painter has no other way of reprefent- 
 ing than by reverfing the decree of the infpired Lawgiver, and 
 making God after his own image. 
 
 Nothing can ht fo unphilofophical as a.fuppofition that we 
 can form any idea of beauty or excellence out of or beyond 
 Nature, which is and muft he the fountain-head from whence 
 all our ideas muft be derived. 
 
 This being acknowleged,. it m-uft follow, of courfe, that 
 all the rules which this theory, or any other, teaches, can be 
 no more than teaching the art of feeing nature. The rules of 
 Art are formed on the various works of thofe who have ftudied 
 Nature the moft fuccefsfully : by this advantage of obferving 
 the various manners in which various minds have contem- 
 plated her works, the artifl enlarges his, own views, and is 
 taught to look for and fee what would otherwife have efcaped 
 his obfervation. 
 
 It is to be remarked, that there are two modes of imitating 
 nature; one of which refers to the fenfations of the mind for 
 its truth, and the other to the eye. 
 
 Some fchools, fuch as the Roman and Florentine, appear 
 to have addreffed themfelves principally to the mind; others 
 folely to the eye, fuch as the Venetian in the inftances of 
 Paul Veronefe and Tintoret : others again have endeavoured 
 to unite both, by joining the elegance and grace of ornament 
 with the flrength and vigour of defign ; fuch are the fchools 
 of Bologna and Parma. 
 
 All 
 
N O T E S. 117 
 
 All thofe fchools are equally to be confidered as followers, 
 of Nature : He who produces a work, analogous to the mind 
 or imagination of man, is as natural a Painter as he whofe 
 works are calculated to delight the eye ; the works of Mi- 
 chael Angelo or Julio Romano, in this fenfe, may be faid to 
 be as natural as thofe of the Dutch Painters. The ftudy, 
 therefore, of the nature or affedions of the mind is as necef- 
 fary to the theory of ' the higher department of art, as the 
 knowledge of whatwili be pleafing or ofFenfive to the eye, is 
 to the lower flile. 
 
 What relates to the mind or imagination, fuch as Invention, 
 Gharadlerj Expreffion, Grace, or Grandeur, certainly cannot 
 be taught by rules ; little more can be done than pointing out 
 where they are to be found : it is a part which belongs to ge- 
 neral education, and will operate in proportion to the culti- 
 vation of the mind of the Artift; . 
 
 The sjreater part of the rules in this Foem are, therefore, 
 neceffirily confined to what relates to the eye; and it may be 
 remarked, that :none of thofe rules make any pretenfions to- 
 wards improving Nature, or going contrary to her work; 
 their tendency is merely to fiiew what is truly Nature. 
 
 Thus, for inftance, a flowing outline is recommended, be- 
 eaufe Beauty (which alone is Nature) cannot be produced 
 without it ; old age or leannefs produces (Irait lines ; corpu- 
 lency round lines ; but in a ftate of health, accompanying 
 youth, the outlines are waving, flowing, and ferpentine : Thus 
 ao-ain if we are told to avoid the chalk, the brick, or the 
 leaden colour, it is becaufe real flefli never partakes of thofe 
 hues, tho' ill-coloured pictures are always inclinable to one 
 or other of thofe defeds. 
 
 Rules are to be confidered likewife as fences placed only 
 where trefpafs is expeded ; and are particularly enforced in 
 
 P 3 proportion . 
 
ii8 NOTES. 
 
 proportion as peculiar faults or defcds are prevalent at the 
 time, or age, in which they are delivered ; for what may be 
 proper flrongly to recommend or enforce in one age, may not 
 with equal propriety be fo much laboured in another, when it 
 may be the failiion for Artifls to run into the contrary ex- 
 treme, proceeding from prejudice to a manner adopted by fome 
 favourite Painter then in vogue. 
 
 When it is recommended to preferve a breadth of colour or 
 of light, it is not intended that the Artill: is to work broader 
 than Nature; but this leffon is infifled on becaufe we know, 
 from experience, that the contrary is a fault which Artifcs are 
 apt to be guilty of; who, when they are examining and finifli- 
 ing the detail, negledt or forget that breadth which is obfer- 
 vable only when the eye takes in the effed of the whole. 
 
 Thus again, we recommend to paint foft and tender, to 
 make a harmony and union of colouring ; and, for this end, 
 that all the fliadows {hall be nearly of the fame colour. The 
 reafon of thefe precepts being at all enforced, proceeds from 
 the difpofition which Artifls have to paint harder than Nature, 
 to make the outline more cutting againft the ground, and to 
 have lefs harmony and union than is found in Nature, prefer- 
 ving the fame brightnefs of colour in the (hadows as are feen 
 in the lights : both thefe falfe manners of reprefenting Nature 
 were the pradice of the Painters when the art was in its in- 
 fancy, and would be the pradice now of every ftudent who 
 was left to himfelf, and had never been taught the art of 
 feeing Nature. 
 
 There are other rules which may be faid not fo much to 
 relate to the objeds reprefented as to the eye; but the truth 
 of thefe are as much fixed in Nature as the others, and pro- 
 ceed from the neceffity there is that the work (liould be feen 
 v/ith eafe and fatisfadtion ; to this end are, all the rules that 
 relate to grouping and the difpofition of light and fliade. 
 
 With 
 
NOTES. 119 
 
 With regard to precepts about moderation, and avoiding ex- 
 tremes, little is to be drawn from them : The rule would be 
 too minute that had any exadnefs at all : a multiplicity of ex-r 
 ceptions would arife, fo that the teacher would be for ever 
 faying too much, and yet never enough : When a ftudent is 
 intruded to mark with precifion every part of his figure, 
 whether it be naked, or in drapery, he probably becomes 
 hard; if, on the contrary,, he is told to paint the moft tenderly, 
 poffibly he becomes infipid. But among extremes fome are 
 more tolerable than others ; of the two extremes I have jufl; 
 mentioned, the hard manner is the moH: pardonable, as it 
 carries with it an air of learning, as if the Artift knew with 
 precifion the true form of Nature,, though he had rendered it 
 with too heavy a hand. 
 
 In every part of the human figure, when not fpoiled by too 
 great corpulency, will be found this diftinclnefs, the parts 
 never appearing uncertain or confufed, or, as a Mufician 
 would fay, fiurred and all thefe fmaller parts which are com- 
 prehended in the larger compartment are ftiil to be there, 
 however tenderly marked.. 
 
 To conclude. In all minute, detailed, and pradical excel- 
 lence, general precepts mufi: be either deficient or unnecefiary : 
 For the rule is not known, nor is it indeed to any purpofe a 
 rule, if it be necelTary to inculcate it. on every occafion. R . 
 
 NOTE LVII. Verse 772. 
 Whence Art, by PraSiice, to FerfeBion fours. 
 After this the Poet fays, that he pafTes over in filence many 
 things which will be more amply treated in his Commentary. 
 
 Multa fuperfileo quas Commentaria dicent." 
 But as he never lived to write that Commentary, his tranflator 
 has taken the liberty to pafs over this line in filence alfo. 
 
 M. 
 
 NOTE 
 
120 NOTES. 
 
 N O T E LVIII. Verse 775. 
 What time the Pride of Bourbon urgd his way,.^c. 
 
 Du Piles, and after him Dryden, call this Hero Louis XIIL 
 but the later French Editor, whom I have before quoted, 
 will needs have him to be the XlVth. His note is as follows : 
 
 At the acceffion of Louis XIV. Du Frefnoy had been ten, 
 years at Rome, therefore the epoch, marked by the Poet, 
 falls probably upon the firfl: years of that Prince; that is to 
 fay, upon the years 1643 or 1644. The thunders which he 
 darts on the Alps, allude to the fucceffes of our arms in the 
 Milanefe, and in Piedmont; and the Alcides, who is born again 
 in France for the defence of his country, is the conqueror of 
 Pvocroy, the young Duke of Anguien, afterwards called Le 
 Grand Conde." I am apt to fufped that all this fine criticifm 
 is falfe, though I do not think it worth while to controvert it. 
 Whether the Poet meant to compliment Louis XIIL or the 
 little boy that fucceeded him, (for he was only fix years old in 
 the year 1644) he was guil ty of grofs flattery. It is impoffible, 
 however, from the conftrudion of the fentence, that Lodovicus 
 Borbonidum Decus, & Gallicus Alcides, could mean any -more 
 than one identical perfon; and confequently.the Editor's notion 
 concerning the Grand Conde is indifputably falfe. I have, 
 therefore, taken the whole palTage in the fame fenfe that 
 Du Piles did; and have alfo, like him, ufed the Poet's phrafe 
 of the Spai^i/Jj Lion in the concluding line, rather than that 
 of the Spanifli Geryon, to which Mr. Dryden has trans- 
 formed him: His reafon, I fuppofe^ for doing this was, that 
 the monfter Geryon was of Spanifh extradion, and the Ne- 
 raean Lion, which Hercules killed, was of Peloponnefus ; but 
 we are told by Martial*, that there was a fountain in Spain 
 called Nemea, which, perhaps, led Frefnoy aftray in this 
 
 * Avidam rigens Dircenna placabit fuim P^flage. 
 Et Nemea qus vincit nives. M.m. lib. i. Epig. 50. de Hi/p. loc. 
 
NOTES. 121 
 
 pafTage. However this be, Hercules killed To many lions, 
 befides that which conftituted the firft of his twelve labours, 
 that either he, or at leaft fome one of his numerous namefakes, 
 may well be fuppofed to have killed one in Spain. Geryon is 
 defcribed by all the poets as a man with three heads, and 
 therefore could not well have been called a Lion by Frefnoy; 
 neither does the plural Ot a mean any more than the Jaws of a 
 fingle beaft. So Lucan, lib. iv. ver. 739. 
 
 Quippe ubi non Sonipes motus clangore tubarum 
 Saxa quatit pulfu, rigidos vexantia fraenos 
 Ora terens 
 
 NOTE LIX. Verse 7S5. 
 But mark the Proteus Policy of State, 
 If this tranflation ihould live as many years as the original 
 has done already, which, by its being printed with that ori- 
 ginal, and illuftrated by fuch a Commentator, is a thing not 
 ' impoffible, it may not be amifs, in order to prevent an hal- 
 lucination of fome future critic, fimilar to that of the French 
 Editor mentioned in the laft note, to conclude with a memo- 
 randum that the tranflation was finiflied, and thefe occafional 
 verfes added, in the year 1781 ; leaving, however, the poli- 
 tical fentiments, which they exprefs, to be approved or con- 
 demned by him, as the annals of the time (written at a period 
 diftant enough for hiftory to become impartial) may determine 
 
 M 
 
 his judgment, 
 
 END OF THE NOTES. 
 
 4. ■ 
 
 The 
 
The Precepts which Sir Joshua Reynolds has 
 Illuftrated are marked in the following Table with 
 one or more Afterifks, according to the Number of 
 his Notes. 
 
 A 
 
A 
 
 TABLE 
 
 OP THE 
 
 RULES 
 
 Contained in the foregoing 
 
 P O E M. 
 
 I. F the Beautiful * * * Page ^ 
 
 ir. V^' Of Theory and Pradice * * ^ 
 
 III. OftheSubjed* ^ 
 
 Invention, the firft part of Painting * * - g 
 
 IV. Difpofition, or oeconomy of the whole — lo 
 
 V. The Subjed: to be treated faithfully * — lo 
 
 VI. Every foreign Ornament to be rejeded * * * j j 
 
 VII. Design, or Position, thefecondpartof Painting* * i-^ 
 
 VIII. Variety in the Figures — . j ^ 
 
 IX. Conformity of the Limbs and Drapery to the Head * i ^ 
 
 X. Adion of Mutes to be imitated * . 
 
 XI. The Principal Figure * ■ i5 
 
 XII. Groups of Figures — — . j5 
 
 XIIL Diverfity of Attitude in Groups * — 
 
 XIV. A Balance to be kept in the Pidure . 
 
 XV. Of the Number of Figures * * ,g 
 
 XVI. The Joints and Feet . jg 
 
 XVII. The Motion of the Hands with the Head 19 
 
 XVIII. What Things are to be avoided in the Diftribu- 
 tion of the Piece - , 20 
 
 0^2 XIX. Nature 
 
22 
 
 124 T A B L E OF THE R U L 
 
 XIX. Nature to be accommodated to Genius * 
 
 XX. The Antique the Model to be copied — 
 
 XXI. How to paint a fmgle Figure * 
 
 XXII. Of Drapery * — ^3 
 
 XXIII. Of piaurefque Ornament 25 
 
 XXIV. Ornament of Gold and Jewels * 25 
 
 XXV. Of the Model 25 
 
 XXVI. Union of the Piece ' 25 
 
 XXVII. Grace and Majefty * — 25 
 
 XXVIII. Every Thing in its proper Place 26 
 
 XXIX. The Paffions * •— ~ 26 
 
 XXX. Gothic Ornament to be avoided — ~ 27 
 
 Colouring, the third part of Painting * ' 2g 
 
 XXXI. The Condua of the Tints of Light and Shadow 3r 
 
 XXXII. Denfe and opake Bodies with tranflucent ones 34 
 
 XXXIII. There muft not be two equal Lights in the 
 
 Piaure * * * ■ 35 
 
 XXXIV. Of White and Black 37 
 
 XXXV. The Refleaion of Colours ■ 37 
 
 XXXVI. The Union of Colours * 3^ 
 
 XXXVII. Of the Interpofition of Air — 39 
 
 XXXVIII. The Relation of Diftances — — — - 39 
 
 XXXIX. Of Bodies which are diftanced — — • 40 
 
 XL. Of contiguous and feparated Bodies — 4° 
 
 XLI. Colours very oppofite to each other never to be 
 
 joined — — ^ " 4*^ 
 
 XLII. Diverfity of Tints and Colours ■ 4 
 
 XLIII. The Choice of Light — 4 
 
 XLIV. Of certain Things relating to the praaical Part 4: 
 
 XLV. The Field of the Piaure * — ~ 4: 
 
 XLVI. Of the Vivacity of Colours * — 4: 
 
 XLVII. Of Shadows 4 
 
 XLVIII. Th 
 
 / 
 
TABLE OF THE RULES. 125 
 
 XLVin. The Piaure to be of one Piece Page 43 
 
 XLIX. The Looking-glafs the Painter's beft Mafter 44 
 L. An half Figure, or a whole one before others * — 44 
 
 LL A Portrait ■ ' " 
 
 LIL The Place of the Pidure — — - ' 45 
 
 LIIL Large Lights • • ' 45 
 
 LIV. The Quantity of Light and Shade to be adapted to 
 
 the Place of the Pifture 4^^ 
 
 LV. Things which are difagreeable in Painting to be 
 
 avoided ' ' " 
 
 LVL The prudential Part of a Painter — 47 
 
 LVII. The Idea of a beautiful Pifture — 47 
 
 LVIIL Advice to a young Painter * * — — 4^' 
 
 LIX. Art mua be fubfervient to the Painter 49^ 
 
 LX. Diverfity and Facility are pleafing * 49' 
 
 LXL The Original niuft. be in the Head, and the Copy 
 
 on the Cloth. — ' 5^- 
 
 LXIL The Compafs to be in the Eyes * — — 5^ 
 
 LXIIL Pride, an Enemy te good Painting * 5^ 
 
 LXIV. Know thyfelf ' 
 
 LXV. Perpetually praaife, and do eafily what you have 
 
 conceived 53 
 
 LXVL The Morning moft- proper for Work 53 • 
 
 LXVIL Every Day do fomething. ' 53 
 
 LXVIII. The Method of catching natural Paffions — 53 
 
 LXIX. Of the Table-Book * 54: 
 
 LXX. The Method of Studies for a young Paintt^r ^ * * * 58 
 LXXl. Nature and. Experience perfeft Art * 62 
 
 a3 
 
 APPENDIX, 
 
 / 
 
The following little piece has been conftantly 
 annexed to M. du Fresnoy's Poem. It is here 
 given from the former Editions; but the liberty 
 has been taken of making fome alterations in the 
 Verfion, which, when compared with the Original 
 in French, appeared either to be done very carelelly 
 by Mr. Dryden, or (what is more probable) to be 
 the work of fome inferior hand which he employed 
 on the occallon. - 
 
 THE 
 
THE 
 
 SENTIMENTS 
 
 O F 
 
 CHARLES ALPHONSE DU FRESNOY, 
 
 On the Works of the 
 
 Principal and befl PAINTERS of the two laft Ages. 
 
 R 
 
 THE 
 
THE 
 
 SENTIMENTS 
 
 O F 
 
 CHARLES ALPHONSE DU FRESNOY, 
 
 On the Works of the 
 Principal and befl PAINTERS of the two lafl Ages. 
 
 PAINTING was in its perfedioa amongft the Greeks. 
 The principal fchools were at Sycion, afterwards at 
 Rhodes, at Athens, and at Corinth, and at laft in Rome. 
 Wars and Luxury having overthrown the Roman Empire, it 
 was totally extinguiihed, together with all the noble Arts, 
 the fludies of Humanity, and the other Sciences. 
 
 It began to appear again in the year 1450, amongfl: fomc 
 Painters of Florence, of which Domenico Ghirlandaio 
 was one, who was Mafter to Michael Angelo, and had fome 
 kind of reputation, though his manner was Gothic, and very 
 dry. 
 
 Michael Angelo, his Difciple, flouriflied in the times 
 of Julius II. Leo X. and of feven fuccelTive Popes. He was 
 a Painter, a Sculptor, and an Archited, both civil and mili- 
 tary. The choice which he made of his attitudes was not 
 always beautiful or pleafing ; his gufto of defign was not the 
 fineft, nor his outlines the moft elegant; the folds of his 
 draperies, and the ornaments of his habits, were neither noble 
 nor graceful. He was not a little fantafhical and extravagant 
 in his compofitions ; he was bold, even to raihnefs, in taking 
 
 R 2 libertie§ 
 
132 APPENDIX. 
 
 liberties againft the rules of Perfpedive ; his colouring is not 
 over true, or very pleafant : He knew not the artifice of light 
 and fhadowj but he defigned more learnedly,, and better 
 underAood all the knittings of the bones, and the office and 
 fituation of the mufcles, than any of the modern Painters. 
 There appears a certain air of greatnefs and fcverity in his 
 figures ; in both which he has oftentimes fucceeded. But 
 above the reft of his excellencies, was his wonderful fkill in 
 Architedture, wherein he has not only furpafled all the mo- 
 derns, but even the antients alfo ; the St. Peter's of Rome,, 
 the St. John's of Florence, the Capitol, the Palazzo Farnefe, 
 and his own Houfe, are fufficient teftimonies of it. His dif- 
 ciples were, Marcello Venufti, 11 Roflb, Georgio Vafari, Fra. 
 Baftiano, (who commonly painted for him) and many other 
 Florentines. 
 
 PiETRo Perugino dcfigued with fufficient knowledge of 
 Nature ; but he is dry, and his manner little. His Difciple 
 
 was 
 
 Raphael Santio, who was born on Good-Friday, in the 
 year 1483, and died on Good-Friday, in the year 1520 ; fo 
 that he lived only thirty-feven years compleat. He furpaffied 
 all modern Painters, becaufe he poffefled more of the excel- 
 lent parts of Painting than any other ; and it is believed that 
 he equalled the antients, excepting only that he defigned not 
 naked bodies with fo much learning as Michael Angslo ; but 
 his gufto of defign is purer, and much better. He painted 
 not with fo good, fo full, and fo graceful a manner as Cor- 
 reggioi nor has he any thing of the contraft of light and 
 fhadow, or fo ftrong and free a colouring as Titian ; but he 
 had a better difpofition in his pieces, without comparifon, 
 than either Titian, Correggio, Michael Angelo, or all the reft 
 of the fucceeding Painters to our days. His choice of atti- 
 tudes., . 
 
APPENDIX. 133 
 
 tudes, of heads, of ornaments, the arrangement of his drapery, 
 his manner of defigning, his variety, his contrail, his ex- 
 preffion, were beautiful in perfedtion; but above all, he pof- 
 fefled the Graces in fo advantageous a manner, that he has 
 never lince been equalled by any other. There are portraits 
 (or fingle figures) of his, v^hich are v^ell executed* He was 
 an admirable Architect. He was handfome, v/ell-made, civil 
 and good-natured, never refufmg to teach another what he 
 knew himfelf. He had many fcholars ; amongft others, Julio 
 Romano, Polydore, Gaudenzio, Giovanni d'Udine, and Ali- 
 ehael Coxis. His Graver was Mark Antonio, whofe prints 
 are admirable for the corrednefs of their outlines. 
 
 Julio Romano was the moil, excellent of all Pvaphael's 
 Difciples : He had conceptions which were more extraordinary, 
 more profound, and more elevated than. even his Mafter him- 
 felf ^ he was alfo a great Architect i his guflo was pure and 
 exquifite. He was a great imitator of the antients,. giving a 
 clear teftimony in all his produdions,. that, he was defirous to 
 reftore to pradice the fame forms and fabrics v.?hich were 
 antient. He had the good fortune to find great perfons, who 
 committed to him the care of edifices, veftibuks, and por- 
 ticoes, all tetraftyles, xiftes, theatres, and fuch other places 
 as are not now in ufe. He was wonderful in his choice of 
 attitudes. His manner was drier and harder than any of 
 Raphael's fchool. He did not exadly underhand either light 
 and lhadow, or colouring. He is frequently liarfli and un- 
 graceful; the folds of his draperies are neither beautiful nor 
 great, eafy nor natural, but all of them imaginary, and too 
 like the habits of fantafbical comedians. He was well verfed 
 in polite learning. His Difciples were Pirro Ligorio, (who 
 was^ admirable for antique buildings, as towns, temples, 
 
 R 3 tocnbs». 
 
134 APPENDIX. 
 
 tombs, and trophies, and the lituation of antient edifices) 
 iEneas Vico, Bonafone, Georgio Mantuano, and others. 
 
 PoLYDo-RE, a Dilciple of Raphael, defigned admirably well 
 as to the practical part, having a particular genius for freezes, 
 as we may. fee by thofe of white and black, which he has 
 painted at Rome. He imitated the Antients, but his manner 
 was greater than that of Julio Romano; neverthelefs Julio 
 feems to be the truer. Some admirable groups are feen in his 
 works, and fuch as are not elfewher.e to be found. He coloured 
 very fcidom, and made landfcapes in a tolerably good tafte. 
 
 Gio. Bellino, one of the firil who was of any conlidera- 
 tion at Venice, painted very drily, according to the manner 
 of his time. He was very knowing both in Architedure and 
 Perfpedive. He was Titian's firft Mafter; which may eafily 
 be obferved in the earlier works of that noble Difciple ; in 
 which we may remark that propriety of colours which his 
 Mafter has obferved. 
 
 About this time Georgione, the cotemporary of Titian, 
 came to excel in portraits and alfo in greater works. He firft 
 began to make choice of glowing and agreeable colours ; the 
 perfedion and entire harmony of which were afterwards to be 
 found in Titian's pidures. He dreffed his figures wonderfully 
 well : And it may be truly faid, that but for him, Titian had 
 never arrived to that height of perfedion, which proceeded 
 from the rivalfliip and jealoufy which prevailed between them. 
 
 Titian was one. of the geatefi: colourifts ever known: He 
 defigned with much mere eafe and pradice than Georgione. 
 There are to be feen women and children of his hand, which 
 are admirable both for defign and colourings the gufto of 
 them is delicate, charming, and noble, with a certain pleafing 
 negligence in the head-drefies, draperies, and ornaments, which 
 are wholly peculiar to himfelf. As for the figures .of men, he 
 
 has 
 
APPENDIX. 135 
 
 has defigned them but moderately well : There are even fome 
 of his draperies which are mean, and in a little tafle. His 
 Painting is wonderfully glowing, fweet and delicate. He 
 drew portraits, which were extremely noble; the attitudes of 
 them being very graceful,, grave, diverfified, and adorned after 
 a very becoming fafhion. No man ever painted landfcape in 
 fo great a manner, fo well coloured, and with fuch Truth of 
 Nature. For eight or ten years fpace, he copied, with great 
 labour and exailnefs, ,whatfQever he undertook ; thereby to 
 make himfelf an eafy way, and to eflabliih fome general 
 maxims for his future conduct. Befides the excellent gufto 
 which he had in colouring, in which he excelled all mortal 
 men, he perfedly underftond how to give every thing thofe 
 touches which were mod fuitable and proper to them ; fuch 
 as diftinguifhed thara from each other, and v/hich gave the 
 greateft fpirit, and the mod of truth. The pictures which he 
 made in his beginning, and in the declenfion of his age, are of 
 a dry and mean manner, . He lived ninety-nine years. Plis 
 Difciples were Paulo Veronefe, Giacomo Tintoret, Giacomo 
 da Ponte BafTano, and his fons. 
 
 Paulo Veronese was wonderfully graceful in his airs of 
 women, with great variety of brilliant draperies, and incredible 
 vivacity and eafe; neverthelefs his compofition is fometimes 
 improper, and his defign incorred : but his colouring, and 
 whatfoever depends on it, is fo very charming in his pidures, 
 that it furprizes at the firfl fight, and makes us totally forget 
 thofe other qualities in which he fails. 
 
 Tintoret was the Difciple of Titian ; great; in defign and 
 pradtice, but fometimes alfo greatly extravagant. H ; had 
 an admirable genius for Painting, but not fo great an affection 
 for his art, or patience in the executive part of it, as he had 
 fire and vivacity of Nature. He yet has made pidures not 
 
 inferior/ 
 
136 APPENDIX. 
 
 inferior in beauty to thofe of Titian. His compofition and 
 decorations are for the moft part rude, and his outlines are 
 incorred:; but his colouring, and all that depends upon it, is 
 admirable. 
 
 The Bass ANs had a more mean and poor guflo in Painting 
 than Tintoret, and their defigns were aifo lefs corredt than his. 
 They had indeed an excellent manner of colouring, and have 
 touched all kinds of animals with an admirable hand; but 
 were notorioufly imperfed: in compofition and defign. 
 
 CoRREGGio painted at Parma two large cupola's in frefco, 
 and, fome altar-pieces. This artift ftruck out certain natural 
 and unafFedled graces for his Madonna's, his Saints, and little 
 Children, which were peculiar to himfelf. His manner, de- 
 fign, and execution are all very great, but yet without correcft- 
 nefs. He had a moft free and delightful pencil ; and it is to 
 be acknowledged, that he painted with a flrength^ relief, 
 fweetnefs, and vivacity of colouring, which nothing ever ex- 
 ceeded. He underftood how to diftribute his lights in fuch a 
 manner, as was wholly peculiar to himfelf, which gave a great 
 force and great roundnefs to his figures. This manner con- 
 fifts in extending a large light, and then making it lofe itfelf 
 infenfibly in the dark fhadowings, which he placed out of the 
 maffes; and thofe give them this great relief, without our 
 being able to perceive from whence proceeds fo much effed: 
 and fo vaft a pleafure to the fight. It appears, that in this part 
 the reft of the Lombard School copied him. He had no great 
 choice of graceful attitudes, or diftribution of beautiful groups. 
 His defign oftentimes appears lame, and his pofitions not well 
 chofen : The look of his figures is often unpleafing; but his 
 manner of defigning heads, hands, feet, and other parts, is very 
 great, and -.well deferves our imitation. In the condudl and 
 finiihing of a pidure, he has done wonders; for he painted 
 
 mth 
 
APPENDIX. 137 
 
 with fo much union, that his greateft works fee m to have 
 been finifhed in the compafs of one day ; and appear as if we 
 faw them in a looking-glafs. His landfcape is equally beau- 
 tiful with his figures. 
 
 At the fame time with Correggio, lived and flourifhed 
 PARMEGiANOj who, bcfides his great manner of colouring, 
 excelled alfo both in invention and defign ; with a genius full 
 of delicacy and fpirit, having nothing that was ungraceful in 
 his choice of attitudes, or in the drelTes of his figures, which 
 we cannot fay of Correggio j there are pieces of Parmegiano's, 
 very beautiful and correal. 
 
 Thefe two Painters laft mentioned had very good Difciples, 
 but they are known only to thofe of their own province ; and 
 befides, there is little to be credited of what his countrymen 
 fay, for Painting is wholly extinguifhsd amongft them. 
 
 I fay nothing of Leonardo da Vinci, becaufe I have feen 
 but little of his though he reftored the arts at Milan, and 
 had there many Scholars. 
 
 LuDovico Carrache, the Coufin German of Hannibal 
 and Auguflino, fludied at Parma after Correggio; and excelled 
 in defign and colouring, with a grace and clearnefs, which 
 Guido, the Scholar of Hannibal, afterwards imitated with 
 great fuccefs. There are fome of his pidures to be feen, which 
 are very beautiful, and well underftood. He made his ordi- 
 nary refidence at Bologna ; and it was he who put the pencil 
 into the hands of Hannibal his Coufin. 
 
 H ANNiBAL, in a little time, excelled his Mafter in all parts 
 of Painting. He imitated Correggio, Titian, and Raphael, in 
 their different manners as he pleafed ; excepting only, that 
 you fee not in his pidures the noblenefs, the graces, and the 
 charms of Raphael ; and his outlines are neither fo pure, nor 
 fo elegant as his. In all other things he is wonderfully ac- 
 compliflied, and of an univerfd genius. 
 
 S ^ AuGUSTIN®, 
 
J38 APPENDIX. 
 
 AuGUSTiNO, brother to Hannibal, was alfo a very good 
 Painter, and an admirable graver. He had a natural Ton, call- 
 ed Antonio, who died at the age of thirty-five j and who 
 (according to the general opinion) would have furpaffed his 
 uncle Hannibal : For, by what he left behind him, it appears 
 that he was of a more lofty genius. 
 
 GuiDo chiefly imitated Ludovico Carrache, yet retained 
 always fomewhat of the manner which his Mafter Denis Cal- 
 vert, the Fleming, taught him. This Calvert lived at Bolog- 
 na, and was competitor and rival to Ludovico Carrache. Guido 
 mide the fame ufe of Albert Durer as Virgil did of old Ennius, 
 borrowed what pleafed him, and made it afterwards his own; 
 that is, he accommodated what was good in Albert to his own 
 manner; which he executed with fo much gracefulnefs and 
 beauty, that he got more money and reputation in his time 
 than any of his Mafters, and than all the Scholars of the Car- 
 raches, tho' they were of greater capacity than himfelf. His 
 heads yield no manner of precedence to thofe of Raphael. 
 SisTo Badolocchi defigned the bell of all his Difciples, 
 
 but he died young. 
 
 DoMENiCHiNO was a very knowing Painter, and very labo- 
 rious, but of no great natural endowments. It is true, he was 
 profoundly ikilled in all the parts of Painting, but wanting 
 penius (as I faid) he had lefs of noblenefs in his works than 
 all the reft who ftddied in the School of the Carraches. 
 
 Albani was excellent in all the parts of Painting, and a 
 polite fcholar. 
 
 Lanfranc, a man of a great and fprightly wit, fupported 
 his reputation for a long time with an extraordinary gufto of 
 defign and colouring: But his foundation being only on the 
 praaical part, he at lengtii loft ground in point of correanefs, 
 fo that many of ins pieces appear extravagant and fantaftical ; 
 
 and 
 
APPENDIX. 139 
 
 and after his deceafe, the fchool of the Carraches went daily 
 to decay, in all the parts of Painting. 
 
 Gio. Viola was very old before he learned landfcape; 
 the knowledge of which was imparted to him by Hannibal 
 Carrache, who took pleafure to inftrud him; fo that he 
 painted many of that kind, which are wonderfully fine, and 
 well coloured. 
 
 If we caft our eyes towards Germany and the Low Coun- 
 tries, we may there behold Albert Durer, Lucas van 
 Leyden, Holbein, Aldegrave, &c. who were all co- 
 temporaries. Amongft thefe, Albert Durer and Holbein were 
 both of them wonderfully knowing, and had certainly been 
 of the firft form of Painters, had they travelled into Italy; for 
 nothing can be laid to their charge, but only that they had a 
 Gothic guflo. As for Holbein, his execution furpaffed even 
 that of Raphael ; and I have feen a portrait of his painting, 
 with which one of Titian's could not come in competition. 
 
 Amongft the Flemings, appeared Rubens, who had, from 
 his birth, a lively, free, noble, and univerfal genius : A genius 
 capable not only of railing him to the rank of the antient 
 Painters, but alfo to the highefl employments in the fervice 
 of his country; fo that he was chofen for one of the moft 
 important embaffies in our time. His gufto of defign favours 
 fomewhat more of the Flemifh than of the beauty of the an- 
 tique, becaufe he flayed not long at Rome. And though we 
 cannot but obferve in all his Paintings ideas which are great 
 and noble, yet it muft be confefied, that, generally fpeaking, 
 he defigned not correctly; but, for all the other parts of 
 Painting, he was as abfolute a mader of them, and polTefled 
 them all as thoroughly as any of his predecelfors in that noble 
 art. His principal fludies were made in Lombardy, after the 
 works of Titian, Paulo Veronefe, and Tintoret, v/hofe cream 
 
 S 2 he 
 
140 APPENDIX. 
 
 he has Ikimmed, (if you will allow the phrafe) and extraded 
 from their feveral beauties many general maxims and infallible 
 rules which he always followed, and by which he has acqui- 
 red in his works a greater facility than that of Titian ; more 
 of purity, truth, and fcience than Paulo Veroncfe ; and more 
 of majefly, repofe, and moderation than Tintoret. To con- 
 clude^ his manner is fo folid, fo knowing, and fo ready, that 
 It may feem this rare accompliflied genius was fent from hea- 
 ven to inftrud: mankind in the Art of Painting. 
 
 His School was full of admirable Difciples ; amongft whom 
 Vandyke was he who beft comprehended all the rules and 
 general maxims of his Mafter ; and who has even excelled 
 him in the delicacy of his carnations, and in his cabinet-pieces; 
 but his taJfte, in the defigning part, was nothing better than 
 that of Rubens, 
 
 THE 
 
THE 
 
 PREFACE 
 
 O F 
 
 Mr. D R Y D E N 
 
 T O H 1 S 
 
 T R A N S L A T I O 
 
 Containing a Parallel between 
 
 P O E T R Y and PAINTING. 
 
It was thought proper to infert in this place the 
 pleafing Preface which Mr. Dryden printed before 
 his Tranflation of M. Du Fresnoy's Poem. There 
 is a charm in that -great writer's Profe peciiHar to 
 itfelf; and tho\ perhaps, the Parallel between the 
 two Arts, which he has here drawn, be too fuper- 
 ficial to ftand the teft of ftrid Criticifm, yet it will 
 always give pleafure to Readers of Tafte, even when 
 it fails to fatisfy their Judgment, 
 
 Mf. 
 
Mr. D R Y n E N's 
 
 I 
 
 ■ R E F AC E, 
 
 With a Parallel of 
 POETRY and P A- 1 N T I N G. 
 
 T may be reafonably expedled, tbat I (boiild fay fomething 
 _ on my behalf, in refpeA to my prefent undertaking. Firft 
 then, the Reader mav be pleafed to know, that it was not of 
 my own choice that I undertook this work. Many of our 
 moft {k\m Painters, and other Artifts, were pleafed to re- 
 commend this Author to me, as one who perfedl:ly underftood 
 the rules of Painting ; who gave the beft and moft concife in- 
 ftrudions for performance, and the fareft to inform the judg- 
 ment of all who loved this- noble Art; that they who before 
 were rather fond of it, than knowingly admired it, might de- 
 fend their inclination by their reafon ; that they might under- 
 ftand thofe excellencies which, they blindly valued,, fo as not 
 to be farther impofed on. by bad pieces, and to know when 
 Nature was well imitated by the moft able Mafters. It is 
 true indeed, and they acknowledge it, that,, befides the rules 
 which are given in this Treatife, or which can be given in any, 
 other, to make a perfecSl judgment of good pidures, and to 
 value them more or. lefs, when compared with one another, 
 there is farther required a long converfation with thebeft pieces, 
 which are not very, frequent either, in France or England : yet 
 fome we have, not only from the hands of Holbein, Kuoens, 
 and Vandyke, (one of them admirable for Hiftory-painting, 
 and the other two for Portraits) but of many Flemifh Mafters, 
 and thofe not inconfiderable, though for defign not equal to 
 
144 APPENDIX, 
 the Italians. And of thefe latter alfo, we are not unfurniflied 
 with fome pieces of Raphael, Titian, Correggio, Michael 
 Angelo, and others. But to return to my own undertaking 
 of this tranflation ; I freely own that I thought myfelf un- 
 capable of performing it, either to their fatisfaftion, or my 
 own credit. Not but that I underftood the original Latin, 
 and the French Author perhaps as well as moft Englifhmen; 
 but I was not fufficiently verfed in the terms of art : And 
 therefore thought that many of thofe perfons, who put this 
 honourable tafk on me, were more able to perform it them- 
 felves., as undoubtedly they were. But they ajfluring me of 
 their affiflance in corredling my faults, where I fpoke impro- 
 perly, I was encouraged to attempt it, that I might not be 
 wanting in what I could, to fatisfy the defires of fo many 
 Gentlemen who were willing to give the world this ufeful 
 work. They have efFe6tually performed their promife to me, 
 and 1 have been as careful on ray fide to take their advice in all 
 things; fo that the reader may allure himfelf of a tolerable tranf- 
 lation ; not elegant, for I propofed not that to myfelf, but fa- 
 miliar, clear, and inftrudive : in any of which parts, if I have 
 failed, the fault lies wholly at my door. In this one particular 
 only, I muO: beg the reader's pardon : The Profe Tranflation of 
 the Poem is not free from poetical expreffions, and I dare not 
 promife that fome of them are not fuflian, or at leafl: highly 
 metaphorical; but this being a fault in the firfl: digeftion, 
 (that is, the original Latin) was not to be remedied in the fe- 
 cond, viz. the Tranflation ; and I may confidently fay, that 
 whoever had attempted it, muft have fallen into the fame in- 
 convenience, or a much greater, that of a fallb verfion. When 
 I undertook this work, I was already engaged in the tranflation 
 of Virgil, from whom I have borrowed only two months, and 
 am now returning to that which I ought to underfland better. 
 
 In 
 
APPENDIX. 145 
 
 In the mean-time, I beg the reader's pardon for entertaining 
 him fo long with myfelf : It is an ufual part of ill manners in 
 all Authors, and almoft in all mankind, to trouble others 
 with their bufinefs ; and I was fo fenlible of it beforehand, 
 that I had not now committed it, unlefs fome concernments 
 of the readers had been interwoven with my own. But I 
 know not, while I am atoning for one error, if I am not fall- 
 ing into another: For I have been importuned to fay fome- 
 thing farther of this art; and to make fome obfervations on it, 
 in relation to the likenefs and agreement which it has with 
 Poetry its Sifter. But before I proceed, it will not be amifs^ 
 if I copy from Bellori (a mod ingenious author) fome part of 
 his idea of a Painter, which cannot be unpleafmg, at leaft to 
 fuch who are converfant in the philofophy of Plato; and to 
 avoid tedioufnefs, I will not tranftate the whole difcourfe, but 
 take and leave, as I find occalion, 
 
 " God Almighty, in the fabric of the univerfe, firft con- 
 templated himfelf, and reflected on his own excellencies; from 
 which he drew and conftituted thofe firft forms, which are 
 called Ideas : So that every fpecies which was afterwards ex- 
 preffed, was produced from that firft Idea, forming that won- 
 derful contexture of all created Beings. But the celeftial 
 Bodies above the moon being incorruptible, and not fubjedt to 
 change, remained for ever fair, and in perpetual order. On the 
 contrary, all things which are fiibl unary, are fubjed to change, 
 to deformity, and to decay; and though Nature always in- 
 tends a confummate beauty in her produdions, yet, through 
 the inequality of the matter, the forms are altered; and in 
 particular, human beauty fufters alteration for the worfe, as 
 we fee to our mortification, in the deformities and difpropor- 
 tions which are in us. For which reafon, the artful Painter 
 and the Sculptor, imitating the Divine Maker, form to them- 
 
 ^ felves. 
 
146 APPENDIX, 
 felves, as weli as they are able, a model of the fuperior beau« 
 ties ; and, reflccfting on them, endeavour to corred and amend 
 the common Nature, and to reprefent it as it was firfl created, 
 without fault, either in colour or in lineament. 
 
 '* This idea, which we may call the Goddefs of Paintino^ 
 and of Scuplture, defcends upon the marble and the cloth, and 
 becomes the original of thofe Arts ; and, being meafured by 
 the compafs of the intelled:, is itfelf the meafure of the per- 
 forming hand; and, being animated by the imagination, in- 
 fufes life into the image. The idea of the Painter and the 
 Sculptor is undoubtedly that perfedt and excellent example of 
 the mind, by imitation of which imagined form, all things 
 are reprefented which fall under human fight : Such is the 
 definition which is made by Cicero, in his book of the Orator 
 to Brutus. As therefore in forms and figures, there is 
 " fomewhat which is excellent and perfed, to which imagined 
 fpecies all things are referred by imitation, which are the 
 " objeds of fight i in like manner we behold the fpecies of 
 Eloquence in our minds, the efiigies, or adual image of 
 which we leek in the organs of our hearing. This is like- 
 wife confirmed by Proclus, in the Dialogue of Plato, called 
 Tim^us : If, fays he, you take a man, as he is m'ade by 
 " Nature, and compare him with another who is the effed of 
 *' art, the work of Nature will always appear the lefs beauti- 
 
 *'ful, becaufe Art is more accurate than Nature." But 
 
 Zeuxis, who, from the choice which he made of five virgins 
 drew that wonderful pidure of Helena, which Cicero, in his 
 Orator before-mentioneed, fets before us, as the moft perfed 
 example of beauty, at the fame time admoniihes a Painter to 
 contemplate the ideas of the moft natural forms; and to make 
 a judicious choice of feveral bodies, all of them the mofl ele- 
 gant which he can find: By which we may plainly under/land. 
 
 triat 
 
APPENDIX. 147 
 
 that he thought it impoffible to find in any one body all thofe 
 perfedions which he fought for the accomplifliment of a 
 Helena, becaufe Nature in any individual perfon makes nothing 
 that is perfedt in all its parts. For this reafon Maximus Ty- 
 rius alfo fays, that the image which is taken by a Painter from 
 feveral bodies, produces a beauty, which it is impolTible to 
 find in any fingle natural body, approaching to the perfedion 
 of the faired ftatues. Thus Nature, on this account, is fo 
 much inferior to Art, that thofe Artiflis who propofe to them- 
 felves only the imitation or likenefs of fuch or fuch a particu- 
 lar perfon, without eledion of thofe ideas before-mentioned, 
 have often been reproached for that omiffion. Demetrius w^as 
 taxed for being too natural; Dionyfius was alfo blamed for • 
 drawing men like us, and was commonly called 'Ai/O^wToj/^a^©-, 
 that is, a Painter of Men. In our times, Michael Angelo da 
 Caravaggio was efteemed too natural : He drew perfons as 
 they were; and Bamboccio, and mod of the Dutch Painters, 
 have drawn the worft likenefs. Lyfippus, of old, upbraided 
 the common fort of Sculptors for making men fuch as they 
 were found in Nature; and boaded of himfelf, that he made 
 them as they ought to be ; which is a precept of Ariftotle, 
 given as well to Poets as to Painters. Phidias raifed an admi- 
 ration even to aftonifhment, in thofe who beheld his ftatues, 
 with the forms which he gave to his Gods and Heroes, by 
 imitating the Idea, rather than Nature ; and Cicero, fpeaking 
 of him, affirms, that figuring Jupiter and Pallas, he did not 
 contemplate any objed from whence he took any likenefs, but 
 confidered in his own mind a great and admirable form of 
 beauty, and according to that image in his foul, he direded 
 the operation of his hand. Seneca alfo feems to wonder that 
 Phidias, having never beheld either Jove or Pallas, yet could 
 conceive their divine images in his mind. Apollonius Tyanaeus 
 
 T 2 fays 
 
148 APPENDIX. 
 
 fays the fame in other words, that the Fancy more inftruds 
 the Painter than the Imitation ; for the lall makes only the 
 things which it fees, but the firft makes alfo the things which 
 it never fees. 
 
 Leon Battifla Alberti tells us, that we ought not fo much 
 to love the Likenefs as the Beauty, and to choofe from the 
 fairefc bodies feverally the fairefl: parts. Leonardo da Vinci 
 inftrucls the Painter to form this Idea to himfelf ; and Raphael, 
 the greateft of all modern Mafters, writes thus to Cafliphone, 
 concerning his Galatea : " To paint a fair one, it is neceffary 
 for me to fee many fair ones ; but becaufe there is fo great a 
 fcarcity of lovely women, 1 am conftrained to make ufe of 
 one certain Idea, which I have formed to myfelf in my own 
 fancy." Guido Reni fending to Rome his St. Michael, 
 which he had painted for the Church of the Capuchins, at the 
 fame time wrote to Monfignor MalTano, who was the maejiro 
 di cafa (or fteward of the houfe) to Pope Urban VIII. in this 
 manner : I wiili I had the wings of an angel, to have 
 afcended into Paradife, and there to have beheld the forms of 
 " thofe beatified fpirits, from which I might have copied my 
 ** Archangel : But not being able to mount fo high, it was in 
 vain for me to fearch his refemblance here below j fo that I 
 ** was forced to make an introfpedion into my own mind, and 
 ** into that Idea of Beauty, which I have formed in my own 
 ** imagination. I have likewife created there the contrary Idea 
 of Deformity and Uglinefs; but I leave the confideration of it 
 till I paint the Devil, and, in the mean-time, fhun the very 
 thought of it as much as poffibly I can, and am even endea- 
 vouring to blot it wholly out of my remembrance." There 
 was not any Lady in all antiquity who was Miflrefs of fo much 
 Beauty, as was to be found in the Venus of Gnidus, made by 
 Praxiteles, or the Minerva of Athens, by Phidias, which was 
 
 therefore 
 
APPENDIX, 149 
 
 therefore called the Beautiful Form. Neither is there any 
 man of the prefent age equal in the ftrength, proportion, and 
 knitting of his limbs, to the- Hercules of Farnefe, made by 
 Glycon ; or any woman who can juftly be compared with the 
 Medicean Venus of Cleomenes. And upon this account the 
 noblefl: Poets and the heft Orators, when they defired to cele- 
 brate any extraordinary beauty, are forced to have recourfe to 
 ftatues and pictures, and to draw their perfons and faces into 
 comparifon : Ovid, endeavouring to exprefs the beauty of 
 Cyllarus, the faireft of the Centaurs, celebrates him as next 
 in perfedion to the moil: admirable ftatues:- 
 
 Gratus in ore vigor, cervix, humeriqiie, manufque, 
 
 PedoraquCy artificum laudatis proxima fignis. 
 A pleafing vigour his fair face exprefs'd ; 
 His neck', his hands, his (lioulders, and his bread. 
 Did next in graceful nefs and beauty ftand. 
 To breathing figures of the Sculptor's hand. 
 In another place he fets Apelles above Venus : 
 Si Venerem Cois nunquam pinxiffet Apelles, 
 Merfa fub sequcreis ilia lateret aquis. 
 
 Thus varied. 
 One birth to feas the Cyprian Goddefs ov/'d, 
 A fecond birth the Painter's art beftow'd : 
 Lefs by the. feas than by his pow'r was giv'n j 
 They made her live, but he advanc'd to heav'n. 
 The Idea of this Beauty is indeed various, according to 
 the feveral forms which the Painter or Sculptor would defcribe : 
 As one in ftrength, another in magnanimity ; and fometimes it 
 confifts in chearfulnefs, and fometimes in delicacy, and is al- 
 ways diverfified by the fex and age. 
 
 ** The beauty of Jove is one, and that of Juno another: 
 Hercules and Cupid are perfedl beauties, though of different 
 
 T 3 kinds; 
 
ISO APPENDIX. 
 
 kinds ; for beauty is only that which makes all things as they 
 are in their proper and perfed nature, which the beft Painters 
 always choofe, by contemplating the forms of each. We ought 
 farther to confider, that a pidture being the reprefentation of 
 a human adtion, the Painter ought to retain in his mind the 
 examples of ail affections and paffions • as a Poet preferves the 
 idea of an angry man, of one who is fearful, fad, or merry; 
 and fo of all the reft : For it is impoffible to exprefs that with 
 the hand, which never entered into the imagination. In this 
 manner, as I have rudely and briefly (hewn you, Painters and 
 Sculptors choofmg the moft elegant, natural beauties, perfec- 
 tionate the Idea, and advance their art, even above Nature liCdf, 
 in her individual produ<^ions, which is the utmoft maftery of 
 human performance. 
 
 From hence arifes that aflonifliment, and almoft adoration, 
 which is paid by the knowing to thofe divine remains of an- 
 tiquity. From hence Phidias, Lyfippus, and other noble 
 Sculptors, are ftill held in veneration j and Apelles, Zeuxis, 
 Protogenes, and other admirable Painters, though their works 
 are periflied, are and will be eternally admired ; who all of 
 them drew after the ideas of perfedion; which are the miracles 
 of Nature, the providence of the Underflanding, the exemp- 
 lars of the Mind, the light of the Fancy ^ the fun, which, 
 from its rifmg, infpired the ftatue of Memnon, and the fire 
 which warmed into life the image of Prometheus : It is this 
 which caufes the Graces and the Loves to take up their habi- 
 tations in the hardeft marble, and to fubfift in the emptinefs 
 of light and fhadows. But fince the Idea of Eloquence is as 
 inferior to that of Painting, as the force of words is to the 
 fight, I mull here break off abruptly; and having condud:ed 
 the reader, as it were, to a fecret walk, there leave him in the 
 
 mid ft 
 
APPENDIX. isi 
 
 mldft of filence to contemplate thofe ideas which I have only 
 Iketched, and which every man mull: finiili for himfelf." 
 
 In thefe pompous expreffions, or fuch as thefe, the Italian 
 has given you his idea of a Painter ; and tho' I cannot much 
 commend the flile, I mull: needs fay, there is fomewhat in 
 the matter : Plato himfelf is accuftomed to write loftily, imi- 
 tating, as the critics tell us, the manner of Homer ; but, 
 furely, that inimitable Poet had not fo much of fmoke in his 
 writings, though not lefs of fire. But in (liort, this is the 
 prefent genius of Italy. What Philoftratus tells us, in the 
 proem of his Figures, is fomewhat plainer, and therefore I will 
 tranflate it almofl word for word : He who will rightly 
 govern the Art of Painting, ought, of neceffity, firft to under- 
 hand human Nature. He ought likewife to be endued with a 
 genius, to exprefs the figns of their paffions whom he repre- 
 fents, and to make the dumb as it were to fpeak : He mull: 
 yet farther underfland what is contained in the conftitution of 
 the cheeks, in the temperament of the eyes, in the natural nefs 
 (if I may fo call it) of the eye- brows ^ and in fhort, whatfo- 
 ever belongs to the mind and thought. He who thoroughly 
 poflefTes all thefe things, will obtain the whole, and the hand 
 will exquifitely reprefent the adion of every particular perfon ; 
 if it happens that he be either mad or angry, melancholic or 
 chearful, a fprightly youth, or a languifliing lover: in one 
 word, he will be able to paint whatfoever is proportionable to 
 any one. And even in all this there is a fweet error without 
 caufing any (hame : For the eyes and mind of the beholders 
 being faflened on objeds which have no real being, as if they 
 were truly exiftent, and being induced by them to believe 
 them fo, what pleafure is it not capable of giving ? The an- 
 tients, and other wife men, have written many things concern- 
 ing the fy mmetry, v>'hich is in the Art of Painting j conftitu- 
 
152 APPENDIX. 
 
 ting as it were Tome certain lav^^s for the proportion of every 
 member 5 not thinking it polTible for a Painter to undertake 
 the expreflion of thofe motions which are in the mind, with- 
 out a concurrent harmony in the natural meafure : For that 
 which is out of its own kind and meafure, is not received from 
 Nature, whofe motion is always right. On a ferious eonfide- 
 ration of this ma ter, it will be found, that the Art of Paintinp- 
 has a wonderful affinity with that of Poetry, and that there is 
 betwixt them a certain common imagination. For, as the 
 Poets introduce .the Gods and Heroes, and all thofe thinps 
 which are either majeflical, honeft, or delightful ; in like 
 manner, the Painters, by the virtue of their outlines, colours, 
 lights, and ihadows, reprefent the fame things and perfons in 
 their pictures." 
 
 Thus, as convoy (hips either accompany, or (hould accom- 
 pany their merchants, till they may profecute the reft of their 
 voyage without danger; fo Philoftratus has brought me thus 
 far on my way, and I can now fail on without him. He has be- 
 gun to fpeak of the great relation betwixt Painting and Poetry, 
 and thither the greateft part of this difcourfe, by my promife, 
 was dire(5ted. 1 have not engaged myfelf to any perfed: me- 
 thod, neither am I loaded with a full cargo: It is fufficient 
 if I bring a fample of fome goods in this voyage. Jt will be 
 eafy for others to add more, when the commerce is fettled • 
 For a treatife, twice as large as this, of Painting, could not 
 contain all that might be faid on the parallel of thefe two 
 Sifter- Arts. I will take ray rife from Bellori before I proceed 
 to the Author of this Book. 
 
 The bufinefs of his Preface is to prove, tflzt a learned 
 Painter ftiould form to himfelf an Idea of perfedt xNature. 
 This image he is to fet before his mind in all his undertakings, 
 and to draw from thence, as from a fcorehoufe, the beauties 
 
 which 
 
APPENDIX. 153 
 
 which are to enter into his work ; thereby correding Nature 
 from what adlually fhe is in individuals, to what fhe ought to 
 be, and what (he was created. Now as this Idea of Perfedion 
 is of little ufe in Portraits, or the refemblances of particular 
 perfons, fo neither is it in the characters of Comedy and 
 Tragedy, which are never to be made perfedl, but always to 
 be drawn with fome fpecks of frailty and deficience ; fuch as 
 they have been defcribed to us in hiftory, if they were real 
 charaders; or fuch as the Poet began to {hew them, at their 
 firft appearance, if they were only fiditious, or imaginary. 
 The perfedion of fuch ftage charadlers confifts chiefly in their 
 likenefs to the deficient faulty Nature, which is their original; 
 only (as it is obferved more at large hereafter) in fuch cafes 
 there will always be found a better likenefs and a worfe, and 
 the better is conftantly to be chofen ; I mean in Tragedy, 
 which reprefents the figures of the higheft form among 
 mankind : Thus, in Portraits, the Painter will not take that 
 fide of the face which has fome notorious blemifh in it, but 
 either draw it in profile, as Apelles did Antigonus, who 
 had loft one of his eyes, or elfe fhadow the more imperfed 
 fide ; for an ingenious flattery is to be allowed to the profeflx)rs 
 of both arts, fo long as the likenefs is not deftroyed. It is 
 true, that all manner of imperfections mufi: not be taken away 
 from the characters ; and the reafon is, that there may be left 
 fome grounds of pity for their misfortunes : We can never be 
 grieved for their miferies who are thoroughly wicked, and 
 have thereby jufiily called their calamities on themfelves : Such 
 men are the natural objects of our hatred, not of our commi- 
 feration. If, on the other fide, their characters were wholly 
 perfect, fuch as, for example, the character of a Saint or 
 Martyr in a Play, his or her misfortunes would produce impious 
 thoughts in the beholders j they would accufe the Heavens of 
 
 U 
 
 injufiiice. 
 
154 APPENDIX. 
 
 injufllce, and think of leaving a religion where piety was fo ill 
 requited. I fay the greater part would be tempted fo to do; 
 I fay not that they ought ; and the confequence is too dan- 
 gerous for the pradice. In this I have accufed myfelf for my 
 own St. Catharine ; but let truth prevail. Sophocles has taken 
 the jufl: medium in his Oedipus: He is fomewhat arrogant 
 at his firfl enterance, and is too inquifitive through the whole 
 Tragedy ; yet thefe imperfedtions being balanced by great 
 virtues, they hinder not our compaffion for his miferies, nei- 
 ther yet can they deflroy that horror which the nature of his 
 crimes have excited in us. Such in Painting are the warts 
 and moles which, adding a likenefs to the face, are not, there- 
 fore, to be omitted ; but thefe produce no loathing in us : but 
 how far to proceed, and where to flop, is left to the judgment 
 of the Poet and the Painter. In Comedy there is fomewhat 
 more of the worfe likenefs to be taken, becaufe that is often 
 to produce laughter, which is occafioned by the fight of fome 
 deformity ; but for this I refer the reader to Ariflotle. It is a 
 iharp manner of inftrudtion for the vulgar, who are never well 
 amended till they are more than fufhciently expofed. That I 
 may return to the beginning of this remark, concerning per- 
 fe(ft Ideas, I have only this to fay, that the parallel is often true 
 in Epic Poetry. 
 
 The Heroes of the Poets are to be drawn according to this 
 rule : There is fcarce a frailty to be left in the beft of them, 
 any more than is to be found in a Divine Nature. And if 
 iEneas fometimes weeps, it is not in bemoaning his own 
 miferies, but thofe which his people undergo. If this be an 
 imperfeiftion, the Son of God, when he was incarnate, Ihed 
 tears of compaffion over Jerufalem ; and Lentulus defcribes 
 him often weeping, but never laughing ; fo that Virgil is 
 jufliiied even from the Ploly Scriptures. I have but one word 
 
 more. 
 
APPEND 1 X. 155 
 
 more, which for once I will anticipate from the author of this 
 book. Though it mufl be an Idea of perfection from which 
 both the Epic Poet and the Hiftory Painter draws, yet all 
 perfedlions are not fuitable to all fubjecSts, but every one muft 
 be defigned according to that perfect beauty which is proper 
 to him : An Apollo muft be diftinguiflied from a Jupiter, a 
 Pallas from a Venus ; and fo in Poetry, an iEneas from any 
 other Hero, for Piety is his chief perfedion. Homer's Achilles 
 is a kind of exception to this rule ; but then he is not a per- 
 fect Hero, nor fo intended by the Poet. All his Gods had 
 fomewhat of human imperfection, for which he has been 
 taxed by Plato, as an imitator of what was bad. But Virgil 
 obferved his fault and mended it. Yet Achilles was perfect 
 in the ftrength of his body, and the vigor of his mind. Had 
 he been lefs paffionate or lefs revengeful, the Poet well fore- 
 faw that Hedtor had been killed, and Troy taken at the firft 
 alTault ; v/hich had deftroyed the beautiful contrivance of his 
 Iliad, and the moral of preventing difcord amongft confederate 
 Princes, which was his principal intention : For the moral 
 (as Boflu obferves) is the firft bufinefs of the Poet, as being 
 the ground-work of his inftruCtion. This being formed, he 
 contrives fuch a defign or fable, as may be moft fuitable to 
 the moral : After this he begins to think of the perfons whom 
 he is to employ in carrying on his deiign, and gives them the 
 manners which are moft proper 10 their feveral characters. 
 The thoughts and words are the laft parts which give beauty 
 and colouring to the piece. When I (ay, that the manners of 
 the Hero ought to be g(-od in perfection, I contradict not the 
 Marquis of Normanhy's opinion, in that admirable verfe^ 
 where, fpeaking of a perfeCt character, he calls it 
 
 ** A faultlefs monfter, which the world ne'er knew :" 
 For that excellent Critic intended only to fpeak of Dramatic 
 
 U 2 characters. 
 
156 APPENDIX. 
 
 charaders, and not of Epic. Thus at leaft I have fhewn, that 
 in the moft perfed: Poem, which is that of Virgil, a per- 
 fed: idea was required and followed; and, confequently, that 
 all fuccecding Poets ought rather to imitate him, than even 
 -Homer. 1 will now proceed, as I promifed, to the author of this 
 book : He tells you, almoft in the firft lines of it, that ** the 
 chief end of Painting is to pleafe the eyes ; and it is one great 
 end of Poetry to pleafe the mind.." Thus far the parallel of 
 the Arts holds true ; with this difference, that the principal 
 end of Painting is to pleafe, and the chief defign of Poetry is 
 to inftrud. In this, the latter feems to have the advantage of 
 the former. But if we confider the Artifts themfelves on 
 both fides, certainly their aims are the very fame ; they would 
 both make fure of pleafing, and that in preference to inftruc- 
 tion. Next, the means of this pleafure is by deceit: One 
 impofes on the fight, and the other on the underflanding. 
 Fidion is of the effence of Poetry as well as of Paintini^ ; there 
 is a refemblance in one, of human bodies, things and adions, 
 which are not real ; and in the other, of a true ftory by a fic- 
 tion. And as all ftories are not proper fubjeds for an Epic 
 Poem or a Tragedy, fo neither are they for a noble Pidure. 
 The fubjeds both of the one and of the other ought to have 
 nothing of immoral, low, or filthy in them ; but this being 
 treated at large in the book itfelf, I wave it, to avoid repe- 
 tition. Only I muft add, that, though Catullus, Ovid, and 
 others, were of another opinion, that the fubjed of Poets, and 
 even their thoughts and expreffions might be loofe, provided 
 their lives were chafle and holy, yet there are no fuch licences 
 permitted in that Art, any more than in Painting to defign 
 and colour obfcene nudities. Vita proba eft, is no excufe; for 
 it will fcarcely be admitted, that either a Poet or a Painter 
 tan be chafle, who give us the contrary examples in their 
 
 Writings 
 
A P P E N D I X. 1 57 
 
 Writings and their Pictures. We fee nothing of this kind in 
 Virgil : That which comes the neareft to it is the Adven- 
 ture of the Cave, where Dido and ^Eneas were driven by the 
 ftorm ; yet even there, the Poet pretends a marriage before 
 the confummation, and Juno herfelf was prefent at it. Neither 
 is there any expreffion in that flory which a Roman Matron 
 might not read without a blufli. Befides, the Poet pafTes it 
 over as haftily as he can, as if he were afraid of ftaying in the 
 cave with the two lovers, and of being a witnefs to their ac- 
 tions. Now I fuppofe that a Painter would not be much 
 commended, who fhould pick out this cavern from the whole 
 JEneis, when there is not another in the work. He had better 
 leave them in their obfcurity, than let in a flafh of lightning 
 to clear the natural darknefs of the place, by vi'hich he mull 
 difcover himfelf as much as them. The altar-pieces, and holy 
 decorations of Painting, fliew that Art may be applied to better 
 ufes as well as Poetry ; and, amongfl; many other inftances^, the 
 Farnefe Gallery, painted by Hannibal Carracci, is a fufficient 
 witnefs yet remaining : The whole work being morally in- 
 ftrudtive, and particularly the Hercules Bivium, which is a 
 perfedt Triumph of Virtue over Vice, as it is wonderfully well 
 defcribed by the ingenious Bellori. 
 
 Hitherto I have only told the reader what ought not to be 
 the fubjedl of a Pidure, or of a Poem. What it ought to be 
 on either fide, our Author tells us. It mud, in general, be 
 great and noble; and in this the parallel is exadly true. The 
 fubjed of a Poet, either in Tragedy,, or in- an Epic Poem, is a 
 great adion of fome illuflrious Hero. It is the fame in Paint- 
 ing : not every adion, nor every perfon, is confiderable enough 
 to enter into the cloth. It muft be the Anger of an Achilles, 
 the Piety of an i^^neas, the Sacrifice of an Iphigenia, for He- 
 
 U 3 roines 
 
iS^ APPENDIX, 
 iroines as well as Heroes are comprehended in the rule. But 
 the parallel is more complete in Tragedy than in an Epic 
 Poem : For as a Tragedy may be made but of many particular 
 Epifodes of Homer, or of Virgil ; fo may a noble pidiure be 
 defigned out of this or -that particular flory in either author. 
 Hiftory is alfo fruitful of defigns, both for the Painter and the 
 Tragic Poet : Curtius throwing himfelf into a gulph, and the 
 two Decii facrificing themfelves for the fafety of their country, 
 are fubjeds for Tragedy and Pifture. Such is Scipio, reflo- 
 ring the Spanifh Bride, whom he either loved, .or may be 
 fuppofed to love; by which he gained the hearts of a great 
 nation, to intereft themfelves for Rome againft Carthage: 
 Thefe are all but particular pieces in Livy's Hiftory, and yet 
 are full, complete fubjeds for the pen and pencil. Now the 
 reafon of this is evident : Tragedy and Pidure are more nar- 
 rowly circumfcribed by the mechanic rules of Time and Place 
 than the Epic Poem : The Time of this laft is left indefinite. 
 It is true. Homer took up only the fpace of eight and forty 
 days for his Iliad ; hut whether Virgil's adion was compre- 
 hended in a year, or fomewhat more, is tjot determined by 
 BofTu. Homer made the Place of his adion Troy, and the 
 Grecian camp befieging it. Virgil introduces his ^neas fome- 
 times in Sicily, fometimes in Carthage, and other times at 
 Cumas, before he brings hira to Laurentum ; and even after 
 that, he wanders again to the kingdom of Evander, and fome 
 parts of Tufcany, before he returns to finifli the war by the 
 death of Turnus. But Tragedy, according to the pradice of 
 the AntJents, was always confined within .the compafs of 
 twenty-four hours, and feidom takes up fo much time. As 
 for the place of it, it was always -one, and that not in a larger 
 fenfe, as, for example, a whole city, or two or three feveral 
 houfes in it, but the market, .or feme other public place, 
 
 common 
 
APPENDIX. 159 
 
 common to the Chorus and all the Adtors : Which eftabliihed 
 law of theirs, I have not an opportunity to examine in this 
 place, becaufe I cannot do it without digreffion from my fub:- 
 je(fl, though it feems too ftridl at the firll: appearance, becaufe 
 it excludes all fecret intrigues, which are the beauties of the 
 modern ftage; for nothing can be carried on : with privacy, 
 when the Chorus is fuppofed to be. always prefent. -But to 
 proceed : I mud fay this to the advantage of Painting, even 
 above Tragedy, that what this laft reprefents in the fpace of 
 many hours, the former lliews us in one moment. The adion, 
 the paffion, and the manners of fo many perfons as are con- 
 tained in apidlure, are to be difcerned at once in the twinkling 
 of an eye ; , at leaft . they would, be fo, if the fight could travel 
 over fo many different objeds. alL at once, or the mind could 
 digell them all at the fame inftant, or point. of time. Thus, 
 in the famous pi6ture of Pouffin^ which reprefents the Infti- 
 tution of the blelTed Sacrament, you fee our Saviour and his 
 twelve Difciples,, all concurring in the fame adtion, after dif- 
 ferent manners, and in different poftures ; only the manners 
 of Judas are diftinguiflied from the refl:. Here is but one in- 
 diviflbk point of time obferved but one action performed by 
 fo many perfons, in one room, and at. the fame table; yet the 
 eye cannot comprehend at once the whole objed, nor the mind 
 follow it fo fafl ; it is confidered at leifure, and feen by inter- 
 vals. Such are the fubjedts of noble pidures, and fuch are 
 only to be undertaken by noble hands- There are other parts 
 of Nature which are meaner, and yet are the fubjedts both^ 
 of Painters and of Poets.- 
 
 For to proceed in the parallel; as Comedy is a reprefenta-- 
 tion of human life in inferior perfons and low fubjeds, and: 
 by that means creeps into the Nature of Poetry, and is a kind- 
 of Juniper, a Oirub belonging to the fpecies of Cedar; fo is the 
 
 painting^ 
 
i6o APPENDIX. 
 
 painting of Clowns, the reprefentation of a Dutch Kermis, 
 the brutal fport of Snick-or-Snee, and a thoufand other things 
 of this mean invention, a kind of picture which belongs to 
 Nature, but of the lowefl form. Such is a Lazar in compa- 
 rifon to a Venus ; both are drawn in human figures ; they have 
 faces alike, though not like faces. There is yet a lower fort 
 jof Poetry and Painting, which is out of Nature ; for a Farce 
 is that in Poetry which Grotefque is in a Pid:ure : The per- 
 fons and adion of a Farce are all unnatural, and the manners 
 falfe ; that is, inconfifling with the characters of mankind. 
 Grotefque Painting is the jufl refemblance of this; and Horace 
 begins his Art of Poetry, by defcribing fuch a figure with a 
 man's head, a horfe's neck, the wings of a bird, and a fifh's 
 tail, parts of different fpecies jumbled together, according to 
 the mad imagination of the Dauber; and the end of all this, 
 as he tdls you afterward, is to caufe laughter : A very mon- 
 fler in Bartholomew Fair, for the mob to gape at for their 
 twopence. Laughter is indeed the propriety of a man, but 
 juft enough to diflinguifli him from his elder brother with 
 four legs. It is a kind of baftard-pleafure too, taken in at 
 the eyes of the vulgar gazers, and at the ears of the beaftly 
 audience. Church-painters ufe it to divert the honeft country 
 man at public prayers, and keep his eyes open at a heavy fer- 
 mon ; and farce-fcribblers make ufe of the fame noble inven- 
 tion to entertain Citizens, Country Gentlemen, and Covent- 
 Garden Fops : If they are merry, all goes well on the Poet's 
 fide. The better fort go thither too, but in defpair of fenfe 
 and the juft images of Nature, which are the adequate pleafures 
 of the mind. But the Author can give the fi:age no better 
 than what was given him by Nature ; and the Actors muft 
 reprefent fuch things as they are capable to perform, and by 
 which both they and the Scribbler may get their living. Af- 
 * ter 
 
APPENDIX. i6i 
 
 ter all, it is a good Thing to laugh at any rate ; and if a ftraw 
 can tickle a man, it is an inftrument of happinefs. Beafls 
 can weep when they fufier, but they cannot laugh ; i^nd, a« 
 Sir William Davenant obferves, in his Preface to Gondibert, 
 ** It is the wifdom of a government to permit Plays," (he 
 might have added Farces) '* as it is the prudence of a carter 
 to put bells upon his horfes to make them carry their burdens 
 chearfullv." 
 
 I have already (hewn, that one main end of Poetry and 
 Painting is to pleafe, and have faid fomething of the kinds of 
 both, and of their fubjed:s, in which they bear a great refem- 
 blance to each other. I muft now confider them as they are 
 great and noble Arts j and as they are arts, they muft have 
 rules which may diredt them to their common end. 
 
 To all Arts and Sciences, but more particularly to thefe, 
 may be applied what Hippocrates fays of Phyfic, as I find 
 him cited by an eminent French critic. " Medicine has long 
 fubfifted in the world ; the principles of it are certain, and 
 it has a certain way ; by both which there has been found, in 
 the courfe of many ages, an infinite number of things, the 
 experience of which has confirmed its ufefulnefs and goodnefs. 
 All that is wanting to the perfedion of this art, will undoubt- 
 edly be found, if able men, and fuch as are inftruded in the 
 antient rules, will make a farther inquiry into it, and endea- 
 vour to arrive at that which is hitherto unknown by that 
 which is already known. But all, who having rejeded the 
 antient rules, and taken the oppofite ways, yet boafl: themfelves 
 to be Mafters of this Art, do but deceive others, and are 
 themfelves deceived ; for that is abfolutely impolTible." 
 
 This is notorioufly true in thefe two Arts 5 for the way 
 to pleafe being to imitate Nature, both the Poets and the 
 Painters in antient times, and in the beft ages, have ftudied 
 
 X her 3 
 
j62 appendix. 
 her; and from the praflice of both thefe Arts the rules have 
 been drawn, by which we are inftruded how to pleafe, and to 
 compafs that end which they obtained, by following their ex- 
 ample; for Nature is ftill the fame in all ages, and" can never 
 be contrary to herfelf. Thus, from the praffice of ^fchylus, 
 Sophocles, and Euripides, Ariftotle drew his rules for Tragedy' 
 znd Philoftratus for Painting. Thus, amongft the moderns' 
 the Italian and French critics, by ftudying the precepts of 
 Ariftotle and Horace, and having the example of the Grecian 
 Poets before their eyes, have given us the rules of modern 
 Tragedy; and thus the critics of the fame countries, in the 
 Art of Paintmg, have given the precepts of perfeding that 
 art. It -s true, that Poetry has one advantage over Painting 
 
 both of the Greek and Latin Poets; whereas the Painters hav<^ 
 nothing left them from Apelles. Protogenes, Parrhafius, 
 Zeux,s, and the reft, but only the teftimonies which are given' 
 of their incomparable works. But inftead of this, they have 
 fome of their beft ftatues, baffo-relievos, columns, obelifks, &c ' 
 which are faved out of the common ruin, and are ftiU prefer' 
 ved in Italy; and by well diftinguift^ing what is proper to 
 Sculpture and what to Painting, and what is common to 
 them both, they have judicioufly repaired that lofs ; and the 
 great genius of Raphael and others, having fucceeded to the 
 times of barbarifm and ignornance, the knowledge of Painting 
 IS now arrived to a fupreme perfeftion, tho' the performancf 
 of It IS much declined in the prefent age. The greateft age 
 or Poetry amongft the Romans, was certainly that of Au 
 guftus C^far; and yet we are told, that Painting was then at 
 ^ts loweft ebb, and perhaps Sculpture was alfo dediX . ,h 
 
 ed him. Poetry was but meanly cultivated, but Painting emi- 
 
 nently 
 
APPENDIX. 163 
 
 ncntly flouri(lied. I am not here to give the Hiftory of the 
 two Arts, how they were both in a manner extinguifhed by 
 the irruption of the barbarous nations, and both reftored about 
 the times of Leo X. Charles V. and Francis I. tho' I might 
 obferve, that neither Ariofto, nor any of his cotemporary 
 Poets, ever arrived at the excellency of Raphael, Titian, and 
 the reft in Painting. But in revenge, at this time, or lately in 
 many countries. Poetry is better pradifed than her Sifter- Art. 
 To what height the magnificence and encouragement of the 
 prefent King of France may carry Painting and Sculpture is 
 uncertain ; but by what he has done before the war in which 
 he is engaged, we may expert what he will do after the happy 
 conclufion of a peace ; which is the prayer and wifti of all thofe 
 who have not an intereft to prolong the miferies of Europe. 
 For it is moft certain, as our Author, amongft others, has ob- 
 ferved, that Reward is the fpur of virtue, as well in all good 
 arts, as in all laudable attempts ; and Emulation, which is the 
 other fpur, will never be w^anting either amongft Poets or 
 Painters, when particular rewards and prizes are propofed to 
 the beft defervers. But to return from this digreflion, though 
 it was almoft necelTary, all the rules of Painting are methodi- 
 cally, concifely, and yet clearly delivered in this prefent treatife 
 which I have tranflated : Boffu has not given more exadt rules 
 for the Epic Poem, nor Dacier for Tragedy, in his late ex- 
 cellent Tranflation of Ariftotle, and his Notes upon him, than 
 our Frefnoy has made for Painting ; with the parallel of which 
 I muft refume my difcourfe, following my Author's Text, 
 though with more brevity than I intended, becaufe Virgil 
 calls me. 
 
 ** The principal and moft important part of Painting is to 
 know what is moft beautiful in Nature, and moft proper for 
 that art." That which is the moft beautiful is the moft noble 
 
 X 2 fubjedl^ 
 
1 64 APPENDIX. 
 
 rubjed; fo in Poetry, Tragedy is more beautiful than Comedy, 
 becaufe, as I faid, the perfons are greater whom the Poet in- 
 ftru6ls ; and, confequently, the inftrudions of more benefit to 
 mankind : the adion is likewife greater and more noble, and 
 th ence is derived the greater and more noble pleafure. 
 
 To imitate Nature well in whatfoever fubjea:, is the perfec- 
 tion of both Arts ; and that Pidure, and that Poem, which 
 comes nearefl the refemblance of Nature, is the beft : But it 
 follows not, that what pleafes moft in either kind is therefore 
 good, but what ought to pleafe. Our depraved appetites and 
 ignorance of the arts miflead our judgments, and caufe us 
 often to take that for true Imitation of Nature, which has no 
 refemblance of Nature in it. To inform our Judgments, and 
 to reform our Taftes, rules were invented, that by them we 
 might difcern when Nature was imitated, and how nearlv. I 
 have been forced to recapitulate thefe things, becaufe mankind 
 is not more liable to deceit than it is willing to continue in a 
 pleafmg error, flrengthened by a long habitude. The imita- 
 tion of Nature is therefore ju% conftituted as the general, 
 and indeed the only rule of pleafmg, both in Poetry and 
 Painting. Ariflotle tells us, that Imitation pleafes, becaufe it 
 affords matter for a reafoner to inquire into the truth or falfe- 
 hood of Imitation, by comparing its likeneis or unlikenefs 
 with the original : But by this rule, every fpeculation in Na- 
 ture, whofe truth falls under the inquiry of a Philofopher, 
 muft produce the fame delight, which is not true. I fliould 
 rather afUgn another reafon : Truth is the objedl of our Un- 
 derftanding, as Good is of our Will ; and the under/landing 
 can no more be delighted with a lie, than the will can choofe 
 an apparent evil. As truth is the End of all our ipeculations 
 fo the difcovery of it is the Pleafure of them; and fince a true 
 l^nowledge of Nature gives us pleafure, a lively imitation of 
 
 - it. 
 
APPENDIX. 165 
 
 it, either in Poetry or Painting, mufl of neceffity produce a 
 much greater : For both thefe arts, as I faid before, are not 
 only true imitations of Nature, but of the beft Nature, of that 
 which is wrought up to a nobler pitch. They prefent us 
 with images more perfed: than the Hfe in any individual ; and 
 we have the pleafure to fee all the fcattered' beauties of Nature 
 united by a happy Chemiftry without its deformities or faults. 
 They are imitations of the paflions which always move, and 
 therefore confequently pleafe; for without motion there can 
 be no delight, which cannot be confidered but as an adive 
 paflion. When we view thefe elevated ideas of Nature, the 
 refult of that viev/ is Admiration, which- is always tlie caufe 
 of pleafure. 
 
 This- foregoing remark, wRich gives the reafon why Imita- 
 tion pleafes, was fent me by Mr. Walter Moyle, a mofl in- 
 genious young' Gentleman, eonverfant in all the fludies of 
 Humanity, much above his years. He had alfo furnifhed me, 
 according to my requefV, witli all the particular palTages in 
 Ariftotle and Horace, which' are ufed by them to explain the 
 Art of Poetry by that of Painting; which, if ever I have 
 time tcr retouch this Eilay, fhall be inferred in their places. 
 Having thus fliewn that Imitation pleafes, and why it pleafes 
 in both thefe arts, it follows, that fome rules of imitation are 
 neceffary to obtain the end ; for without rules there can be no 
 art, any more than there can be a houfe without a door to 
 condud you into it. The principal parts of Painting and 
 Poetry next follow. 
 
 Invention is thefirfl: parr, and abfolutely neceffary to thenl 
 both j yet no rule ever was or ever can be given how to com- 
 pafs it. A happy Genius is the gift of Nature; it depends 
 on the influence of the itars, fay the Aftrologers ; on the or- 
 gans of the body, fay the Naturalifts; it is the particular gift 
 
 X 3 of 
 
1 66 APPENDIX. 
 
 of heaven, fay the Divines, both Chriftians and Heathens. 
 How to improve it, many books can teach us; how to obtain 
 it, none; that nothing can be done without it, all agree : 
 
 Tu nihil in vita dices faciefve Minerva. 
 Without Invention a Painter is but a Copier, and a Poet but 
 a Plagiary of others. Both are allowed fometimes to copy and 
 tranflate ; but, as our Author tells you, that is not the beft 
 part of their reputation. ** Imitators are but a fervile kind of 
 cattle," fays the Poet; or at befl, the keepers of cattle for other 
 men : They have nothing which is properly their own ; that 
 is a fufficient mortification for me, while I am tranflating 
 Virgil. But to copy the beft author is a kind of praife, if I 
 perform it as I ought; as a copy after Raphael is more to be 
 commended than an original of any indifferent Painter. 
 
 Under this head of Invention is placed the Difpofition of 
 the work, to put all things in a beautiful order and harmony, 
 that the whole may be of a piece. The compofitions of the 
 Painter (hould be conformable to the text of antient authors, 
 to the.cuftoms, and the times;" and this is exactly the fame in 
 Poetry : Homer and Virgil are to be our guides in the Epic ; 
 Sophocles and Euripides in Tragedy : In all things we are to 
 imitate the cuftoms and the times of thofe perfons and things 
 which we reprefent : Not to make new rules of the Drama 
 as Lopez de Vega has attempted unfuccefsfully to do, but to 
 be content to follow our Mafters, who underftood Nature 
 better than we. But if the dory which we treat be modern, 
 we are to vary the cuftoms, according to the time and the 
 country where the fcene of adion lies ; for this is ftill to imi- 
 tate Nature which is always the fame, though in a different 
 drefs. 
 
 As in the compofition of a pidlure, the Painter is to take 
 care that nothing enter into it," which is not proper or con- 
 venient 
 
APPENDIX. 167 
 venient to the fubjed;" fo likewife is the Poet to rejed: all inci- 
 dents which are foreign to his Poem, and are naturally no parts 
 of it : They are wens, and other excrefcences, which belong 
 not to the body, but deform it. No perfon, no incident in 
 the piece, or in the play, but muft be of ufe to carry on the 
 main defign. All things elfe are like fix fingers to the hand, 
 when Nature, which is fuperfluous in nothing, can do her 
 work with five. A Paintermuft rejed all trifling ornaments;'* 
 fo muft a Poet refufe all tedious and unnecelTary defcriptions. 
 A robe, which is too heavy, is lefs an ornament than a burden. 
 In Poetry, Horace calls thefe things, 
 
 Verfus inopes rerum, nugsque canors. 
 Thefe are alfo the lucus & ara Dianas, which he mentions in 
 the fame Art of Poetry : But fince there muft be ornaments, 
 both in Painting and Poetry, if they are not neceffary, they 
 muft at leaft be decent; that is, in their due place, and but 
 moderately ufed. The Painter is not to take fo much pains 
 about the drapery, as about the face, where the principal re-- 
 femblance lies ; neither is the Poet, who is working up a paA 
 fion to make fimiles, which will certainly make it languifh. 
 My Montezuma dies with a fine one in his mouth, but it is out 
 of feafon. Where there are more figures in a pidure than are 
 necefiiary, or at leaft ornamental, our author calls them Figures 
 to be lett," becaufe the pidure has no ufe of them : So I have 
 feen in fome modern plays above twenty adors, when the ac- 
 tion has not required half the number. In the principal 
 figures of a pidure, the Painter is to employ the finews of his 
 art, for in them confifts the principal beauty of his work. 
 Our Author faves me the comparifon with Tragedy : for he 
 fays, that herein he is to imitate the Tragic Poet, who em- 
 ploys his utmoft force in thofe places, wherein cgnfifts the 
 height and beauty of the adion," 
 
 Du 
 
i63 APPENDIX. 
 
 Dti Frefnoy, v/hom I follow, makes Design, or Drawing, 
 the fecond part of Painting; but the rules which he gives 
 concerning the podure of the figures are almoft v/holly proper 
 to that art, and admit not any comparifon, that I know, 
 with Poetry. The pofture of a poetic figure is., as I con- 
 ceive, the defcription of his heroes in the performance of 
 fuch or fuch an adion ; as of Achilles, juft in the ad of 
 killing Hedor; or of iEneas, who has Turnus under him. 
 Both the Poet and ;the Painter vary the poftures, according 
 to the adioa or pafiion, which they reprefent of the fame 
 perfon. But all muft be great and graceful in them. The 
 fame ^^neas ^mu^l be drawn a fuppliant to Dido, with re- 
 .fped in his geftures, and humility in his eyes ; ^ but when he 
 is forced, in his own defence, to kill Laufus, the Poet fliews 
 him compafTionate, and tempering the feverrty of his looks 
 with a reludance to the adiion, which he is going to perform. 
 He has pity on his beauty and his youth, and is loth to deftroy 
 fuch a mafter-piece of Nature. He confiders Laufus refcuing 
 his father, at the hazard of his own life, as an image of him- 
 felf, when he took Anchifes on his {boulders, and bore him 
 fafe through the rage of the fire, and the oppofition of his 
 enemies; and therefore, in the poflure of a retiring man, who 
 avoids the combat, he ilretches out his arm in fign of peace, 
 with his right foot drawn a little back, and his breaft bending 
 inward, more like an orator than a foldier ; and feems to dif- 
 fuade the young man from pulling on his defliny, by attempt- 
 ing more than he was able to perform. Take the palfage as I 
 have thus tranflated it : 
 
 Shouts of applaufe ran ringing through the field, 
 To fee the fon the vanquifh'd father (liield : 
 All, fir'd with noble emulation, drive. 
 And with a ftorm of darts to diilance drive 
 
 The 
 
APPENDIX. 169 
 
 The Trojan chief ; who held at bay, from far 
 
 On his Vulcanian orb, fuftain'd the war. 
 
 ^neas thus o'erwhelm'd on ev'ry fide. 
 
 Their firfl aflault undaunted did abide ; 
 
 And thus to Laufus, loud, with friendly threatning cry'd. 
 
 Why wilt thou rufli to certain death, and rage 
 
 In rafli attempts beyond thy tender age, 
 
 Betray'd by pious Love ? 
 
 And afterwards. 
 
 He griev'd, he wept, the fight an image brought 
 
 Of his own filial love ^ a fadly pleafing thought.** 
 But, befide the outlines of the pofture, the Defign of the pic- 
 ture comprehends in the next place the " forms of faces, which 
 are to be different and fo in a Poem, or Play, muft the feve- 
 ral charadters of the perfons be diftingui£hed from each other. 
 I knew a Poet, whom out of refped: I will not name, who, 
 being too witty himfelf, could draw nothing but Wits in a 
 Comedy of his j even his Fools were infecfted with the difeafe 
 of their Author: They overflowed with fmart repartees, and 
 were only diftinguifhed from the intended Wits, by being 
 called Coxcombs, though they deferved not fo fcandalous a 
 name. Another, who had a great genius for Tragedy, follow- 
 ing the fury of his natural temper, made every man and wo- 
 man too, in his Plays, fiark raging mad ; there was not a 
 fober perfon to be had for love or money; all was tempefluous 
 and bluflering; heaven and earth were coming together at 
 every word; a mere hurricane from the beginning to the end; 
 and every ador feemed to be haflening on the day of judg- 
 ment ! 
 
 " Let every member be made for its own head," fays our 
 Author^ not a withered hand to a young face. So in the per- 
 
 Y fons 
 
Jjo APPENDIX, 
 fons of a Play, whatever is faid or done by any of them, mufl 
 be conlillent with the manners which the Poet has given them 
 diflinc3:ly; and even the habits mull: be proper to the degrees 
 and humours of the perfons as well as in a pidure. He who 
 entered in the firfl a£t a young man, like Pericles Prince of 
 Tyre, maft not be in danger, in the fifth aft, of committino-^ 
 inceft with his daughter; nor an ufurer, without great pro- 
 bability and caufes of repentance, be turned into a cutting\ 
 Moorcraft. 
 
 I am not fatisfied that the comparifon betwixt the two Arts,, 
 in the l^ft paragraph, is altogether fo juft as it might liave 
 been ; but I am fure of this which follows. 
 
 " The principal figure of the fubjed mu{^ appear in the 
 midft of the pidture, under the principai light, to diftinguifh 
 it from the reft, which are only its attendants." Thus in a 
 Tragedy, or an Epic Poem, the hero of the piece mufl be 
 advanced foremofi: to the view of the reader or fpedlator : He 
 muft outfhine the reft of all the charaders ; he muft appear 
 the prince of them, like the fun in the Copernican Syftem 
 encompaffed with the lefs noble planets. Becaufe the Hero 
 is the centre of the main adion, all the lines from the circum-. 
 ference tend to him alone; he is the chief objcd of pity in the. 
 Drama, and of admiration in the Kpic Poem. 
 
 As in a pidure, befides the principal figures which compofe 
 it, and are placed in the midft of it, there are lefs groupes, 
 or knots of figures difpofed at proper diftances," which are 
 parts of the piece, and feem to carry on the fame dti^ign in a 
 more inferior manner: So in Epic Poetry there are Epifodes, 
 and a Chorus in Tragedy, which are members of the adionl 
 as growing out of it, not inferted into it. Such, in the ninth 
 book of the^;7^7>, is the Epifode of Nifus and Eurjalus : 
 
 the 
 
APPENDIX. r/i 
 
 the adventure belongs to them alone ; they alone are the ob- 
 jed:s of compaflion and admiration ; but their bufinefs which 
 they carry on, is the general concernment of the Trojan camp, 
 then beleaguered by Turnus and the Latines, as the Chrillians 
 'Were lately by the Turks : They were to advertife the chief 
 Hero of the diftretfes of his fubjeds, occafioned by his abfence, 
 to crave his fuccour, and folicit him to hailen his return. 
 
 The Grecian Tragedy was at firft nothing but a Chorus 
 of Singers ; afterwards one ador was introduced, w hich was 
 the Poet himfelf, who entertained the people with a difcourfe 
 in verfe, betwixt the paufes of the finging. This fucceeding 
 with the people, more adors were added to make the variety 
 the greater ; and in procefs of time the Chorus only fung 
 betwixt the ads, and the Coryphaeus, or chief of them, fpoke 
 for the reft, as an ador concerned in the bufinefs of the Play. 
 
 Thus Tragedy was perfeded by degrees, and being arrived 
 at that perfedion, the Painters might probably take the hint 
 from thence, of adding groupes to their pidures 5 but as a 
 good Pidure may be. without a groupe, fo a good Tragedy 
 may fubfift without a Chorus, notwithftanding any reafons 
 which have been given by Dacier to the contrary. 
 
 Monfieiir Racine has indeed ufed it in his Efthery but not 
 that he found any necelTity of it, as the French Critic would 
 infinuate. The Chorus at St. Cyr was only to give the young 
 Ladies an occafion of entertaining the King with vocal mufic, 
 and of commending their own voices. The play itfelf was 
 iiever intended for the public ftage j nor, without any difpa- 
 ragement to the learned Author, could poffibly have fucceeded 
 there, and much lefs in the tranflation of it here. Mr. 
 Wycherley, when we read it together, was of my opinion in 
 this, or rather I of his ; for it becomes me fo to fpeak of fo 
 
 Y 2 , excellent, 
 
172 APPENDIX. 
 
 excellent a Poet, and fo great a Judge. But fince I am in this 
 place, as Virgil fays, " Spatiis exclufus iniquis," that is, fhort- 
 ened in my time, I will give no other reafon than that it is. 
 impradticable on our ftage. A new theatre, much more ample, , 
 and much deeper, muft be made for that purpofe, befides the 
 coft of fometimes forty or fifty habits, which is an expence 
 too large to be fupplied by a company of adors. It is true, I 
 (hould not be forry to fee a Chorus on a theatre, more than as 
 large and as deep again as ours, built and adorned at a King's 
 charges; and on that condition and another,, which is, that 
 my hands were not bound behind me, as now they are, I 
 fhould not defpair of making fuch a i ragedy, as might be 
 both inftruttive and delightful^ according to the manner of 
 the Grecians. 
 
 ** To make a fketch, or a more perfed model of a pidture," 
 is, in the language of Poets, to draw up the Scenery of a Play t 
 and the reafon is the fame for both; to guide the undertakings, . 
 and to preferve the remembrance of fuch things whofe natures, 
 are difficult to retain. 
 
 To avoid abfurdities and incongruities is the fame law efta- 
 bliflied for both Arts. " The Painter is not to paint a cloud at 
 the bottom of a pidure, but in the uppfermoft parts /' nor the 
 Poet to place what is proper to the End or Middle in the Be- 
 ginning of a Poem. I might enlarge on this ; but there are 
 few Poets or Painters who can be fuppofed to fm fo grofsly 
 againft the Laws of Nature and of Art. I remember only 
 one Play, and for once I will call it by its name, T^e 
 Slighted Maid, where there is nothing in the firft adt but 
 what might have been faid or done in the fifth ; nor any thing 
 in the Midfi: which might not have been placed as well in the 
 Beginning or the End. 
 
 To- 
 
APPENDIX. 173 
 
 *' To exprefs the paffions, which are feated on the heart 
 by outward figns," is one great precept of the Painters, and 
 very difficult to perform. In Poetry the iame paffions and 
 motions of the mind are to be expreffied ; and in this conlifts 
 the principal difficulty, as well as the excellency of that Art. 
 " This," fays my Author, is the gift of Jupiter and, 
 to fpeak in the fame Heathen language. We call it the gift 
 of our Apollo, not to be obtained by pains or ftudy, if we are 
 not born to it: For the motions which are ftudied are never 
 fo natural as thofe which break out in the height of a real 
 paffion. Mr. Otway poffelTed this part as thoroughly as any 
 of the antients or moderns. I will not defend every thing 
 in his Venice Pre ferved ; but I muft bear this teftimony to his 
 memory, that the paffions, are truly touched in it, though, 
 perhaps, there i& fomewhat to be defired both in the grounds 
 of them, and in the height and elegance of expreffion j but 
 Nature is there, which is the greateft beauty. 
 
 ** In the paffions," fays ^our Author, we muft have a very 
 great regard to the quality of the perfons who are adually 
 pofleffied with them." The joy of a Monarch for the news of 
 a vidory muft not be expreffed like the extafy of a Harlequin 
 on the receipt of a letter from his Miftrefs : This is fo much 
 the fame in both the Arts, that it. is no longer a comparifon. , 
 What he fays of face- painting, or the portrait of any one par- 
 ticular perfon, concerning the likenefs, is alfo applicable to 
 Poetry: In the character of an hero» as well as in an inferior 
 figure, there is a better or worfe likenefs to be taken ; the 
 better is a panegyric, if it be not falfe, and the worfe is a 
 libel. Sophocles, fays Ariftotle, always drew men as they 
 ought to be j that is, better than they were. Another, whofe 
 name I have forgotten, drew them worfe than naturally they 
 
 Y 3 were.; 
 
174 APPEND! X. 
 
 were. Euripides altered nothing in the charader, but made 
 them fuch as they were reprefented by Hiftory, Epic Poeti'y* 
 or Tradition. Of the three, the draught of Sophocles is 
 moil: commended by Ariftotle. I have followed it in that 
 part of Oedipus which I writ though, perhaps, I have made 
 him too good a man. ,But my charaders of Anthony and 
 Cleopatra,- though they are favourable to them, have nothing 
 of outrageous panegyric ; their paffions were their own, and 
 fuch as were given theai by Hiflory, only the deformities of 
 them were ,caft into lhadows, that they might be objed:s of 
 compaffion : ,whereas, if I had chofen a noon-day light for 
 them, fomewhat muft have been difcovered, which v/ould ra- 
 ther. havernoved our hatred than our pity. 
 
 *« The Gothic manner, and the barbarous ornaments which 
 are to be avoided in a pidurq," are juft the fame with thofe in 
 an ill-ordered Play, p^or example; our EngliOi Tragi-comedy 
 mull be confelled to be wholly Gothic, notwithftanding the 
 fuccefs which it has found upon our theatre ; and in the Pajior 
 Fido of Guarini, even though Corafca and the Satyr contribute 
 fomewhat to the main adion : Neither can I defend my Spani/h 
 Friar, as fond as otherwife I am of it, from this imputation ; 
 for though the comical parts are diverting, and the ferious 
 moving, yet they are of an unnatural mingle : for mirth and 
 gravity deftroy each other, and are no more to be allowed for 
 decent, than a gay widow laughing in a mourning habit. 
 
 I had almoft forgot one confiderable rcfemblance. Du 
 Frefnoy telk us, ** That the figures of the groupes muft not 
 be all on a fide, that is, with their faces and bodies all turned 
 the fame way, but muft contraft each other by their feveral 
 pofitions." Thus in a Play, fome charaders muft be raifed 
 to oppofe others, and to fet them off the better, according to 
 
 the 
 
APPENDIX. 17^ 
 
 the old maxim, Contraria juxta fe pofita, magis ekicefcunt." 
 Thus in the Scornful Lady, the Ufurer is lent to confront the 
 Prodigal : Thus in my 'Tyrannic Love, the Atheift Maximin 
 is oppofed to the character of St. Catharine. 
 
 I am now come, though with the omiffion of many like- 
 neffes, to the third part of Painting, which is called the Chro- 
 matic or Colouring. Expreffion, and all that belongs to 
 words, is that in a Poem which Colouring is in a Pidure. 
 The colours well chofen, in their proper places, together with 
 the lights and (hadows which belong to them, lighten the de- 
 fign, and make it pleafing to the eye. The Words, the Ex- 
 preffions, the Tropes and Figures, the Verfification, and all 
 the other elegancies of found, as cadences, turns of words 
 upon the thought, and many other things, which are all parts 
 of expreffion, perform exadtly the fame-office both in Dramatic 
 and Epic Poetry. Our Author calls colouring, kna fororis 
 in plain Engliffi, the Bawd, of her SiAer,. the defign or dravv- 
 ing; (he clothes^ fhe dreffies her up, Ihe paints her, fhe makes 
 her appear more, lovely than naturally fhe is, fne^procures 
 for the defign,.. and makes lovers for her ; for the defign of 
 itfelf is only fo -many naked lines. Thus in Poetry, the Ex- 
 preffion is that which charms the reader, and beautifies the 
 Defign, , which is only the outlines of the fables. It is true, 
 the defign muft of itfelf be good ; if it be vicious, or, in one 
 word, unpleafing, the coft of colouring is thrown away upon 
 it. It is an ugly woman in a rich habit, fet Qut with jewels ; 
 nothing can become her. Butgranting the defign to be mode- 
 rately good, it is like an excellent complexion with indifferent 
 features; the white and red well mingled on the face, make 
 what was before but paffable, appear beautiful. Operum 
 Colores" is. the very word which Horace ufes to fignify Words 
 
 and^j 
 
176 APPEND r X. 
 
 and elegant Expreflion, of which he himfelf was Co great 
 Mafter in his Odes. Amongft the Antients, Zeuxis was moft 
 famous for his colouring; amongft the Moderns, Titian and 
 Correggio. Of the two antient Epic Poets, who have fo far 
 excelled all the moderns, the Invention and Delign were the 
 particular talents of Homer. Virgil muft yield to him in 
 both ; for the defign of the Latin was borrowed from the 
 Grecian : But the Didio Virgiliana," the Expreflion of 
 Virgil, his Colouring, was incomparably the better; and in 
 that I have always endeavoured to copy him. Moft of the 
 ■pedants, I know, maintain the contrary, and will have Homer 
 excel even in this part. But of all people, as they are the 
 moft ill-mannered, fo they are the worft judges, even of 
 words which are their province; they feldom know more 
 ; than the grammatical conftrudtion, unlefs they are born with 
 , a poetical genius, which is a rare portion amongft them : Yet 
 fome, I know, may ftand excepted, and fuch I honour. 
 Virgil is fo exad: in every word, that none can be changed but 
 for a worfe ; nor any one removed from its place, but the 
 harmony will be altered. He pretends fometimes to trip ; but 
 it is only to make you think him in danger of a fall, when 
 he is moft fecure. Like a ikilful dancer on the ropes (if you 
 will pardon the meannefs of the fimilitude) who flips willingly 
 and makes a feeming ftumble, that you may think him in 
 great hazard of breaking his neck, while at the fame time he 
 is only giving you a proof of his dexterity. My late Lord 
 Rofcommon was often pleafed with this reflection, and with 
 the examples of it in this admirable Author. 
 
 I have not leifure to run through. the whole coniparifon of 
 lights and fhadows with tropes. and figures ; yet I cannot but 
 take notice of metaphor^, which, like them, have power to 
 
 leflen 
 
A P P E N D I X. . 177 
 
 lefTen or greaten any thing. Strong and glowing colours are 
 the juft refemblances of bold metaphors, but both muft be 
 judicioufly applied; for there is a dilFerence betwixt Daring 
 and Fool-hardinefs. Lucan and' Statius often ventured them 
 too far; our Virgil. never. But the great defed of the Phar^ 
 falia and the Thebais was in the defign ; if that had been 
 more perfect, we might have, forgiven many of their bold 
 ftrokes in the colouring, or at leaft excufed them; yet fome 
 of them are fuch as Demoflhenes or Cicero could not have de- 
 fended. Virgil, if he could have feen the firft verfes of the 
 Syhce, would have thought Statius mad in his fuftian defcrip- 
 tion of the Statue on the Brazen H'orfe : But that Poet was 
 always in a foam at his fetting out, even before the motion of 
 the race had warmed him. The foberncfs of Virgil whom he 
 read, it feems to little purpofs, might have fliewn him the 
 difference betwixt " Arma virumque canoy and Magnanimum 
 asacidem, formidatamque tonanti progeniem." But Virgil knew 
 how to rife by degrees in his expreiTions : Statius was in his 
 towering heights at the firft ftretch of his pinions. The de- 
 fcription of his running horfe, juft ftarting in the funeral 
 games for Archemorus, though the verfes are wonderfully 
 fine, are the true image of their author : 
 
 Stare adeo nefcit, pereunt veftigia mille 
 
 Ante fugam; abfentemque ferit gravis ungula campum. 
 Which would coft me an hour, if I had the leifure to tranflate 
 them, there is fo much of beauty in the original. Virgil, as 
 he better knew his colours, fo he knew better how and where 
 to place them.' In as much hafte as I am, I cannot forbear 
 giving one example: It is faidof him, that he read the fecond, 
 fourth, and fixth books of his iEneis to Auguftus Csefar. In 
 the fixth (which we are fure he read, becaufe we know Oc- 
 
 ^ tavia 
 
178 A P P E N D I X. 
 
 tavia was prefent, who rewarded him fo bountifully for the 
 twenty verfes which were made in honour of her deceafed fon 
 Marcellus) ; in this fixth bookj I fay, the Poet, fpeaking of 
 Mifenu?, the trumpeter, fays, 
 
 Quo non prseftantior alter, 
 
 .JEre ciere viros, — 
 
 and broke off in the hemiftich, or midft of the verfe^ but i» 
 the very reading, feized as it were with a divine fury, he made 
 up the latter part of the hemiftich with thefe following 
 words^ 
 
 Martemque accendere cantu. 
 
 How warm, nay, how glowing a colouring is this ! In the 
 beginning of the verfe, the word ^j, or brafs, was taken for 
 a trumpet, becaufe the inftrument was made of that metal, 
 which of itfelf was fine ^ but in the latter end, which was 
 
 made extempore, you fee three metaphors, Martemque, 
 
 accendere, — i — cantu. Good Heavens ! how the plain fenfe is 
 raifed by the beauty of the words. But this was Happinefs, 
 the former might be only Judgment. This was the curiofa 
 felicitas" which Petronius attributes to Horace. It is the 
 pencil thrown luckily full upon the horfe's mouth, to exprefs 
 the foam, which the Painter, with all his fkill, could not 
 perform without it. Thefe hits of words a true Poet often 
 finds, as I may fay, v/ithout feeking ; but he knows their 
 value when he finds them, and is infinitely pleafed. A bad 
 Poet may fometimes light on them, but he difcerns not a 
 diamond from a Briftol ftone; and would have been of the 
 cock's mind in iEfop, a grain of Barley would have pleafed 
 jiim better than the jewel. The lights and fhadows which 
 belong to colouring, put me in mind of that verfe of Horace, 
 Hoc amat obfcurum, vult hoc fub luce videri. 
 
 Some 
 
APPENDIX. 179 
 
 Some parts of a Poem require to be amply written, and with 
 all the force and elegance of words : others muft be cafl into 
 fhadowsj that is, palTed over in filence, or but faintly touched. 
 This belongs wholly to the judgment of the Poet and the 
 Painter. The moft^ beautiful parts of the Pidlure and the 
 Poem mufl: be the moft finifhed; the colours and words moft 
 chofen ; many things in both, which are not deferving of this 
 care, mufl: be fhifted off, content with vulgar expreflions ; 
 and thofe very fhort, and left, as in a fliadow, to the imagi- 
 nation of the reader. 
 
 We have the proverb, *^ Manum de tabula," from the 
 Painters, which fignifies to know when to give over, and {o 
 lay by the pencil* Both Homer and Virgil pradifed this 
 precept wonderfully well 5 but Virgil the better of the two. 
 Homer knew that when Hedtor was flain, Troy v/as as good 
 as already, taken ; therefore he concludes his adion there : 
 For what follows in the funerals of Patroclus, and the re- 
 demption of Hedtor's body, is not, properly fpeaking, a part 
 of the main adion. But Virgil concludes with the death of 
 Turnus ; for, after that difficulty was- removed, iEneas might 
 marry, and efl:ablilh the Trojans when he pleafed. This rule 
 I had before my eyes in the conclufion of the Spanifli Friar, 
 when the difcovery was made that the King was living j 
 which was the knot of the Play untied : the reft is fliut up in 
 the compafs of fome few lines, becaule nothing then hindered 
 the happinefs of Torifmond and Leonora. The faults of that 
 Drama are in the kind of it, which is Tragi-comcdy. But 
 it was given to the people, and I never writ any thing for 
 myfelf but Anthony and Cleopatra. 
 
 This remark, I mufl: acknowledge, is not fo proper for the 
 colouring as the defign i but it will hold for both. As the 
 
 Z 2 words. 
 
i^p A P P E N D 1 X, 
 
 words, &c. are evidently fhewn to be the cloathing of the 
 thought, in the fame fenfe as colours are the cloathing of the 
 defign ; fo the Painter and the Poet ought to judge exadly 
 when the colouring and expreffions are ^^perfed:, and then to 
 think their work is truly iiniihed. Apelies faid of Protogenes, 
 that " he knew not when to give over." A work may be 
 over- wrought as well as under-wrought: Too much labour 
 .often takes away the fpirit, by adding :,to the polifhingj fo 
 that there remains nothing but a dull .corredlnefs, a piece 
 without any confiderable faults, but with few beauties; for 
 when the fpirits are drawn off, there is nothing but a caput 
 mortuum." Statius never thought an exprefiion could be 
 bold enough ; and if a bolder could be found, he rejeded the 
 firft. Virgil had judgment enough to know Daring was ne- 
 cefTary ; but he knew, the difference betwixt a glowing colour 
 and a glaring ; as when he compared the fhocking of the 
 fleets at Adium to the juftling of iUands rent from thei-r 
 foundations and meeting in the ocean. He knew the com- 
 parifon was forced beyond Nature^ and raifed too high; he 
 therefore foftens the metaphor with a cre^^s. You would 
 ialmofl believe that ^mo.untains or iflands rufhed againft each 
 other: 
 
 ' ^ Credas innare revulfas 
 
 Cycladas; aut montes concurrere montibus ^quos 
 But here I mnft break off without finiffiing the difcourle. 
 Cynthius aurem vellit, & admonuit, &c." the things 
 which are behind are of too nice a confideration for an Effay 
 begun and ended in twelve mornings; and perhaps the Judo-es 
 of Painting and Poetry, when I tell them how fliort a time it 
 coft me, may make me the fame anfwer which my late Lord 
 Rocheffer made to one, who, to commend a Tragedy, faid, 
 
 it 
 
APPENDIX. iSi 
 
 it was written in three weeks ; How the Devil could he be 
 fo long about it ? for that Poem was infamoufly bad," and I 
 ' doubt this Parallel is little better; and then the fhortnefs of 
 the time is fo far from being a commendation, that it is 
 fcarcely an excufe. But if I have really drawn a portrait to 
 the knees, or an half-length, with a tolerable likenefs, then 
 I may plead with fome juftice for myfelf, that the reft is left 
 to the Imagination. Let fome better Artift provide himfelf 
 of a deeper canvas; and taking thefe hints which I have given, 
 fet the figure on its legs, and finifli it in the Invention, De- 
 £gn, and Colouring. 
 
 EPISTLE 
 
EPISTLE 
 
 OF 
 
 P O P E 
 
 T O 
 
 M-' J E R V A S. 
 
The following elegant Epiftle has conftantly been 
 prefixed to all the Editions of Du Fresno\^, which 
 have been publiflied fince Jervas correded the 
 tranflation of Dryden. It is, therefore, here re- 
 printed, in order that a Poem which dt)es fo much 
 honour to the original Author may ftill accompany 
 his work, although the Tranflator is but too con-^ 
 fcious how much fo mafterly a piece of Verfification 
 on the fubjea of Painting, will, by being brought 
 thus uear it^ prejudice his own lines. 
 
 T O 
 
T O 
 
 M^' J E R V A S, 
 
 WITH 
 
 IFRESNOY's ART of PAINTING, 
 Tranllated by Mr. D R Y D E N. * 
 
 ^ I HIS verfe be thine, my friend, nor thou refufc 
 
 JL This, from no venal or ungrateful Mufe. 
 Whether thy hand ftrike out fome free defip-n. 
 Where life awakes, and dawns at every line; 
 Or blend in beauteous tints the colour'd mafs. 
 And from the canvas call the mimic face : 
 Read thefe inftrudtive leaves, in which confpire 
 Fkesnoy's clofe Art, and Dryden's native fire ; 
 And leading wifli, like theirs, our fate and fame. 
 So mix'd our ftudies, and fo join'd our name; 
 Like them to ftiine through long-fuccecding age. 
 So jufl thy ikill, fo regular my rage. 
 
 Smit with the love of Sifter- Arts we came. 
 And met congenial, mingling flame with flame; 
 Like friendly. colours found them both unite. 
 And each from each con trad: new flrength and light. 
 How oft in pleafing tafks we wear the day. 
 While Summer funs roll unperceiv'd away ? 
 How oft our ilowly-growing works impart. 
 While images refiedl from art to art ? 
 
 A a Ho 
 
 f Firft printed in 17 17. 
 
i86 APPENDIX. 
 
 How oft review each finding, like a friend. 
 Something to blame, and fomething to commend ? 
 
 What fiatt'ring fcenes our wand'ring fancy wrought, 
 Rome's pompous glories rifing to our thought ! 
 Together o'er the Alps methink^ we fly,, 
 Fir'd with ideas of fair Italy. 
 With thee, on Raphael's monument I mourn^ 
 Or wait infpiring dreams at Maro's urn : 
 With thee repofe, where Tully once was laid, 
 Or feek fome ruin's formidable fhade y 
 While Fancy brings the vanifii'd pile to view^ 
 And builds imaginary Rome anew. 
 Here thy well-fludy'd marbles fix our eye 
 A fading frefco here demands a figh : 
 Each heavenly piece unwearied we compare. 
 Match Raphael's Grace with thy lov'd Guido's Air,, 
 Caracci's Strength, Coreggio's fofter Line, 
 Paulo's free Stroke, and Titian's Warmth divine* 
 
 How finifh'd with illuftrious toil appears 
 This fmall, weJl-polifh'd gem, the work of years ! 
 Yet ftill how faint by precept is expreft 
 The living image in ;he Painter's breaft ? 
 Thence endlefs llreams of fair ideas flow,- 
 Strike in the fketch, or in the pi(5lure glowj 
 Thence Beauty, waking all her forms, fupplies 
 An Angel's fweetnefs, or Bridgwater's eyes. 
 
 Mufe! at that name thy facred forrows (bed, 
 Thofe tears eternal that embalm the dead : 
 
 Call 
 
 * Frefnoy employed above twenty years in finifhinT this Pcem. 
 
APPENDIX. 187 
 
 Call round her tomb each objecl of defirc. 
 Each purer frame inform'd with purer fire : 
 Bid her be all that chears or foftens life. 
 The tender fifter, daughter, friend, and wife ! 
 Bid her be all that makes mankind adore ; 
 Then view this marble, and be vain no more ! 
 
 Yet flill her charms in breathing paint engage; 
 Her mcdeft cheek fhall warm a future age. 
 Beauty, frail flower, that ev'ry feafon fears. 
 Blooms in thy colours for a thoufand years. 
 Thus Churchill's race {hall other hearts furprizc, 
 And other beauties envy Wortley's * eyes. 
 Each pleafing Blount fhall endlefs fmiles beflow. 
 And foft Belinda's blufh for ever glow. 
 
 Oh ! lafting as thofe colours may they fhine, 
 F ree as thy ftroke, yet faultlefs as thy line ! 
 New graces yearly, like thy works, difplay ; 
 Soft without weaknefs, without glaring gay ; 
 Led by fome rule, that guides, but not conftrains ; 
 And finifh'd more through happinefs than pains ! 
 The kindred Arts fhall in their praife confpire. 
 One dip the Pencil, and one firing the Lyre. 
 Y et fhould the Graces all thy figures place. 
 And breathe an air divine on ev'ry face ; 
 
 A a 2 Yet 
 
 ^ In one of Dr. Warburton's Editions of Pope, by which copy this has been 
 dCorrfi<5bed, the name is changed to Worjley. If that reading be not an error of the 
 prefs, 1 fuppofe the Poet altered the name after he bad quarrelled v^th Lady 
 M. W. Montague, and, being offended at her Wit, thus revenged himfelf on 
 tier Beauty, 
 
i88 APPENDIX. 
 
 Yet fliould the Mufes bid my numbers roll. 
 Strong as their charms, and gentle as their foul^ 
 With Zeuxis' Helen thy Bridgwater vie. 
 And thefe be fung till Granville's Myra die j 
 Alas I how little from the grave we claim ? 
 Thou, hut preferv'J[l a Fp.ce, and I a Name.. 
 
 • 
 
CHRONOLOGICAL LIST 
 
 O F 
 
 A r N T E R S 
 
 Irom the Revival of the Art to the Beginning of 
 the prefent Century. 
 
Inftead of the fliort account of the lives of the 
 Painters by Mr. Graham, which has been annexed 
 to the later Editions of Mr. Dryden's Tranflation, 
 I have thought pi-oper to infert, at the conclufion 
 of this work, the following Chronological Lift drawn 
 up by the late Mr. Gray, when in Italy, for his 
 own ufe, and which I found fairly tranfcribed amongft 
 thofe papers which his friendfhip bequeathed to me, 
 Mr. Gray was as diligent in his refearches as corred 
 in his judgment; and has here employed both thefe 
 talents to point out in one column the places where 
 the principal works of each Mafter are to be found, 
 and in another the different parts of the art in which 
 his own tafte led him to think that they feverally 
 excelled*. It is prefumed, therefore, that thefe 
 two additions to the names and dates will render 
 this little work more ufeful than any thing of the 
 Catalogue kind hitherto printed on the fuhjeci. For 
 more copious Biographical information, the reader 
 is referred to Mr. Pilkington's Dictionary. 
 
 A 
 
 * See ^4emoirs of Mr. Gray, Note on Letter XIV. Seft. 11. 
 
192 A P P E N D I X. 
 
 A C H R O N O L O G I C A L LIST 
 
 Names. 
 
 G 
 
 Giotto 
 
 lovanni Cimabue 
 Andrea TafE 
 
 Buonaniico Bufralmacco - - 
 5 Ambrogio Lorenzetti 
 Pictro Cavallini 
 Simon Memmi 
 Andrea Orgagna _ _ 
 Tomafo Giottino 
 10 Paolo Uccello 
 
 Maffolino _ - - 
 
 Mafaccio - - 
 
 Fra. Giov. Ansrelico da Fiefole 
 Antonello da MelTina 
 
 «15 Fra. Filippo Lippi 
 
 Andreadel Caftagno dettoDeg'l' 
 
 Impiccati 
 
 Gentile del Fabriano .^- ~ - 
 
 Giacomo Bellini 
 
 CTcntile 7 r> n- • 
 . \ Bellni^ 
 
 Cofmo RolTelli - _ - 
 
 Domenico Ghirlaiidaio - 
 
 Andrea Verocchio 
 
 Andrea Mantegna 
 25 Filippo Lippi 
 
 Pietro Perugino 
 Bernardino Pinturicchio 
 
 Francefco Francia 
 
 29 Bartolomeo Ramenghi, detto II 
 Bagnacavallo 
 
 Studied under 
 
 certain Greeks 
 ApoUonius, a Greek 
 
 Cimabue 
 
 Andrea Taffi 
 
 Giotto - - 
 
 Giotto 
 
 Giotto _ - _ 
 imitated Giotto - - 
 imitated Giotto - - 
 Antonio Venetiano 
 
 Lorenzo Ghiberti and 
 
 Gher. Stamina 
 Maflblino 
 Giottino - 
 John Van Eyck 
 
 Mafaccio 
 
 Domenico Venetiano 
 
 Giovanni da Fiefole 
 Gentile del Fabriano 
 
 Giacomo their father 
 
 AlefTand. Baldovinetti 
 Giacomo Squarcione 
 
 Fra. Filippo his father, 
 and Sandro Boticelli 
 Andrea Verocchio 
 Pietro Perugino 
 
 Marco ^oppo 
 
 Francefco Francia 
 
 Excelled in 
 
 firft revived Painting 
 revived Mofaic - 
 
 quitted the ftifF man- 
 ner of the Gxeeks 
 
 firft v^o ftudied per- 
 
 ipe£tive 
 
 gave more grace £0 his 
 figures and drapery 
 
 introduced oil Paintino- 
 
 into Italy 
 began to paint figures 
 
 larger than life 
 painted in oil firft at 
 
 Florence 
 
 lively colouring 
 
 genteel defigning and 
 
 good airs 
 obferyation of perfpec- 
 
 tive 
 
 firft confiderable Ma- 
 fter of the Bolognefe 
 School 
 
 foft and flefhy colour- 
 ing 
 
 ^Hiftory 
 
APPENDIX. 193 
 Of MODERN PAINTERS. 
 
 Painted 
 
 Hiftory 
 Hiftory 
 
 Hiftory 
 
 Hiftory 
 5 Hiftory 
 Hiftory 
 Portraits 
 Hiftory 
 Hiftory 
 
 Xo Birds, fome Hiftory j Florence 
 
 Country, Place, and 
 Year of their Death. 
 
 -Florence, Florence, 1 300 
 - 1294 
 
 Florence 
 
 Florence - 
 
 Florence 
 Sienna 
 Rome - 
 Sienna, Florence, 
 Florence 
 Florence 
 
 Hiftory 
 Hiftory 
 
 Hiftory, Miniatures 
 
 Hiftory . - 
 15 Hiftory 
 
 Hiftory 
 
 Hiftory 
 Hiftory 
 
 Hiftory 
 20 Hiftory 
 
 Hiftory 
 Hiftory 
 
 Hiftory 
 Hiftory 
 
 2 5 Hiftory 
 
 Hiftory 
 Hiftory - 
 
 Hiftory - 
 
 29 Hiftory 
 
 Florence - 
 Verona 
 
 Venice 
 Vfnice 
 
 Venice 
 
 Florence, Rome 
 Florence 
 Florence - 
 Padua, Mantua 
 
 Florence 
 
 Rnefia, Rome - 
 Florence, Sienna 
 
 Bologna 
 
 1336 
 
 1340 
 1350 
 13H 
 1345 
 i3«9 
 135^ 
 1432 
 
 Florence — - 141 8 
 
 Florence - - 1443 
 
 Florence,. Rome 1455 
 
 Meffina - - 1475 
 
 Florence, Rome 1438 
 
 1480 
 
 1470 
 1501 
 
 15 1 2 
 1484 
 
 - 1493 
 
 - 1488 
 1517 
 
 - 1505 
 
 Aged 
 
 1524 
 1573 
 
 1518 
 
 60 
 81 
 
 60 
 
 78 
 83 
 85 
 60 
 60 
 
 32 
 83 
 
 37 
 24 
 68 
 
 49 
 
 69 
 
 71 
 
 80 
 
 ► Boloo-na 
 
 - 1541 
 
 80 
 
 90 
 68 
 
 44 
 56 
 66 
 
 69 
 
 78 
 59 
 
 68 
 
 48 
 
 Principal Works arc at 
 
 almoft all periftied. 
 unknown. 
 
 Rome, St. Peter's, Arezzo — Mofaics*. 
 Pifa, Campo-Santo. 
 
 Rome, St. Paolo fuor della Citta* 
 
 Florence, , the Dome. . 
 
 Florence, the Palace,, in the Apart* 
 ments of the old Pidures. 
 
 Florence, the Palace. 
 
 Rome, S. Giov. Laterano, S. Mar* 
 Maggiore. 
 
 Venice, and in fome Cabinets. 
 
 Rome, Capella Siftina. 
 
 Florence, Palace, Clofet of Madama» 
 
 Florence, Rome, Apartments of In- 
 nocent^, at the Belvedere Chapel. 
 
 Rome, Pal. Borghefe, &c. 
 
 Sienna, Library of the Dome, Rome, 
 Santa Croce in Gierufidemme j Ma- 
 donna dell Popolo, &c. 
 
 Bologna, in feverai Churches. 
 
 Bologna< 
 
 InnocenzO- 
 
194 
 
 APPENDIX. 
 
 Names. 
 
 Innocenzo Francuz;zi, detto 
 
 da Imola 
 Francefco Turbido, detto II 
 
 Mauro 
 Luca Signorelli 
 * Lionardo da Vinci - 
 
 ^ * Giorgio Giorgione 
 
 * Antonio da Correggio 
 
 Mariotto Albertinelii 
 Baccio, detto Fra. Bartolomeo 
 
 di S. Marco 
 Pietro di Cofimo 
 
 0 Raphaelino del Garbo - 
 
 * Michael Angelo Buonarotta 
 
 * RafFaelle Sanzio d'Urbino 
 
 « Titiano Vecelli 
 
 Domenico Puligo 
 5 Timoteo Urbino 
 Vincenzo da San Geminiano 
 Lorenzo di Credi 
 
 Balthazar Peruzzi 
 
 Studied under 
 
 Francefco Francia 
 
 * Giorgione 
 
 Pietro della Francefca 
 
 imitated Lionardo's 
 manner 
 
 Cofmo Rofelli 
 Cofmo Rofelli 
 
 Cofimo Rofelli - - 
 
 Filippo Lippi 
 
 Dominico Ghirlandaio 
 
 Pietro Perugino ; cor- 
 recSled his manner up- 
 on feeing the works 
 of Lionardo da Vinci 
 and Michael Angelo 
 
 Giovanni Bellini 
 
 DomenicoGhirlandaio 
 
 Rafaelie 
 
 Rafaelle 
 
 Andrea Verocchio imi- 
 tated Lionardo da 
 Vinci 
 
 Excelled in 
 
 correal drawing - 
 
 exquifite defigning - 
 
 management of the 
 clair-obfcure, and 
 colouring 
 divine colouring and 
 morbidezza of his 
 flefh; angelical grace 
 and joyous airs of his 
 figures and clair-ob- 
 fcure 
 
 great corrednefs of de- 
 fign, grand and terri- 
 ble fubjedls, profound 
 knowledge of the ano- 
 tomical part 
 in every part of paint- 
 ing, but chiefly in 
 the thought, com- 
 pofition, expreffion, 
 and drawing 
 
 o 
 
 the clair-obfcure and 
 all the beauties of 
 colouring 
 
 the fame as his Mafler 
 
A 
 
 P P E 
 
 N 
 
 D 
 
 I 195 
 
 Painted 
 
 Country, Place, and 
 Year of their Death. 
 
 Aged 
 
 Principal Works are at 
 
 Hiftory 
 
 '. bologna 
 
 
 
 Bologna. 
 
 Portraits 
 
 Verona 
 
 1521 
 
 81 
 
 
 Hiftory - 
 Hiftory and Por- 
 traits 
 
 ^ Hntory and ror- 
 traits 
 
 Cortona - - 1521 
 Milan, Paris - 15 17 
 
 Caftle Franco nel Tre- 
 vigiano, Venice, 151 1 
 
 82 
 75 
 
 J J 
 
 Milan, the Dominicans, the Acade- 
 my; Florence, Pal. Pitti ; Rome, 
 ' Pal. Borghefe, Barberini. 
 
 Venice; Florence, Pal. Pitti; Rome, 
 Pal. Pamphili. 
 
 Hiftory and Por- 
 traits 
 
 Corregio nel Re^ 
 
 rgiano 
 i534 
 
 40 
 
 Modena, the Duke's Colledlions ; 
 Parma, the Dome, Saint Antonio 
 Abbate, S. Giovanni del monte, 
 fan Sepulcro ; Florence, the Palace ; 
 r aris, tne r aiais jxoyai, occ d^iwoy, 
 the King's CoUedlions. 
 
 Hiftory 
 Hiftory 
 
 Florence 
 Florence 
 
 1520 
 1517 
 
 45 
 48 
 
 
 Grotefques and 
 monfters 
 xo Hiftory 
 
 Florence 
 Florence 
 
 1521 
 1529 
 
 80 
 58 
 
 
 Hiftory - 
 
 Chiufi, preflb d'Arezzo ; 
 Rome - - 1564 
 
 90 
 
 Rome, Capella Seftina, Capella Pau- 
 lina, S. Giovanni Latuano; Flo- 
 rence, the Palace. 
 
 Hiftory and Por- 
 traits 
 
 Hiftory and Por- 
 traits 
 
 Urbino, Rome - 1520 
 
 Cadore nel Friulcfc $ - 
 Venice - - 1576 
 
 37 
 99 
 
 Pnrvii» tVip Vatlriin S Pietro. in IVlon- 
 torio; S.Aguftino, theLungara, &c. 
 Florence, the Palace; France, Ver- 
 failles, the Palais Royal ; England^ 
 HamptonXourt J Naples, the King's 
 Collection. 
 
 Venice; Rome; in many Collec- 
 tions, &:c. 
 
 Hiftory 
 
 I c o iiiui y ~ 
 
 Hiftorv 
 Hiftory - 
 
 Florence 
 Urbino 
 
 S. Geminiano - 
 Florence - 
 
 1525 
 1524 
 1527 
 
 52 
 54 
 52 
 
 Rome Madonna della Pace, 
 Rome, the Vatican. 
 
 Hiftory, buildings 
 
 Sienna, Rome - 
 
 153^^ 
 
 55 
 
 Rome, Madonna della Pace, 
 
 
 
 B 
 
 b 2 
 
 Giovanni 
 
196 
 
 APPEISTDIX. 
 
 Names. 
 
 Giovanni Francefco Penni 
 detto il Fattore 
 
 * Giulio Romano 
 
 Peligrino di Modena 
 Pierino Buonacorvi detto Pe- 
 rin del Vago 
 5 Giovanni da tJdina 
 
 * Andrea del Sarto 
 
 Studied under 
 
 ^rancia Bigio 
 
 Sebaftiano detto Fradel Piom- 
 bo 
 
 Orazio Sammachini 
 
 10 Lorenzetto Sabattini 
 Profpero Fontana - 
 Lavinia Fontana 
 Pelegrino Tibaldi 
 
 Primaticcio, detto il Bologna 
 
 15 Nicolo Bologn&fe, detto Mef- 
 fer Nicolb 
 •IlDoffo 
 
 Bernazzano da Milano 
 
 Giov. Martino da Udina 
 Pelegrinoda fan Danielo 
 20 Giovanni Antonio Regillo, 
 detto Licinio da Pordenone 
 ■Girolamo da Trevigi 
 Polidoro da Caravaggio 
 
 Maturino 
 
 Rafaelle 
 
 Rafaelle 
 
 RafaeJie 
 RafaeUe 
 
 Rafaelle 
 
 Pietro di Cofimo 
 
 Mariofto Albertinelli 
 
 Giov. Bellini; IlGior- 
 gione, M. Angelo 
 
 II Bagnacavallo, Inno-; 
 
 ccnzo d'Imola 
 the fame - 
 the fame 
 
 Profpero, her father - 
 
 11 Bagnacavallo, Inno- 
 nocenzo d'imola 
 
 the fame J Julio Ro- 
 mano 
 
 Primaticcio - 
 
 Lorenzo Cofta, Titian 
 
 Giov. Bellini 
 the fame 
 Giorgione 
 
 Rafael 
 
 Rafael 
 
 Excelled in. 
 
 good imitation of his 
 Mafter, and great 
 difpatch 
 
 his Matter's excellen- 
 cies 
 
 animals, flowers, and 
 fruits 
 
 natural and graceful 
 airs,and corredl draw- 
 ing; a bright manner 
 of colourmg 
 
 painted in company 
 with and like Andrea 
 
 painted in the ftrong 
 and corre6t manner 
 of this laft, and co- 
 loured better 
 
 a .ftrong Michael An- 
 
 gflico manner 
 gencilenefs - ^ 
 
 fine colou 
 
 ring 
 
 the corred^nefs of de- 
 fign and imitation of 
 the antique, chiefly in 
 chiaro-fcuro 
 
 the fame ; they always 
 painted together 
 
 'Hiftory 
 
A 
 
 END 
 
 X. 
 
 197 
 
 Painted 
 
 Hiftory 
 
 Hlftory - 
 
 Hiftory 
 Hlftory - 
 
 5 Grotefques 
 Hiftory, Portraits 
 
 Hiftory - 
 Hiftory, Portraits 
 
 Hiftory 
 
 10 Hiftory 
 
 Hiftory, Portraits 
 Hiftory, Portraits 
 Hiftory 
 
 Hiftory 
 
 15 Hiftory 
 
 Hiftory, land- 
 
 fcapes 
 Animals, land- 
 fcapes, and fruits 
 Hiftory - 
 Hiftory 
 ;ao Hiftory, Portraits 
 
 Hiftory, buildings 
 Hiftory 
 
 Country, Place, and 
 Year of their Death. 
 
 Rome, Naples 1528 
 
 Rome, Mantua 1546 
 
 Mod en a 
 
 - 1538 
 
 Florence, Rome 1547 
 Udina, Rome - 1564 
 Florence 
 
 - 1530 
 
 Hiftory 
 
 Florence 
 Venice, Rome 
 
 Bologna 
 
 Bologna 
 Bologna 
 Bologna 
 Bologna, Milan 
 
 Bologna, France 
 
 Modena 
 
 Ferrara, Ferrara 
 Milan 
 
 1547 
 
 - 1577 
 
 1602 
 1592 
 
 1570 
 1572 
 
 1550 
 1564 
 
 Udina, Venice 
 Venice 
 Pordenone nel Friuli, 
 
 Venice - - 1540 
 II Truigiano, Engl. 1544 
 Garavaggio, Meffina 1 543 
 
 Plorence 
 
 - -1527 
 
 Aged 
 
 40 
 
 54 
 
 47 
 70 
 42 
 
 41 
 
 62 
 
 45 
 
 50 
 70 
 
 80 
 
 60 
 
 ,70 
 
 56 
 
 36 
 51 
 
 37 
 
 Principal Works are at 
 Rome, the Vatican j Lungara, 
 
 Rome, Vatican, &c. Mantua, the 
 Palace Te. 
 
 Rome, Vatican ; Genoa, Pal. Doria. 
 
 Rome, Vatican, &c. 
 
 Florence, the Palace, Monafterio de 
 Scalzi,.5cc. Rome, Pal. Borghefe, 
 &c.. Naples, King's Colleilion. 
 
 Rome, S. Pietro in montorlo, Cap, 
 Chigi J France, Palais Royal. 
 
 Bologna, the Academy ; Spain, the 
 Efcurial. 
 
 Fontainbleau ; Chateau de Beaure- 
 gard pres de Blois. 
 Fontainbleau. 
 
 Venice. 
 
 Rome, Pal. Barberini, Mafchera 
 d'Oro, Cafa di Bellcni. 
 
 M b 3 
 
 • Francefco 
 
19B 
 
 A P P E T^^ D I X. 
 
 Names. 
 
 Studied under 
 
 * Francefco Mazzuolo, detto 
 
 11 Parmeggiano 
 Girolamo Mezzuoli 
 
 Giacomo Palma, detto 
 
 II Vecchio 
 Lorenzo Lotto 
 
 5 Francefco Monfignori 
 
 Domenico Beccafumi o Mec- 
 carino _ - _ 
 Giacomo Pontormo 
 
 Girolamo Genga 
 Giov. Antonio da Verzelli, 
 detto II Sodoma 
 10 Baftiano Ariftotile 
 Benvenuto Garofalo 
 Girolamo da Carpi 
 
 Giov. Francefco Bezzi, detto 
 
 II Nofadella 
 Ercole Procaccini 
 15 Bartolomeo ^ 
 
 & VPafferotti 
 tre figli 3 
 Francefco Salviati 
 Giorgio Vafari 
 
 Excelled in 
 
 Daniel Ricciarelli, detto da 
 
 Vol terra 
 Taddeo Zucchero - ^ - 
 
 20 Frcderico Zucchero 
 
 Bartolomeo Cefi - - 
 
 Dionigi Calvaft _ _ - 
 
 John of Bruges - - 
 
 Albert Durer - 
 25 Quintin Matfys, called the 
 
 Smith of Antwerp 
 Lucas Jacob, called Luca 
 
 d'Ollanda 
 Peter BruglcjCalled Old Br ugle 
 
 imitated Rafael 
 
 Francefco, his coufin 
 
 Titian and others 
 
 imitated Bellini and 
 
 Giorgione 
 Bellini 
 
 imitated Pietro Peru- 
 gino 
 
 Lionardo da Vinci, 
 Albertinelli ; Andrea 
 del Sarto 
 
 Pietro Perugino 
 
 Baldini, Lorenzo Cofta 
 Garofalo, he imitated 
 
 Correggio 
 Pelegrino Tibaldi 
 
 the fame 
 
 the fame 
 
 Andrea del Sarto 
 the fame 
 
 II Sodoma; Baldafar 
 
 Peruzzi 
 ftudied Rafael 
 
 Tl Nofadella - 
 Profpero Fontana 
 Hubert Van Eyck 
 
 Hupfe Martin - - 
 
 Cornelius Engelbert - 
 Peter Koek ~ 
 
 great delicacy and gen- 
 tilenefs of drawing 
 
 whom he always imi- 
 tated 
 
 warm and mellow tints- 
 
 like Rafael 
 
 painted with his brother 
 
 faid to have invented 
 Oil-Painting 
 
 Nature, high finifliing 
 
 Hiftory 
 
A 
 
 p P E N D I X. 199 
 
 Painted 
 
 Country, Place, and 
 Year of their Death 
 
 Aged 
 
 Principal Works are at 
 
 Hiftory 
 Hiftory 
 
 Parma 
 Parma 
 
 - 1540 
 
 36 
 
 Parma, the Dome, Madonna della 
 
 Steccata ; in many CoUedtions 
 Parma, San Sepolcro. 
 
 Hiftory, Portraits 
 
 Venice 
 
 - 1596 
 
 48 
 
 Venice, and in feveral Colleftions. 
 
 Hiftory, Portraits 
 
 Venice 
 
 - 1544 
 
 36 
 
 
 Portraits 
 Hiftory 
 
 Venice 
 Sienna 
 
 - 1519 
 
 - 1549 
 
 64 
 65 
 
 Sienna, Pavement of the Dome, 
 
 Hiftory - 
 
 Florence 
 
 - - 1558 
 
 65 
 
 Florence. 
 
 Hiftory 
 Hiftory 
 
 10 Hiftory 
 Hiftory 
 Hiftory 
 
 Hiftory 
 
 Hiftory 
 15 Hiftory 
 
 Hiftory - 
 Hiftory, Portraits 
 
 Hiftory 
 Hiftory, 
 
 Portraits 
 Portraits 
 
 20 Hiftory, 
 Hiftory - 
 Hiftory - 
 Hiftory, Portraits 
 
 Hiftory, 
 25 Hiftory, 
 
 Portiats 
 Portraits 
 
 Hiftory, Portraits 
 
 Urbino 
 
 Sienna - 
 
 Florence 
 
 Ferrara 
 
 Ferrara 
 
 Bologna - 
 
 Bologna 
 Bologna 
 
 Florence - 
 Florence 
 
 Volterra 
 
 1551 
 1554 
 
 1551 
 1559 
 1556 
 
 1571 
 
 - 1563 
 
 - 1584 
 
 - 1566 
 
 St. Angelo in Vado, nell' 
 Urbino, Rome 1566 
 - - - Rome 1609 
 Boloo-na 
 
 Antwerp, Bologna 16 19 
 Venlo in Guelders, Bru- 
 ges - - 147Q 
 Nuremberg - - 1528 
 Antwerp - - 1529 
 
 Leyden ^ - 1533 
 
 Brugle near Breda 1570 
 
 75 
 
 70 
 
 78 
 55 
 
 In a few Colledlions, 
 Bologna. 
 
 54 
 
 68 
 
 57 
 
 37 
 
 66 
 
 79 
 54 
 
 57 
 69 
 
 60 
 
 Florence. 
 
 Rome, Santa Croce ; Florence, the 
 Palace. 
 
 Rome, S. Trinitadel Monte, S. Ago- 
 ftino. 
 
 Rome, the Caprarola, Pal. Farnefe, 
 Rome, feveral Colledlions. 
 
 i- 
 
 Ghent, the Cathedral. 
 
 In many Colle<Stions. 
 
 Antwerp, the Cathedral ; England, 
 
 in Collections. 
 Leyden, Hotel de Ville, many Col- 
 
 ledions, 
 
 ♦ John 
 
20O A P P 
 
 END 
 
 I X. 
 
 Names. 
 
 * John Holben, called Hans 
 
 Holben 
 Roger Vandenfyde 
 John Schorel > - *. 
 Matthias Cock - . - 
 5 Martin Heem(kirke 
 
 Francois Floris, called Franc- 
 Flore 
 
 Francefco Vecelli - - - 
 Oratio Vecelli - - - 
 Nadalino di Murano 
 Damiano Mazza - - - 
 Girolamo di Titiano 
 Paris Bordone 
 Andrea Schiavone 
 Aleffandro Bonvincino, detto, 
 II Moretto 
 ^5 Girolamo Romanino 
 II Mutiano - 
 
 Pirro Ligorio 
 
 Dom. Giulio Clovio 
 
 11 Bronzino, Angelo-AUori 
 20 Aleffandro Allori 
 
 Giacomo Sementi 
 
 Marcello Venufto 
 
 Marco da Faenza 
 
 Girolamo da Sermonetta - 
 25 Battifta Naldino 
 
 Nicole del Pomerancio - 
 
 Jean Coufm 
 
 Michael Coxis 
 John Bol 
 
 30 Peter Porbus 
 Antony More 
 George Hoefnaghel 
 
 Camillo Procaccini 
 
 Studied under 
 
 John Van Eyck - - 
 Jacob Cornill 
 
 John Schorel 
 
 Lambart de Liege 
 
 Titian, his brother - 
 Titian, his father 
 
 Titian - - ~ 
 
 Titian _ - - 
 
 Titian - - - 
 
 Titian - - - 
 
 Titian - - - 
 Titian, imitated Rafael 
 
 Titian - - _ 
 Titian, Tad. ZuGchero 
 
 Giulio Romano - - 
 
 Giulio Romano- - - 
 
 Giacomo Pontormo 
 Bronzino, his uncle 
 Dionigi Calvart - 
 Perin del Vaga - 
 
 Perin del Vaga - 
 II Bronzino 
 
 Van Orlay, Rafael 
 
 John Schorel 
 
 Ercole, his father ; 
 P roipero Fontana 
 
 Excelled in 
 
 great Nature, extreme 
 fijiifliing 
 
 chafte and gentile co- 
 louring, fomewhatof 
 Michael Angelo irk 
 the drawing;^ 
 
 commonly upon glafi 
 
 a dark, ftrong, expref- 
 five manner 
 
 Hiftory, 
 
A 
 
 END 
 
 X. 
 
 2dl 
 
 Painted 
 
 Hlftory, Portraits 
 
 Hiftory 
 Hiftory - 
 Landfcapes - - 
 5 Droll figures 
 
 Hiftory 
 
 Portraits 
 
 Portraits, Hiftory 
 Portraits 
 10 Hiftory, Portraits 
 Hiftory, Portraits 
 Hiftory, Portraits 
 Hiftory 
 Hiftory - 
 
 1 5 Hiftory 
 
 Landfcapes, Por- 
 traits 
 Antique monu- 
 ments and build- 
 ings 
 
 Miniature, Hif- 
 tory 
 
 Hiftory, Portraits 
 20 Hiftory 
 
 Hiftory 
 
 Hiftory - 
 
 Hiftory - 
 
 Hiftory - 
 •25 Hiftory 
 
 Hiftory - 
 
 Hiftory - 
 
 Hiftory - 
 Miniature, Land- 
 fcapes 
 
 30 
 
 Portraits, Hiftory 
 Views of Cities 
 
 Landfcapes 
 Hiftory - 
 
 Country, Place, and 
 Year of their Death . 
 
 Venice 
 Venice 
 
 Murano, Venice 
 Padua 
 Venice 
 Venice 
 
 Sebenico, Venice 
 Brefcia 
 
 Naples 
 
 Bafil, London - 1544 
 
 Bruges 
 
 Alemaer, Utrecht 
 Antwerp 
 
 Heemfkirke, Haer- 
 lem - - - 
 Antwerp 
 
 1562 
 1565 
 
 1574 
 1570 
 
 - 1579 
 
 1588 
 1582 
 - 1564 
 
 Brefcia - - 1567 
 Brefcia, Rome - 1590 
 
 1573 
 
 Sclavonia, Rome 1578 
 
 Florence 
 
 1580 
 
 Florence 
 
 1607 
 
 Florence 
 
 1625 
 
 Mantua 
 
 1576 
 
 Faenza 
 
 
 Sermonetta r- - 
 
 1550 
 
 Florence 
 
 Pomerancio - - 
 
 1626 
 
 Soucy {Jroche de 
 
 
 Sens J Paris 
 
 1589 
 
 Mechlin, Antwerp 
 
 1592 
 
 Mechlin, Bjuflels 
 
 1593 
 
 Bruges - - - 
 
 1583 
 
 Utrecht 
 
 1575 
 
 Antwerp 
 
 1600 
 
 Bologna, Milan 
 
 1626 
 
 Aged 
 
 46 
 
 67 
 65 
 
 76 
 50 
 
 66 
 
 75 
 60 
 
 50 
 
 63 
 62 
 
 -80 
 
 80 
 
 69 
 72 
 
 45 
 61 
 
 46 
 
 74 
 
 95 
 59 
 
 73 
 56 
 
 80 
 
 C 
 
 Principal Works are at 
 
 Bafil, Hotel de^^Ville; England in 
 
 many Colle61:ions. 
 Bruftels, Hotel de Ville. 
 
 Rome, Vatican Library ; Florence,, 
 the Palace ; Naples, King's Col - 
 kdion. 
 
 Vincennes, the Minims ; Paris. 
 
 Milan; Genoa, the Annonciatc St, 
 Maria Carignano. 
 
 Giuli» 
 
202 
 
 APPENDIX. 
 
 Names. 
 
 Giulio Cefare Procaccini 
 
 Jude Indocus Van-Winghen 
 John Strada _ _ _ 
 Bartholomew Sprangher 
 5 Michael John Miervelt 
 
 * Paolo Cagliari, detto Paul 
 Veronefe 
 
 Carlo Caglinri 
 Benedetto Cagliari 
 Gabrielle Cagliari 
 10 Battifta Zelotti 
 
 Giacomo da Ponte, detto II 
 Baflano 
 
 Francefco Baflano - - - 
 
 Leandro Baflano - - - 
 Giambattifl:a Baflano 
 Girolamo Baflano 
 * Giacomo Robufti, detto 11 
 Tintoretto 
 
 15 
 
 Marietta Tintoretto 
 Paul Francefchi - - - 
 Martin de Vos - - 
 20 John Rothenamer 
 
 Paolo Farinato ^ - _ 
 Marco Vecelli - 
 
 Livio Agrefti - - _ 
 
 Marco da Sienna - - 
 
 25 Giacomo Rocca - _ _ 
 Frederico Baroccio 
 
 II Cavaliero Francefco Vanni 
 
 * Michael Angelo Amarigi, 
 detto, II Caravaggio 
 
 Studied under 
 
 Ercole, his father, Pro- 
 
 fpero Fontana 
 fl:udied in Italy - 
 ftudied in Italy - 
 
 Ant. Blockland - - 
 Antonio Badiglio 
 
 Paolo, his father 
 
 the fame - _ 
 
 the fame 
 
 Ant. Badiglio worked 
 
 with Paul Veronefe 
 Francefco, his father, 
 
 Bonifacio Venetiano, 
 
 imitated Titian 
 Giacomo, his father 
 
 the fame - _ _ 
 the fame - - - 
 the fame - - » 
 Titian, in his drawing 
 imitated Michael An- 
 gelo 
 
 Tintoret, her father - 
 Tintoret - - - 
 Tintoret - 
 Tintoret - - - 
 
 Antonio Badiglio 
 Titian, his uncle 
 Perin del Vago - - 
 Dan. Volterra 
 Dan. Volterra 
 ftudied Rafael - *- 
 Fred. Baroccio - 
 
 Excelled in 
 
 Cav. Arpino 
 
 a dark, fl:rong, ex- 
 preflive manner 
 
 rich and noble compo— 
 fition; fine warm co- 
 louring 
 
 imitated his manner 
 
 the fame 
 
 the fame 
 
 much Nature, and fine- 
 colouring 
 
 imitated his manner;^ 
 and copied his pictures 
 the fame 
 the fame 
 the fame 
 
 the ftrepito and mofll- 
 of his pencil; variety 
 and corre6inefs of de- 
 flgn y feldom finifhed 
 
 defigned after his marbc 
 ner 
 
 fine gentile drawing - 
 corredb defign and a-^ 
 
 greeable colouring 
 a flrong and clofe imi- 
 tation of Nature, but 
 without choice ; ex- 
 quiflte colouring 
 
 Hiflojy 
 
A 
 
 P E 
 
 Painted 
 
 Hiftory 
 
 Hiftory - 
 Battles, Hunting 
 Hiftory - - 
 Portraits - 
 Hiftory, Portraits 
 
 the fame 
 
 the fame 
 
 the fame 
 10 Hiftory, chiefly in 
 Frefco 
 
 Ruftic Figures 
 Animals, Por 
 traits, Hiftory 
 
 the fame 
 
 the fame 
 the fame 
 15 the fame 
 
 Hiftory, Portraits 
 
 Portraits 
 
 Landfcapes - - 
 Landfcapes - - 
 £0 Hiftory 
 
 Hiftory 
 
 Hiftory 
 Hiftory 
 ■25 Hiftory 
 
 Hiftory, Portraits 
 Hiftory 
 
 Hiftory, humo- 
 rous figures 
 
 Country, Place, and 
 Year of his Death. 
 
 N D 
 
 Aged 
 
 Bologna, Milan - 1626 
 
 Bruflels, Germany 1603 
 Bruges, Florence 1604 
 Antwerp, Vienna 1623 
 Delft - - - 1641 
 Verona, Venice 1588 
 
 Venice - - 1596 
 
 the fame - - 1598 
 
 the fame - - 1631 
 
 Venice - - 1592 
 
 Vicenza 
 
 Venice 
 
 Venice 
 Venice 
 Venice 
 Venice 
 
 Venice 
 
 Germany 
 Munich 
 
 Verona 
 Venice 
 Forli - 
 Sienna 
 Rome 
 
 Urbino, Rome 
 Sienna, Rome 
 
 - 1592 
 
 1594 
 
 1623 
 1613 
 1622 
 1594 
 
 1590 
 1596 
 1604 
 1606 
 
 1606 
 1611 
 1580 
 1567 
 
 1612 
 1615 
 
 Caravaggio in Lom- 
 bardy, Rome 1609 
 
 62 
 68 
 77 
 73 
 5« 
 
 26 
 60 
 
 63 
 60 
 
 82 
 
 84 
 
 65 
 
 60 
 62 
 82 
 
 30 
 56 
 84 
 42 
 
 84 
 66 
 
 57 
 
 84 
 40 
 
 I X. 203 
 
 Principal Works are at 
 
 Milan ; Genoa, the Annonciate St* 
 Maria Carig-nano 
 
 Venice, and almoft every where. 
 
 Venice, kc. 
 
 Venice, and every where. 
 
 Verona. 
 
 Sienna ; Rome, St. Peter's ; Genoa, 
 Santa Maria in Carignano. 
 
 Rome, Pal. Barberini j feveral Col- 
 leftions. 
 
 * Ludovic» 
 
 C C 2 
 
204 
 
 APPENDIX. 
 
 Names. 
 
 * Ludovico Caracci 
 
 * Agoftino Caracci 
 
 * Annibale Caracci 
 
 Domenico Zampieri, detto, U 
 Domenichino 
 
 S * Guido Reni 
 
 * Cav. Giov. Lanfranco 
 
 * Francefco Albani 
 
 Lucio MafTari _ _ > 
 Sifto Badalocchio 
 10 Antonio Caracci _ _ - 
 Giufeppe Pini, detto, Cavalier' 
 Arpino 
 
 II Faduano - - - 
 II Cigoli - - - 
 
 Domenico Feti - - 
 
 15 Ciierubino Alberti 
 Cavaliere Paflignano 
 Orazio Gentilefchi 
 
 ^ Filippo d'Angeli, detto, II Na- 
 politano 
 Paul Brill 
 
 2.0 Matthew Brill 
 
 Pietro Paolo Gobbo 
 
 Studied under 
 Profpero Fontana 
 
 Ludovico, his coufin 
 Ludovico, his coufin 
 the Caracci 
 
 Dionigi Calvart, the 
 Caracci 
 
 the Caracci. 
 
 Dionigi Calvart, the 
 Caracci 
 
 the Caracci 
 Annibal Caracci - 
 Annibal, his uncle 
 Rafael da Rheggio 
 
 Andrea del Sarto 
 Cigoli _ _ - 
 
 Frederic Zucchero - 
 Aurelio Lomi - 
 
 after Titian and Anni- 
 bale 
 
 Excelled in 
 
 exquiftte defign ; noble 
 and proper compofi- 
 tion ; ftrong and har- 
 monious colouring 
 
 fjmilarly accompJiflied 
 
 fimilarly accomplifhed 
 
 corredl defign, ftrong 
 and moving expreffion 
 
 divine and graceful airs 
 and attitudes, gay and 
 lightfome colouring 
 
 great force, and fulgore, 
 chiefly in frefco 
 
 gentile poetical fancy, 
 beautiful airy colour- 
 ing, his Nymphs and 
 Boys are moft admired 
 
 the fur'ia and force of 
 his compofitions 
 
 vi^orked with Paul, his 
 brother 
 
 Hiftory 
 
END 
 
 X. 
 
 205 
 
 Painted 
 
 Hiftory 
 
 Hiftory, Portraits, 
 Landfcapes 
 
 Hiftory, Portraits, 
 Landfcapes 
 
 Hiftory, Portraits 
 
 5 Hiftory, Portraits 
 
 Hiftory - - 
 Hiftory 
 
 Hiftory - 
 
 Hiftory » 
 10 Hiftory 
 
 Hiftory - 
 
 Portraits - 
 Hiftory 
 Hiftory 
 15 Hiftory - 
 Hiftory 
 Hiftory - 
 Landfcapes 
 
 Landfcapes 
 
 20 Landfcapes 
 
 Fruit, Landfcapes 
 
 Country, Place, and 
 Year of their Death. 
 
 Bologna 
 
 ~ 1619 
 
 Bologna, Parma 1602 
 Bologna, Rome 1609« 
 Balogna, : Naples 1641 
 
 Bologna . 
 
 Parma, Naples 
 Bologna 
 
 Bologna 
 Parma 
 Bologna, Rome 
 Arpino, Rome 
 
 Padua 
 
 Florence 
 
 Rome 
 
 Rome 
 
 Florence 
 
 Pifa - - 
 
 Romej Naples 
 
 Antwerp, Rome 
 
 Antwerp, Rome 
 
 Gortona 
 
 1642 
 
 - 1647 
 
 1660 
 
 - 1633 
 
 r6i8 
 1640 
 
 • 1613 
 
 • 1624 
 
 - 1615 
 
 - 1638 
 
 - 1647 
 
 - 1640 
 
 - 1626 
 
 - 1584 
 
 - 1640 
 
 Agedj 
 
 Principal Works arc at 
 
 64 M(5dena, Pal. Ducale ; Bologna, S. 
 Michel in Bofco, S. Giorgio, La. 
 Certofa, 
 
 44 
 
 49 
 60 
 
 68 
 
 66 
 
 82 
 
 64 
 
 35 
 
 80 
 
 54 
 
 35 
 
 (>3 
 80 
 
 49 
 72 
 
 34 
 60 
 
 Panna, Villa Ducale ; Bologna, Pal. 
 Magnani, La Certofa. 
 
 Rome, Pal. Farnefe, &c. Bologna, S. 
 Giorgio, Sec. feveral Colledtions. 
 
 Rome, S. Girolamo della Carita, 
 Santa Maria Traftavere, S; Andrea 
 della Valle, SV Andrea in Monte 
 Celio, Grotta Ferrata, Pal. Ludo- 
 vifio ; S: Peter's, S. Carlo a Cati- 
 nari, 8. Silveftro, &c, 
 
 Rome, Pal. Rofpigliofi, Pal. Spada, 
 Capucini, S. Andrea della Valle, 
 &c. Bdlogna, Mendicanti, S. Do- 
 menico, S. Michel in Bofco ; and 
 in many Colledtions. 
 
 Rome, S. Andrea della Valle; Naples, 
 S. Carlo de Catinari j La Capella 
 del Tcforo. 
 
 The Duke of Modena's, and many 
 other Cabinets. 
 
 Bologna, S. Michel In Bofco. 
 Rome, Pal. Verofpi. 
 Rome, S. Bartolomeo nell' Ifola. 
 Rome, the Capitol, &c. 
 
 Florence, the Dome. 
 
 Rome, Vatican, Pal. Borghefe; many 
 Collcd^ions. 
 
 C c 3 
 
 ir Viola 
 
>2o6 A P P 
 
 E N D 
 
 Names. 
 
 11 Viola - - - 
 
 Roland Saveri - l: 
 Bartolomeo Manfredi 
 Carlo Saracino 
 II Valentino 
 
 Giufeppe Ribera, detto, 
 Spagnuoletto 
 
 Lo 
 
 John Mompre 
 
 Henry Cornelius Wroon, or 
 
 Vroom 
 Agoftino Taffi 
 
 10 Fra. Matteo Zaccolino 
 Antonio Tempefta 
 
 OiSlavius Van Veen, called 
 
 Otho Vaenius 
 Jean Le Clerc 
 Simon Vouet 
 15 Peter Noefs 
 
 Henry Steinwick - ^ 
 
 Theodere Rombouts 
 Gerard Segres 
 
 Sir Peter Paul Rubens 
 
 20 Sir Anthony Vandyke ^ 
 
 Rembrandt 
 
 Studied under 
 
 Annibal Caracci 
 
 imitated Paul Brill - 
 M. Ang. Caravaggio 
 imitated Caravaggio - 
 JVI. Ang. Caravaggio 
 M. Ang. Caravaggio 
 
 ftudied Nature - 
 Corn. Henrickfon 
 
 Paul Brill 
 
 John Strada 
 
 Carlo Saracino - 
 Laurent, his father 
 Henry Steinwick 
 John De Vries - 
 
 Abraham Janfens 
 Abraham Janfens 
 
 Otho Vsenius 
 
 Rubens 
 
 Excelled in 
 
 much finifliing, but dry 
 
 a dark ftrong manner.; 
 difmal and cruel fub- 
 jedls 
 
 imitated M. A. Cara- 
 vaggio 
 
 admirable colouring; 
 great magnificence 
 and harmony of 
 compofition ; a gay 
 and lightfome man- 
 ner 
 
 his mafter's excellen- 
 cies with more grace 
 and corre£tnefs 
 
 great knowledge and 
 execution of the 
 Clair-obfcure; high 
 finifhing; fometimes 
 a very bold pencil 
 and diftindl colour- 
 ing; vaft Nature 
 
 Landfcapes 
 
Painted 
 
 Xandfcapes 
 
 Landfcapes 
 
 Hiftory 
 
 Hiftory 
 
 Hiftory 
 
 Hiftory 
 
 Landfcapes 
 Sea- ports. Ships 
 
 Ships, Tempefts, 
 Landfcapes, 
 Fruit, Perfpec 
 lives 
 10 Perfpeftives 
 
 Animals, Battles, 
 Huntings 
 
 Hiftory - 
 
 Hiftory - 
 
 Hiftory, Portraits 
 15 Perfpedtives - - 
 
 Buildings, places 
 illuminated by 
 fire and candles 
 
 Low Life - - 
 
 Hiftory, Portraits, 
 Landfcapes 
 
 20 Portraits, Hiftory 
 
 Hiftory, Portraits, 
 Low Life 
 
 Country, Place, and 
 Year of their Death. 
 
 E N D I X. S07 
 
 Aged Principal Works are at 
 
 Rome 
 
 Mantua 
 Venice 
 France 
 Valencia 
 
 1622 
 
 50 
 
 1639 
 
 _63 
 
 1625 
 
 40 
 
 1632 
 
 32 
 
 1656 
 
 67 
 
 Antwerp 
 Haerlem, Rome 
 
 Bologna 
 
 Rome - 
 Florence- 
 
 1630 
 1630 
 
 Leyden - - - 1634 
 
 Nancy 
 Paris 5 Piaris 
 Antwerp 
 Steinwick 
 
 Antwerp 
 Antwerp 
 
 Antwerp 
 
 1633 
 1641 
 
 1651 
 
 1603 
 
 - 1640 
 
 - 1651 
 
 ■* 1640 
 
 40 
 75 
 
 78 
 
 Antwerp j London 1641 
 
 1674 
 
 59 
 85 
 53 
 
 43 
 
 62 
 
 63 
 
 42 
 
 68 
 
 Rome, Vigna Montalta, Vigna AI = 
 dobrandina, Vigna pia. 
 
 Naples, iic. many Colledtionsi 
 
 Genoa ; Leghorn j on the cutfides of 
 houfes. 
 
 Rome, St. Silveftro. 
 Florence, &g. 
 
 Nancy, Les Jefuifs. 
 Paris, in many Churches. 
 
 Flanders, Holland, Sic. Dufleldorpj 
 the Eledlor Palatine's Colledtion ; 
 France, Palais Luxemburgh, &:c. 
 England, Whitehall, &c. Genoa^, 
 St. Ambrofio, &c. 
 
 Genoa, Pal. Durazzo, &c. Flanders, 
 Holland, &c France, Verfailles, 
 &c. England, the Pembroke and 
 Walpole Collections, &c. 
 France, King's and Monfieur's Col- 
 lections, 5rc. &c. Florence, the 
 Palace, Amfterdam, &c. 
 
 Cornelius 
 
208 
 
 APPENDIX. 
 
 Names. 
 
 Cornelius Polembourg - 
 
 John Brugle, called Velvet 
 Brugle 
 
 Mofes, called the Little 
 
 F. Dan. Legres 
 5 Gafpar Craes 
 
 Bartholomew Brlemberg - - 
 John Aflelyn,calied Littlejohn 
 Francis Snyders 
 
 ErtVeeft - 
 
 10 Lewis Coufin - 
 Philip Vauvremans - 
 Gerard Daw 
 Pietro Francefco JVLoIa 
 
 Giov. Battifta Mola ^ 
 
 15 Giacomo Cavedone /- 
 Agoftino Metelli 
 
 Angelo Michale Colonna 
 Giov. Benedetto Caftiglione, 
 
 detto, II Genoefe 
 Pietro Tefta 
 
 20 Matthew Platten, called II 
 Montagna 
 Francefco Barbieri, detto, II 
 Guercino da Cento 
 
 Pietro Berrettlnij detto, Pietro 
 da Cortona 
 
 Studied under 
 
 Abraham Bloeniart - 
 
 Old Brugle, his father 
 
 Corn. Polembourg 
 
 Young Brugle - 
 Coxis - - 
 fludied at Rome 
 Efaias Vander Velde. 
 painted with Rubens 
 
 John Wynants - 
 
 Rembrandt 
 
 Albani, Cav. Arpino 
 
 Albani 
 
 Lud. Caracci 
 
 Ferrantino 
 Paggi, Vandyke 
 
 Pomenichino * 
 
 Aflelyn - 
 
 the.Carracci >■ 
 
 Excelled in 
 
 extreme neatnefs and 
 finifhing 
 
 Baccio Ciarpi 
 
 ftrong paintin« 
 the fame 
 
 -capricious and ftrange 
 defigns 
 
 a medium between the 
 Caracci and Cara- 
 vaggio i he has two 
 manners, one a dark 
 and ftrong one; the 
 other more gay and 
 gracious 
 
 noble compofitions ; 
 bright and beautiful 
 colouring 
 
 Minature 
 
E N D 
 
 X. 
 
 209 
 
 Painted 
 
 Country, Place, and 
 Year of their Death. 
 
 Miniature, Land- 
 fcapes with fi 
 gures 
 
 Little Landfcapes 
 with figures, 
 animals, and 
 flowers 
 
 Small Landfcapes 
 with figures 
 
 Flowers 
 
 5 
 
 Landfcapes - - 
 Landfcapes - - 
 Animals dead and 
 
 alive 
 Sea-fights, Tem- 
 
 peits 
 
 10 
 
 Little figures 
 Hiftory - 
 
 Hiftory, Land- 
 fcapes 
 15 Hiftory - 
 
 Buildings, Per- 
 fpe£live 
 
 Buildings, Hirtory 
 
 Hiftory, VVhiais 
 20 Sea-pieces - - 
 Hiftory 
 
 Utrecht 
 Bruflels 
 
 Antwerp 
 Bruflels 
 
 - 1660 
 
 - 1625 
 
 - 1650 
 
 - 1666 
 
 - 1669 
 
 - 1660 
 
 - 1660 
 
 - 1657 
 
 Antwerp 
 Bruflels - - - 1670 
 
 Hiftory 
 
 Haerlem 
 Leyden - 
 Comoi Rome 
 
 Bologna 
 
 Bologna i Spain 
 
 Bologna 
 Genoa - 
 
 - 1670 
 
 - 1668 
 
 - 1674 
 
 - i6ti6 
 
 - 1660 
 
 - i66c 
 
 1687 
 
 Aged 
 
 Lucca - - 1650 
 
 Antwerp ; Venice 
 
 Cento nel Bolognefe; 
 Bologna - - 1667 
 
 74 
 65 
 
 70 
 84 
 40 
 
 50 
 
 48 
 61 
 
 56 
 
 80 
 51 
 
 87 
 
 Cortonaj Rome - 1669 
 
 39 
 
 Principal Works are at 
 
 76 
 
 Many Cabinets, 
 
 73 
 
 Rome, Monte Cavalloi Pal, Cof- 
 taguti, &c. 
 
 Bologna, St. Michaeli in Bofco, &c. 
 Bologna, &c. 
 
 Bologna, See. 
 
 Rome, Vigna, Ludovifia, St. Peter's ; 
 Grotto Ferrata. 
 
 Rome, Pal. Barberini, Pal. Pamfili, 
 Chiefa nuova, St Peter's, St. Ag- 
 nes : Florence, Pal. Pitti, &c. 
 
 Antonio 
 
2IO APPENDIX. 
 
 Names. 
 
 Antonino Barbalonga 
 Andrea Camaceo 
 Andr?a Sacchi 
 
 Simone Cantarini 
 5 Cav. Carlo Cignani 
 
 Pietro Pacini 
 
 Giov. AndreaDonduccijdetto, 
 
 II Mafteletta 
 Aleflandro Tiarini 
 Leonello Spada - - 
 10 Giov. Andrea Sirani 
 
 Elifabetta Sirani - <r - 
 Giacomo Sementi 
 Francefco Gejii 
 
 Lorenzo Garbieri 
 15 G. Francefco Romanelli 
 Diego Velafqucz 
 Aleflandro Veronefe 
 
 Mario de Fiori 
 
 Michelangelo del Campidoglio 
 20 Salvator Rofa - ^ 
 
 Studied under 
 
 n Cav. Calabrefe - 
 Ferramola Fioraventi 
 
 II Maltefe 
 Claude Gelee, 
 I/orraine 
 
 called Claude 
 
 Domenichino 
 Domenichino ^ 
 Albani ^ 
 
 Guido ~ 
 Albani 
 
 Annibal Caracci - 
 the Caracci 
 
 Profpero Forrtana 
 the Caracci 
 Guido 
 
 Andrea, her father 
 Guido 
 
 Guido ^ 
 
 Lud. Caracci 
 Pietro Cortona - 
 Francefco Pacheco 
 Felice Riccio 
 
 Fioravante p. 
 Spagnuoletto and Da- 
 niel Falcone 
 
 Gucrci 
 
 cino 
 
 Excelled in 
 
 Godfr^Wals j Ago- 
 ftino Talli 
 
 a colouring more lan- 
 guid tharrPietro Cor- 
 tona, bui extreme de- 
 licate and pleafing 
 
 ;noblc, bold manner 5 
 and bright colouring 
 
 good imitation of hl^ 
 mafter 
 
 great fire and force 
 a weak but agreeable 
 manner 
 
 favage & uncouth 
 places; very great 
 and noble ftyle ; fto- 
 ries that have fome- 
 thing of horror or 
 cruelty 
 
 rural and pleafmg 
 Icenes, with various 
 accidents of Nature, 
 as gleams of fun- 
 fliine, the rifmg 
 moon, &c, 
 
 Hiftory 
 
A 
 
 Painted 
 
 Hiftory 
 Hiftory 
 Hiftory 
 
 Hiftory 
 5 Hiftory 
 
 Hiftory 
 Hiftory - 
 
 Hiftory - . > 
 Hiftory 
 10 Hiftory 
 
 Hiftory, Portraits 
 Hiftory 
 Hiftory - 
 
 Hiftory 
 45 Hiftory 
 Portraits 
 Hiltory 
 
 Flowers 
 
 Flowers &c Fruits 
 20 Landfcapes, Hi 
 ftory 
 
 P P E 
 
 Country, Place, and 
 Year of their Death. 
 
 N D 
 
 Aeed 
 
 Mefllna - , 
 
 BevagnajRome - 1657 
 Rome; Rome - 1661 
 
 Pefaro; Bologna 1648 
 Bologna; Bologna 17 19, 
 
 Bologna 
 Bologna 
 
 Bologna 
 Bologna 
 Bologna 
 Bologna 
 Bologna 
 Boloona 
 
 - 1602 
 
 - 1-655 
 
 - 1668 
 
 - 1622 
 
 - 1670 
 
 - 1664 
 
 - 1625 
 
 Bolo 
 
 gna 
 
 Viterboj Rome - 1662 
 Spain - . . 1660 
 Verona - - 1670 
 
 Rome - _ . 16^5 
 Rome - - - 1670 
 Naples i Rome - 1673 
 
 Hiftory . -! Calabria 
 V afes, Inftru- Brefcia 
 
 ments. Carpets,! 
 
 and StilMffe 
 the fame 
 
 Landfcapes ~ TouJ ; Rome 
 
 Principal Works are at 
 
 55 
 
 72 
 
 36 
 
 Rome. Sr. Andrea dellaValle, Chiefa 
 
 dei Theatini, &c. 
 Rome, St. Peter's, St. Giov. in La- 
 
 tcrano. Pal. Paleftrina, &c. 
 Rome, Pal. Berberini, &c. Chiefa di 
 
 St. Romualdo, St. Carlo di Cad- 
 
 nari, &c. 
 
 91 Bologna, Pa!. I>avia, Certofa, &c. 
 
 42 
 80 
 
 91 
 46 
 60 
 26 
 45 
 
 Bologna, 
 Boiognar, 
 
 &c. 
 
 Bologna, &c 
 BoJogna, &c 
 Bologna 
 Bologna, 
 Boloo-na, 
 Bologna. 
 
 Sic, 
 &c. 
 &c, 
 &tc. 
 
 64 
 
 45 
 
 66. 
 70 
 
 60 
 59 
 
 Bologna-, &c. 
 
 France-, &c. Rome, Sic. 
 
 Rome, Pal. Pamfili j France, Louvre 
 
 trance^ VfcrfaiUes» &c. 
 
 R 
 
 ome 
 
 . Pal. Palavicini; Paris, 
 King's Colleaion, &c. 
 
 the 
 
 1688 86 
 15121 
 
 1682 82 
 
 Rome, St. Andrea della Valle, &c. 
 
 Rome, Pal Chigi, Altieri, Colonna j 
 many Colledions. 
 
 Nicolas 
 
 / 
 
212 
 
 APPENDIX. 
 
 Names. 
 
 Nicolas Pouffin 
 
 Gafpar Du Ghet, called Gaf- 
 per Pouflin 
 
 Euftache Le Sueur 
 
 Michelangelo delle Battaglie 
 5 Jaques Stella 
 
 Carlo Maratti 
 
 Luca Giordano 
 Charles Le Brun 
 
 Cav. Giacinto Brandi - 
 10 Ciro Ferri 
 
 Studied under 
 
 Quintin Varin - 
 
 Nicolas, his 
 in-law 
 
 brother- 
 
 Simon Vouet 
 
 iVIozzo of Antwerp - 
 his father 
 
 Andrea Sacchi - 
 
 Lo Spagnuoletto 
 Simon Vouet i Nicolas 
 
 Pouffin 
 Lanfranco 
 
 Pietro ^ortona - - 
 
 Excelled in 
 
 exquifite knowledge of 
 the antique ; fine ex- 
 preffion ; fkilful and 
 well-chofen compo- 
 fition and defign. 
 Scenes of the country 
 with antient buildings 
 and hiltorical figures 
 intermixed 
 
 a mixture of Nicolas 
 and Claude Lorraine's 
 ftyle 
 
 fimplicity, dignity, and 
 corre<Slnefs of ftyle, he 
 is called the French 
 Rafael 
 
 painted upon 
 frequently 
 
 marble 
 
 The 
 
 END of the 
 
APPENDIX. 213 
 
 Painted 
 
 Country, Place, and 
 Year of their Death. 
 
 Aged 
 
 Principal Works are at 
 
 Hiftory, Land- 
 fcapes 
 
 Andilly; Rome 
 
 - 1665 
 
 71 
 
 France, Verfailles, Palais Royal, &c. 
 Rome, Cav. Pozzo's Collection, 
 and in many more elfewhere. 
 
 Landfcapes 
 
 Rome 
 
 - 1675 
 
 
 Rome; Paris, &c. 
 
 Hiftory - 
 
 Paris 
 
 - 1655 
 
 38 
 
 Paris, the Chartreufe and Hotel in the 
 Tflp Notrf T~)amp &r 
 
 Battles 
 
 Hiftory, Minia- 
 tures 
 Hiftory - 
 
 Hiftory - 
 Hiftory - 
 
 Lyons; Paris 
 
 Ancona; Rome 
 
 Naples - 
 Paris 
 
 - 1647 
 
 - 1713 
 
 - 1705 
 1690 
 
 51 
 
 88 
 
 76 
 71 
 
 Lyons; Paris, &c. 
 
 Rome ; many Churches and Palaces, 
 &c. 
 
 Verfailles. 
 
 Hiftory 
 0 Hiftory 
 
 Poli ; Rome 
 Rome 
 
 - 1713 
 
 - 1689 
 
 90 
 55 
 
 Rome, &c, 
 
 Rome, St. Agnes, Pal. Monte Ca- 
 vallo, St. Ambrogio, &c. Florence, 
 Pal. Pitti. 
 
 APPENDIX. 
 
ERRATA. 
 
 ''p^gc 17, line 193, iox figured, read figU}^(L. 
 \ 61, }. 755, for He knew, r. His were, 
 ^ 70, 1. 14, for Paraphaje^ r,. Paraphrafe. 
 
 94, 1. 6, for opraa tramentOy r. o/^r^ at r amenta^ 
 
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