SPECIAL 
 37-B 
 26147 
 
T H E 
 
 ART 
 
 O F 
 
 PAINTING 
 
 According to the 
 
 THEORY and PRACTISE 
 
 Of the Beft 
 
 Italian, French, and (jermane Matters. 
 
 Treating of 
 
 The Antiquity of Fainting. 
 The Reputation it aUways had. 
 The Characters of fever aU Mafkers. >< Draught. 
 
 ' r The Efefts of Light. 
 Perfyetiive. 
 
 Proportion. 
 
 A&ion and Paffion. 
 
 Colouring. 
 lOrdonnatice. 
 
 Far more Compleat and Compendious then hath yet 
 been publiflit by any, Antient or Modern. 
 
 PibloribiM atque Poetk 
 
 Quidlibet audendi Hor. 
 
 By M. S. Gent. 
 
 London Printed, and are to be fold at the V E N D UE next Bed* 
 fottrd-Gafe in Cbtrks-flrett Covent-Garden, and by the Book- 
 fellers of London and Wejlminjier, 1692. 
 
r 
 
TO THE 
 
 QUEEN'S 
 Moft Excellent 
 
 MAJESTY 
 
 Royall Madam, 
 
 TH E Art of Painting having receiv'd In- 
 couragernent and Protection in all Jgcs not 
 only from the Moft Honourable Perfona- 
 ges, but alfo from the Fountains of Honour Them- 
 felves, and particularly Camongft the Number of 
 Kings and Emperours ) from thofe two, your 
 Maje ys Royall PredecelTours, K^ng Charles the 
 Firjl, and I\ing Charles the Second • and likevvifa 
 in that Honourable Regard your Illujlrious Self 
 hath had of the Art, in the Gallery of Beautys 
 at Hampton^Court, done by the Incomparable Artift 
 Sir (Jodfery lonelier Kt. Imbolden'd me to lay this 
 fmall EfTay at your Royall Feet for Protection. 
 And although it's far beneath your Majeftys 
 
 notice* 
 
notice, yet Confidering the Sun difdains not t 
 fliinc on the low Hyfop as well as on the tali 
 Cedar, I reft in Humble hopes of a Pardon to 
 
 May it pleafe Your MAfE STY 
 Your HiqH^ESSES 
 
 (SMcft Obedient and 
 Mo(l Dutifull 
 
 Servant andSubjeU 
 
 Marshall Smith. 
 
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 READER, 
 
 Ezped: a full Cry of Critticks, ^ Plagiary ! Plagiary ! Z>&£ 
 ^r/? here my Confeffion. I have taken Jeveral things from Lo- 
 mazzOj Vincent^ Teflling tfrc^ others, and would fair ely have 
 fet their Names to each Notion I took, but that I have abbreviated 
 forne^ improv'd others and alter'dfo many, that in it I might have 
 impos'd on fome what they never intended : nor have I feen a Trea- 
 tife of an Art fo Antient and fo often writ on, was other then a Col- 
 lection with Improvements. But as on one hand I have left out the 
 Confounding Methods of the kalians in Proportion, the unneceffary 
 Number of Colours, with their tedious Prolixitys &c. on the other 
 hand I have taken all that is Necejfary, CorreBed divers Errours, 
 and added many things, not ( to my Knowledge ) Publifb'd before. 
 
 I may be Cenfur'd for omitting the Characters of fever al Emmi- 
 nent Majlers, as Mr. Langreen, the Principal of Modern and equal 
 to thebeft of Antient Matters; he hath a Great and Lofty Manner in 
 his Landskips, Noble and Free, like the Soul which direSls his 
 Hand. Mr. Derike a good Hiftory Painter, with very fine Fleflr- 
 Colouring. Mr. Claufterman, Mr. Tilfon, Curious Painters by 
 the Life^v. this fault was partly accajiond by the lofs of two 
 Pages, but there will quickly be publifb'd a Translation of the moji 
 Ingenious Sandrart of the Lives of the Painters, to which will be an 
 Addition of all the prefent mofi noted Artifts in Europe ', in which 
 all/hall have Re a f on done them at large, according to their Merits- 
 It may be objeSted this were a Theme more ft for a Profeft 
 Artift ; I Anfware, a Good one hath not leafure, and an IU one is not 
 ft : he fides one that only makes it his Divertion, ( being under 
 no Confinement ) hath better Oppertunity to make Observations, then 
 he who Paints for his Lively hood. 
 
 A word more and Vale : in that part which makes mention of the 
 prefent Painters ^through a mislakein fiead of Mr. Vaude-Vert {the 
 Painter there dejignd) the Printer hath put in Mr. Vande-Bank, 
 whereas his way is in rich Tapefiry, and in that the moft Cu- 
 rious Artift in England. 
 
 By this time I hope the Ingeinous are Satisfi'd, and for the refi 
 the care is taken, Iterum Vale. 
 
 \ 
 
The Author to his Book. 
 
 C^\Oe Slender Pinnace to a Boift'rous Sea, 
 J£ Where naught but Tempefts, Rocks and Quick-Sands be : 
 Such is the Curfe attends this Wicked Age, 
 Such are the Actors fill this Spacious Stage, 
 That Impudence muft pafs for Wit, and they 
 Whoave mofi of Malice, bear the greateft Sway. 
 Tet when thou meet' ft with Real Wit, Strike Sail, 
 Though they reprove thee fharply*tmay Avail ; 
 But evry little Bubble of the Town, 
 Will take the Hint, and tell it for his own : 
 
 That 's Hard ; yet let them baul their Lungs away^ 
 
 Thy Fate depends not on a Poets Day. 
 However , in thy Cabin, as they pafs ^ 
 
 Tell them thon haft a *Sympathetick Glafs, 17- Paraph 4 . 
 
 Will foew a Fool, a Fool j an Afle, an Arte. 
 
 To the moft Ingenious and Accomplifti'd Gentleman 
 The Author of the following Treatife. 
 
 NO more let ^Egypt Hieroglyphicks boaft 
 Too ^Enigmatical, our Happ'er Coaft 
 Tou by a more improved way have taught , 
 T'ezprefs eachV'ice, each Virtue, Paflion, Thought, 
 Tou teach Mute Logick with far more Succefs 
 Then all the Schools, and in a Loftier Drefs ; 
 Who would not Emulate to be your Story j 
 If fuchyour Pen's, then what's your Pencel's Glory? 
 
 Long in the Curft^ Obfcure Retreat of Night 
 This Gem hath lay'n ( though with a Olimtnring Light ) 
 Wanting a well Experienced Hand, to jhow 
 What wondrous Tie ^fures from the Pencel Flow. 
 Tell you in Pitty to the Thirft of Man, 
 Each Notion weigh ^ and ev'ry Beauty Scan : 
 At length the Charming P risen ix Hatch'd appears, 
 Though but few months , the Work of many years- 
 
 T. H. Oxon. 
 
To the much Efteem'd Mr. Smith, 
 
 Ince 'twould behold Frefumption to deny 
 ^3 That Man, the plaftick of the Deity, 
 // Draught's great Origine : — rpele only fay y 
 Yon Draught purfuein'ts juji Phenomena; 
 As Colour, Habit, Motion, Sympathy, 
 Light, Perfpedtive, Studious Anatomy; 
 With ^Contingencies of this great Art, 
 Which you Improve, and freely fall Impart. 
 Thus while thy Awfull Pen Proclaimes aloud 
 Our wonderous Art, you make th* Afionifh'd Groud 
 Amazed fiand^ to hear how firong 't confines 
 Great Nature a C\ozth,with Shallow Lines : 
 To hear that Painted Paflions can Supprife, 
 And make Spectators with them Sympathyfe^ 
 That all the Learning of the Univerfe, 
 Was Couch d in Miftick Draught and Characters.' 
 
 The only Fear is, leafi the Sordid Fry 
 Reading , grow Mad, and throw their Craft's-Tools by] 
 Making the Land but one confufid Academy. 
 
 To his highly Valued Freind the Author. 1 
 
 ITJ Ainter and Poet, in the Noblefi Drefs 
 JL Tour Images in both you do Exprcjs. 
 JNor are they 'lone the Quick Kefultsof wit 
 For to Improve the reft of Mankind writ, 
 But your own Propertys fuch as we find 
 The Ornaments and Beautys of your Mind. 
 
 R. T. o/Lincolns-Inm 
 The Author upon the Ait of Painting, 
 
 X N vain did Jove with Adamantine Chain 
 £ The bold Prometheus bind ; in Vain 
 Does the Rapacious Vulture Gorge his Maw 
 Oris Liver , which he never muft deftroy. 
 
 Whilft Caucafus Groanes with the Load 
 
 Of the Pre fuming Demy-God. 
 And all for s brave Attempt, to Steal Cadeftial Fire, 
 
 His well-wrought Image to Infpire : 
 In Vain this Envy of the Gods, the fame 
 Bold Man attempts again, nor fears their Flame. 
 
Nor Fears their Thunder or their Vultures more : 
 But Counterfits their Vultures, Flames dm/ Thunders Roar, 
 With aU th y Artillery of Heaven, 
 And fends it to their Manfions back agaia. 
 
 This hath the Magick Art 0/ Painting done ; 
 
 Nor only Things Inanimate, 
 But e'vn the moft Occult Refolves 0/Fate, 
 And does through all the Labyrinths f/Nature Run, 
 Ev'n Man it can Create; 
 Nor Organs, for to make him Speak or Move, 
 Nor Facultys, to make him Hate or Love, 
 The Artift wants, nor fends his Prayers to Heavn, 
 Pigmalion-//^ to have a Spirit giv'n ; 
 
 But Snatches the Caeleftial Fire, 
 By wUch >, with th' Mifteries of his Art, 
 And Wonders, which his Pencel-Stroaks impart, 
 With Active Souls his Bodys does Infpire. 
 
 Why will ye Boaft. 0 ! why, f Immortal Gods, 
 That you alone have got the mighty Ods 
 Of Making Man, ana Vaft Eternity? 
 Since Painters^OH thofe fancy d Ods do give, 
 
 For in their Portraitures you Live .• 
 And they give yon your Immortality : 
 
 To Jove his Thunder ; Venus, Flame; 
 Diana, Chaftity ; Apollo, Fame ; 
 Neptune his Trident ; Mars his Plumes and Lance ; 
 And fall, their Attributes, which fill the Lofty Dance. 
 Nay at their will they Summon you below, 
 Their Pleafures and Defigns to know 
 ChaftifejM for your Vail'd Efcapes, 
 Venus for her Adulteries and Jove his Rapes, 
 In all his Metamorphos'd Shapes. 
 And when they pleaje to/hew their Jeers and Scorns, 
 Make Bacchus, Drunk ; and give to Vulcan, Horns. 
 Then Boaft no more your mighty Ods 
 
 Of Making Man, fince Man '//J Makes the Gods. 
 
 ERRATA. 
 
 The Reader is defjr'd to eucufe divers Errata, as falfe Pointed, falfe fpeld 8cc. the Phot -a falling tyl 
 whilft 'twas in the Prefs and dying before 'twas finifh'd, there could not that care be taken : Luc rheft i r-e 
 the Principal, page 6. 1. 27. read ./Egyptians, p. 7. 1. 15. r. Geometry, p. 8. 1. 17. Amfraduous, p. i~. 
 Diveriions. p. 21. J. 17. Rubens. 1. 21. Sea-pekcs. 23. Van-Dyck. p. 25.!. 37- Vande-Vert p. 48 !. rev 
 Complexion, p. 49. 1. 17. caufeth. 1. 20- caufe. p. 57. 1. 23. Supplicants. 1. 25. Point. p. 66. !. 4 Sc 6. Copy, 
 1. 29. Statues. I. 32. Contours, p. <58. .1 32.PJeafantncfs p. ^g. 1. 8. Perfpeftive. p. 74. 1. 7. Brulhesi p. -,8. 
 1. 34. leave out,and. p. 79.I. 7.Tinkture$. p. 81. 1.6". white. 1. 30. rnoft. 33. Gla2ir>g. p. 27, L 27* take 
 what. p. 88.1. 25. mull be. 
 
( I ) 
 
 INTRODUCTION. 
 
 Ince the defign of the Following Treatife is not only to lay 
 open the Noble Art of fainting, to give the beft Precepts 
 and Inftructions to attain to a Perfection therein, but like- 
 wife to recommend the ftudy of it to the moll: Ingenious,as highly 
 conducing ( from the many Pleafures and Benefits thence arifing ) 
 to a Happy flute of Life : give me leave by way of Introduction 
 to fhew what I mean by a Happy Jiate of Life, and wherein 
 Painting is highly AcceiTary thereunto. 
 
 The AU-Wife having Created the Soul of Man not onely 
 Speculative^ but of a Vaft Vnltmited Capacity, hath likewife 
 Adapted Fruitions thereto as Unlimited ; fixing in him the 
 Standard of Reafon to Regulate them thereby, for his Real 
 Happinejl. 
 
 And although the Pleafures and Satisfactions of the Mind, 
 Excell the Gratifications of the Sences, as far as the Soul in Dig- 
 nity furpalTeth the Body, and diftinguiflieth Man from Beafls , 
 yet fome there are more Refin 'd, Spiritual and Eztajy'd then others^ 
 finking upon the moft Harmonious Keys of the Soul ; and fuch are 
 the Objects of the two Noble Faculty's of the Mind, Conception^ 
 and Invention ; beft Illuftrated in Painting, Poetry and 
 Mnjick. 
 
 Poetry by the Force of the moft AlkBive Ratiocination, 
 Charmesthe Mind with the Real Effences of Delight ; not onely 
 by pleafing the Eare with Dukifonant Numbers, but likewife 
 by Informing the Soul., in the Expanlion of the moft Abftrufe 
 and Occult Mifterys of Philofophy ; conducting us thereby 
 through Feilds of Delight, to the Magnificent Seats of Vertue 
 and Knowledge. 
 
 Mufick Refines and rayfes the Spirits, above all the Grofs, 
 Mundane Pleafures, which Attend the Avenues of common fence; 
 Replenifhing the Fancy with the moft Beautiful Idea's, and Se- 
 raphick Raptures of Blifs, and giving us here a Taft of thofe 
 Flouds of Immence Delight, Prepared for fuch Harmonious Souls, 
 
 B ( who 
 
( 2 ) 
 
 C who defpifing the Infipid and Imperfect Joys, fwallowed down 
 with Greed inefs, by the Inconfiderate Herd of Mankind ) adapt 
 themfelves for thofe Immortal Pleafures. 
 
 But Painting notonely Allures and Delights with the Charm- 
 ing Numbers and Noble Information of Poetry, with the fweec 
 Unifons and Ravifhing Harmony of Mujick ; but Jikewife brings 
 from their feveral Qrbes^ the Great Monofolifts of thefe Sciences 
 for us to Converfe with, and by every artfull ffroak adds to the 
 Erection of her own Monument^ to the Delight and Inftrtiction 
 of the prefent and future Ages : thus he who is not Felicify'd 
 with the Fruition of thefe Three Beatitudes^ enjoys the Perfecti* 
 on of them all, in this one Charming Mifirep. 
 
 They whofe Minds are Fortunate through thefe Exornatiorts, 
 with what contempt may they look on thofe Muddy and Fulfome 
 Pleafures which molt of Mankinde Grovel in, and are known 
 to be Pleafures onely by the Name, not onely being Narrow, 
 Forc'd and Feign'd, but Proditorious and Exitial inftead of being 
 Benificiall to Humane Exijience. 
 
 When in the Heat of Bacchanalization % the Virtigious Brain 
 formes to it felf ftrange Chyntxras which never were nor can 
 be, one Notion Crouding on another, till the Noble feat of the 
 Intellects becomes an entire Chaos, and he the Ridicule or Pity of 
 the more thinking ; how Fond and Vain is he, how Derogatory 
 to the Noble Character he bears, and his pretentions to the Image 
 of the Deity : whilft his Purchace is a few dizzy, confus'd 
 Pleafures, at the Expence and Ruine of Mind and Body. 
 
 Nor more Rational is he who expects an Elizium of Com- 
 pleat Happinefs in his MiftreiTes Armes, fince it is generally ex- 
 pcrienc d tna t the Phantaftick Pleafure of the Attempt, is more 
 then that of the Fruition, which at beft is but Fleeting and Mo- 
 mentary, whilft the Enjoyments of the Mind ate Fixt and Per- 
 manent j Thofe ^attended with Remorfe, Danger and Difap- 
 pointment, Thefe with Tranquility , fecurity and Certainty ; be- 
 fldes how Inglorious is it for Man, to Proftrate his Affections and 
 mod: ftudyed Herangues to one Incapable of Return ( perhaps ) 
 a Mercenary Gilt, the Product of a Dunghil, who will fell at 
 Cheaper Rates, or Lavifh thofe Pleafures on a Lufty Groorri > 
 which his Mafter Purchafes with vaft Sums and humble Ag- 
 
 knowledgementSj 
 
/ 
 
 (l ) 
 
 knowledgements, felling his Prerogative and Health for a fmile 
 and a Difcafe. 
 
 So far from Real Felicity are all Senfual Fleafures^ that in 
 them we are but weaker Rivals to Brutes, who injoy all their 
 Senfualitys with better Appetites and quicker Reilifh ; free from 
 Remorfe and Scandal. 
 
 And although all Humane Happynefi is Lodg'd in the Soul, 
 yet even their we maft be Cautious in our Choice of Affections 
 and PaiTion?, or we may be as miferable deceiv'd, as if we 
 gave the Remes to Senjuality. 
 
 How far does he Deviate, who expe&s this BleJJed State in 
 Honour and Greatnefs, fince Ambition onely begets Ambition, 
 Changing alone the Matter of their Miferies, without feeking 
 an End of them.- and as Seneca fays, thofe Acquifitions which 
 dazel the Eyes of the Vulgar, are Archived with Labour, and 
 guarded with Pain : nor will this Siftphns's ftone ever Reft, till 
 at the Bottom of the Valley, where the Matter is crufh'd to Peices 
 thereby. 
 
 How miferable the Covetous wretch is, is too Obvious to require 
 Refutation ; fo far is Gold from giving Happinefs , that Apici»s, 
 although he had the Remain of 250000 Crowns in his Coffers, 
 yet he Poyfon'd himfelf for Fear of Starving j nor could Midas 
 be fatisfy'd, till the waters of Pactolus Condens'd to a Golden 
 Mine, in his Belly. 
 
 AUthough this fpacious Theater affords dayly, Numerous 
 fceens of the wretched Miflakes ofMankinde, yet flill the Gene- 
 rality of them give themfelves wholly to the Dictates of Sence^ 
 and when they feel the fad Effects, they Fancy is fome DefHned 
 Diftemper : 01 if they have thought enough to confider the Caufe, 
 they Endeavour to drive it away by the Repetition of the fame : 
 and fo pafson,till a painfull Old-Age ( if Attainable ) flealeson 
 them j and then when their Appetites fail, they have leifure to 
 caft a Melancholly Afpect on their Preftine Folly ; feeing 
 their Lamp ready to qo out, like a Foolifh Tale that is told j 
 without one Act of Remark or Benefit to themfelves, 1 or the 
 reft ofMankinde : and finding no Reafon for their Continuation 
 
 to Old Age, except to be punifh'd for the Follys of their 
 
 Youth. 
 
 Whilft 
 
( 4 ) 
 
 Whilft He who fpends his Time in the Noble fludy of Philcn 
 fophy j the Forementioned Sciences, or the like Ingenuous, Be- 
 neficial and Innocent Pleafures, fees Caufe enough to Laugh at 
 their Youth and pity their Age : And finds to his great Comfort, 
 the Munificence of the Deity fufficient, if Man but makes the Hap- 
 py Choice, to give him Felicity in both Worlds. 
 
 Since then ( as we have fhown ) theNoblefl Injoyment arifeth 
 from the Choiceft Ideas of the Mind, Efpecially when they tend, 
 not onely to the Delighting, but alfo to the Improving of Man- 
 kinde ; we thought it might be no unacceptable fervice, to Anato- 
 matize the Art of Fainting, from whence fuch Variety of Plea- 
 fures and Benefits may be reap'd. 
 
 CAP. L 
 
 The Definition and Qualities of Fainting. 
 
 PAinting is an Art, which by Draught of Lines and Colours, 
 doth not only Exprefs the Forms of all things, on the fuper- 
 ficies of the Earth f according to Socra tes) *&h* ffl o^.vov with the 
 Anions of all Animals, but like wife the Fajfions of InteUe&H- 
 al Beings. 
 
 It is the Noblefl: of all Arts, fince it immediately Copys after 
 the Miraculous hand of the Almighty ; nor only imitates Created 
 Beings, but the Creation it felf : for out of a Chaos of Colours, 
 which by chance mixture, would perifh in their mutual I m bra- 
 ces, and of themfelves are Glaring, or Foul ; and thence un- 
 pleafing to the Eye, as ill founds are Diaphonous to the Ears ; 
 the Artfull Hand, by a Sympathy in Mixture, and the Harmonious 
 Vnifons of Proportion, not only Formes a Beautifull Body, but 
 likewife gives the Expressions of the Soul. 
 
 It is the mod ExpreJJive of all Arts, and of more General 
 Information then Printing ; for it fpeaks at once to all Nations 
 and Languages, and they who are ftrangers to Letters, may 
 read the fiory in it felf : therefore the Egyptians Couch 'd their 
 wifeft Morals in Hieroglyphic ks and Emblems, and the llni- 
 verfality of the Knowing part of Mankinde Improved thereby. 
 
 It 
 
f J ) 
 
 It hath more Force of Ferfwafion then Eloquence , for the 
 Idea of any thing is more Subtilly and Entirely Conveyed to 
 the Underftanding by the Eye then by the Ear , Objects 
 being more Allcctive to this Sence then the other ; and having 
 this Ad vantage, that the Vifual Rayes at once Comprife the whole 
 Story, whereas Relation is Dilatory and thence more Burthenfome 
 to the Memory. 
 
 What ufe the Ancients made of this Art for the Exciting 
 Vertue, may be leen in thefe ( amongft Nnmberlefs ) Examples. 
 
 The Romans Painted Fortitude in the Example of Horatius 
 Codes defending the Bridge ( call'd Sublitins ) againfl: a great 
 Troop of Tufcanes : and Marcus Marcellm, who by cutting 
 of the Head of Britomarte a French Captain, Difcomfitted the 
 Enemies whole Army. 
 
 Fox. Love to their Country, Mar. Curtim, who caft himfelf 
 and Horfe into a Bottomlefs GuliF : and the Three Decii* the 
 Father in the Roman Warr, the Son in the Tufcane and the 
 Nephew in the Battle againfl; Fyrrbus j all which ran iaro cer- 
 tain and Eminent Death, for the good of their Country. 
 
 And for Military Difcipline , Poftlumm the DiSiato) 
 put his own Son to Death for getting a Conquer! over his En 
 mies by breaking his Ranks : with innumerable moie Emblems 
 of Divers Venues and pieces of Gallantry, 
 
 Certainly thefe Painted with a great Spirit, Fajfion and Grace- 
 fuUA&ion, muft be more Instructive and Exciting then the mod 
 Rhetorical Rerangue. 
 
 It is the mod Ingenuous Art, and greatly aiTifting to Natural 
 Thilofophy ; fince with the greateft Scrutiny it examines into the 
 very Entity of Nature. 
 
 It Argues in the Matters the Fineft and Sublimeft Invention, 
 to Exprefsmany Times, the mod Heroick Actions in the World, 
 with greater Magnanimity and Beauty then the Celebrated 
 Actors were poflefsed with. 
 
 And thofe great Men whofe Works have been held in fuch 
 Admiration, both by the greateft Judgments as well as the 
 Nobleft Quality ; it fhews in them Souls Capacitated and 
 Adapted for fuch high Actions as themfelves have Expreft fo 
 to the Life : for there muft be a Concretion of Idea's into a 
 
 C Form 
 
(6) 
 
 Form in the Minde before Adion is produc 'd : of Mindes Co 
 Replete their works are fufficient Evidence. 
 
 CAP. II. 
 
 Of the Antiquity of Painting. 
 
 TH E Omnipotent, whofe Divine Pencel Drew all thefe 
 Wonders which continually prefent themfclves to our 
 Admiration, and which Man by an Homaomere endeavours to 
 imitate, Challenges the Prerogative of this Art to himfelf, Job 
 39. 13. and as his peculiar Gift beftow'd it on Bezaleel and 
 Aholiah, Exodm 3 1. whom, he nTd with his fpirit, in Wifdome 
 and Underftanding ; in Knowledge to finde out curious Works, 
 to. Carve, fyc. which we {hall fhew hereafter to be the fame 
 with Painting in Bfferice, but exceeded by it in Ferfeffiion. 
 
 Minm King of the Affyrians ( as Hiftory Reports ) having 
 Celebrated the Obfequies of his Father Belm, Firft King of Babi- 
 Ion ; to Mitigate part of the forrow fot his Fathers Death, and 
 to reftore in fome meafure fuch a lofs, caufed his Image tq 
 be Carvd. 
 
 After the Deluge Prometheus Son of Japhet Invented ?la« 
 flick, and was in fuch R'equeft with the Arcadians , being of a 
 Pregnant Witt and follid Wifdom that he brought the Rude and 
 Barbarous People into civil Converfation : he added Attificiall 
 Motion to his Images, whence the Poets fince have made 
 their Fidions. 
 
 After this, the Art came to be better known, and with the 
 growing Art Honour to the Inventors increased, therefore Oyges 
 the Lydian amongft the Egiptians : Pyrrm amongft the 
 Grecians, and Polygnotus the Athenian^ amongft the Corinthian s, 
 were highly Valued, as the firft amongft them that found out 
 Painting. 
 
 They firft began in Black and White, Plin. lib. 3$. cap. tfj 
 2 > Ax & c - the Authors, Ardice s the Corinthian^ and Tefcpmntts 
 the • S 'icy onidri, then Cleophantes the Corinthian, brought up the 
 ufe -of Colours , though principally but One, whence the Hiftorifi* 
 
 graphers 
 
( 7 ) 
 
 graphers called it Monoebroma. 
 
 ApoUodorus, afterwards, the Athenian begin the ufe of the- 
 Pencell : as like wife Cumanw the Athenian ; C/wo/2 Cleondm 
 added much Perfection by Fore-fbortning : after Panem added 
 farther Perfection , Inventing the Art of Drawing by the Life. 
 
 Parrhafim the Ephefian did farther adorn it, as like wife 
 Xeuxes, who brought up the manner of Shaddowing. 
 
 AppeUes added the laft- Perfection by the help of Geometry 
 and Arithmetick ; without which, as his Mailer Pamphilm 
 would fay, no Man could prove a Painter • and Bernard Lovinus 
 would fay, a Painter without Persjetfive was like a Dofior 
 without Crammer. 
 
 And indeed it is a Compound of many Arts \ as Geomitry, 
 Architecture, Arithmetick, Persjetlive, &c. for a Painter can- 
 not perform without Linos , Superficies, Profunditys^ Thickneji 
 and Geometric all Figures. 
 
 Nor can Churches, Pallaces, Amphitheaters, Bridges, Ports 
 and other Buildings be Reprefented without Skill in Ar^ 
 chiteffiure. 
 
 Nor without Arithmetick can he Underftand the Proportion 
 of Mans Body, to take it in any fife ; or the Proportion of Qthet 
 Things either Artificial! or Naturall. 
 
 And without a good Judgment in Perspective . the work 
 will be full of Faults, it muft be us'd in all Fore-fhortnings, all 
 Diftances, in Highths, &c. nay, without a Careful! pifpofal of 
 the Colours according to Per^e^'we^ a fimple Convex will be 
 Defective in its Orbicuiarity : but we fliall difcourfe of Per- 
 sjeflive by it felf. 
 
 So facred have the Memorys of the Invent en of this Art been 
 of our Progenitors, that they have carefully Tranfmitted them 
 down to us, and Doubtlefs will be to all Pofterity. 
 
 And although, not only by diver fe Contingences but the 
 neceffity of Fate is fuch, that the Formation of one Species^ 
 muft be through the Deftrutlion of another , that there may be 
 a Circulation to the Termination of Time , \>y Confequence 
 the Materials of their Art have perifhed, yet fuch hath been, the 
 Care of Fame over the Eldeft Som of Art , that fhe hath 
 writ their Names on the Adamantine Rock, beyond the Power 
 
( 8 ) 
 
 of the Cruel and RemOrflefs Jaws of Time with Teeth of Iron 
 to Devour. 
 
 — , s i — — ; . — » 
 
 CAP. I IL 
 
 The Reputation Painting hath had in the World. 
 
 TTT is fufficiently Known in what Efteem Painting hath been 
 fl amongft the /Egyptians, under which they Communicated 
 all their Natural and Morall Philofophy : it was their Treafury 
 where thev Accumulated all their Arts and Sciences ; For fince 
 the fower-Memorative could not contain all the Similitudes and 
 Idea's, which by the Labour of the molt Ingenious ( Infinite in 
 Poflibiliry ) were Produc'd, here they Referv'd all the Occult 
 Riches of their Mifticall Knowledge to all fucceeding Ages. 
 
 From thence, in Procefs of time hath been Tranfmitted down 
 to us conliderable Benefit, in Philofophy^ by the Hands of Plato, 
 Pythagoras and other Philofophers, who fayl'd to JEgypt to tran- 
 Ijpor: it thence : And though fome of their Hieroglyphicks appear 
 Ampfratfuom to us, which doubtlefs is ftom their long difufe, yet 
 fome I have feen not fo Ejiigmatic all but might be eafily Under- 
 ftood 5 and as before was hinted, they had the Advantage hereby 
 to fpeak in all Languages, and fo of their moft precious Wealth 
 were Eleimofynary to the whole World. 
 
 In imitation of them the Ancient Romans fet up Emblems 
 in Publick places of divers Animals, under which their Philofophy- 
 cal Miseries were couched, and from Hieroglyphicks and Emblems 
 they proceeded to Paint, the Famous Actions of Worthy Men, 
 that through the Emulation of their Aftions, they might Excite 
 the Young Noble Spirits to like Performances. 
 
 Nor was this Art only Honoured, by the Noble Vfe made of it 
 in this manner, but likewife by the Study and Practice therein 
 by thofe of the greateft Quality ; as alfo by the vaft Sums paid 
 for feverall pieces for the Encouragment of the Artifis, as well 
 as for the future Profit and Pleafure thereby to themfelves, and 
 Pofterity. 
 
 We 
 
(9 ) 
 
 We reade of Francis King of France, and firft of that Name.; 
 that he Practis'd in it to a great Perfection 3 as likewife Charles 
 Jmmamell Duke of Savoy, who was well Read in all Heroicall 
 Vertues as well as in the Libera)! Sciences, but mod delighted 
 in Fainting. 
 
 Ouintm Fabius, his Family the Nobleft in Rome Sirnam'd 
 Piclores, took great delight in this Aft : and Painted the Temple of 
 Sains with his own Hand, Subfcribing his own Name to his 
 Work as the more lading Monument of his Glory: Rutilitis m 
 vita Quint. Fab. Pic. 
 
 The Emperour Conjlahtine, fpent great part of his Youth in 
 the Practice of this Art ; as we find Sigibert in Cronic'vs. 
 
 Likewife Prince Lai/iniaMM, valued himfelf more on this, 
 then on his Noble Defcent and other Qualifications, Them. lib. 2. 
 
 Pomponim Atticus, a Man of Profound Wifdome and Favourite 
 of Cicero, beautify \i his own Poems, with Pictures of his own 
 Defign and Drawing. 
 
 LucianiM alfo of Imperial Defcent, when he retreated from 
 State- Affairs, fpent his Time in this Ingenuous Art ; declaring 
 it to be the moft Princely Exercife, to Copy the God of Nature 
 in his Works \ Sal. lib. 3. 
 
 With many more of the Greateft Princes in Europe and ever 
 of the moft Ingenious of them : nor wants it Patrons in the Fair 
 Sex, for Margaret Queen of Navarre arriv'd to a great Perfection 
 in it, with divers others. 
 
 In Plinies Time Feftival days were appointed at Corinth, for 
 the dxercife of Painting, for Great Pryfes and Wagers, and we fee 
 at this day they are efteem'd as the moft Valuable Jewels, by 
 the Nobleft Rank of the Age, in Forreign Ccuntrys, as well as 
 with the moft Ingenious of the Nobility in England : this Art 
 ever being in greateft Eftimate with thofe who have been the moft 
 Remarkable for their height of Fancy and depth of Judgement. 
 
 How former Times Efteem'd it, may be feen by thefe few 
 among Numberlefs more, by the Sums were payd for them. 
 
 Antonim Vefuvim payd for a Piece of Michael Angelo, three 
 thoufand pounds fterling. 
 
 Cdtfar the Dictator redeem'd the Tables of Ajaz and Med*a 
 for Eighty Talents ,* which amounts to twenty four thoufand 
 
 D French 
 
(10) 
 
 French Crowns according to the lefler Athenian Talent 
 
 King Attalm payd for one of Arijiides Pieces, a Hundred 
 Talents. 
 
 Candalm King of Lydia gave as much for a Piece to 
 
 Bnlarchm. 
 
 StraphonimVolenite gave to the Value of five thoufand pounds 
 Sterling for a Picture of the Divine Raphiel. 
 
 Hortenfim the Orator gave for a Table of the Argonauts, one 
 hundred forty four Talents. 
 
 The Duke of Millain Rewarded Raphiel Urbane with as many 
 Ducats as would cover a lar^e Piece which he made for him. 
 
 Mnafon payd to Afchpiodm for the Twelve Gods, after the 
 rate of three hundred pounds a Piece. 
 
 Vope Innocent the Eighth, fo Famous for his Knowledge in all 
 Learning and Ingenious Arts, beftow'd upon Andrea Mantegna 
 in the Belvedore of Rome, two Thoufand Ducats for a months 
 Work. 
 
 Pol/dorm likewife, payd for a Piece of our Saviours Nativity of 
 Rubens, fifteen hundred pounds Sterling. 
 
 Nor is it Arrange that thefe great Matters Works fhould have 
 a higher Eftimate then the mofl valuable Jewels , fince they 
 maybe met with again of the fame colour Nature and Dimen- 
 fions, but a great Defign may be particular throughout the World* 
 befides the variety of Pleafkres and Benefits hence arriving, of 
 which the other is wholly void. 
 
 CAP. IV. 
 
 How far Painting agrees with Car<ving y and 
 wherein it Excels it. 
 
 THere hath been a continual Altercation between PainUrs 
 and Carvers for Superiority in the Excellency of Art : 
 but that Carvers may not pretend to excel Painters in the 
 EJJential part we will lay down how far they agree and then 
 wherein the Carvers are Excel'd. 
 
 h 
 
K i« ) 
 
 It is a General Ride , what agree in a Third agree between 
 Themfdves, if it be objected a Rank^and a Hound are the. lame 
 by this Rule, becaufe both living Creatures 5 it followeth not, 
 for though they agree in the Generality of being living Creatures, 
 yet they differ in Speciality of Kiude. 
 
 And as there is no Ejjential difference between two particular 
 Men, both being Rational Creatures, fo there is not between 
 Fainting and Carving, for both tend to the fame End, by 
 Reprefenting Individual Subftances ; and both mud: obferve 
 the fame Geometrical Quantity in what they Reprefent. 
 
 Suppofe a fainter and Carver were to Counterfeit the fame 
 Perfon, doubtkls both would conceive the fame Idea of him, 
 proceeding in their Minds with the fame difcouife of Reafon and 
 Art, and (as before) obferve the fame Geometrical Quantity, 
 endeavouring to make it as like the Perfon they Reprefent as 
 they could : and lo the Draught expreffmg the ldea'% of both 
 the Workmen, would agree in expreffing the true Refemblance, 
 -which is the EJfence of this Art. 
 
 'Tis true one Painieth and the other Carveth\ but this is a, 
 MaUtkd Difference only, which argues no Speciftcal Difference 
 in Ai t bt Science, and it is the Ejjential Different* alone that 
 maketh a Diftindtion of Species and Diverfiry of Science. 
 
 If it be Objected that the Carver maketh more of the Figure 
 then the Fainter, it is anfwer'd,' more or lefs makes no Spt- 
 ciftcal or Proper Difference ; therefore it ft the Defect of 
 Matter, and not of Art. thus fat the Arts are Analogical. 
 
 Now that this Art far Excels Carving is eafily Demonftrated, 
 fince on a Flat, it Reptefents Roundttefs and Tnicknefs, exceed- 
 ing therein the Power of Nature It (elf, expreffing Life and Spi- 
 rit far beyond Carving, as in thefe tnftances. 
 
 ApeUes Painted Alexander the Great fo to the Life, that his 
 Horfe Bucephalus brought into the Room, immediately kneeld 
 down fuppofing it his Mailer : His Horfe he likewife Painted 
 with fuch Spirit that other Horfes began to Neigh, when they 
 faw him. 
 
 Andreas Mantegna reprefented a Servant in Porta VerceUina, 
 fo Natural, that the Horfes left not Kicking at it till there was 
 no fhape of a Man left. 
 
 Barnazano 
 
C tt ) 
 
 Barnazano Pvepfefented Strawberrys on a wall fo fine, that 
 the Peacocks continually peel: at them ; and Cafar Sefiim 
 Painted in a Piece, Birds^ fo to the Life,that the Table fet abroad, 
 they brought Flocks of other Birds about them : and 'tis Re- 
 ported there was a Dragon Painted with fuch Spirit in thcTrium- 
 virate in Rome, that made the Birds leave finging. 
 
 A Picture likewife was in Claudius's Theater, where the Tiles 
 were fo Naturally Painted, that the Crows offer'd to fly through 
 the Painted windows. 
 
 Zeuzes's (lory is well Known, by the Grapes which Invited 
 Birds to them : though himfelf was afterwards deceived, by a 
 Curtain done by Parrhaftus in Emulation of his Grapes, 
 
 Live Partridges have flown to the Painted ones done by Par- 
 rhaftus upon a Column at Rhodes. A Dog like wile defae'd the 
 Picture of a Dog done by Gaudentim in a Picture of Chrifi carry- 
 ing the Crofi at Canobiutn. But thefe are all trivial Things in 
 refpect of the Pajfions and AfeSiions y in which it far Excels 
 Carving : fince to mod Pajpons is required a Change of Com^ 
 ple£tion,zs well as Defiortion y Contraction &c. of Features. 
 
 A Venm cannot be made with th at Allegation in Carving, 
 fince the Completion of the skin, with Colour of Eyes, Hair, &c. 
 are requifite to the Perfedion of a Beauty. 
 
 Nor can Hifiory be Carvd without great Defects, fince all 
 Diftances require a Faintnejl of Colouring, as well as Diminution 
 of Body : with many more Obfervations in Nature, onely Ob- 
 vious to Colouring, of abfotute Neceflity for the Animating of 
 Figures. 
 
 Not that I would the leaft Detract from thofe Famous At- 
 tifts who have obtain'd to themlelves a lading Name ; but think 
 they more deferve to be worfhip'd for Gods 7 then the Gods 
 which were the works of their Hands. 
 
 C A P. 
 
Tlfctf Art it Requifite to the Education of a Gentleman, 
 from the Benefits and Pleafures thence arijing. 
 
 THE more Noble any Science is, certainly the more Effen-* 
 tiaU it is to the Qualification of a Noble-Man ; that this 
 isfuch, is already prov'd from its Antiquity, its feveral Honoura- 
 ble FrojfeJJors, with the Reception it hath had beyond all Arts 
 in the World ; and in its own Nature being the moft Lauda- 
 ble, (ince of all Arts itneareft Imitates (by cdntinuall Copying 
 after ) the wonderfull Hand of the Omnipotent. , . 
 
 What can become a Gentleman more then to talk Pertinent- 
 ly of fo Ingenious a Science, and which he hath continually before 
 his Jzjgs, when without a Judgment in it, he fhall ( by mis- 
 placing Proper Terms ) be the Jeft of thofe, whofe greater 
 skill will not excufe their ill manners herein. Befides, this be- 
 ing the greateft Ornament for PaUaces and Nobleft Seats, it 
 prevents their being irripos'd upon in Pieces of Value, whicri 
 they often fufTet to great lofs, though to the Infamy of thofe 
 Mercenary Men who are guilty of the Impofition. 
 
 It k the greateft Complement, Convenience, as well as 
 Companion for Gentlemen that Travel, to take a Draught of all 
 Remarkable Things and Places, &c. which would be too great a 
 Charge for the narrow Treafury of the Memory. 
 
 It's of abfolute Neceflky for all Commanders, for the Defign- 
 ing Fortifications, Drawing of Lines, &c. and greatly aflfiftantto 
 theftudy of the Mathematickr. 
 
 Here they may fee and Learn how their PredecelTours Accu- 
 mulated their Glorys, and Learn to Emulate the Grandeur of 
 their A&ions, that like them they may be Tranfmitted ( by 
 fame Art full Hand) to Pofterity. 
 
 The Practice of this Art not only raifes the Fancy, but 
 makes it Pregnant to the Production of (till more great Ideas, 
 Prefllng on to the Mount of PerfeElion, where with pitty they 
 behold the reft of Mankinde below. 
 
 E And 
 
( M ) 
 
 And had not thole Celebrated Wits both Fainter s and Poets, 
 whole Contemplative heads were Replenifht with a continuall 
 Efflux of Notions, by this or Poetry found a fweet difcharge of 
 their Croudcd Fancy, either bein^ to big to pafs through the Nar- 
 row Avenues of Common Sence, they had burft forth in diforder 
 without Maturity, and fo become but Diftra&ed and Confus'd 
 Notions > or elfe being Forcibly pent in, had ftifled in their own 
 Croud, and fb have perifbt, fhut up in the Urn of the Brain to 
 ail Eternity, to the DiOionour of Him who beftow'd thefe Gifts 
 for the Manifestation of his Glory, and the Benefit of Mankrnde. 
 
 The Pleaftrres arifing from this Art, are ineffable, and ont 
 that Account deferve a Gerrtlemans ftudy, fitice it k better bo 
 be Happy, then fimply to Be. For by this may you Form an 
 Elizinm to the height of your Fancy, beyond the Product of 
 Nature and Equal 1 to the Fictions of the Poets. 
 3TO*bd yl'ifiUiffrnoD d^isirl^i rfarrfw-'Jitte t ^s\Vn^ij woV^u\<(flno'^i .j/k 
 Imbroidefd Feilds, Graves Damask' d with bright Beax$?} 
 Banks aU Enameld, and Transparent Streams. 
 -ad sirii ^aMsH .nbtori ?r rinsm lli ihih 'hums 3cn IliTX 
 
 Hereby within your Chamber may you fee Mjjefiick Hills, 
 Humble VaUyes, Delightful Groves, filent Grotto's^ Delicious 
 Plains. Nimphs, Fawns, Satyrs, Driades, fyc. fporting toge~> 
 ther, the Hate of Innocence and the Golden Age, 
 
 Nor can we only Create Worlds Replenifht with Beatitndes] 
 to the higher! Injoyment of the Nobleft Sence the Sight, buc 
 likewife fo Potent are the Charities of this Art, that it often 
 brings the Seraphick and Blefi Souls from their facred Manfions to 
 Con verfe with Mortal* below, here to React their great Sufferings 
 and Martyrdoms, that by obferving their Footfteps, we ( imp'd 
 on the wings of Vertue ) may mount to their Cceleftial Thrones, 
 there to Injoy the Beatifck Vifion in thofe Feilds of Light. 
 
 That after the Contemplation of the Wonderful! Beautys here 
 below, we there may behold the Sacred great Source of them all, 
 there wifhing for a Pencel Omnipotent 5 as the Hand which 
 Form'd thofe Ravifhing Delights,to Copy out thofe bleft Abodes, 
 the meaneft place whereof is beyond Mortal Tongue to Exprefs, 
 or the higheft Rapture of Thought but to aim at. 
 
 Nor 
 
( *5 ) 
 
 Nor only to Incourage to Vertue, but likewife to deter from 
 Vice, this Art hath furnimt us with Scenes of Horront, Rapes, 
 Murders, &c. that from theTerrour of fuch fpeftacles^ we may 
 deteii the Actions as Repugnant to Humanity. 
 
 Nay fometimes it opens the Adamantine Gates of the Black 
 Abbifi, the feat of Profound though Fiery Darknefs, fave that 
 the livid Flames fervc to difcover thofe Souls, whofe fins ( weigh- 
 ty as the mafty Plumecs of Eternall Night ) have funk them to 
 thofe Stygian Abodes. 
 
 Amonglt the Number there you may juftly exprefs in fome 
 Cottrmon (boar, Replete with Ajja Fatida , a freaking Tribe of 
 narrow Souls, the Contemners of this Art, who Murmuring and 
 Repining at the Munificence of the L)my^ Grudge that he mould 
 receive any Glory from this his beji of Gifts. 
 
 But mould I fum up all the Benefits and Pleafures according 
 to their vaft Extent it would fwell up a great Volume, nor cat; 
 it be expected I fhould Abridge in a fewfheets, what lyes in a 
 Book ( of fo Beautiful! % Character ) Expanded over great pare 
 of the llniverfe. 
 
 UiAvfslau AttVptd tnj; umi\Q toaaM Bjh n qirflioW v?:- 3 
 
 i . ■ ■ 
 
 C A P. VI. 
 
 jlIsyu*^ ^lodi lo nonJi7onri3fr3ffjo3 ni qu yj\ rriDrh zn ' ~ r * T 
 The Ohjeftiojis agmnfk Painting Anftpartt. 
 —ni sfflj ni /fns jSnint olfisrn vjiisrlO i>"iom 3/£fI [ hnfi ; midlo 
 
 ON E Objection is, that 'tis a Mechanick Art, but I think 
 this is made by thofe who are little SkiPd in Liberal! 
 Arts or Read inHiftory \ for in Greece it was rank'd amongft 
 the Firft of Liber all Sciences, and throughout all Greece taught only 
 to the Children of Noblemen, and altogether forbidden to be 
 taught to others. 
 
 Arifiotle in his Politique*, accounteth it amongft thofe Liberalia 
 Paideamata^ and advifeth it efpecialiy to be taught to the Young 
 Nobles, which after Eupompu* a Famous Geometrit'tan to his 
 Utmoft Incourag'd, and Plinie not only allows it a Liberal 
 Science, but of the moft Ornamentali for the great Oeconomifis 
 of the World, and excited the Rmans to the Imbraces of it. 
 
 Befides 
 
C it ) 
 
 Befides as Painting is fubordinate to the PerfyeBives^ Natural 
 Philofophy and Geometry ( which doubtlefs are Liberal Sciences ) 
 and as it hath certain Demonfirable Conclufions, deduced from the 
 firfr. and immediate Principles thereof, fliews of Neceflity it muft 
 be efteem'd a Liberal Art. 
 
 That becaufe it is worked with the hand it muft be a Mechanick 
 Art, is a poor Argument, (ince without equal Labour of the hand, 
 no Mathematical, CofmographicaU, Hydro graphic all, &c. Demon- 
 fixations can be perform'd, nor is it of more Labour then Writing 
 and feveral Gentle D'werfions : and he that defpifeth the nobleft 
 Product of the Soul, becaufe it requires the Affiftance of the 
 Hands for Demonpation, I think deferves not thofe ufefull 
 Members which he fo foolifhly Contemns. 
 
 Another Objection is, that it hath been the occafion of Idolatry, 
 by the Pictures of Saint s, &>c. but that the Pi&ure is the occafi- 
 on of the Idolatry is a miftake in the Hypothejis^ for the caufc 
 of all Idolatry is either Error or Ignorance, and not through the 
 Objetl of the Worjhip, for were the Objeff the Caufe, we fhould 
 Impeach the Wife Creator, for his beft of Gifts the Sun, becaufe the 
 Pagans Worfbip it ; and Eftcem Onions and Garlick unlawful! 
 food, becaufe Ador'd by the JEgyptians. 
 
 As for the Pittures of Saints in Forreign Countrys, we muft 
 imagine them fet up in Commemoration of thofe Saints, as 
 feeing the Pitlure of my Friend makes me immediately Think 
 of him ; and I have more Charity then to think any, in this in- 
 lightned Age fo profoundly Ignorant as to expect Succour from 
 the Cloth and Colours, as to the Worfliip of the Saints them- 
 felvcs, nothing belongs to this Treatife, and we have Learned 
 Divines enough to difcufs the Controverfy. 
 
 Some have Objected it hath been the Caufe or much Leudnejl 
 and Debauchery, by the many wanton Pi&ures have been con- 
 tinually Expos'd, as likewife Prints every where Obvious to 
 Youth, and may the more affect them the more they Love the 
 Art : I anfwcr the Subfiances are as frequent and obvious in 
 every flreet as the Shadows, and the Art of Painting is no more 
 to be cenfur'd on a Lewd Defign, then a Chaft, Beautifull 
 Virgin, on the Account of a Beautifull Leud Wench. 
 
 Others 
 
( I?) 
 
 Others have thought it Vnhealthfull becaufe Sedentary^ but 
 it is not lo Sedentary .as fome imagine, for not alone they may, 
 but mu ft walk often from the PiSure^to Obferve the Sympathy 
 of the Defign and Harmoniom Union of Colours ; and I have 
 Known few affheted with any thing but the Gout, which I 
 iuppofe is more the Effects of Bacchanalizing then the Painting 
 of Bacchanals. 
 
 Their Objection who defpife it as a Daubing Exercife is not 
 worth notice, fince it is only a Slovens Argument for they who 
 are other wife cleanly may be fo in this, and more then in fome 
 Gentle Diverfion, the Colours being to be bought ready prepar'd 
 to the Pallat ; nor of more notice is their Idle Objection, who 
 fay 'tis only a Fancy , and that there is no Intrinfick value in it j 
 if what already hath been fayd of the Benefits thence arifing 
 will not fatisfy, I fhall defift a farther Anfwer till I hear an 
 Ingenuous Man make the Objection, for as yet I have not 
 heard any. 
 
 CAP. VII. 
 
 The Great Mafters of this Art , and whereof 
 their Work may be feen. 
 
 I Shall mention but one Piece of each Noted Mafter to direct: 
 the Traveller where he may fee of that Hand, for to fum up 
 all the Principal Works in Italy, would fwell up this Treatife to 
 too great a Bulk. 
 
 Of Michael Arigelo, the Refurreftion in the Popes Chappel at Rome. 
 Of Raphiel Vrben, St. Celia in the Church of St. John on the 
 
 mount, in the City of Bolognia. 
 Of Giovanni Lanfranco, feveral pieces in the Chappel of Teforo^ 
 
 in the City of Naples. 
 Of Dominichino, feveral Saints in the faid Chappel. 
 Of Guercin da Cento, the Ajfumption of St. Maria in the City 
 
 of Lucca. 
 
 Of Old Palma, St. Anthony in the Church of St. Piero Samaldi 
 in Lucca. 
 
 F Of 
 
QfGuido Rheno ) Cain and Abel in the Clofet of Sig. Manfredo 
 Sept ale. 
 
 Of Tintoret our Saviours Laft Supper in the Domo of Lucca. 
 Q{ Pordenon,thc Crucifixion in the City of Cremona. 
 Of Titian, our Saviour Crowning with Thornes, at the Domini* 
 cans in Milan. 
 
 Of Qiulo Romano, the Crucifixion in St. Andrews in the City of 
 Mantua. 
 
 Of Leonardo da Vinci , zSi.John in the Pallace of Fontana. 
 Of Prf/tfij K. Phillip the 4^. in the Clofet of Sig. Manfredo 
 Septale. 
 
 Of PietroFlandro, a curious Country Profpect in the faid Clofet. 
 Of Radolpho, K. Priams Pallace in Flames in the faid Clofet. 
 Of Carolo a Sole, a AW^ Landskip in the faid Clofet. 
 Of Carolo Battavo, a Battle in the forementioned Clofet. 
 Of P/V/ro Florentino, two Landskip s in the fayd Clofet. 
 Of F/ro//, 3 Heads, Ho/r^r St. Jerome and ^/o/^i in the faid 
 Clofet. 
 
 Of Hercules Procacini, St. Jo£/2 in the faid Clofet. 
 OiCamiUo Procacini, the BleJJed Virgin and our Saviour in the 
 faid Clofet. 
 
 OF Barocci, a C£r//? in the Do^e of the City of Milan. 1 
 
 Of Paris Bordone, an Alter-Piece of St. Girolamo in the fayd Domo,. 
 Of Ludovico Car ache, an Alter-Piece in the Church of the Capu- 
 chins in Saffuobi. 
 Of Hanxable Car ache, St. Francis in a Trance in the City of 
 
 Of Aupufiine Car ache, Duke Alexander Famefi in the faid City. 
 Of Paulo Veronefe, the Transfiguration of our Saviour in the City 
 of Padua. 
 
 Of Parmeggianino, a lucuetia in the Chamber of the Amoretti, 
 
 in the City of Parma. 
 Of Correggio, divers Squares in the Duke of Modends Gallery. 
 Of Giacomo BajJano y two Squares in the faid Gallery. 
 Of Giorgone, a curious Head in the faid Gallery. 
 Of Lanfranco, a Chappel Painted in the City of Piacenza, 
 Of D0J1 Ferrarefe, a Lucretia in the Chamber of the Amoretti in 
 
 the City of Parma. 
 
 Of 
 
Of 'Frederico Zucccharo, a Madona mt\\t Chamber of Sivetty m 
 the fayd City. 
 
 QiPietro da Cortino, feveralHHlorys in the Pallace of the Great 
 
 Dukg of Florence. 
 OtFra: Bartolomeo 3 Pictures in St. Marks Church in the City of 
 
 Florence. 
 
 Of Caravagio, a St. Anthony in a Chamber of the City of Parma. 
 
 of Tadeo Zuccharo, a Pfyche in the Pallace of Font ana. 
 
 Of C/Wi, the Lady of Piety in the Church of St. Croce in the 
 
 City of Bolognia. 
 OiPolidoYOy the Front of a Houfe in the Mount Cittorio in Rome. 
 Of Barnardino Luini^xhc Blejfed Virgin Crown d with Glory. 
 Of Leo Aretini, the Blejfed Virgin with our Saviour^ St. Elizabeth 
 
 and St. John. 
 
 Of fliekbiore Gherordino, two Pictures of St. Jerome and St, Lucia. 
 
 Of Andrea del ferto, a C&r//£ carrying the CrojL 
 
 Of Darnel Chrijfi, the Picture of Manfredo himfelf. 
 
 Of Vermiljiy St. Jerome Accompani'd with an Angeltcal Minji rel 
 
 Of Sardinij a Lucretia. 
 
 Of Leotfe Aretini^ a Lucretia. 
 
 Of Cerani, St. Francis with a Parrot. 
 
 Of Bronjino the Picture of Manfredo Sept ale. 
 
 Of Soliano^ a Madona, this and theaforemention'd in theClofet 
 
 of Sig. Manfredo Septale. 
 Of Camaffei^ the Creation of Angels in the Pallace of Babarini ac 
 
 Of RaphielBergo, the Baptifm otFattor Bono in the Vatican at 
 
 Of Mutiano, the Prefentation of the Blejfed Virgin at the Temple 
 
 at the Church of at Ao/we. 
 
 Of Daniel da Voltera, the Afjumption of the Blejfed Virgin ac 
 
 the Church of Madonna del Populo at Ro»z£. 
 Of Chivoliy St. Pefer curing rhe Lame at St. at ifo/w. 
 
 Of Pojfine, the Miracle of Erafmm in St. P^<?r5 at /?o//2e. 
 Of Anreliws Lovinm^ a Centurion and Crucifix at Lugano. 
 Of Bernard Zetiaje, the Ctuppel of St. Pfter and St. PW in 
 
 St. Francis Church in Millain. 
 Ot Bramentino, a Chrift taken down from the Crofs in St. P/Vfro 
 
 Of 
 
(20) 
 
 Giejfatd. 
 
 QtDaniel Riccarelli, a Chrifl from the Crofs in the Friars Church 
 at Borne, 
 
 Of Epifander, Laocoon with his £072 in the Belveder at /?o#/£. 
 Of Oy^r BefliiU, Birds very fine at Vifcount Profpero's at Millairt. 
 Of Bernard Buttione, of Chappie of Sc. Ambrofe in Millain. 
 Of Francijcus Matfolino, a piece of our Lrfdy at Millain. 
 Of Gaudeutius, our Saviour Bapth'd by St. Babtift mjor- 
 ' dan at Vioeuano. 
 
 Ot FrancifcusVicentius, the Evan gel >Jl, Prophets and Sybells in 
 
 St. Maria de Gratia, 
 Of Arfenodorus, a Laocoon and Soa? in the Belverder at 
 OkTrofoda Moncia, feveral Roman ftorys at Mtllain. 
 Of Auftine of Millain, the Vault of the Chappell of St. Maries 
 
 de Carmine in Millain. 
 The Life of i%zry Magdalen in the Chappell being of Bernard 
 
 2,enale's doing. 
 
 Of Andreas Mantegna, the Triumphs of C^/tfr at Mantua neat 
 the Dukes. 
 
 Of Rubens, Vandyke, Lyly at feveral People of Qualitvs in -Eflg- 
 /<*/2fl? as well as in Italy.. 
 
 Likewife upon inquiry throughout you will find of *Se- 
 
 baftian, Piombo, Alexander, Moreto, Girolamo, BreJJ'ano, Kojfo, 
 Bologna, Majjotino, Timotheo Vita y Fattore , 5f/?o , Boccaccino, 
 AndraSolari, Touagno, Nibertus Leidamus, Scorellus, Burgexi y 
 Florm, Pancelli, Theodorm, Mabutim, Dionatenfe, Lufto, Maio y 
 Alafio, Gafetto, Frederick Barozzi, Paulo Catiarim, Lucas Can- 
 giafm,Ambros. Ftginm, Albert Durer, Maftardo, Brugill, GrimaU 
 do, PamphiLiSy Perino del Vaga, Peruginm, Francefco. Melzi, 
 Vicentius Foppa, Matfobinm, Bellino, Frattaivoh, Bottjcello 9 
 Verrocchio, Dominico, Marcw, Scieua, &>c. 
 
 3 1\\ n J\ '■ '{ Pi Q\ v \ rt » 1 V A Y\ Xl I\ YtO V\\" V'lv 1 C\ 1 1 *V# nn ^1 *"\ ^ 
 
 jmfo *txW.& m ^3^o&Vtefli f -^i lo 
 
( 2' ) 
 
 C A P. VIII. 
 
 The CharaUers 6f fe veral Maflers, 
 
 I Shall only give Hints of fome Names known amongft us, 
 fince the Ingenious Mr. Sdndrart hath fo well Treated on the 
 Generality of them, which book is defign'd to be Tranflated. 
 
 Michael Angela is allowed the moft Famous for all Bodyly Mo- 
 thns^ all ForeJhortnings,fyc. as is univerfally acknowledged in 
 that wonder of the world, the Refureffion in the Popes Chappelzx. 
 Rome. 
 
 The divine Raphael ( fo ufually call'd amongft the Italians ) 
 may be alio w'd the Prince of Painters an Excellent Antiquary , his 
 Defigns of Lofty and Noble Subjects with a gieat Manner and Spi- 
 rit in his Works. 
 
 Titian and Timor et likewife exercis'd their Judgments on Great 
 Storys, the latter whereof was call'd the Furious Tintoret, from 
 his bold way of Painting with Strong Lights and Beep Shaddoxps. 
 
 Rubins was an Indefatigable Painter, he had a great Excellen- 
 cy in Colouring FlefJj, which was mod Peautifull, Soft, Tender 
 and Clear, and the Nature it felf ; and had he had the Italian 
 Meafures he had been one of the Greateft Mafters in the World : 
 he was a general Mailer for Hijiory, Landskips^ Sea-piece, Fifi^ 
 Foul, Archite&ure, fyc. 
 
 Van-Dyke Painted Wonderfull Natural, variety of Colourings 
 delicate Touches, Soft and Tender, with extream fine Obfervati- 
 ons about the Cheeks, Chin , fyei he Painted Armour to a Mi- 
 racle, Saitens and other Drapery r extream Fine, Loofe zn&Qentle 
 in his Poftures : he us'd to Paint after thofe two Greae 
 Mafters, being a Difciple of the latter. 
 
 Lyly brought up firft the curious LoofeDreJfing of Pi&uresj 
 which mod of our Mafters fince have follow'd ; he was extream 
 fine about the £y<?.*, very delicate upon the Hands, a Free Mafterly 
 Touch in Hair, he was Difciple of the Incomparable VanDyke. 
 
 Holbin had a delicate Tender foft way in his Ylejh, Finifht up 
 to a Miracle. 
 
 G Rembrani 
 
Rembrant had a Bold Free way, Colours layd with a great- 
 Body., and many times in old Mens Heads extraordinary deep 
 Shaddows, very difficult to Copy, the Colours being layd on 
 Rough and in full touches, though fometimes neatly Finifrf d. 
 
 Moor had a very fmooth neat way of Colouring, which may be 
 one Reafon that his Paintings keep fo frefh, becaufe the dirt is 
 not apt to get in, there have likewife been other Great Matters 
 by the Life as Walker, Zouft, Hah , OreenhiU, Wifbin 9 the late 
 Rily y &c. 
 
 Albert Durer generally wrought up his Horijon of his Land- 
 skips to the Edge of his Pictures, which is not fo Gracefull al- 
 though it may be Natural. 
 
 One of the Brugels^ IViUebeck, Dehem, S eager s, Therplin s 
 &c. were very fine in the Stillife^ efpecially Dehem. 
 
 Another of the Erugels ( generally cal'd HeUifh Brugel ) was 
 Famous for Scenes of HeU 9 St. Anthonys Temptation, &>c. hi$ 
 Head was ftrangely Pregnant of Chimxras , but very prittily 
 Touctid. 
 
 Snyder^ De Vos, were excellent in Beafts of Prey, Fowling 
 and Hunting in Large, and JLlfhamer extraordinary in fmall, as 
 likewife Rohen, Hames and Tamboti for Cattle, Woverman was 
 a great Matter, likewife the Elder Barf an. 
 
 Stenmck, Mafuccio % De-Nef were three Extraordinary Matters 
 in Painting Pertye&iVe. 
 
 For Sea-Pieces^thc Famous PreceUm, Bonaventure, Peters, </yc. 
 
 The Great Pojfene , Paul Brill, Lanier^ Vanbots, with many 
 more were Remarkable in curious Landskips. 
 
 For Night-Pieces the Incomparable Dow ; Likewife Bar fan 
 an3 Elfhamer have done'Famcus works in that way. 
 
 Brower was the mo ft Famous for Boor-Pieces , for every 
 Touch fpe.iks a Matter, and with a few ftroaks could put whac 
 P; (Tion in a Face he pleas'd. leneers likewife and one of the 
 Brugels did very well in that manner of Painting. 
 
 qu jjUffift £irl ni yr.?/ dol rjLnoT oisoiLb £ burl ni&UH 
 
 CAP. 
 
( M ) 
 
 Of Majlers now Living. 
 
 SI R Godfrey Kneller, Kt. Their Majefties principal Painter, by 
 Birch a Saxon, and well defcended, was fent very young to 
 Holland, Co learn the Mathematkh and other Sciences; amongft 
 which he was mod incline! to Drawing and Tainting-, wherein he 
 made a beginning by the famous ^embrants direction, at Amfter- 
 dam. When fomewhat improvd, his Father approving of his 
 choice, fent him to ^pme, and fpar'd for no coft that he might 
 exercife his genuine Fancy without any conftraint or confine- 
 ment. 
 
 In <%pme he ftudyed the Antiques, and Copyed very much after 
 Raphael, in the Vatican, and was in great efteem with Cavelier 
 Bernini, and by him much recommended for his Works : But 
 not being fatisfTd yet, he went to Venice , where he ftudyed 
 Titians Works, and efpecially his Portraits, whereby he highly 
 advance! himfelf into the Efteem and Refpect of raoft of the 
 chief Nobles of that Republick, efpecially the Houfe of <Baffa- 
 donna y whole Elder Brother being made Cardinal, had his Picture 
 Drawn by him , and all his Brothers, in feveral large Peices; 
 and one of the firft of his Eminences Pictures, was lent with 
 great Applaufe, as a prefent to the Pope. He like wife painted 
 moll: of the Houfe of Donado, Gar font, Mufinigo, and divers o- 
 thers. 
 
 But being call cl home by his Father, and ftiil deilring to ad- 
 vance his Skill, and longing to fee Sir Anthony Van Dyck s Works, 
 being mod ambitious of imitating that great Mafter, he therefore 
 at length came into England ; where,, by his indefatigable Induftry, 
 he got into the extraordinary Favour of E^ing Charles the Second, 
 who approving of his Ability beyond any other , fent him to 
 paint the French Kjng, and all that Royal Family , by which 
 King he was very honourably Prefented. Since he was in great 
 efteem with J^ing James the Second but more particularly with 
 
( -4 ) 
 
 Their prefent Majepies. And Ins Majefiy, to fhew his Kingly 
 approbation of his Art and Manners, was pleas'd to confer the 
 Honour of Kjtighthood upon him, on the Third of March, 1692. 
 and as an extraordinary Mark of his Grace and Favour, Honour d him 
 with the Prefent of a Sword, by the Hands of the Right Honourable 
 the Lord Chamberlain. 
 
 Of his chief Paintings feveral are at VPmdfor. K. Charles, in 
 the Bed Chamber ztWhitehall. "The Gallery of Beauties, at Hampton- 
 Court. Likewife Their prefent Majefties ficlures, and that noble 
 Piece of the Duke of Schomberg on Horfeback : alfo at my Lady 
 Dorchefiers at Weybridge, at my Lord Exeters, and at many more 
 Seats of Perfons of Quality throughout England ; in which you 
 will not only read the greateft Thought of the Artift in the very 
 Minds of the Perfons reprefented, but alio the moft curious de- 
 licacy in Colouring ; adapting each Complexion with Tmtlures, like 
 the Hand of Nature itfelf. 
 
 Nor is this Art fo Ornamental to him, but he an Equal Or- 
 nament to the Art, being a Gentleman of good Morals, True to 
 his Friends, Affable and tree from the lead appearance of Affecla- 
 tion or Pride. Of which , and more concerning his Skill and 
 V/orks, you may better read in his Converfation, and the Works 
 of the learned Sandrart Aca. Tic. lib. 3. cap. 18. 
 
 Mr, Varrio, is a Man of vaft Dejign in Hiftory, Great and 
 Lofty in his Manner, witnefs the noble Work at VVindfor, as like- 
 wile at feveral Perfons of Qualities Houfes. 
 
 The Ingenious Mr. Cook muft be allow'd in Hiftory one of 
 the greateft Matters of the Age; he was Difciple to the famous 
 Salvator ^ofe ; he hath Travel'd into Italy, and ftudyed the great 
 Antique Majiers ; his Dejigns fhew a vaft Judgment, thoroughly 
 Conjiderd, and himfelf a {trict Imitator of the beft reputed Italian 
 Mafters. 
 
 Mt. ^ouflrate Paints the Jlill Life with utmoft Strength and 
 (Beauty as Colours will reach 5 his Order and Manner extraordina- 
 ry good ; his mixture of Plate, mufical Instruments, &c. have a 
 great Harmony : his Pictures are very Noble, Gentle, and Pleafant, 
 and himfelf allow'd in his way, the beft Mafter of the Age. 
 
 Mr. 
 
Mr. Dubok the Elder is a very great Matter in Landslip, 
 and exactly to the Italian manner ; The Younger for Hiftory and 
 the L/fe efpecially in Small is a curious Fainter , they have by 
 their extraordinary Induftry, made one of the fineft Collections 
 ( efpecially of clofet Pieces ) in Europe. 
 
 The Ingenious Mr. Wyck for a Battle-Painter is doubtlefs not 
 to be imitated in this Age \ his works are extream Neat y 
 Gentcly and finely Finifb'd ; his Colouring very Beautifully his 
 Manner and Ordinance full of Judgment. 
 
 Mr. William Vjnde Velde for a Sea-Painter is unparraleld, his 
 work finely Finijb'd and with a delicate S£ye, and his Father in 
 .B/^cfc and White does to a Miracle. 
 
 Mr. Scalkev for Night-pieces and Lamps comes next to Do#> 
 himfelf, 
 
 Mr. Murry is a hopefull Scion of that N^/e Stock Mr A/7y. 
 He Paints a F<*ce admirable well, very Gentel in his Manner 
 and Poftures, and his work promiieth much Reputation to his 
 Country : He neither injures the Likenefl by giving additional 
 Beauty, nor the Beauty and Oracefullneji by carefully obferving 
 trie Likenefe. 
 
 Mr. Harman Verelft Paints well by the I//? and was in good 
 Repute in Germany : he likewife Paints Fruit {yc. very fine. 
 
 Mr. S/tfzotf Verelft Paints Flowers extream fine, beyond any in 
 the former or prefent Age , for neatnefs j likewife Mr. William 
 Verelft Paints Flowers very well. 
 
 The Ingenious Mr. Seekes is a very good Mafter by the Life\ 
 puts Admirable Tintlures and Carnatiens in a F^re, Paints with 
 a very good Body and Durable *, he is one of a found Judgment 
 in the a diligent Imitator of Lyly and very Fortunate m his 
 Choice j he is likewife very happy in taking the Likenefs. 
 
 Mr. Henne is a very good Mafter in Landsktp and Paints 
 neareft of any to the Manner of the great FoJJine, likewife 
 Mr. Edema Paints Land%kip very well efpecially his Waterfalls. 
 
 Mr. Hemskir\ Paints Boor-Pieces afcer the manner of Brower 
 and many of his Pictures may come in Computation with that 
 great Mafter. 
 
 Mr. Vanderbank Paints a F^ce and Pofture very well, Lrf/zfik 
 ifef^ F<?«/ ? </yc. extraordinary fine and is to be Rank'd amongft 
 
 H the 
 
i t*) - , ^ ^ Kfc^ 
 
 the great Maftcri; ;df "the 
 
 Mr. Jacob I #7//ow hath had a Reputation for Painting by the 
 Life thefe many years in the City, he Orcfcrj- a whole Pi&ure 
 himfelf 5 putting great Likenefi in the Face, and Gracefiillnefl 
 
 in the P^irrr. 
 
 Mr. WiViam Wtlfon is the beft Matter we have in Tainting 
 Fowk, Hares, fyc. he hath extrordinary good Draught, and 
 Feathers his jB/rnfj verv finely. He hath been Tome time in Italy 
 and a ftrickt Imitator of the gteateft majters there. 
 
 •Several other good Mailers we have which at prefent are not 
 obvious, to my Memory, but after fome time is defign'd £ 
 Treatife containing the Characters of all the prefent Noted 
 Artifis in Europe, both Painters and others, where each will be 
 difcours'd on according to his Merrits and the Reputation lie 
 hath acquk'd in the World. Thofe whom I have Mentioned 
 may plcafe to take Notice that I did not place them in order 
 heie according to the preference of one above another in merrity 
 Only as they at prefent occur'd to my Thoughts. 
 
 ■ ■ 
 
 &a viov riuM bijiitf plMtffl 3d : m 
 
 Of Proportion. 
 
 r I' » /- J*f • a^r#-i>«irt "trC) «°ttS A irtf>i'J"I<"T "fO "lOffnoV Offt 
 
 TT\ Roportion is of two forts either Proper, ExpreiTmg the exact 
 JP^ Proportion of the Thing to be Reprefented, or elfe in 
 Pertyettive, in RefpecT: of the Eye, differing very much from the 
 other, for. according to the Diftance of the Thing from the Eye 
 it Judgeth ■ t Proportion the Head hath with the Body. 
 
 For fhould a Carver nuke a Statue according to true Propor- 
 tion, .and place it on high, he that below beholds it will judge 
 it D ifpr opart ionable, by Reafon the upper Parts will come 
 to the Eye in a Sharp Angle, and the lower Parts in a 
 Blunt. 
 
 The Phdofophicall and PerfyeSiiwe Reafon hereof is, becaule 
 when the Statue is in the open Air, which being Tranfparent 
 is fll'd with 'certain Vifuatt Species, which coming into the Eye 
 meet with thofe Vifnatt lines which come in a Pyramidal Form, 
 
 whoft 
 
 e 
 
C»7> 
 
 wbofe Cone toucheth the Ey^. 
 
 Therefore the Artifi muft carefully obferve the Height he 
 defigns his work, and accordingly add as much to the Upper 
 Parts as the Diftance will loofe, which Rules Phidias and Praxi- 
 tiles exactly obferv'd in their Statues in Monte Cavallo in Rome % 
 as likewife did the admirable workman ofTrajans Colums^nd 
 by this means the Eye loon judgeth of the Prototypon whom the 
 work Reprefents which is the Intent of Painting and Carving. 
 
 It may be enquired what Proportion a moveable PiEiure mould 
 have, I Anfwer, it muft always be fuppos'd to hang fomething 
 above the Eye, fince that Sence is moft delighted "to look up- 
 wards and hath been obferv'd bv all Great Mafters. 
 
 So great is the Vertue or Proportion, that nothing delichteth 
 the Eye without it, fince the Grace of all Beautiful! Forms 
 confifts in a Proportionable Meafure of Parts, and as Vitrnviom 
 faith, that none can proceed wici- Judgment without Acquain- 
 tance with the Force thereof, it giving the Majefy and Beauty 
 to Body y, whence he calleth it Eiirithmia. 
 
 It hath been of great Force in exciting Mens Minds to Re- 
 verence and Devotion, witnefs the Statue of Jupiter Carv'd by 
 Phidias j and the great Zeuxe's perfwaded Greece to dedicate 
 their moft Majeftical and beft Proportion'd works to the immor- 
 tal Gods, as being the works of Men Reputed amongft them as 
 Cods, and not only reprefented the works of God, but likewife 
 fupply'd the Defects of Nature. 
 
 Nor does it only affect Painting but likewife Carving, and all 
 other Arts, and was the firft Pattern of all Artificial Things \ 
 yet the Painter ( as Baptijla Albertm affirms ) more efpecially 
 confidereth Mans Body, therefore Antiquity to Grace Painting 
 above the reft ( as cheif Miftrefs of Proportion ) narrfd the reft 
 Handicrafts-Men. Now let's confider the Definition of Proportion. 
 
 Proportion is a Correfpondency and Agreement of the Meafure s 
 of the Parts between themfelves, and with the whole in eve v y 
 Work. 
 
 This Correfpondency Vitrnvins cals Commodulation, becaufe a 
 Modell is a Meafure, which being taken at firft, meafures both the 
 Parts and the Whole. 
 
 In 
 
/ 
 
 C 28 ) 
 
 In Former times before this Symmetrical Measure of Parts 
 was Underftood and confidered, all Italy could witnels what 
 Lame and Prepofterom Statues and Pictures were continually 
 lit up. especially about the Time of Conjrantine the Great untill 
 Giotto in Tufcany and Andrino di Edojia Pauefe in Lombardy. 
 
 A great Benefit of P 'report ion is ^ it wonderfully aflifts the Judg- 
 ment in Judging of the Famous Antique Paintings .* 'tis piety 
 to fee how fome ( abfolute Ideots in this mod Eflential part 
 of the Art ) affect a vain furface of Gaudy Colours, to the 
 difgrace of the Science and fometimes finde Buyers of their own 
 Talent. 
 
 C A P. X I. 
 
 The Names of the Parts of Mans Body. 
 
 BEfore we Proceed, we will give the Names of the External 
 Parts of Mans Body, for it is Requifite an Arttft fliould 
 Ipeak properly when he hath occafion to name them. 
 
 Of the Head the Forepart is cal'd the Forehead ; the turning 
 of the Hair, the Crown j the Root of the Hair above the Forehead, 
 the Center. The Hair before, the Foretop. The Parting of the 
 Hair beginning at the Foretop, and reaching to the Crown, the 
 Seame . Womens long Hair is Coma. The long Hair in the Pole, 
 Cuticagn. The Forehead is the fpace between the Root of the 
 Hair before, and the Eye-Brows. The Tulfe is the higher! part 
 of the Forehead. Melone, the fwelling out above the Eye-Brows. 
 The Temples, betwixt the Pulfe of the Forehead and the Ears. 
 The Ear is the turning contained between the Temples, upper 
 part of the Cheek and the Root of the Hair by the fide of the 
 Head. The lower part cal'd the Tip ; in the midft is the Hole 
 in Italian , Mirenga. The Eye-Brows are the thick Hairs at 
 the bottom of the Forehead : the fpace between, the Italians 
 call Glabella : The Upper Eye lid compalTeth the upper part of 
 the Eye : The Eye is the round Ball contain'd between the 
 upper and lower Eye-lid : The Black of the Eye 9 the round fpo: 
 in the middle call'd the Apple, or Sight, the outward corner of 
 
the Eye, next the Ear cal'd Cornice, the inner that towards the 
 Nofe : thefpace between the upper Eye-lid, the outward Corner^ 
 and the whole turning of the Eye to the upper part of the Cheek 
 and the Glabella, is call'd the Hollow of the Eye. the Nofe de- 
 fcends from between the Eyes and ends at the Nofirels, thofe 
 Prominences hanging out on each fide of the bottom, each 
 having a hole to fmell, termed in Italian, Papilla ; the lower 
 end of the Nofe Handing foiewards is cal'd the Point : the Rifing 
 in the midft, the Ridge. The Vpper Cheek, is the fpace between 
 the Ear, the Hollow of theEye^ the Nofe and the lower Cheek,- 
 whereof the part riling toward the Eye is nam'd Mellone. The 
 Lower Cheek is bounded with the upper, the Noftrels the Mouth, 
 the Chin to the Throat, and the Neck under the Ear j the 
 Vpper Lip, the Red FJefh above the Mouth, alfo cal'd Virgine* 
 The Mouth is the Divifion between the Upper and nether Lip : 
 the Concavity coming from the Bottom of the Nofe to the up* 
 per Lip, is cal'd the Gutter of the Nofe : the Roof of the Mouth 
 ihe Pallate : the Tongue j that which moveth in the Mouth in 
 Italian Strozza : the paflage betwixt the Lungs and the Mouth 
 through which the Breath paffeth, is cal'd the Wind- Pipe. The 
 Gum is the Flefh wherein the Teeth are Faftned : the four 
 firft cal'd Dividers, next unto which on each fide are the Dog- 
 Teeth, the other five on each fide with three Roots are the 
 Cheek-Teeth, fo that the full number is thirty two, the Chin, the 
 extremity between the Lip and the end of the Face, whofe' 
 beginning is at the root of the Hair ; the hinder part under 
 ihe Crown, is cal'd the Nape, as alfo the upper part where the 
 Hairs grow behinde, is the beginning of the Neck, cal'd Cervix, 
 Thofe Hairs growing under the Chin and about the mouth, is 
 cal'd the Beard : thofe on the upper Lip, the Mujlachiums : 
 the Throat is the Part betwixt the Chin and the beginning of 
 the Body : in the midft directly under the Chin, is the rifing 
 cal'd the Throat-Bone ; the Concavity of the Neck before, be- 
 tween the Root of the Hair and the beginning of the Back-bone, 
 which oh either fide is joyned with the Throat, and at the lower 
 end of the Neck with the fhoulders, whereof the Bone in the 
 midft is cal'd Aflragalm ; the whole Body before Contained* 
 in it, firft the Vpper Fork of the Stomack, or Breft, which be-- 
 
 I ginnetb 
 
(§6) 
 
 ginneth at the end of the Throat-pit : the Breajls end with 
 the fhort Ribs, and are alfocal'd the Part under the Paps, and in 
 Women cal'd the Dugs, &£• the Heads or Extuberances whence 
 the Milk is fuck'd, cal'd the Nipples, the fpace between the 
 Breads at the lower Fork of the Stomack, is cal'd the Bulk. The 
 Arme-Pits are thofe Hallows under the Arms. The Short-Ribs* 
 begin at the end of the Paps, and reach to the Flanks near the 
 Belly : the Flanks begin at the end of the Breaft, and likewife 
 are cal'd the Waft. The upper part of the Belly lyeth between 
 the hallow of the Breafts, the waft above the Navil, and the 
 Ribs, and is cal'd Epa : the Knitting of the Entrals is cal'd the 
 Navil. The Belly lyeth between the Waft, the Privitys, and the 
 Flanks : under the Belly, the Privitys, the hallow compafs at 
 the Top Corona : the hinder part of the Body cal'd the Back or 
 Chine, confifteth firft of the Shoulder-BUde, which is the part be- 
 hinde the Shoulders end, which part of the Chine or Loyns ; 
 the reft of the Back reacheth from the Neck, to the beginning 
 of the Clift of the Buttocks the Loyns lye between the 
 fhoulder-Blades, the Ribs and the reft of the Chine to the Reins; 
 the Reins reach from the Loyns to the Buttocks, and do proper- 
 ly belong to the part below the Waft : the Buttocks are the 
 Flefhy part which ferves for the life of fitting : the Arm con- 
 tained, firft the Shoulder, behinde which is the Back, beginning 
 at the Clavicola, between the Neck and Throat, and reacheth 
 to the fhoulder-blade behinde, which place is properly cal'd 
 the Back. The part of the Arm from the Elbow upward, is 
 cal'd the upper Brawn of the Arm, the Elbow is the bowing 
 of the Arm, the inlide whereof is the Joynt ; and here the 
 lower part of the Arm beginnet,h. The Wrifi is where the Aim 
 joyneth with the hand in the infide. The Palm is the infide 
 oi the hand between the wrift and the Fingers : the Thumb is 
 the biggeft and fhorteft, the Fore Finger next, then the Middle 
 Finger which is the Longeft, then the Ring-Finger, the laft is 
 the Little Finger which is the fmalleft : Cheiromancers give 
 other Names as the Thumb , Venus ; the Fore-Finger, Jupiter ; 
 the Middle Finger, Saturn ; the Ring Finger, Sol . and the 
 Little Finger, Mercury ± the Brawn in the Palm of the Hand, 
 the Hid of Luna ; the Triangle in the mid ft of the Palm the 
 
 Hit! 
 
Hill of Md'si 
 
 The Fingers whole Joynts are as it were equal in Number ad- 
 cording to their bignefs, namely three upon each, except upon 
 the Thumb which hath but two. The hinder pare of the Arme 
 reacheth from the .Shoulder to the Elbow ; where the fecond 
 part of the Arme begins reaching to the Wrift-Joynt. the Back of 
 the Hand reacheth from the wrift to the firft Joynt of the Fingers 
 and is cali'd Peffien. The ipaces between the Joynts are callM 
 Internodi} which are two upon each except the Thumb, which 
 hath but one, in the fpace between the laft Joynt and the top of 
 the Finder is the Nayl y whofe bowing ( where it toucheth the 
 skin ) is cali'd Corona the whole Hand beginneth at the wrifh, 
 and reacheth to the extremity of the Fingers. 
 
 The Lf£ confifts of thefe parts : firft, the Thigh, which begin- 
 neth at the Trunk of the Body and reacheth to the Knee. The 
 Hallow of the Thigh is the inner part below the Privity s. the Knee 
 beginneth at the Round Bone at the end of the Thigh, and reach- 
 eth to the beginning of the Shin-bone, which reacheth down clean 
 through the Leg to the lnfiep y beginning at the end of the Shin- 
 bone, and reacheth to the beginning of the Toes, and is cali'd 
 "Peften, or the upper part of the Foot. The Ancle is that Bone 
 .which buncheth out on each fide, between the Inftep and the be- 
 ginning of the Heel. The Small of the Leg , is the fpace between 
 the end of the two Calves above, and the Ancle, Infiep and Heel 
 below, the Fit of the Foot is the Hallow under the Hill or higheft 
 bunch of the Foot towards the Sole. The Toes have Joynts as 
 the Fingers-, though fhorter : and Najles in like manner, but 
 .otherwife cali'd, as the Firfl, Second, Third, Fourth and Fifth-, 
 the hinder part of the Leg beginneth under the Buttock, and is 
 cali'd the Thigh and endet h at the hinder part of the Knee, cali'd 
 theii*w, or Bending. The Calves of the Legs begin under the 
 Ham, and are two upon each Leg, the Outward which endeth 
 fomewhat high, and the Inward which reacheth nearer to the 
 fmallof the Leg ; and diminifheth by degrees to the part a little 
 above the Ancle. The Heel is the part of the Foot, which rifeth 
 out back wards, reaching from the end of the Leg to the Sole; which 
 beginneth at the end of the Heel, and reacheth to the top of the 
 Toes ; containing like wife the fpaces between the Joynts un- 
 derneath orderly. CAP. 
 
C A P. X 1 1. 
 
 Rules of Proportion^ 
 
 SOme of the Italian? were wont to divide the length of the 
 Body, from the top of the Head to the Sole of the Foot 
 into thirty equall Parts or Degrees J dividing each Degree into 
 ten Minnt's, in all three hundred, which is apt to confound 
 any young Difciple, nor can fuch minute parts be meafur'd 
 but by Ofteology. 
 
 Therefore we will only ( which is fufficient ) divide the Face 
 into three equall parts, and each part into four lefs Subdivifionr. 
 
 Ten Faces we count to a Tall Graceful Body & is meafur'd 
 thus : the firft from the top of the Head to the Root of the No- 
 ftrels: the fecond, thence to the Throat pit : the third , thence to 
 the f it of the Stomach ; the fourth thence to the Navil 5 the 
 fifth thence to the Piramidal Mufcles ; thence to the Knee two 
 and a half ; and to the fole of the Foot two and a half more. 
 
 The firft part from the Top of the Head and Nofe anfwer 
 to the fpace betwixt that and the Ghin, in a Triple Proportion, 
 which maketh a Diapente and a Diapafon. That between the 
 Chin and the Throat-pit, anfwereth to that between the Nofe 
 and the Chin in a double Proportion e which makes a Dia- 
 pafon: whereunto the Head anlwers in the fame Proportion, 
 the three Faces between the Throat-pit and the Piramidal muf- 
 cles, anfwer to the fecond between them and the Knee in a 
 Sefquialter Proportion ; whence arifeth a Diapente •> but with the 
 Leg they zxeVnifons^ for it hath the fame Proportion with the 
 Thigh. 
 
 The Extent of the Arms hath the fame Length, beginning 
 from the end of the long Finger, to the Joynt of the wrifts 
 one Face : from thence to the bending of the Arm one Face 
 and a third part ; thence to the Joyning on the Shoulders, one and 
 a third part ; from the Shoulder to the hole in the Neck, one 
 and a third part, all which m.\ke five Faces": and the like to the 
 extremity of the other Arme make in all ten Faces. 
 
 The 
 
(33) 
 
 The Italian ? Meafure thus, from the extremity of the middle 
 Finger, to the wrifl: of the Hand, one Face, thence to the Elbow 
 one and a half, fo much to the Clavicola, or Joynt of the moul- 
 ders ; and one to the Throat-Pit. 
 
 So that the Hands alone are Zlnifons^ with that between the 
 Shoulder Joynt and the Throat-pit, and the fpace between the 
 Shoulders and the Elbow, with that between the Flbow and the 
 wrifl: ; fo that thefe anfwer to each other in a Sefquialter Pro- 
 portion cal'd a Diapente. 
 
 A Face is as much as the diftance between the Nipples, and 
 fo much more from each of them to the Throat-pit 3 making 
 an Equaliter Triangle. 
 
 The Compais of the Head, from the Eye-Brows to the Neck 
 behinde, is double to the length of the whole Head. The Com- 
 pafs of the wafte is ^Triple Sefquialter to the Diameter thereof; 
 ^ind is Vnifon with the Trunk of the Body, which is three Faces. 
 The Circumference of the Body under the Arm-pits, and the 
 fpace between them and the wrifts, anfwer in a Double Propor- 
 tion, and is Vnifon with any half of the Body. 
 
 They who by the Head, mean the length of the whole Head, 
 mud make but Eight Heads in all, as thus, the Head one ; thence 
 to the Bottom of the Breaft one ; one from thence to the Navil ; 
 from thence to the Antipendiums^ one j thence to the middle 
 of the Thigh, one ; to the lower part of the Knee, one more; 
 thence to the fmall of the Leg, one j and from therrce to the 
 bottom of the Foot, one more ; in all Eight. 
 
 And thus the Breadth, when the Arms are extended, from 
 the Extremity of the middle Finger to the wrifl: ; thence to the 
 bending of the Arm, one ; thence to the bottom of the moulder, 
 one ; over to the other moulder, two more , and to the end of 
 the middle Finger three more as before. 
 
 The breadth of a Figure without motion feen Frontwife is 
 thus meafur'd : the breadth of the Shoulders crofs'd at the 
 Dellord Mufde^ to the joyning on the Arms, two Faces 3 
 about the Haunches where the Oblique extern Mufcles are, 
 one Face, two third parts and three Subdivifions j the Thighs 
 at the biggeft place one Face. The Knee one third part, three 
 Subdivifions \ and an half ; the Leg at the biggeft is two third 
 
 K parts 
 
(34) 
 
 farts and one fubdiviffion ; the extremity of the Ancles,one third 
 part one fubdivifion and an half j the Feet one third part and a half^ 
 and half a fubdivifion, their length one Face, one third part and 
 one Subdivifion. 
 
 CAP. XIII. 
 
 Vn 'ifons in Proportion. 
 
 ^T 3 * HE Meafures which avzVnifons are thefe: the fpace between 
 1 the Chin and the Throat-pit,is as much as the Diameter of 
 the Neck + The Chcum ference of the Neck is as much as from the 
 Throat-pit to the Navel, the Diameter of the waft anfwers to 
 the Diftance, between the Knob of the Throat, and the top of 
 the Head, and this is the length of the Foot. The fpace be- 
 tween the Eye-lids and the Noftrels, is all one with that between 
 the Chin and the Throat-bone ; from the Nofe to the Chin is 
 as much as from the Throat-bone to the Throat-pit. The fpace 
 from the Hollow of the eye below, and from the Eye-brow to 
 the Center ot the Eye, is the fame with the Prominency of the 
 Noftrels ; and fo much it is between the Noftrels and the up- 
 per Lip ; fo that thefe three fpaces are equall. The diftance be- 
 tween the top of the Nail of the Fore-finger* and the laft Joynt 
 thereof, and from thence to the wrift, are equall.* the fpace 
 between the Nail, the middle Finger and the laft Joynt thereof, 
 and from thence to the Wrift are all one. The greater Joynt 
 of the Fore-finger is the height of the Fore-head, and the fpace 
 between that Joynt and the top of the Nail is equall to the 
 Nofe, beginning at the bottom of the moft eminent Arch a- 
 bove the Eyes , where the Fore-head and Nofe are divided. 
 The two firft Joynts of the middle Finger are equall to the 
 fpace between the Nofe and the Chin : The firft Joynt where- 
 on the Nail grows is the diftance between the Nofe and the 
 Mouth, fo that the fecond Joynt anfwcreth unto the firft in 
 a Sejquialter Proportion^ as alfo doth the fpace between the 
 Mouth and the Chin , whence aiifeth the Concord Diapente. 
 The bigger Joynt of the Thumb, gives the widenefs of the 
 
 Mouth, 
 
Mouth, the fpace betwixt the top of the Chin and the dine 
 under the lower Lip, anfwereth to the lefler Joynt of the Thumb, 
 and is as much as from the Nofe to the fame dint : wherefore, 
 from the greater Joynt there is a Sefquialter Proportion and a 
 Concord DiateJJeron. The lad Joynt of each Finger is double to 
 the length of the Nail, and maketh a Diapafon. From the midft 
 between the Eye-Brows to the outward Corner of the Eye ? is 
 as much as from thence to the Ear. Theheighthof the Forehead, 
 the length of the Nofe and the width of the Mouth zxzVnifons. 
 The breadth of the hand and the Foot are all one. The length 
 of the Foot in refpect of the breadth makes a double Suprabz 
 partient a Diapafon and a DiateJJeron. 
 
 The breadth of the Foot to its heighth at the Inllep, makes 
 a Sefquialter and a DiateJJeron. The breadth of the Hand is 
 double to the heighth. The arches of the Eye-Brows are equal to 
 the arch of the upper Lip, at the divifion of the Mouth, the 
 breadth of the Nofe and the Eye is all one, and either of them 
 half the length of the Nofe. The Navil is the midft betwixt 
 the Nofe and the Knee. From the top of the Shoulder to the El- 
 bow, and from thence to the Hand is a Diateffaron. The fpace 
 between the lower end of the Ear, and the Joynt of the flioul- 
 der, is half as much as the breadth of the Breaft at the Shoul- 
 ders which makes a double Sefquialter. The whole breadth 
 of the Body , to the fpace between the top of the Head 
 and the Throat-bone, makes a Quadruple Proportion^ whence 
 arifeth a Diapafon : the fame Proportion hath the Cubite^ or lower 
 part of the Arm, from the Elbow to the top of the Middle Finger 
 with the Breadth of the Body by the Arms fpread abroad. The 
 breadth of the Flanks is double to the Thigh or a Diapafon. The 
 Length of a Man is the fame with the breadth. The breadth of 
 the Back at the Arm pits, of the Hipps at the Buttocks and of 
 the Legs at the Knees, in refpeft of the foles of the Feet, make 
 a Triple fefquialter the like is from the fpace of the Head to the 
 Breft-pit. The Diameter of the Head at the Fore-head, to the 
 depth thereof ("that is between the Eyes and the Nappe of the 
 Head ) is a Sejquioctava : whence arifeth a Tone. The Cir- 
 cumference of the Fore-head at the Temples, Quadruple to its 
 height, or a Diapafon. The height of the Face, and the fpace 
 
r 3») 
 
 between the Chin arid the Throat-bone, makes a Triple Pro- 
 portion, or a Diapafon and a Diapente. And thus might we 
 finde in the Hand, all other Proportions of the fmalleft parts. 
 
 CAP. XIV. 
 
 Proportions of a Woman, Child, and other Observations. 
 
 THe Proportions of Man and Woman differ in their height : 
 a Woman hath a longer neck ; the parts of the Breft 
 and the lower parts of the Belly by nere a half part, which 
 makes the fpace from the Breft to the Navel, lefs by one part, 
 and the Thigh about a third part fhorter : as to Womans breadth, 
 her Brefts and her Shoulders are narrower, her Haunches larger, 
 her Thighs at the place of their Articulation, fo too ; her 
 Arms and Legs are thicker, her Feet ftreighter. And Women 
 being more Fat and Fleflry, their Mufcles are the lefs feen .* 
 therefore their Contours are more even and fmooth. 
 
 A young Maid hath a little Head, long Neck, low Shoul- 
 ders, a flender Body, pretty big Haunches, Legs and Thighs 
 long and little Feet. 
 
 Young Men, their Neck thicker then Womans, Breft and 
 Shoulders larger 3 Haunches and Belly narrower, their Legs and 
 Thighs Slenderer^ and their Feet bigger. 
 
 Young Men about fixteenOr feventeen, in their length have 
 their Proportion as Men of forty, but differ in breadth. 
 
 At twelve or thirteen, nine Faces to its height, being equal- 
 ly divided, the breadth about the Shoulders two Faces, about 
 the Haunches one Face, one third part and a half. 
 
 For Four years of Age the height fix Faces, and One third 
 part; from the top of the Head to the bottom of the Belly 
 three Faces and one third part, and from thence to the Sole 
 of the Feet, three Faces j the breadth about the Shoulders one 
 Face and two third parts ; and about the Haunches one Face 
 and one third part. 
 
 For three years of Age, we count five Faces, from the top 
 of the Head to the Soles of the Feet. From the top of the Head 
 
 to 
 
(37) 
 
 to the bottom of the Belly, three, thence to the Feet two; its 
 breadth about the Shoulders, is one length of the Face and one 
 eighth part ; and in the place of the Hips one Face. 
 
 Yet not withftanding thefe certain Rules of Proportion take 
 thefe obfervations ; in Common Country-Fellow s> as they are 
 People of a duller Wit., they mud have more Heavy and Rough 
 Proportion. The Head big and the Neck fliort, the Stomach lit- 
 tle, the Shoulders high , the Knees and Thighs thick and the 
 Feet large. 
 
 For more Grave and Noble Story?, the Figure mull be well 
 fhap'd, the Joynts well knit, little and compact, the Haunches 
 high, a fmall Hand and a Nervous Neck, not very fat or fleOiy. 
 Thighs Mufcly, the principal! Mufcles rais'd up and knit toge- 
 ther at their Head and Axis. Shoulders large ana high; the 
 Body elevated, the Belly little, with fmooeh Legs and flendec 
 Feet. 
 
 In Great Heroick Hiftorys the Figures may be much bigger 
 then the Life, only obferving exact Proportion: but remem- 
 ber (as before ) that if they ftand high, fas fuch always fhould) 
 the upper parts muft be made larger, according as the Diflance 
 Diminifhes. »4 
 
 Farther oblerve, that there is a- difference in the Contours in 
 fome Parts, as the Body changes, as the Arm, when bent is 
 bigger then when ftreight fo likewife of the Feet, Knees, &c. 
 
 In Meafuring of Figures of the Relievo, great care muft be 
 ^taken of the Parts Jutting or fwelling out, or youl make great 
 Faults. 
 
 The Contours of Old Folks muft bemoreftiff, and the Joynts 
 fharp, in young People more eafy, the Joynts Rounder. 
 
 Great care muft likewife be taken to obferve the greater grace 
 of Proportion'm the Principal Figure in zPitiure, which i> cheif- 
 ly delign'd to take the Eye , keeping your minde mod fixt on 
 that , left you fpend your Conceit on the other Figures and 
 fo the Defign wants the .Beauty expected as hath befell great 
 M afters. . . 
 
 Euphranor being to draw the twelve Gods in Athens, began 
 with Neptune, which he had finifri'd To exquifitely both for Pro- 
 portion and Colour, that after defigning to make Jupiter with 
 
 L fas 
 
r 38 ) 
 
 far greater Perfection, he had fpent his Conceit fo on Neptune 
 that he could not Finifh Jupiter or any of the reft of the 
 Cods. 
 
 The like befell to Leon : Vincent, who being to Paint our 
 Saviour at his Loft Supper in the Refectory of Sc. Maria de 
 Gratia in Millain : and having finifh 'd the other Apoftles he re- 
 prefented the two James's with luch Perfection, of Grace 
 and Majefty, that Endeavouring afterwards to exprefs our Sa- 
 viour, with a more Sacred and Divine Countenance, he was 
 not able to accomplifh it, wherefore adviflng with Bernard 
 Zenale, he us'd thefe words to comfort him j O Leonard none 
 but God himfelf could correct this Error, for thou nor no 
 Man living can beftow more Beauties then in thefe two 
 James's. 
 
 CAP. XV. 
 
 Of Aftion and Pajfion. 
 
 THe Pajfions of the Minde are certain Motions , proceed^ 
 ingfrom the Apprehenftonot Something: and are either 
 Senfitive, Rational! ox. Intellectual. Senfitive is, whenwecon- 
 fider Good and Evil as Profitable or Unprofitable^ Pleafant or Of. 
 fenfive. Rational, when we Confider good and Evil as Virtue 
 or Vice ; Prayfe or Difprayfe ; and Intellectual, when we re- 
 gard them as True or Falfe. 
 
 The Inferiour Fow'rs of the Mind, may be confider'd under 
 thefe two Heads Dejire and Anger. The Dejiring part confi- 
 dereth Good and Bad abfolutely, and thence caufeth Liking or 
 Hatred, or otherwife Refpedts Good as Abfent, whence raifeth 
 Dejire. Or Evil as Abfent whence is bred Fear, Dread, &c. 
 or both as Prefent* and thence Procedeth Joy or Gr/V^. 
 
 The Angry Faculty confidereth Good and Evil as it may 
 with eafe be Attain d or Avoided ; and from thence arife, Co#- 
 fidence and Hop? ; fomctimes it moves to Revenge, and fome- 
 times excites Audacity, and fometimes caufeth Difiruji and then 
 
 By 
 
(3?) 
 
 By divers Pajfions alfo is the Temperature of the Body 
 alter 'd, in Mirth the Spirits are inlarged ; in Fear con- 
 tracted. Love breeds fundry Colours fomtimes Red fomtimes Pale. 
 Anxiety Cauferh Draught and Blacknefl. Mercijullnefl produ- 
 ceth a certain Heavineji and fometimes Injures the Perfon fo 
 Affected. Fear brings Coldnefi, Palenejl, Fainting of the Voice, 
 the Punting of the Heart, fyc. Heavinejl caufeth Sweating and 
 Palenefl. In BajhfuUnejl the Spirits fly to the Brain; in Jtry, 
 the Heart is extended by Degrees ; in Dif plea fur e it is drawsi 
 in Gradually. 
 
 Bodys are likewiie affected with Pajfions according to their 
 fcveral Confiitutions and Completions. 
 
 Thofe of a Sanguine Completion are for the moft part, Gentle, 
 Merry } Modeft, Gracious, Generoivs, Affable and are given to 
 Love, Pkafure, Defire, Hope, &c. which are the Paflions of 
 Delight and a Quiet Minde. 
 
 The Flegmatick are addicted to MercifuUnefl, Simplicity, 
 Humility, Timidity, their -Bodys ufuaily induced to incline 
 downwards and their Limbs to dilate and of a Heavy motion, 
 and apt to fwag ; whereas the Sanguine are more Upright and 
 Move more Firm. 
 
 The C holer ick, are Ufuaily Bold, Feirce, Boiferom, Violent, 
 Arrogant and Humerom, they are addicted to Anger and Hatred, 
 their Limbs move upwards, apt to turn, ftart, fhake, &>c. their 
 Parts inlatg'd with Heat, the Flejb inflam'd with Rednejl, but 
 more efpecially their Eyes. 
 
 The Me lane holly are Slow, Sluggifh, Refrain d in their Ani- 
 ons, and Vnweildie ; given to Difquietnejl, Stubbornefs, Anxiety, 
 Sadnefs, Honour, Defpair, &c. their Limbs apt to hang and 
 decline as if benumb'd with Cold. 
 
 The Art 'tfi is therefore diligently to obferve that he is not only 
 to fhow the Pajfion by Contraction, Dilation, dec. of Features, 
 but likewife to adapt a Complexion futable to the Character the 
 Figure is to bare in the Dejign, whither nSoldier, a Lover, a Pe-> 
 nitetit % Sec. as For Example. 
 
 A Martialift fhould have a Meager Body with large rays'd 
 and hard Limbs, Great Bones well Knit with Joynts, the Com- 
 plexion Swarthy with an aduft, Red, large Eyes, Yellowifh like 
 
(AO) 
 
 a Flame of fire, wide Noftrels, a wide Mouth, thick and pur- 
 plelifh Lips, fmall Ears, a fquare Chin, white Teeth, a darkifh 
 Hair but tending to a fiery Red, with ftiff and Curl'd. Locks, a 
 Violent ftrong Voice and Shrill, in Tome Robuft Pofture or 
 Exercife. 
 
 Thus he that can exprefs the Property sot one Completion may 
 eafily conceive of the Reft, fince all Natural Things have a Cor- 
 refpondency in Method, Form, Proportion, Nature, aad Motion ; 
 which Ph'ilofophically underftood bring a Certain knowledg of 
 all Pajfion and Action to be imagin'd in Bodys. 
 
 For moft Certain it is that thofe Pajpons of the Minde,whence 
 thefe Extern all Affiions flow, difcover themfelves more or lefs as 
 the Bodys have Affinity with any of the four Completions ari- 
 fing from the four Elements, 
 
 Yet Ptolomte, the Hebrews , Egyptians , Arabians likewife 
 Albertus Magnus, with fome late Philofophers affirm, that our 
 Faflions & Affections proceed from a Natural Injlinff and Inclina- 
 tion of the Superiour Bodys (the Planets ) but Sapiens Dominabi^ 
 ter Aftris. 
 
 C A P. X V I. 
 
 Precepts for the Exprejfing of A&ion and Paffton. 
 
 ANger y the Motions of the Body muft be ftrong and quick^ 
 all the parts ftir'd, the Eye wild and Sparkling, the 
 Noftrels open, the Point of the Eye-brows fixt towards the Nofe, 
 the Corners of the Mouth a little open and Foaming, the Mus- 
 cles puft up, the Veins fweU'd, the Hair ftanding up. 
 
 The Subjects for fuch Exprefllon may be,Mofe s when he broke 
 the Tables of the Law ; Tydaus, who Dying bit the Head of 
 Menalippus ; Alexander when he flew CaUifihenes ; the Roman 
 Sylla, Valentinian, Hangar, &c. 
 
 Cruelty, with Paflion and Motion as before, but more Furious 
 and Violent, in Eager, Importunate and Bitter Actions. 
 
 The Subjects, Zenaeheribs Sons, who flew their Father be- 
 fore the Alter ; Abimeleck, who (lew his Seventy Brethren 5 
 
 Mithridates 
 
(4i ) 
 
 Mlthridates who on the Receipt of a Letter caus'd 8ooco Ro- 
 mans to be (lain ; likewife Archelaus, Phalarh, Medea, Scyron, 
 DionyfiuSy Cr'mn, Cyrus, Herod, F'rocruftes, Mezentius, Tam<- 
 berlain the Tartorian, Attyla, BarbaroJJa 5 but more especially 
 in the Jews towards our Saviour, where maybe Exprefs'd the 
 Spurning, Buffetting, their Difdain, Scorn, Contempt, the out- 
 rages of their Cords, Crowning with Thorns, their Deriding, 
 Spitting, Whipping, Pointing, his Carrying the Crofs, Peir- 
 cinghis Hands Side and Feet, Drinking of Gall, Opening his 
 Side with a Spear, the Rcpulfeof the Bkjfed Mary, and to make 
 the Cruelty the more Horrid and Deteftable, to obferve his Sa- 
 cred Sufferance, Gracious and Pictying Looks and Divine Pa- 
 tience. 
 
 Sadnefi, their Motions Heavy, Penfive and Sorrowfull ; 
 the Head Carelefly hanging afide, the Forehead wrincled, the 
 Eyes half fhut, the Mouth a little open, the Corners downwards, 
 the Noftrels fwel'd, the under Lip pouting and drawn back. 
 
 The Subjects, Adam and Eve upon their Fall, Agar with Child 
 thrufl: out by Abraham ; Peter after his Denyal, &c. 
 
 Envy caufeth a Man to draw back his Limbs, pluck in and 
 in a manner fhadow his Eye-lids, wry his Mouth, grinde his 
 Teeth, biting his Finger, turning himfelf with a Paflionate Look, 
 as paying i nto otner Mens Affairs. 
 
 The Subjects Cain feeing his Brothers Sacrifice more accep- 
 table then his j Culianu$ 9 who feeing his Rival in Honour, pre- 
 fer'd, caus'd the Bridge to be broakasthey were pafling oveii 
 though with certain Ruihe to himfelf \ likewife the TDivels coun- 
 tenance when he Tempted Eve. 
 
 Covetonfnef t hath Reftrain'd and Catching Actions, drawing 
 in the Hands and Arms, Penfive, Clitching the Thumb between 
 the Fingers, &c * 
 
 The Subjects, Craffus ; Polymneftor, when he Murder'ct Pri- 
 ams Son, for his Treafure ; Tantalm at the Banquet of the Gods, 
 who ferv'd up his own Son Pelops in (lead of Meat; Mi- 
 das, Aglaurus, &c. 
 
 Love caufeth a Dilation in all Parts of the Face, the Fore- 
 head fmooth and even, the Eye-brows to rife in the middle, 
 the Eyes half open and Smiling, the Apple of the Eye Spark- 
 
 M ling 
 
t40 
 
 and Moifl:, the Cheeks full, the Noftrels a little open, the 
 Corners of the Mouth turning a little upwards, the Lips red 
 and the whole Air of the Face Smiling, the Completion pret- 
 ty Ruddy, the Head inclining towards the Object. The Sub- 
 jects are Infinite. 
 
 Pain maketh the Patient to draw in the Eye-brows, (train 
 the Lips, fliew the Teeth, throwing the Arms abroad, fome- 
 times drawing the Body together, turning and (hutting the 
 Lyes, it caufeth Tears, Shakings, Burnings, Sweats, fometimes 
 to ftretch the Veins, to Pvoar out and beat themfelves, foe. 
 
 The Subjects, Prometheus fed on by the Vulture, St. Se- 
 bafiian when fhot to Death, Sc. Stephen Ston'd, St. Peter 
 Crucify 'd with his Heels upwards, St. Lawrence burnt on a 
 Gridiron, Sr. Bartholemew, with innumerable more Examples 
 of thofe who have fuffer'd under Cruel Tyrants. 
 
 Defy air hath Actions betokening a Privation of Hope, it cauf- 
 eth to tare the Hair, Garments and Flefh, fometimes a fixe 
 and refolute Look with a ftern Brow, foe. the Subjects Saul, 
 Cleopatria, Queen Dido, Cato Ztticenfis, Mithridates, Nero, Ju- 
 das, Architophel, Thifbe, Lucretia, Sec. 
 
 Fury fheweth Actions of Folly and Diftraction with Ve- 
 hemency in all their Affections, by Gaping, wrying their 
 Mouths, feeming to Cry out, bewail, Howl, Lament, Tear- 
 ing their Limbs and Garments. 
 
 The Subjects, Athamas killing his Son, and putting away 
 his Wife ; Heliodvrus in his Mthiope : Hiftory mentioning this 
 Fury in fair Cariclia, partly for the Abfence of her Theagenes 
 and partly for the Marriage of Cnemon and l&aujiclia, brings 
 her in like a Fury, throwing her felf on her Bed, tearing her 
 Hair and Flefh, and Crying, come let us Sacrifice to the 
 Divel - y like wife in Althxa kindling the firebrand of her Son 
 Maleager, &c. 
 
 CAP. 
 
(43) 
 
 C A P. XVI I. 
 
 Farther Precepts for the ExpreJJing of Atlion and Pafpon. 
 
 I Thought to have fubjoyn'd Subje&s for each Remarkable 
 Pafpon but finding it would fwell the Treatife too large, 
 I fhall of the reft only fliew the manner of Exprejfing them ; 
 for Subjects, the Artifi may furnifh himfelf out of Homer, Vir- 
 gil, Ovid and the reft of the Poets. 
 
 Difda'm, maketh a Manftiake the Head, open his Mouth 
 with a fcornfull fmile y ftare egerly, opening his Hand and 
 wrefling it about, lift up his Nofe as if he fmelt fomething 
 amifs. 
 
 Injury muft have Calumnious, OrTenfive, and Reproachfull 
 Actions, with an infulting Violence, Threatning, Scorning and 
 looking Feircely. 
 
 Vanity produceth Light, Aiery and Frivolous Actions, yet a 
 kinde of Contentment, eafily given to Laughter and Mocke- 
 ry, Foolifh, Infolent, Abfurd and Vain, yet Affected with all 
 they do themfelves. 
 
 Pride, in the better Sence, hath a Lofty, Great and Gracefull 
 Carriage, the Motions Noble and Principal, Alpiring at great 
 Things, full ofRefolution and Confidence, and thence ufually 
 happy in Performance ; but Pride in the worft fence, is Impe- 
 rious, Arrogant and Infolent, caufing the Limbs to fwell, car- 
 rying the Head aloft, but without Steadinefsor Gravity, View- 
 ing fcorn and contempt to others advice. 
 
 Obftinacy hath Stubborn, Hafty, Hard, Immutable and Im- 
 placable Actions, Suffering the extremity of Pain rather then 
 Obedience. 
 
 Roughnejl exercifeth Hard, Cruel, Rough and Stubborn 
 Actions, void of Love, Pitty, Mildnefs, Civility or Generality, 
 it makes a Man draw in the Eye-lids, draw his Mouth afide when 
 he fpeaketh, look difguifedly over the Shoulder, move flowly 
 without any Decorum ; Perverfe, Obftinate, Harfh, Cruel, fyc. 
 
 Bounty 
 
f 44) 
 
 Bounty hath Chearfull, Pleafant and Gracefull A&io.ns, with 
 Arms open, the Elbow on the Flank, the Hands held up with 
 palms forwards, the i>ody and Head Inclining, turning his Face 
 to whom he talketh (though never fo Mean ) without the leaft 
 fhew of difdain j his Arms, Legs, i3ody not. mov'd with the 
 leaft violence, but all Exprefllng an Affable Temper. 
 
 Magnanimity ( which is a greatnefs of Minde ) muft have 
 ready bold and flout Actions, accOmpanyed with State and Ma- 
 jefty, the Countenance Magnificent and vigilant, cauling Love, 
 Fear and Reverence in the Beholder : his Head difpos'd to Wor- 
 thy and Heroical Actions, Free from bafe and fervile Geftures ; 
 Farther you may Learn in the Lives of Alexander the Qreai y 
 Tompey, Hannibal, Charles Loraine, JuIiua C<zfar, Matheus 
 Viconte, and James Trivultiu*. 
 
 Vifcretion { being properly a Modejiy in Things) fhould have 
 fweec, ftayed,and wife Actions ; capable of difcerning between 
 Good and Evil, True and Falfe ; Moderate in their temper, 
 levere againft the Infolent, but Gentle to Juft and Reafonable 
 Men. 
 
 Wantonejl fhould be Exprefs'd with Wanton Looks, the Eyes 
 fparklin^, the whole Face lmiling, Dimples in the Cheeks, 
 Killing, Imbracing, Forcing, Striving ; the raoft Allective Parts 
 Naked, as Breads, Legs, one Arm, Tips of their Tongues feen, 
 but cover'd about the middle with Lawn, to Inflame the de- 
 fire of beholding the more, for the Antients expreft Venus not 
 quite Naked, as fome Remains may be yet feen in Delos 
 and Paphus. 
 
 Ouietnejl hath actions full of Joy and Mirth, free and eafy 
 without violence or Perturbation ; the Countenance fmiling 
 without immoderate Laughter, the Eyes pretty open and Brisk, 
 the Limbs moving moderate and Gracefully, the Forehead 
 fmooth, and all the Actions betokening peace of Minde. 
 
 Lunacy muft be expreft with torn Hair, fquint Eyes or Di- 
 ftorted, fwelling Lips ftrangely Bending, Fowl Noftrels, Teeth 
 befoam'd and appearing more in one place then another, 
 fhaking their Heads, moving their whole Body 5 their Arms, 
 Hands and Legs Trampling, as feeming in continual danger 
 of Falling ; their Eyes Gaftly Staring, their Countenance Pale, 
 
\ 
 
 (45) 
 
 Wan, or of a black and blew Colour ; there be other forts 
 call'd by Hipocrates, Epileptic!, of which there be three kinds, 
 fome with their Bodys upright, Strearch out their Legs, others 
 inclining Co forcibly forewards that their Faces touch their Knees, 
 and the iaft bending themfelvesfo violently backwards, that their 
 Heads touch their Heels. 
 
 Patience hath Acts of Humility voyd of Offence and De- 
 fence, which may beft be illuftrated in the Pajjion of our Saviour. 
 
 Rufiicity hath Slovenly, Heavy Slow, Glownifh and Unre- 
 verenc Actions, leaning the Arm or Leg on whomever is next 
 Rediculing (in their uncouth Manner) any that appear Neat, 
 Gentele, &c. 
 
 Wifdome hath ftayd, Grave and fober Actions^ a Cheerful 
 feverity in the Countenance, ftroking the Beard with one 
 Hand, which feems a little diforder'd in token of Contem- 
 plation. 
 
 Folly is full of Vain Actions, abfurd Dancing, provoking 
 the Company to Laugh by Apifh Geftures of the Body and 
 Hands, turning of the Arm, Head, and Body in a fond Ab- 
 furd Manner, Grinning with other foolifh Geftures, of Mouth 
 and Eyes, ever Crotfing the actions of Reafon and Under- 
 ftanding. 
 
 Death hath divers Actions according to the manner of it, if 
 fuddenly Slain, the Eyes mud turn up, hiding half the Black 
 and Gape ; but other wife if by the effects of long Pain, 
 The Painter muft diftingiufh between a Violent Death and 
 when it comes by a Lingring, Pining Difeafe, for then the Limbs 
 muft be Meagre, fharp and Lean ; likewife they muft be 
 Hanging, Limber without the leaft Appearance of ftrength to 
 Support the Body ; the "Nerves being Relaxed. But all uncome- 
 lynefs and Noyfomenefs muft be avoided, ftill Obferving to 
 take the beft of Nature, or at leaft to correct the Worft. 
 
 Wondring is Expreft, by Pointing with the Finger, throwing 
 abroad the Arms, thrufting out the Belly, biting the Lips, 
 the Eye-brows arch-wife bent, and fixt on the Objefr fome- 
 times ftill, Attentive and immoveable. 
 
 Simplicity hath Fair, Pure and Free Actions, free from Ma- 
 lice, Merry, Bafhfull, and proper to be expreft in Toung 
 Virgins* N Mercy 
 
r 4* ) 
 
 Mercy hath Piety fall and Companionate Actions, Weeping, 
 bowing down the Head, turning the Neck, reaching the Hand 
 and lpreading the Arms. 
 
 Inconftancy hath various and uncertain Actions, feldom 
 keeping their Arms, Legs, Feet or Head in one Pofture, Weep- 
 ing, Laughing &c. 
 
 Humility is of two kindes, the better appears in Gentle, 
 Mild and Courteous Actions, the other in Bafe Actions, as 
 when Nero carry 'd forne of the Earth of Ifihmtts on his Shoul- 
 ders ; Sardanapalus, when he fate Spinning in his Pallace, fyc. 
 
 Dread is Expreft by Palenels and Trembling, Fainting and 
 hard drawing of the breath, looking over the fhoulder in 
 Flight, cold Sweats, &>c. 
 
 Modefty keepeth a Mediocrity betwixt too Fearful & too Plea- 
 font Geftures ; their Actions, Temperate, Moderate, Difcreet, 
 Mannerly and Attentive. 
 
 Theft opens Mens Eyes, their Hands at Liberty, Muflng^ 
 looking from the company as fearing they fhould read them in 
 their Looks, often changing Colour, and iometimes caufing 
 Terrible, Infolent, Feirce Actions. 
 
 Deceit is full of kinde Ufages and Jefts, but of Wary, Wife 
 and Malicious Actions, their Eyes Sweet, ftedfaft, but fftarp 
 upon all advantages. 
 
 MaUke hath Actions of Fraud and Falfehood, looking fted- 
 dily on other Mens Eyes, thence to pry into their Secret Affe- 
 ctions, to obtain thence what may ferve their Purpofe. 
 
 Crdftinefs hath Malicious, Wary, Forecafting and Witty 
 Geftures, they are Mild and Gentle in all Things, full of Me- 
 ditation and Art. 
 
 Adventuring hath Bold, Feirce and Couragious Actions, and 
 makes Men Free, Loofe and Vigilent, void of Fear and Sloath. 
 
 Rage is a Paffion between Anger and F&rj, it makes Men 
 Grin, Foam at the Mouth, Grind their Teeth, throwing away 
 what ever is in their Hands, <&c. 
 
 Juftice as the Platonic ks hold is a Mafculine Vertue and hath 
 Manly, Magnanimous, moderate and Confidence /ctions, in* 
 dining rather to Severity then Pleafure, 
 
 Devotion 
 
(47) 
 
 Devotion hath Anions of Kneeling, lifting up the Hands to 
 Heav'n, to plait the Fingers in each other toward the Chin, 
 with an Inclining Countenance, fometimes fpreading the Arms 
 abroad, with the Head hanging down, and lometimes Gro- 
 veling on the Earth with the Face downwards. 
 
 Audacity hath Rafh, Prefumptious, Arrogant and ftubborn 
 Actions, denting to be fear'd of all Men, not Regarding others, 
 fcorning all with a fearfull Countenance and Geftures full of 
 Threatning and Infolency ; and may be expreft by Nimrod 
 Founder of the Babylonian Tow'r ; and in Goliah (lain by 
 David. 
 
 C A P. X V 1 1 1. 
 
 The Lafi Precepts for the Expr effing of Aft ion andPaJJion. 
 
 IN Exprejpon we muft Regard the Sex, Man muft appear 
 more Refolute and Vigorous, his Actions more Free, Firm 
 and Bold ; but Womans Actions more Tender, Eafy and 
 Mod eft. 
 
 We muft likew'ife Regard the Age, whofe different Times 
 and Degrees carry them to different Actions, as well by the 
 Agitations of the Minde as the Motions of the Body. 
 
 We muft alfo take Notice of the Condition, if they be Men 
 of great Extent and Honour, their Actions muft be Refer v'd 
 and Grave ; but if Plebeians, more Rude and Diforderly. 
 
 Bodys Deify d muft be Retrenched of all thofe Corrupt ble 
 Things which ferveonly for the Prefervation of Humane Life, 
 as the Veins, Nerves, Arterys - 9 and taking onely what ferve for 
 Beauty and Form. 
 
 We muft likewife obferve to give to Man Actions of Vu- 
 derfianding 5 to Children, Actions which only Exprefs the 
 Motions of their Pajfions 5 to Brutes, purely the Motions 
 of Sence. 
 
 Confider alfo that Man hath his Eyes and Ears ( which 
 are the Organs of the Soul ) fituated in one ftreight Line, 
 Brutes have one point low on the fide towards the Nofe, the 
 
 other 
 
C4§) 
 
 other drawing towards the Ear, their Natural Sence conducting 
 it feif from the fmell to the Hearing, and from thence to the 
 Heart. 
 
 Man can move his Eye-brows, fometimes the Arch elevated 
 and fometimes the point drawing towards the Nofe j but Brutes 
 never move their Eye-brows, their Points being allways inclined 
 dounwards. Man likewife moves the Apple of the Eye every 
 way, Brutes cannot lift them upwards. 
 
 There are alfo two Facultys in the fenfitive foul to be Ob- 
 ferv'd, the Concupifcible and the Irafcible ; likewife two Exte- 
 riour Motions which exprefs them, and depend either on the 
 Brain, which draws towards it all the Paffions which proceed 
 from thence, or the Heart which draws downwards all the 
 Externall figns that depend on it. 
 
 Nor is it fufficient that we obferve ABion and Tajfion in 
 their own Natures, in the Completion and Conjiltution ; in the 
 Age^ Sex, and Condition : but we muft likewife obierve the 
 Seafon of the Tear in which we exprefs them. 
 
 The Spring 5 Merry, Nimble^ Prompt and of a good Colour. 
 The Summer, caufeth Open and Wearifome Actions, Subject 
 to fweating and Rednefs. Autumn, Doubtfull, and fomething 
 Inclining to Melancholly. Winter, Reftrain'd, drawn in and 
 Trembling. 
 
 Yet notwithstanding the Seafon, a Labouring Man muft be 
 expreft with rays'd Limbs, Swelling and ftanding forth, fweating 
 &c. efpecially in thofe who carry Burthens, or ufe vehement 
 Leaping, Fencing or other violent Exercifo. 
 
 Farther obferve that in Sleep the Body muft be without any 
 Motions of Vigour, and in fuch a Pofture, as we may not fup- 
 pofe the unealinefs of it may prevent their Reft. 
 
 We muft take Notice too of Motions proceeding from Tafts 
 and Smels, Sorpernejl and Bitternejl caufe the bending of the 
 Eye-lids, wrincling the Forehead, drawing down the corners 
 of the Mouth, &c. 
 
 Sweet ann Savoury Things caufe a Pleafing and Chearfull 
 Countenance ; as likewife Oderifermvs Smells. Bad Smells make 
 us draw in the Noftrels, look afide, turn the Back, with wrincled 
 Eye-lids, Eyes almoft clofed and Muoth drawn in. 
 
 And 
 
(4?) 
 
 And Laftly, by Hearing and Touching there are divers Mo- 
 rions caus'd in our Bodys ; Sharp Shrill Sounds raife fudden 
 Fear and Affright. Grating Sounds caufe Jarring of the Teeth 
 and Shivering. Touching hot Things, Speedy and Quick Motions; 
 from Touching Cold, as Ice and SriorP, Kefir Med and F ear e full 
 Motions. 
 
 CAP. XII 
 
 The Natural Reafons of the Divers Impreffions made on 
 the Body, Ocajiond by the Pafpons of the Minde. 
 
 JO T caufeth a Cheer fullnefs and Vigour of the Eyes, Sing- 
 ing and Dancing, fyc. fometimes Tears, all thefe are the 
 Effects of Dilation and coming forth of the Spirits into the out- 
 ward Parts. As for Tears, they are the Fffcctsof CompreJ/ion of 
 the Moifture of the Brairi upon Dilation of the Spirits. Joy 
 hath fometimes caufed fudden Death, by the fpreading of the 
 Spirits fo much that they could not Retire again. 
 
 Shame caufeth BluChing, which is the Refort of the Blood 
 to the Face, which in the Paffion of Shame is the Part that 
 Labourcth moft. 
 
 Grief and Fain caufe divers Impreffions, viz. Diftorting of 
 the Face, which is caus'd by a Contention, firft to Bear and 
 Refift and then to Expell ; which maketh the Parts firft to 
 knit and afterwards to open. Grinding of the Teeth is like wife 
 caus'd by gathering of the Spirit t together to Refift, which makes 
 the Teeth fet hard one againft the other. Sighing is caus'd by 
 drawing in a greater quantity of Breath to Refrefh the heart 
 that Laboureth. Screaming and Roaring out % are caus'd by 
 an Appetite of Expulfion > for when the Spirits cannot expel 
 the Thing that hurteth in their Strife to do, by motion of 
 Confent they expel the Voice. 
 
 Anger Caufeth Trembling, Sweating,Foaming at the Mouth, 
 Stamping, bending the Fift, Palenefs arid going and coming of 
 the Colour ; which laft is caus'd by the Burning of the Spirits 
 about the Heart ; calling in more Spirits from the outward 
 
 O Parts 
 
f5°) 
 
 Parts to refrefli them But in fome there is" no Palenefs but 
 Rednefs, which is by fending forth of the Spirits in an Appe- 
 tite of Revenge. Trembling in Anger, is when it is Joyn'd with 
 Fear, caus'd by a calling in of the Spirits. Swelling is caus'd 
 both by a Dilation of the Spirits, by over-heating, and by a 
 Liquefaction or Boiling of the Humours thereon. Stamping and 
 Bending of the Fiji, by an Imagination of the Act of Revenge. 
 Foaming at the Mouth is from the fame Caufe with Swelling, 
 and is an Ebullition. 
 
 Wonder caufeth an Immoveable Poflure of the Body, by fixing 
 the Minde upon one Object of Cogitation, whereby it doth not 
 Tranlcur and Spatiate asufuall, for the Spirits fly not as in Fear," 
 but only fettle, lefs apt to move. Lifting up the Eyes and 
 Hands is a kindeof Appeal to the Deity, the Author of ftrange 
 Wonders. 
 
 Luft caufeth a Priapifm and Flagrancy in the Eyes ; the Rea- 
 fon is becaufe the fight and the Touch are the onely Things 
 defir'd in Luft, therefore the Spirits fly to thofe Parts which 
 are moll Affected. 
 
 Fear, caufeth Palenefs, Trembling, ftanding up of the Hair, 
 ftarting,ftretching,^c. The Blood running inward to fuccour the 
 Heart ( as before ) caufeth Palenefs. Trembling, from the Flight 
 of the Spirits inwards, leaves the outward parts deftitute of fuffi- 
 cient to fuftain them. The (hutting of the Pores of the skin, 
 caufeth the Ere&ion of the Hair Starting^ an Apprehenfion of a 
 thing feard ( in that kind a Motion of fhrinking ) likewiie an 
 Inquifition in the beginning, what the Matter fhould be ( and 
 in that kind it is a Motion of Eretlion ) for ftarting is an Erecti- 
 on of the Spirits to attend, Stretching, is an Appetite of Ex- 
 pelling, what fuddenly ftriketh the Spirits. 
 
 Laughing caufeth a Dilatation of the Mouth and Lips ; a 
 continuali Expulfion of Breath, with a loud Noife, which makes 
 the Interjection of Laughing : fometimes the Eyes running with 
 water ; fhaking of the fides. The caufes of thefe impreflions 
 are from the Dilatation of the Spirits. And the more, the 
 more fudden the Object of Laughter is. Yet this can fcarcely 
 be term'd a Paj/ion, but hath his fource from the Intellect, for 
 there ever precedeth a Conceit of fomething Ridiculous, and is 
 only proper to Man. Finally, 
 
(so 
 
 Finally, the Spirits in all Pajpons refoit mod: to the Parts 
 which Labour moil, or are moft Affected, in Fear and Anger 
 to the Heart ; in fhame, to the Face \ in Luft to the Veneriom 
 Parrs, &c. 
 
 .wrafah&nfanpA $r S ni 6 X <$h ^ •# tb 
 
 LJg£r hath fo great Force in Paintings that the Graceful! 
 Part coniifts much therein, for if the Lights are well 
 disposed, there will be a Beauty in the Picture ( although not 
 a Perfection ) notwithftanding the Draught be not Extraordi- 
 nary 5 for it is through the Vertue of that, that the Figures 
 are brought off from the Flat, 
 
 The Force hereof may be feen in the Refure&ion of our 
 Saviour ( as hath been obferv'd ) in the Covent of the Church 
 of Grace in Millain, by Bernard Zenale Triviliano ; where 
 though the Mufcles and other Neceflary Complements for a 
 perfect piece of Work are not feen, yet it gives a great fatisfaction, 
 by the ftrength and orderly Difpofal of the Lights. The Power 
 t)f it is like wife fuch 3 that it gives admirable Forejhortnings 
 and Perspectives ; neither can Form, Motion, Proportion, Com- 
 pojition, Order or Figure have Perfection without it, like a Body 
 without Situation or Spirit. 
 
 The Paripateticks fay, this is the Caufe or Formal Keafon 
 whereby coloured Things are feen, whofe Images pafs to the 
 Fancy, efpecially inlightning the Eyes, in which the Image is 
 Formed, panning fidl to the Common Sence, then to the Fancy 
 and Laftly to the Vnderflanding. 
 
 We are to obferve three Things concur to our Sight, the 
 Vifual Lines, the Colour d Body, and the Faculty of Seeing 
 which is in our Eye. The Vifual Lines Lightned (which are the 
 proper matter and fubject of the Perfpetiives ) come to our 
 Eye in a Pyramidal Form, the Bafis of which Pyramu refteth 
 in the Object, and the Conm or Angle thereof cometh to the 
 Eye more Blunt and Obtufe, and hereby we fee the Object 
 
 more 
 
fan 
 
 more plainly and diftinctly \ but if the ObjeB be far of, the 
 Angle of the Pyramti comes to the Eye more Sharp which ren- 
 ders the ObjeB the lefs Difcefnable, 
 
 fc is likewife to be noted that the ObjeB cometh not to the 
 Eye, but the Vifible Spirits are dirTufed through the Clearnefs of 
 the Air to" the Eye ; which Spirits are certain Images, like 
 thole in a Looking glafs, when any thing is Reprefented therein. 
 
 If the Colour' d Body or Objeff ftand near to' this linage , it 
 comes to our Eye in the fame quantity and bignefs of the An- 
 gle of the Pyramis ; now becaufe this Angle comes to our Eye 
 in an Obtufe Forme, the image alfo feems great , and fo is dif- 
 cern'd the more diftinctly : but when the Cokufd Object 
 ftands afar off, * the Image comes to the Eye, in a fmall 
 and (Tender Angle, and therefore filleth not the Eye, but Wa~ 
 Vereth in fuch fort that it cannot be clearly and distinctly difc 
 cern'd. 
 
 And laftly, the Faculty of Seeing is redue'd into A8 y 
 by the concurring of the other two, viz. the Vifual Lines and 
 the Colour' d Body which reformeth the Eye by reducing it from 
 meer Ability into Aft. 
 
 From which Grounds for thefe two Reafons, the [elf fame 
 Body cannot be equally Lightned in all Places. 
 
 Firft, becaufe Light with all its Brightnefs doth not Illumi- 
 nate more, then that part directly oppofite to it, not having 
 Power to Illuftrate the other Parts fo perfectly, from the na- 
 ture of the dark, Terrene and Grofs Body, which hindereth 
 the Beams from Piercing Inwardly, to perform their Effects 
 fo perfectly. 
 
 The fecond Reafon is from the Nature of the Eye, what 
 is neareft coming with a Bigger Angle is more distinctly feen, 
 what at diftance by a lefs , and is more Imperfect, fo propor- 
 tionably of a third and Fourth till the Eye can difcern no farther. 
 
 Light is twofold Primary and Secondary, the Primary is that 
 which falleth on that part of the Colour'd Body which is op- 
 pofite to the Body giving Light, touching it with direct Beams j 
 a Light Body is that which hath Light within it felf, as the Sun 9 
 Fire, Jyc. now that Light which arifeth from this Primary 
 Light is the Secondary Light. 
 
 Light 
 
(n ) 
 
 Light is divided into divers other important Branches drawn 
 from the Phyfio logic all part of the Perspe&ive, whofe cheifend 
 is tofeek out the Principles, Caufes and Elements of all vifible 
 Things, together with their Species and EjJ'ential differences, 
 but ever in General it is divided into three parts according to 
 the divers Confederations of Seeing. • 
 
 The Secondary Light is likewife of three forts, the Direffi, 
 Refletted and Refratled. 
 
 The firft Primary Light is that which falleth upon and is re- 
 ceiv'd in that Part of a Coloured Bddy which is oppofite to the 
 Body giving Light ; which running upon the Bodys, toucheth 
 them lweerly with a certain Natural Order , not poiTefling them 
 in any of the Extreams as other Lights do, and mull be ob- 
 ferv'din Hiftorys fuppos'd in the open Air. 
 
 The Second Primary Light is that which is caused by the 
 Apparitions of Angels, or G lory , as. about our Saviour in his 
 Nativity, his Transfiguration, hkRefurretiion, <Jyc. and it mull 
 be obferv'd in all parts according to their diltance on every 
 fide. 
 
 The third Primary Light is from Fire, Torches, , Lamps, Can* 
 dies, &c. but mult be lefs Refulgient then the laft. In this we 
 mufl obferve whither it be by Day or Night, the Matter Burn* 
 ing, &c. 
 
 . Where there be feveral Lights there mufl: be care taken 
 how they are placed that by their Oppofition, they take not 
 away all Occafionof Shaddowing, which will diminish their 
 Beauty, through the want of force and ftrength > likewife that 
 they caft not double Shadddrvs, and confound each other. 
 
 The Secondary Light is that which is caus'd not by Direct 
 Beams but Reflected, though Direct from the Primary Light : 
 which is the firft Species of the iecond Divifion of Light^ and 
 is brighter according to the Thicknefs of the Body it meeteth 
 with, but ftrikes only on the Superficies direct oppofite to it. 
 
 The RefieBed Light is that which arifeth from the ending 
 of the Dirett, it Lightneth all the Bodys on which it fals, 
 cheifly the hinder parts of fuch Bodys as are Lightned before, 
 by the Direct Beams. 
 
 P 
 
 The 
 
r 54) 
 
 The KefraSied Light is that ( which the Philosophers fay ) 
 is ingendred by the Direcl Light, as it fals on Chrifials, Armour, 
 Water and fuch filming Things as are apt to Ingender the fame : 
 and is nothing but the breaking of the Direff Light upon thefe 
 Bodys, which it caufeth round about in every place, as may be 
 feen in clear water towards the bottom, as likewife on the 
 Superficies next the Eye. 
 
 The Eff'cds of Light. 
 
 TH E Light filling oil the Flefli of Young Women and 
 Children caufeth a Pleafant, Tender Shaddow without 
 much Reflection ; but when on old hard and (tiff Flefli, it re- 
 maineth more Harfli, the fhaddows being harder but falling 
 on Plaiftick Figures though round like Flefli, it maketh certain 
 unpleafant and too apparent Reflections ; not fuffering the 
 Thing to appear round like Flefli, confounding one Member 
 with another, and the more the more White the Body is. 
 From, the not due conlideration hereof feveral Painters have 
 run into Errors, by Painting after Antique Statues and Plaifiicks y 
 obferving the Light as it falls there, whence their Flefli ap- 
 peared UnnaturalL 
 
 In Dvapsry it muft be obferv'd that thofe Folds which come 
 nearcft to the Bones, as the J.oynts of the Fingers, the Shoulders, 
 the Knees and other Eminences, muft be more ftrongly Touch'd 
 then the other Parts, and by that means the Flefli will appear 
 die move foft and fweet. 
 
 On Diamonds and other Pretiom Stones the Light falls more 
 quick and ftrong according to the Condenfation of their Bodys, 
 next upon poliflit MettaJs as Silver, Armour, tfyc. in Armour 
 muft be Reflections of all things about it, but dimmer then 
 the Armour Receives from the Primary Light, other wife it will 
 {hew Ignorance in the Perspectives. So likewife in other Poliflit 
 Mettals, &c. 
 
 Light 
 
(55) 
 
 Light is ftrongeft upon the Body which hath mod Correfpon- 
 dency with it, as Red Sanguine and well colourd Completions, 
 which on the balls of their Cheeks, top of their Nofcs fyc. 
 have a ftronger Lufter, and (harper mining then thole of Pale 
 and Wan Completions, for there the Light finding no Cor- 
 refpondency, is Dilated with a more remifs brightnels. 
 
 Black yeildeth no fliarp quicknefs, except in refpet to the 
 Perfetion of Matter, as in black filk in companion of Wollen 
 Cloth. 
 
 In TeUorp the Light caufeth a clear brightnefs having Affinity 
 with it, efpecially in thole which are freeft from Palenefs. 
 
 The Light in Green hath a Mediocrity, and rather Comfor- 
 teth then Quickneth the Vifud Faculty. 
 
 In White it is too much Continued, by reafon of the Clear- 
 nefs which hath Correfpondency unto Black, whence it receiveth 
 its ihaddows. 
 
 We will now fhew how Light - Ingendereth its Effets in 
 Bodys according to the Eminency or Deprejfion, Retraining or 
 Diluting of their Superficies, from whence arifeth the Harjhnejl 
 or Sweetnejl. 
 
 In Infancy the Light on the Superficies is Dilated and not 
 fliarp by realbn there is no other Imprelfion wrought in the 
 beholder, then a certain Dilating of a Fat and fimple Matter 
 without fharpnefs and very little fhaddoW. 
 
 In Childhood the Lights begin to appear more lharp by 
 reafon of the contrating of the fuperficies, but with a kinde of 
 Variablenefs anfwerable to the Gellures which proceed from 
 the Spirit beginning to diftinguiOi between Good and Evill. 
 
 In Touth the Superficies being Protrated and Reftraincd 
 makes the .Body leemly, yet loft and tender, neither Fat nor 
 Lean ; in this Age fecond Light breeds wonderful 1 fweetnefs, 
 Delightfull to the Eye, beino dipriv'd offpreading of the Light j , 
 and with great Decency gives fweet and Firm Shaddorps. 
 
 In Manhood the Lights run with greater Force, having the 
 greateft Perfetion as ever they will have ; not too unpleafant 
 nor too Sweet but much Delightful, accompanied with a firm 
 Stoutnefs and in fome Parts fomething more Feirce. 
 
 In Conftant Age the Body is more compated and lettled^the 
 Lights more fharp and full of Force, In 
 
In Old Age the Lights appear Heavy and full of Majefty 
 and Gravity and fo contrary wife the Shaddows: by reafon the 
 Superficies is deprived of that Quality of Increafing and Vigour, 
 yet not Crude and Hallow without Order, but in a middle 
 Temper. 
 
 In Dotage the Superficies is fharply Elevated and making A- 
 cute Angles and declining Lines, caufe the Lights running up- 
 on them to appear Sharp being Encountred with very deep 
 Shaddows, the Eyes wholly fhaddowed with the Eye-brow^ 
 the mouth with the Nofe, the Cheeks with their Balls, the 
 Forehead with Pulfes, and fo through all other Parts, as the 
 •Concavities of the Bones without Flefh by the moll Apparent 
 parts of the Bones. 
 
 In Infancy, we mud therefore exprefs Simplicity ; in Child- 
 hood^ a Oiarp Simplicity j in Tcuth, Amiablenefs ; in Manhood^ 
 a Graver Beauty , in Confiant Age, Lujiinefs and Courage ; 
 Gravity, Majefty and Con/ideration in Old Age. 
 
 We muft likewife obferve that in the Dejign there be one 
 Principal Light which muft fall moft ftrongly on that part 
 neareft to the Light, and as the Superficies is fhortned accord- 
 ing to the Diftance from the Light fo the Body looleth as 
 much of its Colour as it lacketh of the Light, and fo the Colour 
 faileth by Degrees untill the fuperficies decay together with the 
 Light. 
 
 CAP. XXI I. 
 
 Farther Precepts about Light, 
 
 IT is a General Rule that the Lights muft be given to Bo- 
 dyes according to the place through which they pafs, and 
 this muft be ordered fo that the Light do ever Touch more 
 fuddenlyon the middle Line, fuppofing that part of the Bo- 
 dy which may be feen at one veiw to be devided by five 
 L ines into four Spaces, equall in Power. 
 
 The Fainter muft fuppofe one of thefe four fpaces to be 
 loft and the three other to appear, imagining that thefe three 
 
 Spaces 
 
(57) 
 
 Spaces which are feenbe divided in four Lines equal in a Fer- 
 Spetlive Semi- circle, making the chief Light to ftnke more ftrong- 
 ly on the fecond Line, and in the fecond fpace Heightned 
 (which is confequently to be plac'd in the third Line) he fhall 
 put as much maddow as he feeth, and by this means the Figure 
 fhall be wonderfully Raysd y and . more then if the Light 
 were plac'd fide-long in the firft Line, or in the middle on the 
 fpace between the fecond and the third, becaufe that makes 
 too much fhaddow and this too much Light. 
 
 But in Ceilings the Light is taken from the Window fb 
 that it cannot be avoided but that the Light will fometimes be 
 receiv'd in the firft Line according to the afpect of Lively .Bodys 
 either fide-long^ from above or from below as the .Body is turn'd 
 to the Light. , . 
 
 In the plain Superficies this Pvule muft be always obferv'd 
 that the Light given to Bodys muft never be Perpendicular o- 
 ver their Heads, for it will breed this inconvenience, that the 
 upper parts will always fhaddow the lower, as the Eye-brows 
 half the Cheek, the Hair all the Face, &>c. except where the 
 Principal of the Picture is in a Scene of Glory above, then the 
 Figures on the Earth may have a Light Perpendicular 
 from the Glory above, as in a Picture of Rubens of St. Roche 
 where the Sudplicants below receive fuch Light. 
 
 That part of the Body is counted next the Light which from 
 the firft Pointed extendeth it felf farther out on that fide then 
 the reft ; efpecially if it be from on high, therefore that Light 
 being the Quicker, caufeth the Superficies to receive the L ight 
 more ftrongly viz. that Superficies which is next to us, and 
 that which looketh upwards, both which receive it fo much 
 the more ftrongly by how much the higher they are, becaufe 
 they are nearer the Apointed Light > and this is the Original 
 & Ground of all other Lights which are orderly difpos'd through 
 all Bodys, giving them their Heightning accordingly to the 
 Direction of that only Light. 
 
 Situations and Climates muft alfo be obferv'd, they who 
 Inhabit the Temperate Zone the tight cafteth their fliaddows 
 towards the North : who Inhabit the Hot Zone having a right 
 Spheare, and the MqninoSial for their Zenith ; their fhaddows 
 
 CL are 
 
( *« ) 
 
 are under their Feet at noon ; becaufe they have the Sun Per- 
 pendicular to their Body : but they who dwell under the 
 Poles, have their fhaddow carryed round about them like a 
 Wheel. 
 
 Nevenhelefs we mud generally confider the beft Effects of 
 Nature, immitating them by propofing unto us their Examples. 
 
 And fo muft we doe on the Surfaces of High-wayes taking 
 rhe Light from the Eaji in indication of the Sun which in that 
 part where it beginneth to rife cafteth the fhaddows of Bodys 
 towards the Wefi and to other parts according to his Afpects. 
 
 We will now lay down a few Precepts neceflary to be oblerv'd 
 and Co conclude this Difcourfe of Chiaro Scuro. 
 
 In Light we muft confider the Sun in his Lufler, as Rifing, 
 Meridional!, Setting and according to the Vapours he meets in 
 the Air. Clear Air likewife, through which the Light is fpread 
 and is fomething blewifli j and Cloudy Air which is Darker, 
 but leaves more eafinefs for Objects to be difcerned in their 
 true Colour?, the Eye not being dazled with too great a 
 Brightnefs. 
 
 We muft Confider Lights as Principal falling Perpendicu- 
 lar ( without Interruption ) on any Surface or Extremity. 
 Glancing by Aiding Diagonally on Elevated Bodys. And 
 Secondary, for things at diftance, according to the Thicknefs of 
 Vapours which Intervene, and offer many incidental opportuni- 
 tys for giving the more Beauty to the ftronger Lights ; as 
 likewife loofen the Lighted parts by the oppofition of the 
 deep Teints. 
 
 If the L)efign be in the open Air, the Light is extended and 
 diffus'd on the Objects with the greater Tendernefs. If in In- 
 clofed Places, it is more conhVd, the Lightnings more ftrotag 
 and Quick. 
 
 The Chief Light muft be on the Principal Figure of the 
 Group, and muft be extended without the Interruption of 
 little fhaddows, that the Relievo may ftand more boldly out. 
 
 All Shaddow muft have a Sympathy with the Lights in 
 their Colour as likewife the Reflections with the Bodys Refletling- 
 Artejlcial Lights, if very bright, give a quick Heightning, and 
 dark and deeply Chortned Shaddow s. 
 
 Laftly 
 
ft*)) 
 
 Laftly it muft 'be 'carefully obferv'd that betwixt all Lights 
 and Shaddnws there muft be fuch Mediums^ as may take of all 
 Hardnefs, and fo Artificially wrought in as may not foul ei- 
 ther with the other and fo take away the Beauty and ilrength 
 of the Pitlure. 
 
 CAP. XXIII. 
 
 Of TerfyeSive. 
 
 PRosfeftiZie ( being a Species of Geometry ) is a Science treats 
 ing of Vi/ible Lines, and may be divided into three 
 parts, Optica, Sciogmphica and Specularia. 
 
 Optica is ipf two kindes, either Phyfiological or Grammical. 
 The Phyfiological part fcearcheth the Vniverfal Principles, 
 Caufes and' Elements of the appearences of things which may 
 %e considered three feyeral ways, as Vijion is DireB, Kefle&ed 
 or RefrMed as when things are feen in Wafer, Glafles &c 
 
 The Grammical is the dtf? of Delineation, and is more Ne- 
 ceffaty to Painting cbeu the otjher. It confidereth £/^£f either 
 True ok Faife, and as jof three forts, Anoptica 9 Optica and 
 Catoptica. > 
 
 Anoptka \i the j/tfftf of Delineating Object's elevated above 
 the Horizon, Optica defigns thofe extended Fwerigbt, level, 
 with Horizon, and Catoptica thofe beneath the Horizon, which 
 appear as if 'they .came mearer the Eye below. 
 
 Another Species is .jcall'd Sictigrophjca ; It Jiandkth xbeCdufes, 
 Principled, Elements, >aa$ Properties of $haddows \ giving the 
 Reafon of the Variety of the Apparitions ok th;e Shapes and J- 
 mages of Things, according #s they are elevated either above, 
 dke& agdffft, or bene at/? ; /^r of or near ,the Eye 5 and as 
 "by the taws of -Grammica are distributed the Outlines of the 
 Superficies as *hey ought to be, according to their diftance and 
 Situation .• fo this part confidereth the Shaddorps of Bodys^ ac- 
 cording as *thei$ Superficies are Protuberant, or T>£prefs'd. 
 
 The -I aft Specie* ds Specular ia, and confidereth the Rejle&ions 
 and ReftaStions of .Beams, giving Directions for making Glajfes 7 
 
 either 
 
(60) 
 
 either Plane, Convex, Concave, Pyramidal, Angular, Inverting 
 Erecting, fyc. which I fhall wave, as not being fo Pertinent to 
 this Art. 
 
 The Eye is the Foundation of Perfpective, becaufe thence 
 the Natural and the Rational Sight is Formed : Natuaral where- 
 in the fhapes of Things feen do come to it fimply, by the .Beams 
 of light 5 Rational, wherein there is farther Confider'd the Rea- 
 fon and Effect of the Sight, even where the Eye cannot be o- 
 therwife plac'd then by fuppofition, as at an infinite di- 
 ftance, fyc. 
 
 The Eye is call'd by fome Italian Authours, the Term ; 
 becaufe by it all Things in a Picture are Limited, and any 
 Thing made without the difpofition of this Term, cannot 
 be true, as not being difpos'd for the Sight, nor order'd ac- 
 cording to the Vifnall Bcames^ coming to the Eye from the 
 whole. 
 
 It is call'd alfo the Center becaufe all the Lines of the Bafe 
 and Circumference of the Objeft do meet in it, as in a Circle 
 all Lines run from the Circumference to the Center. 
 
 It may be confider'd alfo as the Apex of a Fyramide ; be- 
 caufe all the fpace between the Object and the Lines or Beams 
 which pafs along, and are extended from the extremitys of the 
 Object to the Eye end therein, as in the Point of a Pyramide, 
 and the Eye together with the Intellect ought to judge of the 
 true Forms of things, to the end it may be able to Imitate 
 them perfectly. 
 
 In Diftance we muft obferve that the Objetl come not too 
 near to the Eye , nor yet be too far of, for then the Air be- 
 tween will take away too much of the Colour and Beauty. 
 
 In too Obtufe and jbort Diftances, Things feem to decline 
 and run too much backwards, in a prepofterous manner 5 (6 
 Things too far of, making Acute and Jbarpe Angles in the 
 Eye give no grace to the work ; ic is reckoned a proper Di- 
 ftance, for the Beholder to ftand from the Object, three times 
 the Length thereof. 
 
 Next we will confider the Obje& which is the Thing 
 that ftandeth before our Eyes ; the firft Figure to be obferv'd 
 is cal'd the Natural, and muft be expreft in the firft and prin- 
 cipal 
 
cipal part of the Pitlure: fo that whatever you place inwards, 
 towards the Eye of the work, muft be diminifh'd^ according as 
 tbe LinesMd Beames friall extend themfehes. 
 
 Now we will confider the three forts of Sight, and firft A- 
 noptica, which is the Real and Vpper Line, by help whereof we 
 conlider all the parts of the ObjeB above the Horizon, and therby 
 bringeth them to the Interfeftion, or Lineot Shortning; whence 
 according to the fituation of the Body, the hinder parts are made 
 to run downwards and the neareft parts to rife upwards, and 
 from hence the Declinings and Arifings, the Shortnings and tti* 
 creafengsot the parts of the Body are caufed. 
 
 This Line hath his Original from the Center or the begin- 
 ning of the Diftance, which is the Eye\ fo it returns to the 
 fame through the midft of the Beams, which couple all the 
 Extreem Limits of the perfect Body. 
 
 Optica is the fecond Real Sight and Diretl Line, and is that 
 which is neareft the Objetl, fo that the upper parts of the Ob- 
 jetl belong to the foremention'd Line, and the lower to Catop* 
 tied , this is that therefore which principally touches all parts 
 ef the Object both above and below, and therefore it is call'd 
 the Diretl Line. 
 
 For the Beams parting themfelves ftrongly at the Eye and 
 falling on the neareft parts of the Objeft, end there, caufing the 
 npper and lower parts to be fhortned and diminifh'd and the E- 
 minences to hide the Concavities, and the larger parts to co- 
 ver the narrower, making the Object to encreaie and diminifh 
 according to their refpective diftances from the Perpendicular, 
 in the due obfervance whereof confifterh the chief Difficulty as 
 well as Beauty of the Art. 
 
 Catoptka is the third fort of Sight whofe beams touch all 
 the lower parts of the Ob\e&, conducting them to the Point of 
 Interfe&ion, fo that when the Ob\e& is below the Eye, the 
 fartheft parts feem to rife and the neareft to decline down- 
 wards. 
 
 CAP, 
 
 SflT 
 
( 61) 
 
 
 
 ... 1 
 
 C A P. XXIV. 
 
 
 Farther Obfer nations in Perspective. 
 
 . ■ , ■ . . • ' i' r - .. ;od 
 
 15 E fides thefe Real Sights there be feverl Deceit full Sight s? 
 j[3 as upper Perpendicular, middle and lowermoft : the a^per 
 Perpendicular Confidereth the Reafons how the Inter fe&ions are 
 carry 'd to the place appointed for the Shortning, which were 
 ordain 'd in the Perpendicular^ by reafon of the upper Parts, 
 and it reprefenteth to us Figures in a little fpace, from be- 
 low Perpendicularly On the top of a Vault, perfectly expreflirig 
 as well the lower as the upper parts. But thofe which ftand 
 out in length are (for the moA part ) fo fhortned that the Ft* 
 gures feem broader then they are long. 
 
 The Oblique Deceit fuU Sight caufeth us to fee the Oblique 
 Shortnings in their places fuch as may be made in the 
 Vaults of Chappels, not in the Squares, but in the Semicircles 
 and fuch like places, as the Tibudj or the Truine, whence not- 
 withftanding the declining of the Vault where they are paint* 
 ed, the Figures may be feen to ftand upright as on their Legs, 
 as if their were no Vault at all. So that the arch'd appear- 
 ance of a Vault caufeth no interruption in the draught. In fuch 
 fort that a Chappel may feem tnuJytobe open to Heaven, or in 
 other pretty Inventioas, as, is ufual in fuch places : but this- 
 part being difficult to be conceiv'd, you may fee it better ex- 
 prefs'd in thofe worjks, in the Chappal of Zenales doing in Mil- 
 ium , another in Parma of Antonio Correggio, &c. 
 
 By the third Deceitfnll Sight above, all the Figures placed 
 above the Eye are fhown by their Lower Parts more ©u hfe 
 according as they ftand higher upon the Wall at the Horizon : 
 wherefore the hinder parts run inwards, and the foremoft fly 
 upwards, whence you fball fee wonderfull great fpaces, ftretch- 
 ing forth of Arms, Shortning of Legs, &*c. and in thefe Fi- 
 gures you cannot fee the upp^r parts except they bend for- 
 wards. 
 
 The 
 
<<?3> 
 
 The fourth deceitful! middle Sight is that which giveth a Body 
 in fuch ibrt, that in the hinder parts the lower Superficies feemes 
 to run upwards, and the upper to run downwards^ wherefore 
 our Eye muft ftrike directly on fome part of the Body, as 
 about the middle; this is the lead Shortning as can be, and yet 
 confidereth all thofe difficulcys as the others do* 
 
 The fifth deceitful! fight belorP is that by which, all the Pi- 
 ctures that are feen from above, placed more or lefs below the 
 Horizon ,> /agitaade, which alfo teacheth the Reafons why they 
 are fo made* it caufeth their riling up on high, the running 
 down of the hinder parts, and the Increafing of their fore- 
 parts : and beiow it makes that appear, which on high feems 
 t&ntrarywife to be uppermoft. In the reft it followeth the o- 
 fh&ts, and i| to be underftood after the fame manner, though 
 the Effects be divers. 
 
 The Sixth Deceitful! Sight is deep or inward, and reprefents 
 W us on plains the Boxfys ftretcht out upon the Earth in Per- 
 fteSt'twe^ with the Head one way and the Feet another, feem- 
 ing to run into the wall, by performing in this place the like 
 Effect againft the Eye, which a Figure doth being wrought in 
 a Vault'Perpendkiilarly above the Eye, according to the firft 
 fight, and this is to be underftood of fuch which (landing on 
 the lower ground, cannot be feen from above but only direct- 
 ly or below, as fuch who looking directly downwards, can 
 only fee Peoples Heads. 
 
 We will now conclude with fome Reafons why of Nefce- 
 ffity Difidnce muft diminifh the Objeff. 
 
 The Mt doth not- carry the Species, which it taketh from 
 the Images afar of, to the Eye, in the fame Individual Quan- 
 tity, but ear-ryeth them letter and weaker. 
 
 The firft part of the Air, which is next the Image, reprefents 
 the Species leffer to the next ; and fo that to a third &c. till 
 the Image come to the Eye ; which coming ( according to 
 the Pofitions: of the Mathematicians ) between two L ines not 
 Parallel, muft then of Neceflky meet, fo concluding in the 
 Point of the InterfeElion which is in the Eye. 
 
 For ftioulcly the Species of a Body, be Reprefented in every 
 part of the Air, in the fame Vigour and Quantity ; it muft 
 
 follow 
 
follow that a Finite Thing have an Infinite Power to excite 
 Vifion : for fuppofing the Air to be Infinite and without Impedi- 
 ment thefe Species muft be equally feen in every part of the 
 Air and fo a limited Body* would have an Infinite Power. 
 
 And did the Form of things at a diftance, come to the Eye^ 
 in the fame Quantity, as when near, the Multiplicity of Species 
 croudihg on the Sight, would Confound it : therefore fince it 
 is of Neceffity, that the Figure muft loofe by Diftance 5 take 
 this for a General Rule, that how much the whole Figure looieth, 
 the fame contraction is to be obferved throughout the whole 
 Image, 
 
 Yet although in Things at Diftance, we muft go by the 
 Rational! Proportion in Pertyetfive, and in things near by the 
 Natural ; yet we muft not fo obferve the Natural, but regard 
 muft be had to the Grace of the Pitlure. 
 
 For the Power of Painting, not only extends it felf, to the 
 Imitation of Nature, but fometimes to the Correcting of it : ren- 
 dring Things more pleafing to the Eye, then they are of 
 themfelves. 
 
 , I 
 
 CAP. XXV. 
 Precepts about Draught. 
 
 DKaught is a Phyjical Line^ or Lineal Demonftration ; and 
 hath always fome Distentions, if it be never fo flender: 
 and ferves to reprefent Bodys according to their Forms^ ASpefts 
 and Scituation ; Limiting and Determining the furface of an 0£- 
 ; and Marking out the Several Parts, which are contained 
 therein. For no Superficies can Exift, without being Termi- 
 nated by Lines, Streight, Circular or Mizt. 
 
 The TLxtent of Draught is Immenfe ; for it is not only 
 concern'd in all the Vifible Things in Nature, but in all Things 
 which the Fancy or Imagination can form any Idea of, that can 
 be compris'd under the Figure of Body j nay, fo vaft is its ex- 
 tent, that it adventures to Dive into the very Soul, and exprefs 
 its Thoughts j for though Colour is acceffary to Expreffion, yet 
 nothing can be Terminated without Lines. l^hey 
 
They that would arrive to the Perfection in the PraSlick, 
 mud dilligently obferve thefe following Rules. 
 
 Firft he muft draw by the Hand, Circles, Ovals , fac. then 
 the feveral Features of the Face by themfelves, as Eyes, Nofc, 
 fac. then the feveral Members, as Hands, Feer, Arms, Legs, 
 tjyc. Obferving in the Hands and Feet, to draw the upper Lines 
 firft then the lower ; afterwards to divide them into Fingers 
 and Toes. In the Trunk of the Body, firft to draw the Con- 
 tours of each fide, then to place in the Mufcles. 
 
 When a Facility is gained in the Features and Members, to 
 begin with a Face, where firft draw the Eyes, then the Nofe, 
 Mouth, Eye-browes, Chin, and next the Contours of the Trunk 
 on each fide, then Thighs, Legs, Feet ; obferving the going 
 down with Each fide, not drawing to the Bottom one fide 
 firft : then adding the Arms and Hands, and afterwards all the 
 Mufcles, and the other Remarks of the Body, and Members as 
 Nails, Hair,^. 
 
 But before he attempts a Body, he muft take a Face in all A- 
 fpe&s, as Half, Three-quarter and foreright : then looking "Up- 
 wards, Downwards and Inclining, then all Fore-fhortned 
 Faces. 
 
 When he attempts a whole Body, he muft begin with a 
 Body (landing Frontwife, obferving which Foot the ftrefs of 
 the Body refts on, and draw it Perpendicular under the 
 Head. 
 
 Then he muft proceed to Bodys in feveral Poftures, as fit- 
 ting, Kneeling, Running, Fencing fyc. as he will find in di* 
 vers Prints. 
 
 And laftly proceed to all Forefhortned -Bodys, which are 
 the moft difficult, in which he muft diligently ftudy the 
 Perspective. 
 
 He muft firft draw with SaUorp Coal finely fharpned, till by 
 diverfs Effayes and wipings-out, he comes to the Truth. 
 
 And akhough it is ufual to finifh; either by wafting with In- 
 dian Ink,or French red Chalk,yet I think the beft is with hatching 
 with a Pen, which (although it be more tedious^) obliges him to 
 that Care, in the Truth of the Small Stroaks, that it infencible- 
 ly brings his Hand to exact Draught : but he muft take Gare s 
 
 S when 
 
(66) 
 
 when he bath Hatch'd one way, to let it dry ere he proceeds 
 for fear of .Blotting ; but they who draw with a Pen 
 muft propofe to themfelves much Time and Patience. 
 
 He mud take care to Coppy after good Originals, and 
 to finifhthe draught before he begins to fhaddow. 
 
 At firft he mult Coppy Things, which are negligently fi- 
 nifh'd, fiich as are in Fialetty, then Ooltzius, next Sadler s 
 Things, after he may proceed to Van Dycks poftures by Vojler- 
 man, Pontius &c. 
 
 .But he muft remember to ufe no Compajfes, Rules, Squares 
 and the like i which ftint the Judgment, but he muft let his 
 Fancy and Spirit Act freely till he gets a Habit. 
 
 He muft like Wife Defign perfectly after Nature, before he be- 
 gins the ufe of Perjfettive Rules, that he may keep his Fancy 
 free, and form his Judgment to Comprehend, and remember 
 all Things in their Appearances. 
 
 The principal thing he muft be carefull in, is, that when the 
 upper part or Head of the Figure is drawn, to obferve by his Eye 
 what part of the Body comes Perpendicular under any Feature. 
 In the Dilatation of the Members obferve how many parts of 
 the Face, the Original bears, in fuch member, till with carefull 
 Examination, and dilligent ftudy, you have the Compais in 
 your Eye 5 which when you have obtain'd, you may proceed 
 as follows. 
 
 You muft take great pains in Dejigning after Nature and the 
 Life, where you muft obferve to make the Figures of a Big- 
 nefs, to be determined by the Vifual Angle, and of a Propor- 
 tion (ID) 'fiance from the Eye to the Model. 
 
 You ought to ftudy the fine Antique Featues ( fuch as are 
 in the Farnefe Palace) at Rome , that the Idea of them, may be 
 always referv'd in your Memory. 
 
 Nudity s J are Principally to be ftudy'd ; the Colours of which 
 you muft make in great Pieces, not having fo great regard to 
 the fmall Mufcles and lejfer Obfervations. 
 
 For Rufiick and Country Figures, the Contours muft be 
 Grofs, Equally Counterhatch'd and Notch'd, without regard 
 to extraordinary Neatnefs and Roundnefs. 
 
 But 
 
<<*7> 
 
 But for Grave and ferious Perfons, they muft be rounded, 
 noble and Certain > not fo at adventure as the forcmcntion'd. 
 
 They mult be ftrong, Refolute; Noble, Perfect and Chofen 
 for Heroes. 
 
 They muft be PuilTant and Auftere, full of Greatnefs and Ma* 
 jefty, for Dei f yd Bodys. 
 
 And for young Women and Children, the Contours mufl: be 
 Smooth, Round and Delicate. 
 
 They mufl: Delign the Nudity, Model, fyc. exactly, with- 
 out Charging or overburthening any of their Parfs ; their being 
 no way to obtain an entire exactnefs, but by proportioning e- 
 very part with the firft, comparing them exactly, fo that we 
 may be at liberty to Strengthen and go over again the Parts as 
 we fhall think fit, when we make uie of this Dejign - y as it 
 truly follows and reprefents the Models whither they be Antique 
 or Natural. 
 
 They muft principally fludy the Rules of Geometry and Fef* 
 fceStive, that they may ufe them with eafe and exactnefs in im- 
 movable Bodys ; for as to Animals and principally Man, by rea- 
 fon of the various difpofitioris of their parts and Motions, it is ve- 
 ry hard to defign them by Rules. 
 
 They muft likewife ftudy the GebmetricaU Part," and firft the 
 Ichnography which is the Reprefentation of the Fundamental 
 Scheme or Draught of any work of Architecture, <&>c. on Which 
 is traced out the Form and extent of things in their true rrtea- 
 fur'd Diftances and Scituations. 
 
 The Profile, which marks out the Parts, Members and Jet- 
 ting out of Sollid Bodys, their Heights and Proportions. 
 
 The Elevation, which perfects and Finifhes the Conftructi- 
 ons of Bodys, by Heights, Lengths, .Breadths, &>c. 
 
 And laftly we muft confider the Persje&ive, which repre- 
 fents the outfide or fnrface of the Object, where we are to Confi- 
 der thefe following Things* 
 
 That in one View we fee the whole ObjeSi, whofe Rays will 
 meet in a Point. 
 
 Next we are to confider that the Eye and the ObjeS ought 
 to be both Immoveable Things. 
 
 We 
 
(6%) 
 
 We mud fuppofe the Outfidc or Superficies, as Tranfyarant 
 between the Rye and the Objeff, through which we may marke 
 all the Appearances of the Objeff, which is that we call the 
 Piffure y and this may be done by placing a piece of Lawn be- 
 fore our Eyes, where the Rayes that come through will deter- 
 mine all their Places in the Picture or Table. 
 
 The Eye, the Objeft and the Picture, ought to be placed at 
 a proper Diftance, which is ufually computed to be double the 
 bignefs of the Picture j fuch fcituation is the Principle on 
 which is founded the way of reprefenting every Thing in true 
 Perfection. 
 
 Laftly we muft obferve that in the Pictures near Hand, the 
 draught ought in a manner, Loofe it felf, after all the parts 
 of the Work are Form'd \ but in a Picture for a Diftance, we 
 ought to pronounce them like an Artifi, that there may nothing 
 appear in the Draught out of the place where it ought to be 
 feen. 
 
 C A P. X X V I. 
 Of Colours, their Natures and EffeSsl 
 
 THere be Seven Cardinal Colours 'viz. White, Blew, Tel- 
 low, Red, Brown, Green and Black. 
 White denotes Innocency, Light &c. the Planet Luna. 
 Yellow, denotes Majefty, Honour, Nobility &c. the Stone 
 a Topas the Planet, Sol. 
 
 Blew, the colour of the Skys, fignifys Devotion, Breathing 
 to Heaven &>c. the ftone a Saphire ; the Planet Jupiter. 
 
 Red denotes Heroes from their Bloody Acts. The fymbol 
 of Fortitude. The Tipe of Modefty from Blufhing, and is the 
 middle colour between Black and White, the ftone, a Ruby, the 
 Planet, Mars. 
 
 Green is the Colour of the Spring and fliows Peace and 
 Plefantnefs of Mind ; and Hope from Tillage ; likewife 
 Youth. The ftone an Emerald- The Planet Venus. 
 
 Brown ? 
 
(6p) 
 
 Brown, from Red and Blacky ( fcarce defervcs the Name of 
 a Colour ) lignifys Mediocrity, Prudence, Frugality fad* The 
 Stone an Amethift. The Planet, Mercury. 
 
 Black is oppolite to White j and is Obfcurity, therefore not 
 properly cal'd a Colour, but the Death and Burial of Colours. 
 It is the iymbol of Grief, forrow and Damnation ; from, 
 the Infernall Darknefs. Yet denoteth Conftancy, being the 
 mod durable Colour. The Rone a Diamond. The Planet 
 Jupiter. 
 
 Wee will now confider the Nature, Propertys, Quahtys^ 
 Sympathy s, Antypathys, Greatnefl and Smalnejl of Bodys oi 
 the Several Colour r, which are us'd in Painting. 
 
 Thofe of the Greateft Bodys are ZJmber, Indigo, Indian 
 Red and Vermilion. The next are Colens Earth, Ivory Black,. 
 Light Red, TeUorp Oker, Mafticots, Orpment and White, thofe 
 of a fmaller Body are Ultramarine^ Carmine (which isthemoft 
 beautifull Red ) hake, Pities, defiild Verdegreece next Terr avert 
 and thefmalleft Body of all, is Smalt, which the young pradti- 
 fioner mud not adventure to ufe except mixt with others. 
 
 Vermilion, is apt to change fomewhat black when Com- 
 pounded, but us'd fimple in Draperys fyc. is of alafting Nature, 
 
 Indigo turns Green in Time, and fhould be chiefly us'd in 
 Dead- Colouring, but if boyl'd, or kept buryed fome years it 
 will hold better. 
 
 Smalt turns black, but holds beft in Glafing, in like manner 
 doth deftill'd Verdepreece. 
 
 Orpment fhould be us'd only in Touches by it felt in Drapery, 
 Gold, &c. for if it be compounded it grows foul, 
 
 Vmber fhould be us'd only in Dead-Colouring, ox] in deep 
 Shaddows, which you cannot obtain by Brown Pink r Lake j&c , 
 but from its Body, it is of great ufe in Dead-Colouring. 
 
 Drying Oyle muft not be us'd with any Colours ( how bad 
 dryers foever ) if you have occalion to mix them with White, 
 Diftil'd Verdegreece, Vermilion, Vmber or Mafticots y except ve- 
 ry little of thefe go into the Compofition : never if you ufea- 
 ny Quanity of White. 
 
 * The foremention'd Colours of Greater Bodys, in their Com- 
 pofitions, muft deepen the L ights, till you bring them to your 
 
 T Dark 
 
C70 
 
 ) 
 
 Dark Shaddows j becaufe their Strength and force is fo great, 
 that it will occafion the lofs of much Colour to bring them to 
 the lighter, efpecially Indigo. 
 
 Thofe of lelfer Bodys you muft Heighten on the contrary and 
 not deepen down. 
 
 If you bring down your Shaddows with the greater Bodyed 
 Colours, you muft take care that you ufe very little of thole 
 Colours, for it will be to great fpoyle, of (mailer Bodyed Co- 
 lours, you may ufe much more according to the Body in your 
 firft Lights. 
 
 In the lighter Shaddows which may be obtain'd without 
 White, you muft ufe no white in them, for it makes them 
 look Gray and Cold, but more efpecially in the dark Shaddows. 
 
 Diligently obferve what Colours bare a Sympathy or Antipa- 
 thy to each other, and order your mixtures on your Pallate ac- 
 cordingly, as Blew and Tellow make a Green but Blew and Ver- 
 milion produce a Nigre Colour. 
 
 In the difpofal of Colours on a Picture, confider the whiteft 
 Colours are not always the Stronger, but as they are Luminous 
 or agreeing with the Light, as Vermilion is ftronger then 
 Green brought up to the fame Height : and Tellow Maflicot i§ 
 ftronger then White Mafiicot and will be feen at a greater 
 Diftance. 
 
 Thofe Colours muft be laid near to one another, that are 
 proper of their own nature to help one another, and give a mu- 
 tual help to rayfe up their .Brisknefs, as the Red doth to the Green, 
 and the Tellow to the Blew, &c. 
 
 What Colour foever we put in Drapery, &>c. and there be 
 a Colour bv of a near kind we muft bring a different one in 
 between, which may loofen the Drapery, otherwife they will 
 Loofe themfelves in each other. 
 
 bsd v/oriTj 2'iuoloO vflf. diiw b'an ion flurn *HP^C^ 
 
 *im ol noitajso ovfifi noy \i ( wjo) (»p 
 
 ■ mm 
 
 10 
 
 X 
 
 CAP. 
 
 ■ftrr 
 
 m t ?nouil 
 
(7i ) 
 
 w 
 
 CAP. XXVII. 
 
 The Inflnt merits and Materials ufd in Tainting 
 and the preparing Colours to the Patlat. 
 
 Hite Flakes being pick'd and fcrap'd nuift firft be ground 
 very fine in water, afterwards Temper'd on the Stone with 
 the muller with Nut-Oyle : then cover it with water in a galli- 
 pot or it will skin over. But fo it mud not be kept very long 
 for the Oyle will grow Fat and make it unfit for ufe. For Dead- 
 Colouring you may grind white lead in Lynfeed Oy!e. 
 
 Vermilion if it have glittering fpecs in it, or of very light 
 Colour, it is not good as being mixt with Red Lead, the befi 
 you may buy at the Wax-chandlers : it muft be firft finely 
 ground in .Brandy or Urine. Temper it on the Pallat with nut 
 Oyle, if for Flefh : but for Drapery, &c. ufe a very little 
 drying Oyle. 
 
 Red Lead being finely ground in water, and dry'd ; may 
 beTemper'd on the Pallat with Lynfeed Oyle being a great 
 dryer of itfelf. 
 
 Light Red \ Burnt Oker, Indian Red, muft be ground very 
 fine in Lynfeed Oyle ; and tempered on the Pallat with Nut* 
 Oyle if iQr .Flefh, but if fimply us'd for Draperys, &c. there, 
 may be a little drying Oyle in it. 
 
 Fine Lake muft be well ground in Lynfeed Oyle ; if us'd in 
 the light Carnation of a Face in Nut Oyle \ and fo temper 'd on the 
 Pallat, hut if us'd fimplein Glafing it muft be mixt with drying 
 Oyle orVernifh or nut Oyle and Turpentine mixt. 
 
 Maflkots not being fine enough as they are bought at the 
 flpps, muft be finer ground with Lynfeed Oyle on a Porphery: 
 referve them in Bladders but not too long; There be divers forts 
 but the principal are of light Lemmon Colour, or deeper bright 
 "Yellow. Ov_y . ■ 
 
 0J Orpment after you buy it, muft be finer ground in Lynfeed 
 Oyle, th^n laid on brown Paper to take out what Oyle you can, 
 that you may add the more drying oyle, or rather Glafe ground 
 tbr an impalpable powder and then you need not dry it on a Pa- 
 per, the Glafs being the greateft dryer and will not foul the beft 
 Colours. Lit 1 
 
(n) 
 
 Light Pink, Green Pink and Brown Pink, mufl be ground 
 in Lynfeed Oyle, and with the fame be temper'd on the Pal- 
 lac it for the Medium Shaddows, but in the darks a little dry- 
 ing Oyle. Thefeveral Okers, as Tellow, Brown and Roman 0. 
 ker 9 mufl be ground and temper'd as before. 
 
 Ten-avert mud fivft be beaten fine in a Morter, or it will 
 hurt the flone, then ground in Lynfeed Oyle, and fo temper'd 
 on the Pallat, except us'd fimple, then a little drying Oyle. 
 
 Verdigreece mufl be ground in Lynfeed Oyle and fo us'd. Va- 
 d'mr mufl only be temper'd on the Pallat with Lynfeed Oyle. 
 
 Ultramarine mufl only be temper'd on the Pallat with nut 
 Oyle. And Smalt mufl be order'd in like manner. 
 
 Indigo fhould be ground in Lynfeed Oyle and bury'd eight 
 or ten Years, if you cannot procure fuch, grind fome and put 
 it in an Earthen veffel, which ftop clofe that no water can get 
 in and boyle it four or five hours, by this means it will hold 
 Colour near as well as theburyed. 
 
 Colens Earth mufl be ground in Lynfeed Oyle, drain the 
 Oyle out by laying it on a brown paper, then add more drying 
 Oyle or Glafs ground as before. 
 
 Vmber mufl be firfl burnt in a Crucible, till it be of a warm^ 
 brown Colour, then ground in Lynfeed Oyle and kept in a 
 gallipot cover 'd with water, for it is a great dryer. 
 
 For Bone black you mufl burn peices of Ivory, (which you may 
 buy at the Ivory Turners, ) in a Crucible, when it hath done 
 flaming it is enough .* grind it in Lynfeed Oyle, and temper 
 it with drying Oyle. 
 
 Blew-blacl^ is made of fmall coal,but the befl of Vine branches, 
 burn it in a Crucible, grind it in water; if it be us'd fimple 
 it mufl be temper'd with drying Oyle. 
 
 For Indian Hied the Stone Red is much the better, the 
 fmaller will ferve for Dead Colour. Fine Lake mufl be of a 
 warm and Beautifull Colour, that which is of a lighter, cold 
 and Purplelifh Colour, will ferve for Dead -colouring. The 
 befl Pink is of a fmart, Clear, Yellow Colour. 
 
 In Brown Fink make choice of the deepeft and warmeft 
 Colour, in Tellow Oker, of a bright, Clear and fmart Colour, 
 of Terr Averts the Spanifli is the befl. 
 
 Vlramarine, 
 
Dltramarine, the right will endure the Fire ; if* ic be put in 
 water and any thing fwims on the Surface, it is mixt j the deep* 
 eft and fineft Powder is ufually the beft : though fome that is 
 pale will mix deeper. The Ajhes will fervefor the blew Shad- 
 dows in a Face. The beft Sma.lt is the deepeft and foft like But- 
 ter between the Fingers. 
 
 When Ivory is burnt you muft fcrape of all the white and 
 and brownifh Colour, referving only the Jet Black. 
 
 Obfervein winter to ufe more drying Oyle then in Summer: 
 and Proportionably as it is hotter or colder ; but the lefler the 
 better, for it is apt to foul the Colours^ take great care that 
 none of the skins of the drying Oyle come among your Co- 
 lours. 
 
 For your Powder-Glafs, take the whiteft Ghfs, beat it very 
 fine in a Morter, and grind it in water to an Impalpable pdw- 
 der ; being througly dry, it will dry all Colours without dry- 
 ing Oyle, and not in the leaft Tinge the pureft Colour s,as White f 
 Vltramarine^ <&c. and is much us'd in Italy, 
 
 If in the hotteft weather your greateft Dryers dry too faft, as 
 White y Umber , fyc. and fo grow too ftifF to work with ; you may 
 prevent it by mixing a little Sallat Oyle with the Colours. 
 
 ^You muft like wife on youtEaf el- board, have a little gallepoe 
 of Turpentine Oyle to dip your Fencels in when your Colours 
 grow to ftiff. 
 
 You muft have a Ti/z-P^w, for cleaning your Fencels in, de« 
 vided in the middle, and the one end devided into a larger and 
 lefler Dimention ; the larger is to dip your Fencels in, ftriking 
 them feveral times over the Partition, and prefGng them with 
 your Fingers, till they be clean : then dipping them into the 
 fmaller trough, in which muft be Sallad Oyle (which beft pre- 
 ferves Pencels from drying ) lay them by for ufe on a ledge, 
 on your Shelf ; if by negligence they grow hard with the Co- 
 lours in them, lay them in Soap fometime and with water 
 Scour the Colours out of them. 
 
 For the Grinding-ftone> the Forphery is the beft, next a Feb* 
 ble, whofe hardnefs you may try by hacking a knif on it, 
 if it leaves no impreftton, then the Stone is good, 
 
f74) 
 
 When your Colours are ground before the reliques dry, you 
 muft grind fome Shavings of Leather on the Stone : rhen to 
 fetch it more clean, fome crums of Bread y till there be no 
 Tincture of Colour left. 
 
 Your Pencels muft be Swans Quits, Goofe Quills, Bucks, 
 Crows, &c. of which you muft have black and white Fitches, 
 the fineft Fitches are Ermine ; Pointed Pencels and Brujlcs ; 
 the beft of which you may have at the Black-moor es head in 
 Drury Laneznd fome other fhops. 
 
 The Black Fitches muft be well bound, full and with a fpring 
 in the Hair. The White ^ muft be fort, the Hair a little fpread- 
 ing and well bound and even at the end. Before you ufe them 
 let them lye a little in water to fallen the Hair, Then let them be 
 through dry, and dip them as likewife your other Pencels in NuU 
 Oyh before you ufe them in Colours, your Pointed Pencels muft 
 be likewife well bound, if good they will come to a Point by 
 wetting them and drawing them gently on your Hand. 
 
 Your Brujhes and Black Fitches when they are well worn, 
 referve them for the rubbing in of Dead Colours 5 for in many 
 Cafes they are better to ufe then new ones. 
 
 For your Pailat, you fhould give order to the Colour fliop?, 
 to let it lye fometime in a VeiTel of Oyle which will make the 
 Colours come the cleaner off. 
 
 You ought to have two Tempering Knives, one broader for 
 the greater quantitys of Colours, the other Narrower and com- 
 ing Taper toward the end for the fmaller. They muft be both of 
 good mettle r with their Edges, and the thicknefs of their back 
 ground of. 
 
 Your Moftick is beft of a Bamboo y or fome other flick that 
 is light and yielding to the Hand, but not (landing bent : with 
 a fmallballof Cotten ty'd in a Leather at the end, which lean- 
 ing on the Picture may not indent the cloath : about four Foot 
 long. 
 
 Your Pencel-fticks muft be of Cedar, wrought fmooth, but 
 thicker in the middle, that the Pencels may fpread in your Hand, 
 and not foul each other •, and about fixteen inches long : if for 
 large Landskips, longer ; for which likewife you muft have Leaf- 
 iug-Pencels with the Hair twice as long as the other. 
 
 Your 
 
(75) 
 
 Your Cloaih muft be of an even thread : if any nobs of Co- 
 lours be on it, take them of with a Pumice-ftone, before you 
 begin to work. If Pannels, let them be of old Weofcoat, which 
 is not Co apt to warp. Before you Prime your Pannels, there 
 muft be a Coat of Whiting and ftrong Sife fix or eight times 
 done over, to hide the Grain of the wood : when they are dry, 
 let them be plain'd with a Joyners Plain, then water plain'd 
 with a rag dipt in water. 
 
 Your Eafel muft be of a convenient Sife according to your 
 work ; with Lead round the Feet to fecure its Fixednefs. 
 
 The beft Light is a North-Light^ with a Safh of Pollifh'd- 
 Glafs as they prepare for Looking- glaffes. Free from any Build- 
 ings againft your work Room, which would caufe diverfs Re- 
 flections and by that means change the Propertyes of your Co- 
 lours. 
 
 It is convenient in winter to have in your Room a round 
 Iron-fiove for your Fire, for the better drying of your Colours 
 and the fecuring of your Room from Duft and Smoak. 
 
 C A P. XXVIII. 
 
 The Art of Colouring. 
 
 AFter you have attain'd to a Mafterfhip in Draught, ha- 
 ving got the Compafi in your Eye ; fo that you can at 
 firft fight Copy whatever is before you ; not only Prints, but 
 alfo Nature it felf having diligently ftudyed Nuditys at the 
 Academy, fo that you can take a Figure of any Age, in all Afpects, 
 Poftures and Forefhortnings ; you may begin the great Miftery 
 of Colouring. 
 
 And firft begin in two Colours as White and Vmber &c. 
 after good Draughts or Prints : which you may do in this 
 manner. 
 
 Firft begin to draw the Head you would Coppy in Tripoly 
 (which is bought at the Ironmongers,) Sharpning it to a Point. 
 For better correction goe over the Draught again with courfe 
 Lake, having fome Turpentine Oyleby, to dip your Pencel in 
 
 to 
 
( 7&) 
 
 to make die Colours ran thin, 
 , Lay on your Pallat White and Vmber j for the Heiehtnincs, 
 clear White $ then add a little Vmber \ then more for the Me- 
 diums, til! jou pome to clear Vmber. 
 
 Take half adofen Fencels in your hand, one very fmallfor 
 die Eye-Ihoaks, and iikewife fome Fitches : having your Pal- 
 lac on your hand, holding your MofHck between your little 
 Finger and Ring-Finger, thus begin. 
 
 Fkft with a large Pence! lay on the lighteH parts of tine 
 Forehead, Balls of the upper Cheeks, top of the Nofe, Chin, jfyfL 
 then the lightcfl {haddows on the Forehead, under the Eyes a- 
 bout the Mouth, the fides of the Cheeks, Chin, &c. and fo till 
 you come down to die Darkefl : taking care to leave no edges 
 about the Eye-lids, Lips, ilyc. Obferving to keep your Fencels 
 for .the fame degree of Colouring, but if they foul, prefs oat 
 the Colour on a rag Jcept in your hand for that Intent, then 
 with a very Light Hand /often all the work with your white 
 Fitches. Goe over it again in the fame manner (when dry ) in 
 the Fi milling 5 but when you have ibften'd the work, Touch 
 over the Heightoings again. 
 
 Thus when you have copy'd fome time in Two Colours, ha- 
 ving obtained fome freedom in TenceUing by a light but fteady 
 hand : obferving carefully ail the Mufbles and other Remarks * 
 working all in with much Softnefs 5 free from Edges as well as 
 Fla&nep inrthe Rifing parts, you may adventure on things of 
 Diverfe CqUws ih the Stillife, but be fure to Copy after the 
 beft Mailers^ therefore I would advife all Gentlemen that de- 
 fign to divert themfelves with this Art y to purchafe a piece or 
 more of the Famous Mouflrate while they are to be had. 
 
 FkH Prac"tife your Hand in Boylt Plate, not Burniflvd, and 
 ottser things of fewer! Colours, then Fruits, Flowers, fyc« oh- 
 ierving thac in your Learning, you Dead Colour things very 
 well, and take care you do not Paint out your Draught. Oh- 
 ferve amongfl Fruit, efpeciall Grapes to finifn well in the Dead 
 Colour, or you will not obtain their foftnefs and rOundne(s 
 in FimjUngj by Reafon, they muft be Finifht with Gla- 
 Sink Colours. 
 
(77) 
 
 Obferve in things which require a ftrong TeUoxp as PedcheS 
 t/yc. that although you may obtain much of that Colour, with 
 White, Pink and Vermilion, yet you mull ufe only Maflhots, 
 as being of more Force, 
 
 • In fome Beautifull bluflies in Fruits, where you cannot 
 Paint up the Delicatenefs of Colour, you mull obtain it by 
 Fitly preparing the Ground to go over with Touches of 
 Glazing. 
 
 In Silver and Gold burnifli'd Plate, with the greateft. care 
 and Judgement put in the Reflexions of all things about them, 
 but take care you work them not into the reft of the Plate^ 
 which will make it look rather batter'd then beautifull. 
 
 When you have attain'd to a good Knowledge in the Mifte- 
 ty of Colouring, by Copying after many things in the Stillife 
 that have the greateft variety of Colours, fo that at firft fight 
 you can perceive moft of the Colours in a Picture, and 
 Judge whence they are Compounded, you may adventure 
 on the Profoundeft part of the Science viz Painting of a Face, 
 
 . , ' • 
 
 «J)jJ3-iQ^iJ bnz -txtt^u onl oi ^wobbauc iiiitoiqinH „ ru 'ioi 
 
 CAP, XXI X. 
 ^ sBDtkaao wjjA uoy i ^yl-v^JL 'j;33il & tjnibL^^fcJ. brt£ 
 
 The way of Painting d Face. 
 M^Xinom n • ' $%X spm bin* i^OMnAiT^if > boa 
 
 FOr a Clear and Beautiful Completion, lay on your Pallat 
 and Temper them by themselves (cleaning your Pallat well 
 after each Colour) thefe following Colours, viz. 
 
 White Flakes, TeUotr-Oker, BurnuOker, Vermilion, Red Lead 
 (which fome ufe in the Lips, though many not at all ) Light-* 
 Rett, Indian-Red, Lake, Smalt, Ble/p-Black, Terravert^ Roman- 
 Oker, Brown-Pin^ Vmber and Bone-Black. 
 
 For the firfi Lights, White and a very little Light-Red, (6m& 
 times inftead thereof a little Vermilion, though never but when 
 you cannot avoid it, becaufe in a Completion it is apt to 
 change; then add a little more Light-Red; lay by the firft of 
 thefe Colours, and de vide the fecond into two parts; one part 
 temper down for the Cheeks and Lips in this Manner : add to 
 it a little more Light-Red and Vermilion^nd lay a little of it by j 
 
 X to 
 
(?8) 
 
 lo the reft add a little rriore, lay fome by : then add tb the 
 remainder a little La^e and the lead touch of Indian Red: ha- 
 ving laid fbrne by, add a little more. Then cleaning your Pal- 
 lat where you temper'd them ; temper together a little Vermili- 
 on, Light Red and Lake j lay by fome, and add to the remain- 
 der more Indian-Red and Lake, then leave out the Vermilion 
 and Light Red and add more Lake, and laftly lay by a little 
 Lake. 
 
 Then take the Second Devident of the White and Light-Red, 
 and for the greenifh Shaddows, mix a little Terrave rt with it, 
 and lay fome by, then mOre Terravert with a little Light-Red 
 and lay a little of that by: for deeper Green, more Terravert, 
 a little Teilow-Oker and Blew-Black ; and fo down, always re- 
 membring, as you add Terravert to add a little Light-Red or 
 fome fuch like to keep the Shaddows warm. 
 
 For the Blew Shaddows under the Eyes and the deeper Blews 
 add to fome of the White 5cLight-Red a little Vltramarine,&cmoxz 
 oi Vlttamarine with more Light-Red as occafion ferves, but for a 
 dead Colour, Blew-Black will ferve. , 
 
 For the Purplelifli Shaddows, to the White and Light-Red} 
 add a little Ultramarine and Lake, then a little more Ultramarine 
 and Lake adding a little Light-Red, as you have occafion. , 
 
 For the Yellowifh Shaddows, to the White and Light-Red, 
 add a little TeUow-Oh^er and more Light-Red, then more Light- 
 Red, Tellow-Oker and Terravert, then more if occafion require it 
 of the three laft with a little Blew-Black, 
 
 For the dark Shaddows you muft always (as before menti- 
 on'd) leave out the White, which makes them Grey and Cold. 
 
 For dark Greenifh Shaddows, ufe Tellow-Oker, Roman-OI^r, 
 Burnt-Oker, Light-Red and Terravert j for Blewifh, add more 
 Blew-Black, for more Yellowifh add Tellow-Oker and Roman- 
 Oh^r, and for more warm and Glowing, add more Burnt- 
 Oker. 
 
 For Deeper Shaddows, add Brown-Pink, Courfe and Lake, 
 part laid by, add more Brown-Fink and Lake> and to them 
 Bone-Black znd foon to the Darkeft. 
 
 Thus muft you temper them, till by comparing the Colour 
 on the Point of your Knife with all the Carnations and Tinc- 
 tures 
 
(7*) 
 
 ttiresin the Face,' you have obtain'd every Colour. 
 
 Note that this Method is to be us'd by Beginners, but thofe 
 that are more experienc'd in Mixture, are not oblig'd to com- 
 pound every Touch of Colouring on their Pallat, for they will 
 foon underftand how to mix great part of them with their Pen- 
 eels as they work. 
 
 But fure I am that moll: of thofe Tihkiurs I mention'd will 
 be us'd in fuch a Face as I proposed, and poflibly all. 
 . For a more Swarthy Com fie xtiou you rnuft ufe riiore Te Uow- 
 Qker throughout all the Lights; and ftiil as you add TeUuw-. 
 Oker you muft for the moll: part add Light-Red to keep it warm; 
 but the Nature it felf (by carefull ftudying of it ) will foon in- 
 ftruct yoti better then is poffible to be done in writing : nor in 
 a Swarthy Face will you have fo much ufe of thofe clear Blew* 
 tfb and Lakey Colours as in a very Clear one. 
 
 Your Colours thus prepar'd ; with a hand of Pencels, which 
 muft confift of about a dofen and a half, of Pointed, Black and 
 white Fitches of all CiCes, you may begin to work in this man- 
 tier (after your Face is exactly drawn in Chalk or Tripoly and cor- 
 rected by going over the Draught again with a fingle Colour, 
 and the little nobs of colour fcrafi'd of from your Cloatb, which 
 friuftbedf a very even thread.) 
 
 Take a large Black Fitch (which I hold to be the bed for 
 the free delivery of a Body of Colours) and ftrike on the large 
 lights, as the Eminences of the Forehead over the Eyes, the up- 
 per part of the neareft Ball of the upper Cheek, the top of the 
 Chin, and with a fmaller Fitch put in the top of the Nofe, the 
 top of the Eye-lids, &c. . ■ • 
 
 Then with your Second Lights and other Pencels, go between 
 the Eminences of the Forehead, and about the other firft Lights, 
 each fide towards the Bottom of the Gutter of the Nofe,the Ridge 
 of the Nofe, the higheft part of the upper Lip, and where you 
 lee occafion. 
 
 Then with the Lighteft Greenijb or Blew ijh Shaddows y go a- 
 bout the Second Lights of the Forehead, upon the upper Litl 
 of the Eyes, under the Corners of the Noftrels, the devifions 
 of the Chin, about the Temples, and then with darker Shad- 
 dows of that kinde, till you come to the deepeft the Face requites. 
 
f 8b) 
 
 The Bkwijb and Purpleijb Shaddows are forrietimes in the 
 Shaddow of the Nofe, little Tinctures about the Ghin, in 
 fcrefti-Colour'd Men, newly Shaven, aiid other places as Nature 
 will bed direct you, as likewife the blewiflb Shaddows under 
 the Eyes, fyc. 
 
 Next the fFarm^dark Shoddows towards theCorners of the Eyes, 
 thedeepeft Shaddows of the Nofe, on the Cheeks near the 
 Hair, and about the Chin. 
 
 Then theDarkeft Shaddows ,in the Mouth-ftroake, the Noftrels, 
 fometimes in the Shaddow of the Nofe, on the dark fide of the 
 Face, <&c. 
 
 After that ftrike in the Eye-brows, having left (pace for them, 
 but not to the whole breadth of them, that you may the bet- 
 ter ftrike the loofe Hairs over the Skin ; not too dark, confi- 
 dering that will appear very dark over a Light part, which is 
 not fo in it fell. 
 
 Next the Eyes, putting in the Lighteft part firft though fome 
 will put in the Sight firft. Then the Lips, obferving to put 
 in the lighteft parts firft (as in the others) and fo down to die 
 deepeft. 
 
 The Colours being thus all put in, you muft begin to work 
 them into each other, ftriking them in with a light Hand, ta- 
 king great care that you ftrike not the Shaddows Co far, to foul 
 the Lights, nor the Lights fo as to Injure the Shaddows t dri- 
 ving the Colours with the Pencel in the manner of Hatching* 
 When you have work'd all in as well as you can with your 
 Pointed Penccls, then very lightly and with much Dexterity, 
 run all over with your White Fitches, keeping them always ve- 
 ry clean as you Sweeten. 
 
 They being all layd Soft. Touch over the whole Face, as 
 you may fee occafion, and if the leaft Edge remains, be fure 
 to take it of. 
 
 Then rub in the darke places of the Hair with a brum ; 
 then the lighter, lay it foft, and Touch it over flightly with a 
 pointed Pencel for a Dead-Colour. 
 
 When your Head is thus Dead-Colour' d, and through dry ; 
 having fcrap'd of all the Crums of Colours arifing: with a brittle 
 Brufli, rub it very thin over with a mixture of Nut-Oyle and 
 
 Vemijh 
 
Vernijb, for too much Will change the Colours, then mix up your 
 Colours as before, and accordingly Paint it: but inftead of 
 Smalt, life Vltramarine Ajhes, and no Vmber^ except neceflity 
 requires it, to cover in fome deep Shaddows. 
 
 Having layd on your Colours, worke therh up with your 
 Pointed Pencels, and Soften the whole work with your w ite 
 Fithes, Touch it all over again with a fteady and free Hand ; and 
 laftly, where it may require it, Soften of all the Edges. 
 ■ But this time you muft take more pains with the Hair then 
 before, having rub'd your Colours hard, but thin in your Dark- 
 er and Lighter parts; with a little Turpentine Oyle and a large 
 Pointed Pencel, you muft ftrike in the Hair, carrying your Pen- 
 cel Circularly as the tendency of the Hair requires, and laft of 
 all Touch up the Lights and the Reflections and Dark Places as 
 you fee occafion. 
 
 Then when the whole is through dry, where you have oc- 
 cafion to Touch, rub in very thin a little Vernifli and Nut Oyle, 
 if you cannot touch it foft without it. 
 
 In Drapery s, when your Colours are in, you muft give the' 
 Sudden Lights with an extraordinary free Hand, and if poiTibly, 
 work them in withour Fitches ; for if they be not delicately us'd, 
 they will blunt the Brisknefs of the Silk which is the Beauty 
 of it. 
 
 As for Colour in Drapery, though fome have ( abfurdly ) 
 layd down Certain rules for all Colours, it is a thing im- 
 poiTible to do, by reafon the fame Colours from divers difpofi- 
 tions of Lights and Reflections, hz\e various Tinktures : nor need 
 the Pra&i/ionerbe concern'd about it, for when he can once ap- 
 prehend all the Colours in the Face, he may with great Facility 
 mix all Colours for the more difficult Drapery, even from Na- 
 ture it felf. 
 
 c a p. x x x. ; 
 
 i 
 
 Percepts in Colouring and Olaftng. 
 
 WHite reprefents Light and gives the Heightning ; Blacky 
 Darknefs, and Obfcures and effaces the ObjeSt, likewife 
 
 Y fets 
 
(Sz) 
 
 lets of the light parts and makes them appear by their oppofiti- 
 on, and both ferve one another to loofen the Obje& and di- 
 ftinguifh the parts of the Group. 
 
 In Carnations, we muft avoid the Affectation of too many 
 Clear Red Colours, which more refemble the Skin when Flead 
 of, then the true Natural Skin. 
 
 Nor muft we affect the diverfity of Sparkling and Glowing 
 Colours, as the Bright of Diaphanom Bodys^ which reprefent re- 
 flections of the variety of Neighbouring Colours ; always re- 
 membring, that mans Skin how Beautiful foever, dwells in a 
 delicate down-Colour. 
 
 We muft obferve in the Contraft, or the Oppojition which In- 
 tervenes in the Union of Colours 5 that by a fweet Interruption 
 it may rayfeup its Brisknefi, without it a fading Difagreeable- 
 neji enfues. 
 
 In Landjkip we muft obferve, that the Air being univer- 
 fally overfpread, carrys fomething of Light with it, and admits 
 nothing Darkle in places at diftance and approaching the Ho- 
 rizon. 
 
 That which way foever we carry the Wind, the Clouds , 
 Tree r and all Things Subject to its Motion, tend the fame way. 
 
 That in Clouds for Storms, &c. they be Painted in manner 
 of a Group, and not to much Scattering by Breakes, which will 
 difturb the Harmony of the Picture. 
 
 We muft carefully obferve all the Squars, as on the Fore- 
 head, Chin, top of the Nofe,between the Neck and Breafts, <£yc. 
 
 In great works we mnft lay the Colours on Full, that we may 
 Empaji and Incorporate them fweetly, and that will make them 
 to hold Firm and be lafting. 
 
 We muft have regard to the expreiTions of Matters and Stuffs, 
 whither they be Poliftt or Rough, Shining or Dull, Diaphanous 
 or Solid, Soft or Hard, fyc. 
 
 Colours muft be fo laid together, that they may be all fweet- 
 ly united under the Brisknefs of a principall one, that it may 
 participate of the Light which is chief over all the reft in the 
 Picture i and that all the Colours be Connected together by an 
 agreeable Vnion, and likewife fo difpos'd as they may partake 
 of each other, by the Communication of the Light and help 
 of Reflexion. We 
 
( % ) 
 
 We muft not only avoid all Garrijb and Gaudy Colouring 
 (the Effects of a poor Judgment ) but likewife a Brisknefs in 
 the Meaner Farts which may any way hurt the Eye of the 
 
 We mud obferve to lay the Colours very flrong at firft, be- 
 caufeitis eafy to weaken what we would put back; but more 
 difficult to give a ftrengch, where it is weakly put in. 
 
 Touches muft be Bold, by the conduct of a free and fteady 
 Pencel, with all poffible Freedom : that thereby, they may Ani- 
 mate the work with Life and Spirit, and may appear moft Fi- 
 nifh'd at a Proportionable diftance. 
 
 But in works finifli'd to be feen near at Hand, you muft 
 apply each Colour properly in its place, fweetning with a light 
 Hand all their Extremity without Tormenting or Fretting 
 them, that their Purity may be preferv'd. 
 
 In Drapery we muft confider, that we have a perfect liber- 
 ty in choofing the moft proper Colours to produce good effects 
 accordingly we muft fhew our Judgement therein. 
 
 When a Pitlure is Dead-Coloured, we muft avoid the fmeer- 
 ingittomuch with Oyle, for the more fpeedy and eafy Finifh- 
 ing thereon, which foon caufeth the work to Change. 
 
 Take care the Priming of the Cloath or Pannel be through 
 dry, before you Paint thereon ; or the foul Priming Colours in- 
 corporating with your work will alfo caufe it to Change ; as 
 likewife that a Dead-Colour be dry for the fame Reafon. Where 
 you ufe Turpentine Oyle take care the Colour under be hard dry, 
 for it is of fo peircing a quality, it will raife the Colours. 
 
 We muft have regard to the fcituation of Colours, where 
 we muft obferve to put before the Picture, thofe which are 
 Naturally the ftronger and of the greateft Purity ; that by 
 the Force of their Brisknefs, we may keep back the Force of 
 them which are Gompounded, and which muft appear at a 
 diftance \ all Compojitions diminishing the Force which is in 
 the Purity of Colours. 
 
 In Glazing, the Colours under muft be layd fmooth and 
 ftrong, by reafon it takes from their ftrength, we muft alio 
 have regard to the Body of the Colour we Glaze with*, and 
 accordingly do it oftnev or fewer times over. 
 
 Note 
 
( H) 
 
 Note that the fame Ground by the diveifity of Glazing 
 Colours, produceth divers Colours in Drapery ; likewife the 
 Glazing Colours by the diverfity of Grounds* 
 
 For a Scarlet, your Drapery muft be in the Heights, Ver- 
 milion, and brought down firft with Indian Red, then with 
 Bone-Black \ when Finifh'd, Glaze it twice or thrice thin, ac- 
 cording to the Body of your Lake : if it requires more ftrength 
 Touch up the Lights with Vermilion, and Glaze it thin or'e a- 
 gain, then in the extremeft Lights of the Sleeves, Scarf &c. 
 of the Drapery, touch it up with Vermilion and White y always 
 remembring, that you Glaze not the Heightnings where there 
 is any White, by reafon it will render it Purpleifh and take 
 from the Beauty. 
 
 For a Crimfon, lay the Ground with White^ Blew Black, 
 and Indigo in the deep, Glaze it with Lake. For a Sea-Green, 
 lay the Ground as before and Glaze with diftill'd Verdigreece. 
 A Grafs-Green, in the Heights Mafiicot, then Tellow Oker, Vm- 
 ber and Bone-Black, Glaze with Verdigreece. For Olive Colour. 
 White, Blew Black and Bone Black, Glaze with Brown Pinck. 
 For a Blew with Smalt, the Ground as before, Glaze feven or 
 eight times,very thin with a very fteady,but free hand. Glaze with 
 Ultramarine on the fame Ground. For the moft Beautiful! Red, 
 lay the Ground as in Grafs green, but in the Finifhing ufe Pinks 
 inftead of Tellow Oker and Vmber, as likewife in Finishing the 
 Grafs Green Glaze the Red with Carmine. You muft Glaze with 
 Nut Oyle & Vernijh mix'd,in the Darkes you may ufe Dryiny Oylc. 
 
 And laftly you muft take care in the Colouring of the Har- 
 mony which makes the variety of Colours agree, fupplying the 
 Wea\nefs of fome by the Strength of others, tofuftain them, as 
 by a Confonance well manag'd, where they muft neglect on 
 purpofe certain places, to ferve for the Ba/is and Repofe of the 
 Sight j and to raife up thofe which by their Brisknels keep up- 
 moft. And likewife of the Degradation, where the more eafe- 
 lyto Proportion the Degree of Colours that flyback, we muft 
 referve Tome of the fame kinde and entire purity, and then to 
 compare them which ought to be a far off, according to the 
 Persjeftive Lines, to juftify the Diminution ; obferving the Qua- 
 lity of the Air, which being charg'd with Vapours, duls them 
 more then when it is Serene. Thefe 
 
( i'i ) 
 
 Thefe are the rnoft General and Principal Rules I could 
 recollect, but the Pratlife will infencibly iuforme your Judg* 
 merit with infinite lelfer Obfervations ; which with diligent 
 ftudy, and a Mind adapted to ib Ingenious a Diverfion, will 
 procure you the Happy Fruition of your defired End therein. 
 
 C A P. X X X I. 
 
 Precepts about Ordonnance and Dejign. As Likexpife 
 for Drawing by the Life. 
 
 *W N Defigning a Peice of Hiftory we mull have greateft Re- 
 gard to the Principal Groups that the Lights fall ftrongeft 
 on it, and more efpecially on the Chef Figure that it be of 
 the firft Charatler and moft Finifh'd, being the Eye of the 
 work. 
 
 That the Group be fuftain'd by fomething that feems loole 
 about it, which ferves to extend and continue it to fome other 
 Group by, otherwife the Diminution will be too apparent, and 
 break to much into Heaps, and the Eye not defcend natural- 
 ly from one to another, which muft, begining at the Principally 
 fall according to the Mind of the Story. 
 
 Too force Attitudes muft be avoided, which caufe extravagant 
 Comorfans : but the boldeft A&ions are allowed ( not exceeding 
 Nature ) which may be advantagious to the Dejign. 
 
 Wee muft avoid an Injudicious Mixture o^Pajfions^ which 
 will difturbe the Harmony of the Picture ; as the mixing Anx- 
 iety^ and Roughnefsy with Chearfullnefs, Clemency, <&c. 
 
 . We fhould never Exprefs a Figure without firft examining 
 the Atlion from the Life ; fince in every ABion there is lbme 
 Alteration in the Mufcles, Joynts, Contorfions, &c. 
 
 Pajfions muft not only be form'd in the Features aud A5tions y 
 but fuited, alfo, to fit Conjiitutions and Completions. 
 
 We muft referve our greateft ftock of Fancy for the Principal 
 Part of the Picture, leaft fpending it on the meaner parts, we 
 fhould be exhaufted when we have moft occafion to make ufe 
 of it, 
 
 X In 
 
(86) 
 
 In fupplying Lights and Sbaddows obferve to difpofe of the 
 EffeSts, by placing all the parts of the Subject, fo that at the fame 
 time we may fee what the whole Compofition produces. 
 
 In Defi^ns of Great and Honourable Anions, we rr.uft avoid 
 the bringing in any thing that favours of Rujiicity, or Boorijhnefs , 
 but maintain the Character throughout the work. 
 
 Beyond the ufual, Actual worke of Nature a Painter may de- 
 fcribe, but not exceed the conceived poflibiiitys of Nature, ex- 
 cept the Subjects are Fixions, as Fegafus, Centaurs y Satyrs, &c. 
 
 In very lean Figures we muft not expofe the Nudity s, lead 
 they appear too Mefquine, but fcek fome occafion to cover or 
 reprefs them, that we may render the parts more agreeable. 
 
 Where there be feveral Figures we muft give feveral A^effis, 
 Habits, Anions &>c\ for the eye delights in variety as well as the 
 Mind, and thefe are faid, Contrafter bene' 
 
 We muft obferve an JEquilibre in the Defign,chat when there 
 be divers Figures on one fide, we muft Ballance it on the other ; 
 the like muft be obferv'd in a fingle Figure, when one Arme 
 moves forwards, the other or the like muft be in a backward po- 
 rtion, to JEquipoife the Figure. 
 
 We muft obferve in the Figures of Mans Body, that the Head 
 be placed well between the Shoulders,the Trunk upon the Haun- 
 ches, and the whole upon the Feet in Juft Proportion, and thac 
 one Leg may reft firm under the Body. 
 
 In all Animals we muft proportion their Bignefs to their 5a- 
 tuation,'m& Strengthen their Fofttions bymeans of the lEquilibrum. 
 
 In Defigns of Large Figures, the other things in the Picture 
 muft be of a Large Kinde, not only by avoiding things Jimini- 
 tive from the Natural, but fuch as are fmall in Nature, 
 
 In all their differences which can occur in their Portions, we 
 muft propofe an even Plane, to finde precifely their Scituation, 
 and fettle their place by fudden Breaks and Diftances, conform- 
 able to their Persfeffiive, after a juft and exact Scituation, accord- 
 ing to the diminution otDiflance whither plac'd high or low r . 
 
 In all Hiftores we muft have regard to the Climate, and the 
 time in their Habits, taking care we Drejl not Antique Figures 
 in Modern Habits, nor one Country in the Drefs of another. 
 
 We muft adjuft the Drapery fo on Figures, that they may 
 
 appear 
 
 / 
 
( 8 7 ) 
 
 appear real Veftrnents, and therefore we mufl cloath the Lay* 
 man, before we put it in the Action we defign. 
 
 The Folds mud be difpos'd in fuch manner, that they may 
 make the great parts, in which the Nudity may appear, Free ; the 
 little Folds being plac'd about the Joynts ; and taking great care 
 that upon the Relief and Surface of Members, we do not ftrain 
 or hurt them, but that the motions may feem difingag'd. We 
 muft alfo raife up the fluff, letting it fall lightly, that the Air fu- 
 ftaining the Folds, may make them fall more neat and foft. 
 
 We mufl: take care to diftinguifti Draperys ; Taffatys and 
 thin Silks muft be full of Breaks Flicker ings \Sattens more 
 Quick Lights, the Folds lying more foft and round ; but | Velvet 
 the quickgji, the deeps very dark, with Reflections on the out- 
 ward parts of the Folds. 
 
 Large Figures muft be drefs'd with Folds large and free, 
 more to be regarded for their Grace and Facility, then for their 
 affected Pains and Induftry. 
 
 Hair mufl: be touch'd in large Hiftorys with a full and free Pen- 
 cel, not nicely workt up to follow the Nature, for that will be 
 all loft by the diftance and appear Flat. 
 
 We may neglect the Nicity of the ftory for the Advantage of 
 the Picture, as putting any former Hero in better Grace and 
 Pofture ( if in a great Action ) then perhaps Hiftory hath tranfmit- 
 ted to us. 
 
 In Dead Bodys we muft avoid all that appears Noyfome and 
 Vnpleafant to the Eyes ; ever obferving to take the befi of Nature : 
 fo in the miracles of Curing Difeafes, we may take the what is 
 Acute in pain, omitting what is Loathfome to the Eye. 
 
 We muft fhun all Sharpnefs in the Contorjions as likewife all 
 Flatnefs in the Body of the Piece. 
 
 In Lights, by Night the Artificial! muft govern the Naturall, 
 but by Day the Naturall govern the Artificial!. 
 
 If the AStion be in Vninhabited places, you have liberty to re- 
 prefent the Extravagant Effe&s of Nature, but in a well dif- 
 pos'd Irregularity ; if in Inhabited places , you have Liberty for 
 Ruins fyc. at a diftance, but not near Hand. 
 
 If the Buildings be Ruftick, you may difpofe them to the bed 
 Advantage of the Figures, and according to the Idea of the Sub- 
 
(88) 
 
 ject : if Regular ', we muft have refpect to the feveral Orders of 
 Architecture. But Regular or Irregular^ we muft obferve their 
 Geometrical! and Perpendicular, according to the Rules of Geome- 
 try and PerfpeHive. 
 
 In all Mountains, Rochj, Buildings, Trees, foe. we muft 
 Proportion their bignefs to the Plane where they are plac'd,and 
 hold it for a Maxim,to make the Ground-plot great enough for 
 the freedom of the Figures, and the meeting of all the fine Effects. 
 
 We muft take care to adjuft the Landskip to the Figures, noc 
 only to its Manner, but alfo to the Colouring part, that it may ly 
 quiet, and put the Figures forwards. 
 
 Finally we muft obferve. that the whole work be of one Peice-, 
 all Free, and nothing Forced or Refiraind; a judicious obfervati- 
 on in the Perjpe&ive ; Actions fuiting the Character, whither 
 Noble or Ruftick ; the Sex, whither Mafculine and Strong ; or 
 Tender, foft and Eafy ; the Age, whither Grave, Vigorous or 
 Childijb : that there be a Principal Eye in the Picture, to which 
 all the reft have reference. That there be a Harmony of Colour- 
 ing throughout the work, that in the Drapery, the Leffer folds 
 defcend naturally without Croffings and Confufion from the greater, 
 that the Figures bare exact: Proportion : and the Fore fhortnings 
 be brought to the ievereft Teft of the Judgment. 
 
 But wheras in Hiftory the Figures have dependency on each 
 other, a Figure by the Life( one Figure ufually making the Fi- 
 gure) be only agreeable to it felf, 
 
 We muft Confider ( by divers Tryals ) what Pofttion o{~ Body, 
 Action and Light beft becoms the Per/on, and when any thing 
 feems fore'd or affected, we muft Endeavour to divert them by 
 Difcours, &>c. 
 
 For a Round and full Vifage take a three Quarter -Face, for a 
 Xfr/Vz and Lo/zg, more Foreright. For a /o/f Languijhing Look, the 
 Face fomething Inclining, For a Sprightly, more upright, looking 
 over the Shoulders, ^r. 
 
 Let Children be playing with Lambs, Birds, little Bogs, Catch- 
 ing water from Fount aines,znd with the like Childijh A&ions, Lads 
 and To»72£ Virgins Shooting, Hunting, in Sheepherds and 
 herdeffes Drejjes, foe and fo luitable in all 4^ f i an <* to 
 their Quality, but for all Habits drefs up a I ay-man and Pair 
 
 fro;' 
 
from the Nature. Nor muft yon only fait the Age and -Quality; 
 but alfo the Complexion 5 a £r/y£, Sanguine bearcs the Strongeir, 
 a Sallow, weaker coloiir'd Drapery. And where you Paint much 
 Drapery, carry backward and in the Shaddow what you can, 
 that you may not hurt the Eye of the Picture. 
 
 put Scars and Defeffs { as much as may be ) in the Shaddow; 
 not only taking the befi, but Helping Nature, where it may be 
 done without Hurting the Intent of the Pitlure. 
 
 If you have feveral Figures, put them in manner of a Group, 
 with Half, three quarter and Foreright Faces ; not all looking on 
 you as if they were fuppris'd. 
 
 Landskip muft bare a Harmony in Colouring with the Figures: 
 putting them forward ; Shunning the affected Finifhing of Trees, 
 Flowers, &*c. which fhew more of Labour then Art. 
 
 Be as quick as may be (without Injury to the work ) in a Face, 
 Catching the brisked Air before it finks by the Perfons growing 
 Uneafy ; and laftly, give all that are by, Liberty of their Opini- 
 ons in the Likettefs, for thence fometimes you may Correct your 
 work. 
 
 Thus have I giving the mod Neceflary Directions and Infirm 
 Bions throughout the whole Mifiery of Painting: Thefewitha 
 diligent Study in the Theory and a Garefull management in the 
 Fra&ife will Ejfetl. an Entertainment, Suitable to the mod 
 Noble Genius, 
 
 f 1 3^1 s. 
 
By Reafon fome through the prejudice of Education and yet of 
 good Ingenious Parts, may find fome difficulty in Terms of 
 Art^ and other Words in this Book, I thought fit ( for their 
 Benefit ) to fubjoyn the Explanation of them. 
 
 ATtitudes. Actions, or Poftures. 
 M nigmatieal '■> full of Riddles. 
 Accumulate ; to heap up. 
 AlkQive ; Alluring. 
 Altercation ; PVr&ngling. 
 Amfra&uous ; Broken. 
 Anatomatize} to cut up. 
 Analogical ; Proportionable, 
 Anoptica ; Looking up. 
 Apex ; the Top of any thing. ' 
 Bacchanalization; the Drunken Feoffs. 
 
 of Bacchus. 
 Beatitudes ; Blefftngs. 
 Catoptica ; Looking downwards. 
 Chiaro Scuro ; Placing of Lights. 
 Concretion ; foyninq tegather. 
 Convex ; Pound. 
 
 Cofmographicall ; writing of the world. 
 Contours; Out-Lines. 
 Contraft ; ftrengthening togather. 
 Dulcifonant, Sweet founding. 
 Diaphanous ; Iranfparent. 
 Diaphonus^ Starring, 
 Dilatory ; Tedious. 
 Diapente; a fifth in Mnftck. 
 Diapafbn; an Eight in Mufick. 
 Diatefferon 5 * Fourth. 
 Dilation ; an Enlarging. 
 Diagonally ; From Corner to Corner. 
 Expanfion j a laying open. 
 Exornation ; an Adorning. 
 ExitiaH Diftrutfive. 
 Entity ; Being. 
 .Eleimofinary ; Charitable. 
 Efflux : a Flowing out. 
 Ebullition a Boyling up, 
 Epileptici ; given to the Falling Sicknes. 
 Empafle ; to lay well in. 
 Elevation* Lifting up. 
 Group; a Knot of Figures togather. 
 Homiomasre ; a Likenefiin Parts* 
 Hydrographical ; writing of the Ocean 7 
 (frc. 
 
 Hypothefis; the Argument of a difcourfe. 
 
 Hatching ; fir/king firokes as m Gra- 
 ving. 
 
 Idea h the Form of any thing. 
 Ineffable Vnfpeakable. 
 Interferon 5 cutting off. 
 Ichnography ; ground Plot. 
 Monopolift ; one that Ingroffeth all of 
 
 a fort or Kjnd, 
 Monochroma : one Colour. 
 Matempfychofis 5 faffing of foules from 
 
 one iody to another. 
 Occult ; Hidden. 
 Oeconomifts ; Govermurs. 
 Ofteology; Difcourftngof the Bones. 
 Optica 5 Sight foreright. 
 Proditorious ; betraying. 
 Prototypon 5 the firft Pattern. 
 Paripateticks ; Followers of Ariftotle. 
 Phyfiological ; difcourftngof Natural 
 
 Canfes. 
 Protracted ; Prolonged. 
 Protuberant ; Swelling Hp. 
 Phyfical ; Natural 
 Profile; Reprefeutation of Heights 
 
 Depths &c. 
 Ratiocination 5 Reafoning. 
 Relievo 5 An Embofs'd Figure. 
 Refracted 5 broken open. 
 Speculative : Contemplative. 
 Superficies 5 the Surface of any thing. 
 Symmetrical ; Proportionable. 
 Selquialter; fomuch and half as much 
 
 mere. 
 
 Suprabipartient more then divided in 
 two. 
 
 Sefquio&ava 5 an eighth part above the 
 whole. 
 
 Sciographica Plat-Form or Draught. 
 
 Scheme j a Form. 
 
 Tone ; a Tune, or Harmony. 
 
 Teints ; Tincktures t touches of Colours. 
 
 Vertigious 5 Giddy. 
 
 Zenith; the point direflly ovey o#r he/ids. 
 
TH£ GETN CElUtt 
 LIBRARY