PAinting is an Art, which by Draught of Lines and Colours, doth not only Express the Forms of all things, on the super­ficies of the Earth (according to Socrates) [...] with the Actions of all Animals, but likewise the Passions of Intellectu­al Beings.

It is the Noblest of all Arts, since it immediately Copys after the Miraculous hand of the Almighty; nor only imitates Created Beings, but the Creation it self: for out of a Chaos of Colours, which by chance mixture, would perish in their mutual Imbra­ces, and of themselves are Glaring, or Foul; and thence un­pleasing to the Eye, as ill sounds are Diaphonous to the Ears; the Artfull Hand, by a Sympathy in Mixture, and the Harmonious Unisons of Proportion, not only Formes a Beautifull Body, but likewise gives the Expressions of the Soul.

It is the most Expressive of all Arts, and of more General Information then Printing; for it speaks at once to all Nations and Languages, and they who are strangers to Letters, may read the story in it felf: therefore the Egyptians Couch'd their wisest Morals in Hieroglyphicks and Emblems, and the Uni­versality of the Knowing part of Mankinde Improv'd thereby.

It hath more Force of Perswasion then Eloquence, for the Idea of any thing is more Subtilly and Entirely Conveyed to the Understanding by the Eye then by the Ear, Objects being more Allective to this Sence then the other; and having this Advantage, that the Visual Rayes at once Comprise the whole Story, whereas Relation is Dilatory and thence more Burthensome to the Memory.

What use the Ancients made of this Art for the Exciting Vertue, may be seen in these (amongst Numberless) Examples.

The Romans Painted Fortitude in the Example of Horatius Cocles defending the Bridge (call'd Sublitius) against a great Troop of Tuscanes: and Marcus Marcellus, who by cutting of the Head of Britomarte a French Captain, Discomfitted the Enemies whole Army.

For Love to their Country, Mar. Curtius, who cast himself and Horse into a Bottomless Gulff: and the Three Decii, the Father in the Roman Warr, the Son in the Tuscane and the Nephew in the Battle against Pyrrbus; all which ran into cer­tain and Eminent Death, for the good of their Country.

And for Military Discipline, Posthumus the Dictator, who put his own Son to Death for getting a Conquest over his Ene­mies by breaking his Ranks: with innumerable more Emblems of Divers Vertues and pieces of Gallantry.

Certainly these Painted with a great Spirit. Passion and Grace­full Action, must be more Instructive and Exciting then the most Rhetoricall Herangue.

It is the most Ingenuous Art, and greatly assisting to Natural Philosophy; since with the greatest Scrutiny it examines into the very Entity of Nature.

It Argues in the Masters the Finest and Sublimest Invention, to Express many Times, the most Heroick Actions in the World, with greater Magnanimity and Beauty then the Celebrated Actors were possessed with.

And those great Men whose Works have been held in such Admiration, both by the greatest Judgments as well as the Noblest Quality; it shews in them Souls Capacitated and Adapted for such high Actions as themselves have Exprest so to the Life: for there must be a Concretion of Idea's into a [Page 6] Form in the Minde before Action is produc'd: of Mindes to Replete their works are sufficient Evidence.

THE Omnipotent, whose Divine Pencel Drew all these Wonders which continually present themselves to our Admiration, and which Man by an Homaeomere endeavours to imitate, Challenges the Prerogative of this Art to himself, Job 39. 13. and as his peculiar Gift bestow'd it on Bezaleel and Aholiah, Exodus 31. whom, he fil'd with his spirit, in Wisdome and Understanding; in Knowledge to finde out curious Works, to Carve, &c. which we shall shew hereafter to be the same with Painting in Essence, but exceeded by it in Perfection.

Minus King of the Assyrians (as History Reports) having Celebrated the Obsequies of his Father Belus, First King of Babi­lon; to Mitigate part of the sorrow for his Fathers Death, and to restore in some measure such a loss, caused his Image to be Carv'd.

After the Deluge Prometheus Son of Japhet Invented Pla­stick, and was in such Request with the Arcadians, being of a Pregnant Witt and sollid Wisdom that he brought the Rude and Barbarous People into civil Conversation: he added Artificiall Motion to his Images, whence the Poets since have made their Fictions.

After this, the Art came to be better known, and with the growing Art Honour to the Inventors increas'd, therefore Gyges the Lydian amongst the Egiptians: Pyrrus amongst the Grecians, and Polygnotus the Athenian, amongst the Corinthians, were highly Valued, as the first amongst them that found out Painting.

They first began in Black and White, Plin. lib. 35. cap. 1, 2, 3. &c. the Authors, Ardices the Corinthian, and Telephanus the Sicyonian, then Cleophantes the Corinthian, brought up the use of Colours, though principally but One, whence the Historio­graphers [Page 7] call'd it Monochroma.

Apollodorus, afterwards, the Athenian began the use of the Pencell: as likewise Cumanus the Athenian; Cimon Cleondus added much Perfection by Fore-shortning: after Paneus added farther Perfection, Inventing the Art of Drawing by the Life.

Parrhasius the Ephesian did farther adorn it, as likewise Zeuxes, who brought up the manner of Shaddowing.

Appelles added the last Perfection by the help of Geometry and Arithmetick; without which, as his Master Pamphilus would say, no Man could prove a Painter; and Bernard Lovinus would say, a Painter without Perspective was like a Doctor without Grammer.

And indeed it is a Compound of many Arts; as Geomitry, Architecture, Arithmetick, Perspective, &c. for a Painter can­not perform without Lines, Superficies, Profunditys, Thickness and Geometricall Figures.

Nor can Churches, Pallaces, Amphitheaters, Bridges, Ports and other Buildings be Represented without Skill in Ar­chitecture.

Nor without Arithmetick can he Understand the Proportion of Mans Body, to take it in any sise; or the Proportion of other Things either Artificiall or Naturall.

And without a good Judgment in Perspective, the work will be full of Faults, it must be us'd in all Fore-shortnings, all Distances, in Highths, &c. nay, without a Carefull Disposal of the Colours according to Perspective, a simple Convex will be Defective in its Orbicularity: but we shall discourse of Per­spective by it self.

So sacred have the Memorys of the Inventers of this Art been of our Progenitors, that they have carefully Transmitted them down to us, and Doubtless will be to all Posterity.

And although, not only by diverse Contingences but the necessity of Fate is such, that the Formation of one Species, must be through the Destruction of another, that there may be a Circulation to the Termination of Time, by Consequence the Materials of their Art have perished, yet such hath been the Care of Fame over the Eldest Sons of Art, that she hath writ their Names on the Adamantine Rock, beyond the Power [Page 8] of the Cruel and Remorsless Jaws of Time with Teeth of Iron to Devour.

IT is sufficiently Known in what Esteem Painting hath been amongst the Aegyptians, under which they Communicated all their Natural and Morall Philosophy: it was their Treasury where they Accumulated all their Arts and Sciences: For since the Power-Memorative could not contain all the Similitudes and Idea's, which by the Labour of the most Ingenious (Infinite in Possibility) were Produc'd, here they Reserv'd all the Occult Riches of their Misticall Knowledge to all succeeding Ages.

From thence, in Process of time hath been Transmitted down to us considerable Benefit, in Philosophy, by the Hands of Plato, Pythagoras and other Philosophers, who sayl'd to Aegypt to tran­sport it thence: And though some of their Hieroglyphicks appear Ampfractnous to us, which doubtless is from their long disuse, yet some I have seen not so Aenigmaticall but might be easily Under­stood; and as before was hinted, they had the Advantage hereby to speak in all Languages, and so of their most precious Wealth were Eleimosynary to the whole World.

In imitation of them the Ancient Romans set up Emblems in Publick places of divers Animals, under which their Philosophy­cal Misteries were couched, and from Hieroglyphicks and Emblems they proceeded to Paint, the Famous Actions of Worthy Men, that through the Emulation of their Actions, they might Excite the Young Noble Spirits to like Performances.

Nor was this Art only Honoured, by the Noble Use made of it in this manner, but likewise by the Study and Practice therein by those of the greatest Quality; as also by the vast Sums paid for severall pieces for the Encouragment of the Artists, as well as for the future Profit and Pleasure thereby to themselves, and Posterity.

We reade of Francis King of France, and first of that Name that he Practis'd in it to a great Perfection: as likewise Charles Immanuell Duke of Savoy, who was well Read in all Heroicall Vertues as well as in the Liberall Sciences, but most delighted in Painting.

Quintus Fabius, his Family the Noblest in Rome Sirnam'd Pictores, took great delight in this Art: and Painted the Temple of Salus with his own Hand, Subscribing his own Name to his Work as the more lasting Monument of his Glory: Rutilius in vita Quint. Fab. Pic.

The Emperour Constantine, spent great part of his Youth in the Practice of this Art; as we find Sigibert in Cronicis.

Likewise Prince Lavinianus, valued himself more on this, then on his Noble Descent and other Qualifications, Them. lib. 2.

Pomponius Atticus, a Man of Profound Wisdome and Favourite of Cicero, beautify'd his own Poems, with Pictures of his own Design and Drawing.

Lucianus also of Imperial Descent, when he retreated from State-Affairs, spent his Time in this Ingenuous Art; declaring it to be the most Princely Exercise, to Copy the God of Nature in his Works; Sal. lib. 3.

With many more of the Greatest Princes in Europe and ever of the most 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 Festival days were appointed at Corinth, for the exercise of Painting, for Great Pryses and Wagers, and we see at this day they are esteem'd as the most Valuable Jewels, by the Noblest Rank of the Age, in Forreign Countrys, as well as with the most Ingenious of the Nobility in England: this Art ever being in greatest Estimate with those who have been the most Remarkable for their height of Fancy and depth of Judgement.

How former Times Esteem'd it, may be seen by these few among Numberless more, by the Sums were payd for them.

Antonius Vesuvius payd for a Piece of Michael Angelo, three thousand pounds sterling.

Caesar the Dictator redeem'd the Tables of Ajax and Medaea for Eighty Talents; which amounts to twenty four thousand [Page 10] French Crowns according to the lesser Athenian Talent.

King Attalus payd for one of Aristides Pieces, a Hundred Talents.

Candalus King of Lydia gave as much for a Piece to Bularchus.

Strapbonius Polenus gave to the Value of five thousand pounds Sterling for a Picture of the Divine Raphiel.

Hortensius the Orator gave for a Table of the Argonants, one hundred forty four Talents.

The Duke of Millain Rewarded Raphiel Urbane with as many Ducats as would cover a large Piece which he made for him.

Mnason payd to Asclipiodus for the Twelve Gods, after the rate of three hundred pounds a Piece.

Pope Innocent the Eighth, so Famous for his Knowledge in all Learning and Ingenious Arts, bestow'd upon Andrea Mantegna in the Belvedore of Rome, two Thousand Ducats for a months Work.

Polidorus likewise, payd for a Piece of our Saviours Nativity of Rubens, fifteen hundred pounds Sterling.

Nor is it strange that these great Masters Works should have a higher Estimate then the most valuable Jewels, since they may be met with again of the same colour Nature and Dimen­sions, but a great Design may be particular throughout the World: besides the variety of Pleasures and Benefits hence arriving, of which the other is wholly void.

THere hath been a continual Altercation between Painters and Carvers for Superiority in the Excellency of Art: but that Carvers may not pretend to excel Painters in the Essential part we will lay down how far they agree and then wherein the Carvers are Excel'd.

It is a General Rule, what agree in a Third agree between Themselves, if it be objected a Hank and a Hound are the same by this Rule, because both living Creatures; it followeth not, for though they agree in the Generallity of being living Creatures, yet they differ in Speciality of Kinde.

And as there is no Essential difference between two particular Men, both being Rational Creatures, so there is not between Painting and Carving, for both tend to the same End, by Representing Individual Substances; and both must observe the same Geometrical Quantity in what they Represent.

Suppose a Painter and Carver were to Counterfeit the same Person, doubtless both would conceive the same Idea of him, proceeding in their Minds with the same discourse of Reason and Art, and (as before) observe the same Geometrical Quantity, endeavouring to make it as like the Person they Represent as they could: and so the Draught expressing the Idea's of both the Workmen, would agree in expressing the true Resemblance, which is the Essence of this Art.

Tis true one Painteth and the other Carveth; but this is a Material Difference only, which argues no Specisical Difference in Art or Science, and it is the Essential Difference alone that maketh a Distinction of Species and Diversity of Science.

If it be Objected that the Carver maketh more of the Figure then the Painter, it is answer'd, more or less makes no Spe­cifical or Proper Difference; therefore it is the Defect of Matter, and not of Art, thus far the Arts are Analogical.

Now that this Art far Excels Carving is easily Demonstrated, since on a Flat, it Represents Roundness and Thickness, exceed­ing therein the Power of Nature it self, expressing Life and Spi­rit far beyond Carving, as in these Instances.

Apelles Painted Alexander the Great so to the Life, that his Horse Bucephalus brought into the Room, immediately kneeld down supposing it his Master: His Horse he likewise Painted with such Spirit that other Horses began to Neigh, when they saw him.

Andreas Mantegna represented a Servant in Porta Vercellina, so Natural, that the Horses left not Kicking at it till there was no shape of a Man left.

Barnazano Represented Strawberrys on a wall so fine, that the Peacocks continually pect at them; and Caesar Sestius Painted in a Piece, Birds, so to the Life, that the Table set abroad, they brought Flocks of other Birds about them: and 'tis Re­ported there was a Dragon Painted with such Spirit in the Trium­virate in Rome, that made the Birds leave singing.

A Picture likewise was in Claudius's Theater, where the Tiles were so Naturally Painted, that the Crows offer'd to fly through the Painted windows.

Zeuxes's story is well Known, by the Grapes which Invited Birds to them: though himself was afterwards deceiv'd, by a Curtain done by Parrhasius in Emulation of his Grapes.

Live Partridges have flown to the Painted ones done by Par­rhasius upon a Column at Rhodes. A Dog likewise defac'd the Picture of a Dog done by Gaudentius in a Picture of Christ carry­ing the Cross at Canobium. But these are all trivial Things in respect of the Passions and Affections, in which it far Excels Carving: since to most Passions is required a Change of Com­plection, as well as Destortion, Contraction &c. of Features.

A Venus cannot be made with that Allectation in Carving, since the Complection of the skin, with Colour of Eyes, Hair, &c. are requisite to the Perfection of a Beauty.

Nor can History be Carv'd without great Defects, since all Distances require a Faintness of Colouring, as well as Diminution of Body: with many more Observations in Nature, onely Ob­vious to Colouring, of absotute Necessity for the Animating of Figures.

Not that I would the least Detract from those Famous Ar­tists who have obtain'd to themselves a lasting Name; but think they more deserve to be worship'd for Gods, then the Gods which were the works of their Hands.

THE more Noble any Science is, certainly the more Essen­tiall it is to the Qualification of a Noble-Man; that this is such, is already prov'd from its Antiquity, its several Honoura­ble Proffessors, with the Reception it hath had beyond all Arts in the World; and in its own Nature being the most Lauda­ble, since of all Arts it nearest Imitates (by continuall Copying after) the wonderfull Hand of the Omnipotent.

What can become a Gentleman more then to talk Pertinent­ly of so Ingenious a Science, and which he hath continually before his Eyes, when without a Judgment in it, he shall (by mis­placing Proper Terms) be the Jest of those, whose greater skill will not excuse their ill manners herein. Besides, this be­ing the greatest Ornament for Pallaces and Noblest Seats, it prevents their being impos'd upon in Pieces of Value, which they often suffer to great loss, though to the Infamy of those Mercenary Men who are guilty of the Imposition.

It is the greatest 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 Treasury of the Memory.

It's of absolute Necessity for all Commanders, for the Design­ing Fortifications, Drawing of Lines, &c. and greatly assistant to the study of the Mathematicks.

Here they may see and Learn how their Predecessours Accu­mulated their Glorys, and Learn to Emulate the Grandeur of their Actions, that like them they may be Transmitted (by some Artfull Hand) to Posterity.

The Practice of this Art not only raises the Fancy, but makes it Pregnant to the Production of still more great Idea's, Pressing on to the Mount of Perfection, where with pitty they behold the rest of Mankinde below.

And had not those Celebrated Wits both Painters and Poets, whose Contemplative heads were Replenisht with a continuall Esslux of Notions, by this or Poetry found a sweet discharge of their Crouded Fancy, either being to big to pass through the Nar­row Avenues of Common Sence, they had burst forth in disorder without Maturity, and so become but Distracted and Confus'd Notions; or else being Forcibly pent in, had stifled in their own Croud, and so have perisht, shut up in the Urn of the Brain to all Eternity, to the Dishonour of Him who bestow'd these Gifts for the Manifestation of his Glory, and the Benefit of Mankinde.

The Pleasures arising from this Art, are Ineffable, and on that Account deserve a Gentlemans study, since it is better to be Happy, then simply to Be. For by this may you Form an Elizium to the height of your Fancy, beyond the Product of Nature and Equall to the Fictions of the Poets.

Hereby within your Chamber may you see Majestick Hills, Humble Vallyes, Delightfull Groves, silent Grotto's, Delicious Plains. Nimphs, Fawns, Satyrs, Driades, &c. sporting toge­ther, the state of Innocence and the Golden Age.

Nor can we only Create Worlds Replenisht with Beatitudes, to the highest Injoyment of the Noblest Sence the Sight, but likewise so Potent are the Charmes of this Art, that it often brings the Seraphick and Blest Souls from their sacred Mansions to Converse with Mortals below; here to React their great Sufferings and Martyrdoms, that by observing their Footsteps, we (imp'd on the wings of Vertue) may mount to their Coelestial Thrones, there to Injoy the Beatifick Vision in those Feilds of Light.

That after the Contemplation of the Wonderfull Beautys here below, we there may behold the Sacred great Source of them all, there wishing for a Pencel Omnipotent, as the Hand which Form'd those Ravishing Delights, to Copy out those blest Abodes, the meanest place whereof is beyond Mortal Tongue to Express, or the highest Rapture of Thought but to aim at.

Nor only to Incourage to Vertue, but likewise to deter from Vice, this Art hath furnisht us with Scenes of Horrour, Rapes, Murders, &c. that from the Terrour of such spectacles, we may detest the Actions as Repugnant to Humanity.

Nay sometimes it opens the Adamantine Gates of the Black Abbiss, the seat of Profound though Fiery Darkness, save that the livid Flames serve to discover those Souls, whose sins (weigh­ty as the massy Plumets of Eternall Night) have sunk them to those Stygian Abodes.

Amongst the Number there you may justly express in some Common shoar, Replete with Assa Faetida, a sneaking Tribe of narrow Souls, the Contemners of this Art, who Murmuring and Repining at the Munificence of the Deity, Grudge that he should receive any Glory from this his best of Gifts.

But should I sum up all the Benefits and Pleasures according to their vast Extent it would swell up a great Volume, nor can it be expected I should Abridge in a few sheets, what lyes in a Book (of so Beautifull a Character) Expanded over great part of the Universe.

ONE Objection is, that 'tis a Mechanick Art, but I think this is made by those who are little Skil'd in Liberall Arts or Read in History; for in Greece it was rank'd amongst the First of Liberall Sciences, and throughout all Greece taught only to the Children of Noblemen, and altogether sorbidden to be taught to others.

Aristotle in his Politiques, accounteth it amongst those Liberalia Paideumata, and adviseth it especially to be taught to the Young Nobles, which after Eupompus a Famous Geometritian to his Utmost Incourag'd, and Plinie not only allows it a Liberal Science, but of the most Ornamentall for the great Oeconomists of the World, and excited the Romans to the Imbraces of it.

Besides as Painting is subordinate to the Perspectives, Natural Philosophy and Geometry (which doubtless are Liberal Sciences) and as it hath certain Demonstrable Conclusions, deduced from the first and immediate Principles thereof, shews of Necessity it must be esteem'd a Liberal Art.

That because it is work'd with the hand it must be a Mechanick Art, is a poor Argument, since without equal Labour of the hand, no Mathematical, Cosmographicall, Hydrographicall, &c. Demon­strations can be perform'd, nor is it of more Labour then Writing and several Gentle Diversions: and he that despiseth the noblest Product of the Soul, because it requires the Assistance of the Hands for Demonstration, I think deserves not those usefull Members which he so foolishly Contemns.

Another Objection is, that it hath been the occasion of Idolatry, by the Pictures of Saints, &c. but that the Picture is the occasi­on of the Idolatry is a mistake in the Hypothesis, for the cause of all Idolatry is either Error or Ignorance, and not through the Object of the Worship, for were the Object the Cause, we should Impeach the Wise Creator, for his best of Gifts the Sun, because the Pagans Worship it; and Esteem Onions and Garlick unlawfull food, because Ador'd by the Aegyptians.

As for the Pictures of Saints in Forreign Countrys, we must imagine them set up in Commemoration of those Saints, as seeing the Picture of my Friend makes me immediately Think of him; and I have more Charity then to think any, in this in­lightned Age so profoundly Ignorant as to expect Succour from the Cloth and Colours, as to the Worship of the Saints them­selves, nothing belongs to this Treatise, and we have Learned Divines enough to discuss the Controversy.

Some have Objected it hath been the Cause of much Leudness and Debauchery, by the many wanton Pictures have been con­tinually Expos'd, as likewise Prints every where Obvious to Youth, and may the more affect them the more they Love the Art: I answer the Substances are as frequent and obvious in every street as the Shadows, and the Art of Painting is no more to be censur'd on a Lewd Design, then a Chast, Beautifull Virgin, on the Account of a Beautifull Leud Wench.

Others have thought it Unhealthfull because Sedentary, but it is not so Sedentary as some imagine, for not alone they may, but must walk often from the Picture, to Observe the Sympathy of the Dsign and Harmonious Union of Colours; and I have Known few afflicted with any thing but the Gout, which I suppose is more the Effects of Bacchanalizing then the Painting of Bacchanals.

Their Objection who despise it as a Daubing Exercise is not worth notice, since it is only a Slovens Argument, for they who are otherwise cleanly may be so in this, and more then in some Gentle Diversion, the Colours being to be bought ready prepar'd to the Pallat; nor of more notice is their Idle Objection, who say 'tis only a Fancy, and that there is no Intrinsick value in it; if what already hath been sayd of the Benefits thence arising will not satisfy, I shall desist a farther Answer till I hear an Ingenuous Man make the Objection, for as yet I have not heard any.

I Shall mention but one Piece of each Noted Master to direct the Traveller where he may see of that Hand, for to sum up all the Principal Works in Italy, would swell up this Treatise to too great a Bulk.

Of Michael Angelo, the Resurrection in the Popes Chappel at Rome.

Of Raphiel Urben, St. Celia in the Church of St. John on the mount, in the City of Bolognia.

Of Giovanni Lanfranco, several pieces in the Chappel of Tesoro, in the City of Naples.

Of Dominichino, several Saints in the said Chappel.

Of Guercin da Cento, the Assumption of St. Maria in the City of Lucca.

Of Old Palma, St. Anthony in the Church of St. Piero Samaldi in Lucca.

Of Guido Rheno, Cain and Abel in the Closer of Sig. Manfredo Septale.

Of Timoret our Saviours Last Supper in the Domo of Lucca.

Of Pordenon, the Crucifiction in the City of Cremona.

Of Titian, our Saviour Crowning with Thornes, at the Domini­cans in Milan.

Of Giulo Romano, the Crucifiction in St. Andrews in the City of Mantua.

Of Leonardo da Vinci, a St. John in the Pallace of Fontana.

Of Paini, K. Phillip the 4th. in the Closet of Sig. Manfredo Septale.

Of Pietro Flandro, a curious Country Prospect in the said Closet.

Of Radolpho, K. Priams Pallace in Flames in the said Closet.

Of Carolo a Sole, a Noble Landskip in the said Closet.

Of Carolo Battavo, a Battle in the forementioned Closet.

Of Pietro Florentino, two Noble Landskips in the sayd Closet.

Of Firoli, 3 Heads, Homer St. Jerome and Moses in the said Closet.

Of Hercules Procacini, St. John in the said Closet.

Of Camillo Procacini, the Blessed Virgin and our Saviour in the said Closet.

Of Barocci, a Dead Christ in the Domo of the City of Milan.

Of Paris Bordone, an Alter-Piece of St. Girolamo in the sayd Domo.

Of Ludovico Carache, an Alter-Piece in the Church of the Capu­chins in Sassuobi.

Of Hannable Carache, St. Francis in a Trance in the City of Parma.

Of Augustine Carache, Duke Alexander Farnest in the said City.

Of Paulo Veronese, 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 Modena's Gallery.

Of Giacomo Bassano, two Squares in the said Gallery.

Of Giorgone, a curious Head in the said Gallery.

Of Lanfrance, a Chappel Painted in the City of Piacenza,

Of [...] Ferratese, a Lucretia in the Chamber of the Amoretti in the City of Parma.

Of Frederico Zucccharo, a Madona in the Chamber of Sivetty in the sayd City.

Of Pietro da Cortino, several Historys in the Pallace of the Great Duke of Florence.

Of Fra: 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 Psyche in the Pallace of Fontana.

Of Civoli, the Lady of Piety in the Church of St. Croce in the City of Bolognia.

Of Polidoro, the Front of a House in the Mount Cittorio in Rome.

Of Barnardino Luini, the Blessed Virgin Crown'd with Glory.

Of Leo Aretini, the Blessed Virgin with our Saviour, St. Elizabeth and St. John.

Of Melchiore Gherordino, two Pictures of St. Jerome and St. Lucia.

Of Andrea del serto, a Christ carrying the Cross

Of Daniel Chrispi, the Picture of Manfredo himself.

Of Vermilji, St. Jerome Accompani'd with an Angelical Minst rel

Of Sardini, a Lucretia.

Of Leone Aretini, a Lucretia.

Of Cerani, St. Francis with a Parrot.

Of Bronsino the Picture of Manfredo Septale.

Of Soliano, a Madona, this and the aforemention'd in the Closet of Sig. Manfredo Septale.

Of Camassei, the Creation of Angels in the Pallace of Babarini at Rome.

Of Raphiel Bergo, the Baptism of Fattor Bono in the Vatican at Rome.

Of Mutiano, the Presentation of the Blessed Virgin at the Temple at the Church of Jesus at Rome.

Of Daniel da Voltera, the Assumption of the Blessed Virgin at the Church of Madouna del Populo at Rome.

Of Chivoli, St. Peter curing the Lame at St. Peters at Rome.

Of Possine, the Miracle of Erasmus in St. Peters at Rome.

Of Aurelius Lovinus, a Centurion and Crucifix at Lugano.

Of Bernard Zenale, the Chappel of St. Peter and St. Paul in St. Francis Church in Millain.

Of Bramentino, a Christ taken down from the Cross in St. Pietro [Page 20] Gressato.

Of Daniel Riccarelli, a Christ from the Cross in the Friars Church at Rome.

Of Episander, Laocoon with his Son in the Belveder at Rome.

Of Caesar Sestius, Birds very fine at Viscount Prospero's at Mtllain.

Of Bernard Buttione, of Chapple of St Ambrose in Millain.

Of Franciscus Matsolino, a piece of our Lady at Millain.

Of Gaudeutius, our Saviour Baptis'd by St. John Babtist in Jor­dan at Vigeuano.

Of Franciscus Vicentius, the Evangelist, Prophets and Sybells in St. Maria de Gratia.

Of Arsenodorus, a Laocoon and his Sons in the Belverder at Rome.

Of Trosoda Moncia, several Roman storys at Millain.

Of Austine of Millain, the Vault of the Chappell of St. Maries de Carmine in Millain.

The Life of Mary Magdalen in the Chappell being of Bernard Zenale's doing.

Of Andreas Mantegna, the Triumphs of Caesar at Mantua near the Dukes.

Of Rubens, Vandyke, Lyly at several People of Qualitys in Eng­land as well as in Italy..

Likewise upon inquiry throughout Italy you will find of Se­bastian, Piombo, Alexander, Moreto, Girolamo, Bressano, Rosso, Bologna, Massotino, Timotheo Vita, Fattore, Sesto, Boccaccino, Andra Solari, Touagno, Nibertus Leidamus, Scorellus, Burgeti, Florus, Pancelli, Theodorus, Mabutius, Dionatense, Lusto, Maio, Alasto, Gasetto, Frederick Barozzi, Paulo Catiarius, Lucas Can­giasus, Ambros. Figinus, Albert Durer, Mastardo, Brugill, Grimal­do, Pamphilus, Perino del Vaga, Peruginus, Francesco. Melzi, Vicentius Foppa, Matsobinus, Bellino, Frallaivoh, Botticello, Verrocchio, Dominico, Marcus, Scieua, &c.

I Shall only give Hints of some Names known amongst us, since the Ingenious Mr. Sandrart hath so well Treated on the Generality of them, which book is design'd to be Translated.

Michael Angelo is allowed the most Famous sor all Bodyly Mo­tions, all Foreshortnings, &c. as is universally acknowledg'd in that wonder of the world, the Resurection in the Popes Chappel at Rome.

The divine Raphael (so usually call'd amongst the Italians) may be allow'd the Prince of Painters an Excellent Antiquary, his Designs of Lofty and Noble Subjects with a great Manner and Spi­rit in his Works.

Titian and Tintoret likewise 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 Deep Shaddows.

Rubins was an Indefatigable Painter, he had a great Excellen­cy in Colouring Flesh, which was most Beautifull, Soft, Tender and Clear, and the Nature it self; and had he had the Italian Measures he had been one of the Greatest Masters in the World: he was a general Master for History, Landskips, Sea-piece, Fish, Foul, Architecture, &c

Van-Dyke Painted wonderfull Natural, variety of Colouring, delicate Touches, Soft and Tender, with extream fine Observati­ons about the Cheeks, Chin, &c. he Painted Armour to a Mi­racle, Sattens and other Draperys extream Fine, Loose and Gentle in his Postures: he us'd to Paint after those two Great Masters, being a Disciple of the latter.

Lyly brought up first the curious Loose-Dressing of Pictures, which most of our Masters since have follow'd; he was extream fine about the Eyes, very delicate upon the Hands, a Free Masterly Touch in Hair, he was Disciple of the Incomparable Van Dyke.

Holbin had a delicate Tender soft way in his Flesh, Finisht up to a Miracle.

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 sometimes neatly Finish'd.

Moor had a very smooth neat way of Colouring, which may be one Reason that his Paintings keep so fresh, because the dirt is not apt to get in, there have likewise been other Great Masters by the Life as Walker, Zoust, Hales, Greenhill, Wishin, the late Rily, &c.

Albert Duter generally wrought up his Horison of his Land­skips to the Edge of his Pictures, which is not so Gracefull al­though it may be Natural.

One of the Brugels, Willebeck, Dehem, Seagers, Thewlin, &c. were very fine in the Stillife, especially Dehem.

Another of the Brugels (generally cal'd Hellish Brugel) was Famous for Scenes of Hell, St. Anthonys Temptation, &c. his Head was strangely Pregnant of Chimera's, but very prittily Touch'd.

Snyder, De Vos, were excellent in Beasts of Prey, Fowling and Hunting in Large, and Elshamet extraordinary in small, as likewise Roben, Hames and Tambois for Cattle, Woverman was a great Master, likewise the Elder Barsan.

Stenwick, Masuccio, De-Nef were three Extraordinary Masters in Painting Perspective.

For Sea-Pieces, the Famous Precellus, Bonaventure, Peters, &c.

The Great Possene, Paul Brill, Lanier, Vanbots, with many more were Remarkable in curious Landskips.

For Night-Pieces the Incomparable Dow; Likewise Barsan and Elshamer have done Famous works in that way.

Brower was the most Famous for Boor-Pieces, for every Touch speaks a Master, and with a few stroaks could put what Passion in a Face he pleas'd. Teneers likewise and one of the Brugels did very well in that manner of Painting.

SIR Godfrey Kneller, Kt. Their Majesties principal Painter, by Birth a Saxon, and well descended, was sent very young to Holland, to learn the Mathematicks and other Sciences; amongst which he was most inclin'd to Drawing and Painting; wherein he made a beginning by the famous Rembrants direction, at Amster­dam. When somewhat improv'd, his Father approving of his choice, sent him to Rome, and spar'd for no cost that he might exercise his genuine Fancy without any constraint or confine­ment.

In Rome he studyed the Antiques, and Copyed very much after Raphael, in the Vatican, and was in great-esteem with Cavalier Bernini, and by him much recommended for his Works: But not being satisfi'd yet, he went to Venice, where he studyed Titians Works, and especially his Portraits, whereby he highly advanc'd himself into the Esteem and Respect of most of the chief Nobles of that Republick, especially the House of Bassa­donna, whose Elder Brother being made Cardinal, had his Picture Drawn by him, and all his Brothers, in several large Pieces; and one of the first of his Eminences Pictures, was sent with great Applause, as a present to the Pope. He likewise painted most of the House of Donado, Garsoni, Mocenigo, and divers o­thers.

But being call'd home by his Father, and still desiring to ad­vance his Skill, and longing to see Sir Anthony Van Dyck's Works, being most ambitious of imitating that great Master, he therefore at length came into England; where, by his indefatigable Industry, he got into the extraordinary Favour of King Charles the Second, who approving of his Ability beyond any other, sent him to paint the French King, and all that Royal Family, by which King he was very honourably Presented. Since he was in great esteem with King James the Second; but more particularly with [Page 24] Their present Majesties. And his Majesty, to shew his Kingly approbation of his Art and Manners, was pleas'd to confer the Honour of Knighthood upon him, on the Third of March, 1692. and as an extraordinary Mark of his Grace and Favour, Honour'd him with the Present of a Sword, by the Hands of the Right Honourable the Lord Chamberlain.

Of his chief Paintings several are at VVindsor. K. Charles, in the Bed Chamber at VVhitehall. The Gallery of Beauties, at Hampton-Court. Likewise Their present Majesties Pictures, and that noble Piece of the Duke of Schomberg on Horseback: also at my Lady Dorchesters at Weybridge, at my Lord Exeters, and at many more Seats of Persons of Quality throughout England; in which you will not only read the greatest Thought of the Artist in the very Minds of the Persons represented, but also the most curious de­licacy in Colouring; adapting each Complexion with Tinctures, like the Hand of Nature itself.

Nor is this Art so Ornamental to him, but he an Equal Or­nament to the Art, being a Gentleman of good Morals, True to his Friends, Affable and free from the least appearance of Affecta­tion or Pride. Of which, and more concerning his Skill and Works, you may better read in his Conversation, and the Works of the learned Sandrart Aca. Pic. lib. 3. cap, 28.

Mr. Varrio, is a Man of vast Design in History, Great and Lofty in his Manner, witness the noble Work at VVindsor, as like­wise at several Persons of Qualities Houses.

The Ingenious Mr. Cook must be allow'd in History one of the greatest Masters of the Age; he was Disciple to the famous Salvator Rose; he hath Travel'd into Italy, and studyed the great Antique Masters; his Designs shew a vast Judgment, thoroughly Consider'd, and himself a strict Imitator of the best reputed Italian Masters.

Mr. Roustrate Paints the still Life with utmost Strength and Beauty as Colours will reach; his Order and Manner extraordina­ry good; his mixture of Plate, musical Instruments, &c. have a great Harmony: his Pictures are very Noble, Gentle, and Pleasant, and himself allow'd in his way, the best Master of the Age.

Mr. Dubois the Elder is a very great Master in Landskip, and exactly to the Italian manner; The Younger for History and the Life especially in Small is a curious Painter, they have by their extraordinary Industry, made one of the finest Collections (especially of closet Pieces) in Europe.

The Ingenious Mr. Wyck for a Battle-Painter is doubtless not to be imitated in this Age; his works are extream Neat, Gentel, and finely Finish'd; his Colouring very Beautifull, his Manner and Ordonance full of Judgment.

Mr. William Vande Velde for a Sea-Painter is unparraleld, his work finely Finish'd and with a delicate Skye, and his Father in Black and White does to a Miracle.

Mr. Scalker for Night-pieces and Lamps comes next to Dow himself.

Mr. Murry is a hopefull Scion of that Noble Stock Mr. Rily. He Paints a Face admirable well, very Gentel in his Manner and Postures, and his work promiseth much Reputation to his Country: He neither injures the Likeness by giving additional Beauty, nor the Beauty and Gracefullness by carefully observing the Likeness.

Mr. Harman Verelst Paints well by the Life and was in good Repute in Germany: he likewise Paints Fruit &c. very fine.

Mr. Simon Verelst Paints Flowers extream fine, beyond any in the former or present Age, for neatness; likewise Mr. William Verelst Paints Flowers very well.

The Ingenious Mr. Seekes is a very good Master by the Life, puts Admirable Tinctures and Carnatiens in a Face, Paints with a very good Body and Durable; he is one of a sound Judgment in the Art, a diligent Imitator of Lyly and very Fortunate in his Choice; he is likewise very happy in taking the Likeness.

Mr. Henne is a very good Master in Landskip and Paints nearest of any to the Manner of the great Possine, likewise Mr. Edema Paints Landskip very well especially his Waterfalls.

Mr. Hemskirk Paints Boor-Pieces after the manner of Brower and many of his Pictures may come in Computation with that great Master.

Mr. Vanderbank Paints a Face and Posture very well, Land­skip, Foul, &c. extraordinary fine and is to be Rank'd amongst [Page 26] the great Masters of the Age.

Mr. Jacob Wilson hath had a Reputation for Painting by the Life these many years in the City, he Orders a whole Picture himself; putting great Likeness in the Face, and Gracefullness in the Posture.

Mr. William Wilson is the best Master we have in Painting Fowle, Hares, &c. he hath extrordinary good Draught, and Feathers his Birds very finely. He hath been some time in Italy and a strickt Imitator of the greatest Masters there.

Several other good Masters we have which at present are not obvious to my Memory, but after some time is design'd a Treatise containing the Characters of all the present Noted Artists in Europe, both Painters and others, where each will be discours'd on according to his Merrits and the Reputation he hath acquir'd in the World. Those whom I have Mention'd may please to take Notice that I did not place them in order here according to the preference of one above another in merrit, only as they at present occur'd to my Thoughts.

PRoportion is of two sorts either Proper, Expressing the exact Proportion of the Thing to be Represented, or else in Perspective, in Respect of the Eye, differing very much from the other, for according to the Distance of the Thing from the Eye it Judgeth what Proportion the Head hath with the Body.

For should a Carver make a Statue according to true Propor­tion and place it on high, he that below beholds it will judge it Disproportionable, by Reason the upper Parts will come to the Eye in a Sharp Angle, and the lower Parts in a Blunt.

The Philosophicall and Perspective Reason hereof is, because when the Statue is in the open Air, which being Transparent is fil'd with certain Visuall Species, which coming into the Eye meet with those Visuall Lines which come in a Pyramidal Form, [Page 27] whose Cone toucheth the Eye.

Therefore the Artist must carefully observe the Height he designs his work, and accordingly add as much to the Upper Parts as the Distance will loose, which Rules Phidias and Praxi­tiles exactly observ'd in their Statues in Monte Cavallo in Rome, as likewise did the admirable workman of Trajans Colums, and by this means the Eye soon judgeth of the Prototypon whom the work Represents which is the Intent of Painting and Carving.

It may be enquir'd what Proportion a moveable Picture should have, I Answer, it must always be suppos'd to hang something above the Eye, since that Sence is most delighted to look up­wards and hath been observ'd by all Great Masters.

So great is the Vertue of Proportion, that nothing delighteth the Eye without it, since the Grace of all Beautifull Forms consists in a Proportionable Measure of Parts, and as Vitruvious saith, that none can proceed with Judgment without Acquain­tance with the Force thereof, it giving the Majesty and Beauty to Bodys, whence he calleth it Euritbmia.

It hath been of great Force in exciting Mens Minds to Re­verence and Devotion, witness the Statue of Jupiter Carv'd by Phidias; and the great Zeuxe's perswaded Greece to dedicate their most Majestical and best Proportion'd works to the immor­tal Gods, as being the works of Men Reputed amongst them as Gods, and not only represented the works of God, but likewise supply'd the Defects of Nature.

Nor does it only affect Painting but likewise Carving, and all other Arts, and was the first Pattern of all Artificial Things; yet the Painter (as Baptista Albertus affirms) more especially considereth Mans Body, therefore Antiquity to Grace Painting above the rest (as cheif Mistress of Proportion) nam'd the rest Handicrafts-Men. Now let's consider the Definition of Proportion.

Proportion is a Correspondency and Agreement of the Measures of the Parts between themselves, and with the whole in every Work.

This Correspondency Vitruvius cals Commodulation, because a Modell is a Measure, which being taken at first, measures both the Parts and the Whole.

In Former times before this Symmetrical Measure of Parts was Understood and considered, all Italy could witness what Lame and Preposterous Statues and Pictures were continually set up, especially about the Time of Constantine the Great untill Giotto in Tuscany and Andrino di Edosia Pauese in Lombardy.

A great Benefit of Proportion is, it wonderfully assists the Judg­ment in Judging of the Famous Antique Paintings: 'tis pitty to see how some (absolute Ideots in this most Essential part of the Art) affect a vain surface of Gaudy Colours, to the disgrace of the Science and sometimes sinde Buyers of their own Talent.

BEfore we Proceed, we will give the Names of the External Parts of Mans Body, for it is Requisite an Artist should speak properly when he hath occasion to name them.

Of the Head the Forepart is cal'd the Forehead; the turning of the Hair, the Crown; 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 space between the Root of the Hair before, and the Eye-Brows. The Pulse is the highest part of the Forehead. Melone, the swelling out above the Eye-Brows. The Temples, betwixt the Pulse 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 side of the Head. The lower part cal'd the Tip; in the midst is the Hole in Italian, Mirenga. The Eye-Brows are the thick Hairs at the bottom of the Forehead: the space between, the Italians call Glabella: The Upper Eye-lid compasseth 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, the round spot in the middle call'd the Apple, or Sight, the outward corner of [Page 29] the Eye, next the Ear cal'd Cornice, the inner that towards the Nose: the space 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 Nose de­scends from between the Eyes and ends at the Nostrels, those Prominences hanging out on each side of the bottom, each having a hole to smell, termed in Italian, Papilla; the lower end of the Nose standing forewards is cal'd the Point: the Rising in the midst, the Ridge. The Upper Cheek, is the space between the Ear, the Hollow of the Eye, the Nose and the lower Cheek, whereof the part rising toward the Eye is nam'd Mellone. The Lower Cheek is bounded with the upper, the Nostrels the Mouth, the Chin to the Throat, and the Neck under the Ear; the Upper Lip, the Red Flesh above the Mouth, also cal'd Virgine. The Mouth is the Division between the Upper and nether Lip: the Concavity coming from the Bottom of the Nose to the up­per Lip, is cal'd the Gutter of the Nose: the Roof of the Mouth the Pallate: the Tongue, that which moveth in the Mouth in Italian Strozza: the passage betwixt the Lungs and the Mouth through which the Breath passeth, is cal'd the Wind-Pipe. The Gum is the Flesh wherein the Teeth are Fastned: the four first cal'd Dividers, next unto which on each side are the Dog-Teeth, the other five on each side with three Roots are the Cheek-Teeth, so that the full number is thirty two, the Chin, the extremity between the Lip and the end of the Face, whose beginning is at the root of the Hair; the hinder part under the Crown, is cal'd the Nape, as also the upper part where the Hairs grow behinde, is the beginning of the Neck, cal'd Cervix. Those Hairs growing under the Chin and about the mouth, is cal'd the Beard: those on the upper Lip, the Mustachiums: the Throat is the Part betwixt the Chin and the beginning of the Body: in the midst directly under the Chin, is the rising cal'd the Throat-Bone; the Concavity of the Neck before, be­tween the Root of the Hair and the beginning of the Back-bone, which on either side is joyned with the Throat, and at the lower end of the Neck with the shoulders, whereof the Bone in the midst is cal'd Astragalus; the whole Body before Containeth in it, first the Upper Fork of the Stomack, or Brest, which be­ginneth [Page 30] at the end of the Throat-pit: the Breasts end with the short Ribs, and are also cal'd the Part under the Paps. and in Women cal'd the Dugs,&c. the Heads or Extuberances whence the Milk is suck'd, cal'd the Nipples. the space between the Breasts at the lower Fork of the Stomack, is cal'd the Bulk. The Arme-Pits are those 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 Breast, and likewise are cal'd the Wast. The upper part of the Belly lyeth between the hallow of the Breasts, the wast 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 Wast, the Privitys, and the Flanks: under the Belly, the Privitys, the hallow compass at the Top Corona: the hinder part of the Body cal'd the Back or Cbine, confisteth first of the Shoulder-Blade, which is the part be­hinde the Shoulders end, which part of the Chine or Loyns; the rest of the Back reacheth from the Neck, to the beginning of the Clift of the Buttocks: the Loyns lye between the shoulder-Blades, the Ribs and the rest of the Chine to the Reins; the Reins reach from the Loyns to the Buttocks, and do proper­ly belong to the part below the Wast: the Buttocks are the Fleshy part which serves for the Use of sitting: the Arm con­taineth, first the Shoulder, behinde which is the Back, beginning at the Clavicola, between the Neck and Throat, and reacheth to the shoulder-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 inside whereof is the Joynt; and here the lower part of the Arm beginneth. The Wrist is where the Arm joyneth with the hand in the inside. The Palm is the inside of the hand between the wrist and the Fingers: the Thumb is the biggest and shortest, the Fore Finger next, then the Middle Finger which is the Longest, then the Ring-Finger, the last is the Little Finger which is the smallest: Cheiromaneers 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 Hill of Luna; the Triangle in the midst of the Palm the [Page 31] Hill of Mars.

The Fingers whose Joynts are as it were equal in Number ac­cording to their bigness, namely three upon each, except upon the Thumb which hath but two. The hinder part of the Arme reacheth from the Shoulder to the Elbow; where the second part of the Arme begins reaching to the Wrist-Joynt. the Back of the Hand reacheth from the wrist to the first Joynt of the Fingers and is call'd Pecten. The spaces between the Joynts are call'd Internodi, which are two upon each except the Thumb, which hath but one, in the space between the last Joynt and the top of the Finger is the Nayl, whose bowing (where it toucheth the skin) is call'd Corona the whole Hand beginneth at the wrist, and reacheth to the extremity of the Fingers.

The Leg consists of these parts: first, the Thigh, which begin­neth at the Trunk of the Body and reacheth to the Knee. The Hallow of the Thigh is the inner part below the Privitys. the Knee beginneth at the Round Bone at the end of the Thigh, and reach­eth to the beginning of the Shin-bone, which reacheth down clean through the Leg to the Instep, beginning at the end of the Shin­bone, and reacheth to the beginning of the Toes, and is call'd Pecten, or the upper part of the Foot. The Ancle is that Bone which buncheth out on each side, between the Instep and the be­ginning of the Heel. The Small of the Leg, is the space between the end of the two Calves above, and the Ancle, Instep and Heel below. the Pit of the Foot is the Hallow under the Hill or highest bunch of the Foot towards the Sole. The Toes have Joynts as the Fingers, though shorter: and Nayles in like manner, but otherwise call'd, as the First, Second, Third, Fourth and Fifth; the hinder part of the Leg beginneth under the Buttock, and is call'd the Thigh and endeth at the hinder part of the Knee, call'd the Ham, or Bending. The Calves of the Legs begin under the Ham, and are two upon each Leg, the Outward which endeth somewhat high, and the Inward which reacheth nearer to the small of the Leg; and diminisheth by degrees to the part a little above the Ancle. The Heel is the part of the Foot, which riseth out backwards, 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 likewise the spaces between the Joynts un­derneath orderly.

SOme of the Italians 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, dividing each Degree into ten Minut's, in all three hundred, which is apt to confound any young Disciple, nor can such minute parts be measur'd but by Osteology.

Therefore we will only (which is sufficient) divide the Face into three equall parts, and each part into four less Subdivisions.

Ten Faces we count to a Tall Graceful Body & is measur'd thus: the first from the top of the Head to the Root of the No­strels: the second, thence to the Throat pit: the third, thence to the Pit of the Stomack; the fourth thence to the Navil; the fifth thence to the Piramidal Muscles; thence to the Knee two and a half; and to the sole of the Foot two and a half more.

The first part from the Top of the Head and Nose answer to the space betwixt that and the Chin, in a Triple Proportion, which maketh a Diapente and a Diapason. That between the Chin and the Throat-pit, answereth to that between the Nose and the Chin in a double Proportion, which makes a Dia­pason: whereunto the Head answers in the same Proportion, the three Faces between the Throat-pit and the Piramidal mus­cles, answer to the second between them and the Knee in a Sesquialter Proportion; whence ariseth a Diapente; but with the Leg they are Unisons, for it hath the same Proportion with the Thigh.

The Extent of the Arms hath the same Length, beginning from the end of the long Finger, to the Joynt of the wrists 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 Shoulders to the hole in the Neck, one and a third part, all which make five Faces: and the like to the extremity of the other Arme make in all ten Faces.

The Italians Measure thus, from the extremity of the middle Finger, to the wrist of the Hand, one Face, thence to the Elbow one and a half, so much to the Clavicola, or Joynt of the shoul­ders; and one to the Throat-Pit.

So that the Hands alone are Unisons, with that between the Shoulder Joynt and the Throat-pit, and the space between the Shoulders and the Elbow, with that between the Elbow and the wrist; so that these answer to each other in a Sesquialter Pro­portion cal'd a Diapente.

A Face is as much as the distance between the Nipples, and so much more from each of them to the Throat-pit; making an Equaliter Triangle.

The Compass of the Head, from the Eye-Brows to the Neck behinde, is double to the length of the whole Head. The Com­pass of the waste is a Triple Sesquialter to the Diameter thereof; and is Unison with the Trunk of the Body, which is three Faces. The Circumference of the Body under the Arm-pits, and the space between them and the wrists, answer in a Double Propor­tion, and is Unison with any half of the Body.

They who by the Head, mean the length of the whole Head, must make but Eight Heads in all, as thus, the Head one; thence to the Bottom of the Breast one; one from thence to the Navil; from thence to the Antipendiums, one; thence to the middle of the Thigh, one; to the lower part of the Knee, one more; thence to the small of the Leg, one; and from thence 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 wrist; thence to the bending of the Arm, one; thence to the bottom of the shoulder, one; over to the other shoulder, two more; and to the end of the middle Finger three more as before.

The breadth of a Figure without motion seen Frontwise is thus measur'd: the breadth of the Shoulders cross'd at the Dellord Muscle, to the joyning on the Arms, two Faces; about the Haunches where the Oblique extern Muscles are, one Face, two third parts and three Subdivisions; the Thighs at the biggest place one Face. The Knee one third part, three Subdivisions; and an half; the Leg at the biggest is two third [Page 34] parts and one subdivission; the extremity of the Ancles, one third part one subdivision and an half; the Feet one third part and a half, and half a subdivision, their length one Face, one third part and one Subdivision.

THE Measures which are Unisons are these: the space between the Chin and the Throat-pit, is as much as the Diameter of the Neck. The Circumference of the Neck is as much as from the Throat-pit to the Navel. the Diameter of the wast answers to the Distance, between the Knob of the Throat, and the top of the Head, and this is the length of the Foot. The space be­tween the Eye-lids and the Nostrels, is all one with that between the Chin and the Throat-bone: from the Nose to the Chin is as much as from the Throat-bone to the Throat-pit. The space from the Hollow of the eye below, and from the Eye-brow to the Center of the Eye, is the same with the Prominency of the Nostrels; and so much it is between the Nostrels and the up­per Lip; so that these three spaces are equall. The distance be­tween the top of the Nail of the Fore-finger, and the last Joynt thereof, and from thence to the wrist, are equall: the space between the Nail, the middle Finger and the last Joynt thereof, and from thence to the Wrist are all one. The greater Joynt of the Fore-finger is the height of the Fore-head, and the space between that Joynt and the top of the Nail is equall to the Nose, beginning at the bottom of the most eminent Arch a­bove the Eyes, where the Fore-head and Nose are divided. The two first Joynts of the middle Finger are equall to the space between the Nose and the Chin: The first Joynt where­on the Nail grows is the distance between the Nose and the Mouth, so that the second Joynt answereth unto the first in a Sesquialter Proportion, as also doth the space between the Mouth and the Chin, whence ariseth the Concord Diapente. The bigger Joynt of the Thumb, gives the wideness of the [Page 35] Mouth, the space betwixt the top of the Chin and the dint under the lower Lip, answereth to the lesser Joynt of the Thumb, and is as much as from the Nose to the same dint: wherefore, from the greater Joynt there is a Sesquialter Proportion and a Concord Diatesseron. The last Joynt of each Finger is double to the length of the Nail, and maketh a Diapason. From the midst between the Eye-Brows to the outward Corner of the Eye, is as much as from thence to the Ear. The heighth of the Forehead, the length of the Nose and the width of the Mouth are Unisons. The breadth of the hand and the Foot are all one. The length of the Foot in respect of the breadth makes a double Suprabi partient a Diapason and a Diatesseron.

The breadth of the Foot to its heighth at the Instep, makes a Sesquialter and a Diatesseron. 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 division of the Mouth. the breadth of the Nose and the Eye is all one, and either of them half the length of the Nose. The Navil is the midst betwixt the Nose and the Knee. From the top of the Shoulder to the El­bow, and from thence to the Hand is a Diatessaron. The space between the lower end of the Ear, and the Joynt of the shoul­der, is half as much as the breadth of the Breast at the Shoul­ders which makes a double Sesquialter. The whole breadth of the Body, to the space between the top of the Head and the Throat-bone, makes a Quadruple Proportion, whence ariseth a Diapason: the same 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 spread abroad. The breadth of the Flanks is double to the Thigh or a Diapason. The Length of a Man is the same 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 respect of the soles of the Feet, make a Triple sesquialter the like is from the space of the Head to the Brest-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 Sesquioctava: whence ariseth a Tone. The Cir­cumference of the Fore-head at the Temples, Quadruple to its height, or a Diapason. The height of the Face, and the space [Page 36] between the Chin and the Throat-bone, makes a Triple Pro­portion, or a Diapason and a Diapente. And thus might we finde in the Hand, all other Proportions of the smallest parts.

THe Proportions of Man and Woman differ in their height: a Woman hath a longer neck; the parts of the Brest and the lower parts of the Belly by nere a half part, which makes the space from the Brest to the Navel, less by one Part, and the Thigh about a third part shorter: as to Womans breadth, her Brests and her Shoulders are narrower, her Haunches larger, her Thighs at the place of their Articulation, so too; her Arms and Legs are thicker, her Feet streighter. And Women being more Fat and Fleshy, their Muscles are the less seen: therefore their Contours are more even and smooth.

A young Maid hath a little Head, long Neck, low Shoul­ders, a slender Body, pretty big Haunches, Legs and Thighs long and little Feet.

Young Men, their Neck thicker then Womans, Brest and Shoulders larger, Haunches and Belly narrower, their Legs and Thighs Slenderer, and their Feet bigger.

Young Men about sixteen or seventeen, in their length have their Proportion as Men of forty, but differ in breadth.

At twelve or thirteen, mine Faces to its height, being equal­ly 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 six 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; 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 [Page 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 withstanding these certain Rules of Proportion take these observations: in Common Country-Fellows, as they are People of a duller Wit, they must have more Heavy and Rough Proportion. The Head big and the Neck short, the Stomach lit­tle, the Shoulders high, the Knees and Thighs thick and the Feet large.

For more Grave and Noble Storys, the Figure must be well shap'd, the Joynts well knit, little and compact, the Haunches high, a small Hand and a Nervous Neck, not very fat or fleshy. Thighs Muscly, the principall Muscles rais'd up and knit toge­ther at their Head and Axis. Shoulders large and high; the Body elevated, the Belly little, with smooth Legs and slender Feet.

In Great Heroick Historys the Figures may be much bigger then the Life, only observing exact Proportion: but remem­ber (as before) that if they stand high, (as such always should) the upper parts must be made larger, according as the Distance Diminishes.

Farther observe, that there is a difference in the Contours in some Parts, as the Body changes, as the Arm, when bent is bigger then when streight so likewise of the Feet, Knees, &c.

In Measuring of Figures of the Relievo, great care must be taken of the Parts Jutting or swelling out, or you'l make great Faults.

The Contours of Old Folks must be more stiff, and the Joynts sharp, in young People more easy, the Joynts Rounder.

Great care must likewise be taken to observe the greater grace of Proportion in the Principal Figure in a Picture, which is cheif­ly design'd to take the Eye, keeping your minde most fixt on that, lest you spend your Conceit on the other Figures and so the Design wants the Beauty expected as hath besell great Masters.

Euphranor being to draw the twelve Gods in Athens, began with Neptune, which he had finish'd so exquisitely both for Pro­portion and Colour, that after designing to make Jupiter with [Page 38] fat greater Perfection, he had spent his Conceit so on Neptune that he could not Finish Jupiter or any of the rest of the Gods.

The like besell to Leon: Uincent, who being to Paint our Saviour at his Last Supper in the Refectory of St. Maria de Gratia in Millain: and having finish'd the other Apostles he re­presented the two James's with such Perfection, of Grace and Majesty, that Endeavouring afterwards to express our Sa­viour, with a more Sacred and Divine Countenance, he was not able to accomplish it, wherefore advising with Bernard Zenale, he us'd these words to comfort him; O Leonard none but God himself could correct this Error, for thou nor no Man living can bestow more Beauties then in these two James's.

THe Passions of the Minde are certain Motions, proceed­ing from the Apprehension of Something: and are either Sensitive, Rationall or Intellectual. Sensitive is, when we con­sider Good and Evil as Profitable or Unprofitable, Pleasant or Of­fensive. Rational, when we Confider good and Evil as Virtue or Vice; Prayse or Disprayse; and Intellectual, when we re­gard them as True or False.

The Inferiour Pow'rs of the Mind, may be consider'd under these two Heads Desire and Anger. The Desiring part consi­dereth Good and Bad absolutely, and thence causeth Liking or Hatred, or otherwise Respects Good as Absent, whence raiseth Desire. Or Evil as Absent whence is bred Fear, Dread, &c. or both as Present, and thence Procedeth Joy or Grief.

The Angry Faculty considereth Good and Evil as it may with ease be Attain'd or Auoided; and from thence arise, Con­sidence and Hope; sometimes it moves to Revenge, and some­times excites Audacity, and sometimes causeth Distrust and then Desperation.

By divers Passions also is the Temperature of the Body alter'd, in Mirth the Spirits are inlarged; in Fear con­tracted. Love breeds sundry Colours somtimes Red somtimes Pale. Anxiety Causeth Draught and Blackness. Mercifullness. produ­ceth a certain Heaviness. and sometimes Injures the Person so Affected. Fear brings Coldness, Paleness, Fainting of the Voice, the Panting of the Heart, &c. Heaviness causeth Sweating and Paleness. In Bashfullness the Spirits fly to the Brain; in Joy, the Heart is extended by Degrees; in Displeasure it is drawn in Gradually.

Bodys are likewise affected with Passions according to their several Constitutions and Complections.

Those of a Sanguine Complection are for the most part, Gentle, Merry, Modest, Gracious, Generous, Affable and are given to Love, Pleasure, Desire, Hope, &c. which are the Passions of Delight and a Quiet Minde.

The Flegmatick are addicted to Mercifullness, Simplicity, Humility, Timidity, their Bodys usually induc'd to incline downwards and their Limbs to dilate and of a Heavy motion, and apt to swag; whereas the Sanguine are more Upright and Move more Firm.

The Cholerick, are Usually Bold, Feirce, Boisterous, Violent, Arrogant and Humerous, they are addicted to Anger and Hatred, their Limbs move upwards, apt to turn, start, shake, &c. their Parts inlarg'd with Heat, the Flesh inflam'd with Redness, but more especially their Eyes.

The Melancholly are Slow, Sluggish, Restrain'd in their Acti­ons, and Unweildie; given to Disquietness, Stubborness, Anxiety, Sadness, Horrour, Despair, &c. their Limbs apt to hang and decline as if benumb'd with Cold.

The Artist is therefore diligently to observe that he is not only to show the Passion by Contraction, Dilation, &c. of Features, but likewise to adapt a Complexion sutable to the Character the Figure is to bare in the Design, whither a Soldier, a Lover, a Pe­nitent, &c. as for Example.

A Martialist should have a Meager Body with large rays'd and hard Limbs, Great Bones well Knit with Joynts, the Com­plexion Swarthy with an adust, Red, large Eyes, Yellowish like [Page 40] a Flame of Fire, wide Nostrels, a wide Mouth, thick and pur­plelish Lips, small Ears, a square Chin, White Teeth, a darkish Hair but tending to a fiery Red, with stiff and Curl'd Locks, a Violent strong Voice and Shrill, in some Robust Posture or Exercise.

Thus he that can express the Propertys of one Complection may easily conceive of the Rest, since all Natural Things have a Cor­respondency in Method, Form, Proportion, Nature, aad Motion; which Philosophically understood bring a Certain knowledg of all Passion and Action to be imagin'd in Bodys.

For most Certain it is that those Passions of the Minde, whence these Externall Actions flow, discover themselves more or less as the Bodys have Affinity with any of the four Complections ari­sing from the four Elements.

Yet Ptolomie, the Hebrews, Aegyptians, Arabians likewise Albertus Magnus, with some late Philosophers affirm, that our Passions & Affections proceed from a Natural Instinct and Inclina­tion of the Superiour Bodys (the Planets) but Sapiens Dominabi­ter Astris.

ANger, the Motions of the Body must be strong and quick, all the parts stir'd, the Eye wild and Sparkling, the Nostrels open, the Point of the Eye-brows fixt towards the Nose, the Corners of the Mouth a little open and Foaming, the Mus­cles pust up, the Veins swell'd, the Hair standing up.

The Subjects for such Expression may be, Moses when he broke the Tables of the Law; Tydaeus, who Dying bit the Head of Menalippus; Alexander when he slew Callisthenes; the Roman Sylla, Valentinian, Hungar, &c.

Cruelty, with Passion and Motion as before, but more Furious and Violent, in Eager, Importunate and Bitter Actions.

The Subjects, Zenaeheribs Sons, who slew their Father be­fore the Alter; Abimeleck, who slew his Seventy Brethren; [Page 41] Mithridates who on the Receipt of a Letter caus'd 80000 Ro­mans to be slain; likewise Archelaus, Phalaris, Medea, Scyron, Dionysius, Crion, Cyrus, Herod, Procrustes, Mezentius, Tam­berlain the Tartorian, Attyla, Barbarossa; but more especially in the Jews towards our Saviour, where may be Express'd the Spurning, Buffetting, their Disdain, Scorn, Contempt, the out­rages of their Cords, Crowning with Thorns, their Deriding, Spitting, Whipping, Pointing, his Carrying the Cross, Peir­cing his Hands Side and Feet, Drinking of Gall, Opening his Side with a Spear, the Repulse of the Blessed Mary; and to make the Cruelty the more Horrid and Detestable, to observe his Sa­cred Sufferance, Gracious and Pittying Looks and Divine Pa­tience.

Sadness, their Motions Heavy, Pensive and Sorrowfull; the Head Carelesly hanging aside, the Forehead wrincled, the Eyes half shut, the Mouth a little open, the Corners downwards, the Nostrels swel'd, the under Lip pouting and drawn back.

The Subjects, Adam and Eve upon their Fall, Agar with Child thrust out by Abraham; Peter after his Denyal, &c.

Envy causeth a Man to draw back his Limbs, pluck in and in a manner shadow his Eye-lids, wry his Mouth, grinde his Teeth, biting his Finger, turning himself with a Passionate Look, as prying into other Mens Affairs.

The Subjects Cain seeing his Brothers Sacrifice more accep­table then his; Culianus, who seeing his Rival in Honour, pre­fer'd, caus'd the Bridge to be broak as they were passing over though with certain Ruine to himself; likewise the Divels coun­tenance when he Tempted Eve.

Covetousness hath Restrain'd and Catching Actions, drawing in the Hands and Arms, Pensive, Clitching the Thumb between the Fingers, &c.

The Subjects, Crassus; Polymnestor, when he Murder'd Pri­ams Son, for his Treasure; Tantalus at the Banquet of the Gods, who serv'd up his own Son Pelops in stead of Meat; Mi­das, Aglaurus, &c.

Love causeth a Dilation in all Parts of the Face, the Fore­head smooth and even, the Eye-brows to rise in the middle, the Eyes half open and Smiling, the Apple of the Eye Spark- [Page 42] and Moist, the Cheeks full, the Nostrels a little open, the Corners of the Mouth turning a little upwards, the Lips red and the whole Air of the Face Smiling, the Complection pret­ty Ruddy, the Head inclining towards the Object. The Sub­jects are Infinite.

Pain maketh the Patient to draw in the Eye-brows, strain the Lips, shew the Teeth, throwing the Arms abroad, some­times drawing the Body together, turning and shutting the Eyes, it causeth Tears, Shakings, Burnings, Sweats, sometimes to stretch the Veins, to Roar out and beat themselves, &c.

The Subjects, Prometheus fed on by the Vulture, St. Se­bastian when shot to Death, St. Stephen Ston'd, St. Peter Crucify'd with his Heels upwards, St. Lawrence burnt on a Gridiron, St. Bartholemew, with innumerable more Examples of those who have suffer'd under Cruel Tyrants.

Despair hath Actions betokening a Privation of Hope, it caus­eth to tare the Hair, Garments and Flesh, sometimes a fixt and resolute Look with a stern Brow, &c. the Subjects Saul, Cleopatria, Queen Dido, Cato Uticensis, Mithridates, Nero, Ju­das, Architophel, Thisbe, Lucretia, &c.

Fury sheweth Actions of Folly and Distraction with Ve­hemency in all their Affections, by Gaping, wrying their Mouths, seeming to Cry out, bewail, Howl, Lament, Tear­ing their Limbs and Garments.

The Subjects, Athamas killing his Son, and putting away his Wife; Heliodorus in his Aethiope: History mentioning this Fury in fair Cariclia, partly for the Absence of her Theagenes and partly for the Marriage of Cnemon and Nausiclia, brings her in like a Fury, throwing her self on her Bed, tearing her Hair and Flesh, and Crying, come let us Sacrifice to the Divel; likewise in Althaea kindling the firebrand of her Son Maleager, &c.

IThought to have subjoyn'd Subjects for each Remarkable Passion but finding it would swell the Treatise too large, I shall of the rest only shew the manner of Expressing them; for Subjects, the Artist may furnish himself out of Homer, Vir­gil, Ovid and the rest of the Poets.

Disdain, maketh a Man shake the Head, open his Mouth with a scornfull smile, stare eagerly, opening his Hand and wresting it about, lift up his Nose as if he smelt something amiss.

Injury must have Calumnious, Offensive, and Reproachfull Actions, with an insulting Violence, Threatning, Scorning and looking Feircely.

Vanity produceth Light, Aiery and Frivolous Actions, yet a kinde of Contentment, easily given to Laughter and Mocke­ry, Foolish, Insolent, Absurd and Vain, yet Affected with all they do themselves.

Pride, in the better Sence, hath a Lofty, Great and Gracefull Carriage, the Motions Noble and Principal, Aspiring at great Things, full of Resolution and Confidence, and thence usually happy in Performance; but Pride in the worst sence, is Impe­rious, Arrogant and Insolent, causing the Limbs to swell, car­rying the Head aloft, but without Steadiness or Gravity, shew­ing scorn and contempt to others advice.

Obstinacy hath Stubborn, Hasty, Hard, Immutable and Im­placable Actions, Suffering the extremity of Pain rather then Obedience.

Roughness exerciseth Hard, Cruel, Rough and Stubborn Actions, void of Love, Pitty, Mildness, Civility or Generosity, it makes a Man draw in the Eye-lids, draw his Mouth aside when he speaketh, look disguisedly over the Shoulder, move slowly without any Decorum; Perverse, Obstinate, Harsh, Cruel, &c.

Bounty hath Chearfull, Pleasant and Gracefull Actions, with Arms open, the Elbow on the Flank, the Hands held up with Palms forwards, the Body and Head Inclining, turning his Face to whom he talketh (though never so Mean) without the least shew of disdain; his Arms, Legs, Body not mov'd with the least violence, but all Expressing an Affable Temper.

Magnanimity (which is a greatness of Minde) must have ready bold and stout Actions, accompanyed with State and Ma­jesty, the Countenance Magnificent and vigilant, causing Love, Fear and Reverence in the Beholder: his Head dispos'd to Wor­thy and Heroical Actions, Free from base and servile Gestures; Farther you may Learn in the Lives of Alexander the Great, Pompey, Hannibal, Charles Loraine, Julius Caesar, Matheus Viconte, and James Trivultius.

Discretion (being properly a Modesty in Things) should have sweet, stayed, and wise Actions; capable of discerning between Good and Evil, True and False; Moderate in their temper, severe against the Insolent, but Gentle to Just and Reasonable Men.

Wantoness should be Express'd with Wanton Looks, the Eyes sparkling, the whole Face smiling, Dimples in the Cheeks, Kissing, Imbracing, Forcing, Striving; the most Allective Parts Naked, as Breasts, Legs, one Arm, Tips of their Tongues seen, but cover'd about the middle with Lawn, to Inflame the de­sire of beholding the more, for the Antients exprest Venus not quite Naked, as some Remains may be yet seen in Delos and Paphus.

Quietness hath actions full of Joy and Mirth, free and easy without violence or Perturbation; the Countenance smiling without immoderate Laughter, the Eyes pretty open and Brisk, the Limbs moving moderate and Gracefully, the Forehead smooth, and all the Actions betokening peace of Minde.

Lunacy must be exprest with torn Hair, squint Eyes or Di­storted, swelling Lips strangely Bending, Fowl Nostrels, Teeth befoam'd and appearing more in one place then another, shaking their Heads, moving their whole Body; their Arms, Hands and Legs Trampling, as seeming in continual danger of Falling; their Eyes Gastly Staring, their Countenance Pale, [Page 45] Wan, or of a black and blew Colour; there be other sorts call'd by Hipocrates, Epileptici, of which there be three kinds, some with their Bodys upright, Streatch out their Legs, others inclining so forcibly forewards that their Faces touch their Knees, and the last bending themselves so violently backwards, that their Heads touch their Heels.

Patience hath Acts of Humility voyd of Offence and De­fence, which may best be illustrated in the Passion of our Saviour.

Rusticity hath Slovenly, Heavy Slow, Clownish and Unre­verent Actions, leaning the Arm or Leg on whomever is next Rediculing (in their uncouth Manner) any that appear Neat, Gentele, &c.

Wisdome hath stayd, Grave and sober Actions, a Cheerful severity in the Countenance, stroking the Beard with one Hand, which seems a little disorder'd in token of Contem­plation.

Folly is full of Vain Actions, absurd Dancing, provoking the Company to Laugh by Apish Gestures of the Body and Hands, turning of the Arm, Head, and Body in a fond Ab­surd Manner, Grinning with other foolish Gestures, of Mouth and Eyes, ever Crossing the actions of Reason and Under­standing.

Death hath divers Actions according to the manner of it, if suddenly Slain, the Eyes must turn up, hiding half the Black and Gape; but otherwise if by the effects of long Pain. The Painter must distingiush between a Violent Death and when it comes by a Lingring, Pining Disease, for then the Limbs must be Meagre, sharp and Lean; likewise they must be Hanging, Limber without the least Appearance of strength to Support the Body; the Nerves being Relaxed. But all uncome­lyness and Noysomeness must be avoided, still Observing to take the best of Nature, or at least to correct the Worst.

Wondring is Exprest, by Pointing with the Finger, throwing abroad the Arms, thrusting out the Belly, biting the Lips, the Eye-brows arch-wise bent, and fixt on the Object some­times still, Attentive and immoveable.

Simplicity hath Fair, Pure and Free Actions, free from Ma­lice, Merry, Bashfull, and proper to be exprest in Young Virgins.

Metcy hath Pittyfull and Compassionate Actions, Weeping, bowing down the Head, turning the Neck, reaching the Hand and spreading the Arms.

Inconstancy hath various and uncertain Actions, seldom keeping their Arms, Legs, Feet or Head in one Posture, Weep­ing, Laughing &c.

Humility is of two kindes, the better appears in Gentle, Mild and Courteous Actions, the other in Base Actions, as when Nero carry'd some of the Earth of Isthmus on his Shoul­ders; Sardanapalus, when he sate Spinning in his Pallace, &c.

Dread is Exprest by Paleness and Trembling, Fainting and hard drawing of the breath, looking over the shoulder in Flight, cold Sweats, &c.

Modesty keepeth a Mediocrity betwixt too Fearful & too Plea­sant Gestures; their Actions, Temperate, Moderate, Discreet, Mannerly and Attentive.

Theft opens Mens Eyes, their Hands at Liberty, Musing, looking from the company as fearing they should read them in their Looks, often changing Colour, and sometimes causing Terrible, Insolent, Feirce Actions.

Deceit is full of kinde Usages and Jests, but of Wary, Wise and Malicious Actions, their Eyes Sweet, stedfast, but sharp upon all advantages.

Mallice hath Actions of Fraud and Falsehood, looking sted­dily on other Mens Eyes, thence to pry into their Secret Affe­ctions, to obtain thence what may serve their Purpose.

Craftiness hath Malicious, Wary, Forecasting and Witty Gestures, they are Mild and Gentle in all Things, full of Me­ditation and Art.

Adventuring hath Bold, Feirce and Couragious Actions, and makes Men Free, Loose and Vigilent, void of Fear and Sloath.

Rage is a Passion between Anger and Fury, it makes Men Grin, Foam at the Mouth, Grind their Teeth, throwing away what ever is in their Hands, &c.

Justice as the Platonicks hold is a Masculine Vertue and hath Manly, Magnanimous, moderate and Considerate Actions, in­clining rather to Severity then Pleasure.

Devotion hath Actions of Kneeling, lifting up the Hands to Heav'n, to plair the Fingers in each other toward the Chin, with an Inclining Countenance, sometimes spreading the Arms abroad, with the Head hanging down, and sometimes Gro­veling on the Earth with the Face downwards.

Audacity hath Rash, Presumptious, Arrogant and stubborn Actions, desiring to be fear'd of all Men, not Regarding others, scorning all with a fearfull Countenance and Gestures full of Threatning and Insolency; and may be exprest by Nimrod Founder of the Babylonian Tow'r; and in Goliah slain by David.

IN Expression we must Regard the Sex, Man must appear more Resolute and Vigorous, his Actions more Free, Firm and Bold; but Womans Actions more Tender, Easy and Modest.

We must likewise Regard the Age, whose different Times and Degrees carry them to different Actions, as well by the Agitations of the Minde as the Motions of the Body.

We must also take Notice of the Condition, if they be Men of great Extent and Honour, their Actions must be Reserv'd and Grave; but if Plebeians, more Rude and Disorderly.

Bodys Deify'd must be Retrench'd of all those Corruptible Things which serve only for the Preservation of Humane Life, as the Veins, Nerves, Arterys, and taking onely what serve for Beauty and Form.

We must likewise observe to give to Man Actions of Un­derstanding; to Children, Actions which only Express the Motions of their Passions; to Brutes, purely the Motions of Sence.

Consider also that Man hath his Eyes and Ears (which are the Organs of the Soul) situated in one streight Line, Brutes have one point low on the side towards the Nose, the [Page 48] other drawing towards the Ear, their Natural Sence conducting it self from the smell to the Hearing, and from thence to the Heart.

Man can move his Eye-brows, sometimes the Arch elevated and sometimes the point drawing towards the Nose; but Brutes never move their Eye-brows, their Points being allways inclin'd dounwards. Man likewise moves the Apple of the Eye every way, Brutes cannot lift them upwards.

There are also two Facultys in the sensitive soul to be Ob­serv'd, the Concupiscible and the Irascible; likewise two Exte­riour Motions which express them, and depend either on the Brain, which draws towards it all the Passions which proceed from thence, or the Heart which draws downwards all the Externall signs that depend on it.

Nor is it sufficient that we observe Action and Passion in their own Natures, in the Complection and Constitution; in the Age, Sex, and Condition: but we must likewise observe the Season of the Year in which we express them.

The Spring; Merry, Nimble, Prompt and of a good Colour. The Summer, causeth Open and Wearisome Actions, Subject to sweating and Redness. Autumn, Doubtfull, and something Inclining to Melancholly. Winter, Restrain'd, drawn in and Trembling.

Yet notwithstanding the Season, a Labouring Man must be exprest with rays'd Limbs, Swelling and standing forth, sweating &c. especially in those who carry Burthens, or use vehement Leaping, Fencing or other violent Exercises.

Farther observe that in Sleep the Body must be without any Motions of Vigour, and in such a Posture, as we may not sup­pose the uneasiness of it may prevent their Rest.

We must take Notice too of Motions proceeding from Tasts and Smels, Sowerness and Bitterness cause the bending of the Eye-lids, wrincling the Forehead, drawing down the corners of the Mouth, &c.

Sweet ann Savoury Things cause a Pleasing and Chearfull Countenance; as likewise Oderiferous Smells. Bad Smells make us draw in the Nostrels, look aside, turn the Back, with wrincled Eye-lids, Eyes almost closed and Muoth drawn in.

And Lastly, by Hearing and Touching there are divers Mo­tions caus'd in our Bodys; Sharp Shrill Sounds raise sudden Fear and Affright. Grating Sounds cause Jarring of the Teeth and Shivering. Touching hot Things, Speedy and Quick Motions; from Touching Cold, as Ice and Snow, Restrained and Fearefull Motions.

JOY causeth a Cheerfullness and Vigour of the Eyes, Sing­ing and Dancing, &c. sometimes Tears. all these are the Effects of Dilation and coming forth of the Spirits into the out­ward Parts. As for Tears, they are the Effects of Compression of the Moisture of the Brain upon Dilation of the Spirits. Joy hath sometimes caused sudden Death, by the spreading of the Spirits so much that they could not Retire again.

Shame causeth Blushing, which is the Resort of the Blood to the Face, which in the Passion of Shame is the Part that Laboureth most.

Grief and Pain cause divers Impressions, viz. Distorting of the Face, which is caus'd by a Contention, first to Bear and Resist and then to Expell; which maketh the Parts first to knit and afterwards to open. Grinding of the Teeth is likewise caus'd by gathering of the Spirits together to Resist, which makes the Teeth set hard one against the other. Sighing is caus'd by drawing in a greater quantity of Breath to Refresh the heart that Laboureth. Screaming and Roaring out, are caus'd by an Appetite of Expulsion; for when the Spirits cannot expel the Thing that hurteth in their Strife to do, by motion of Consent they expel the Voice.

Anger Causeth Trembling, Sweating, Foaming at the Mouth, Stamping, bending the Fist, Paleness and going and coming of the Colour; which last is caus'd by the Burning of the Spirits about the Heart; calling in more Spirits from the outward [Page 50] Parts to refresh them; But in some there is no Paleness but Redness, which is by sending forth of the Spirits in an Appe­tite 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 Fist, by an Imagination of the Act of Revenge. Foaming at the Mouth is from the same Cause with Swelling, and is an Ebullition.

Wonder causeth an Immoveable Posture of the Body, by fixing the Minde upon one Object of Cogitation, whereby it doth not Transcur and Spatiate as usuall, for the Spirits fly not as in Fear, but only settle, less apt to move. Lifting up the Eyes and Hands is a kinde of Appeal to the Deity, the Author of strange Wonders.

Lust causeth a Priapism and Flagrancy in the Eyes; the Rea­son is because the sight and the Touch are the onely Things desir'd in Lust, therefore the Spirits fly to those Parts which are most Affected.

Fear, causeth Paleness, Trembling, standing up of the Hair, starting, stretching, &c. The Blood running inward to succour the Heart (as before) causeth Paleness. Trembling, from the Flight of the Spirits inwards, leaves the outward parts destitute of suffi­cient to sustain them. The shutting of the Pores of the skin, causeth the Erection of the Hair. Starting, an Apprehension of a thing feard (in that kind a Motion of shrinking) likewise an Inquisition in the beginning, what the Matter should be (and in that kind it is a Motion of Erection) for starting is an Erecti­on of the Spirits to attend. Stretching, is an Appetite of Ex­pelling what suddenly striketh the Spirits.

Laughing causeth a Dilatation of the Mouth and Lips; a continuall Expulsion of Breath, with a loud Noise, which makes the Interjection of Laughing: sometimes the Eyes running with water; shaking of the sides. The causes of these impressions are from the Dilatation of the Spirits. And the more, the more sudden the Object of Laughter is. Yet this can scarcely be term'd a Passion, but hath his source from the Intellect, for there ever precedeth a Conceit of something Ridiculous, and is only proper to Man.

Finally, the Spirits in all Passions resort most to the Parts which Labour most, or are most Affected, in Fear and Anger to the Heart; in shame, to the Face; in Lust to the Venerious Parts, &c.

LIght hath so great Force in Painting, that the Gracefull Part consists much therein, for if the Lights are well dispos'd, there will be a Beauty in the Picture (although not a Perfection) notwithstanding the Draught be not Extraordi­nary; for it is through the Vertue of that, that the Figures are brought off from the Flat.

The Force hereof may be seen in the Resurection of our Saviour (as hath been observ'd) in the Covent of the Church of Grace in Millain, by Bernard Zenale Triviliano; where though the Muscles and other Necessary Complements for a perfect piece of Work are not seen, yet it gives a great satisfaction, by the strength and orderly Disposal of the Lights. The Power of it is likewise such, that it gives admirable Foreshortnings and Perspectives; neither can Form, Motion, Proportion, Com­position, Order or Figure have Perfection without it, like a Body without Situation or Spirit.

The Paripateticks say, this is the Cause or Formal Reason whereby colour'd Things are seen, whose Images pass to the Fancy, especially inlightning the Eyes, in which the Image is Formed, passing first to the Common Sence, then to the Fancy and Lastly to the Understanding.

We are to observe three Things concur to our Slight, the Visual Lines, the Colour'd Body, and the Faculty of Seeing which is in our Eye. The Visual Lines Lightned (which are the proper matter and subject of the Perspectives) come to our Eye in a Pyramidal Form, the Basis of which Pyramis resteth in the Object, and the Conus or Angle thereof cometh to the Eye more Blunt and Obtuse, and hereby we see the Object [Page 52] more plainly and distinctly; but if the Object be far of, the Angle of the Pyramis comes to the Eye more Sharp which ren­ders the Object the less Discernable.

It is likewise to be noted that the Object cometh not to the Eye, but the Visible Spirits are diffused through the Clearness of the Air to the Eye; which Spirits are certain Images, like those in a Looking glass, when any thing is Represented therein.

If the Colour'd Body or Object stand near to this Image, it comes to our Eye in the same quantity and bigness of the An­gle of the Pyramis; now because this Angle comes to our Eye in an Obtuse Forme, the Image also seems great and so is dis­cern'd the more distinctly: but when the Colour'd Object stands afar off, the Image comes to the Eye, in a small and slender Angle, and therefore filleth not the Eye, but Wa­vereth in such sort that it cannot be clearly and distinctly dis­cern'd.

And lastly, the Faculty of Seeing is reduc'd into Act, by the concurring of the other two, viz. the Uisual Lines and the Colour'd Body which reformeth the Eye by reducing it from meer Ability into Act.

From which Grounds for these two Reasons, the self same Body cannot be equally Lightned in all Places.

First, because Light with all its Brightness doth not Illumi­nate more, then that part directly opposite to it, not having Power to Illustrate the other Parts so perfectly, from the na­ture of the dark, Terrene and Gross Body, which hindereth the Beams from Piercing Inwardly, to perform their Effects so perfectly.

The second Reason is from the Nature of the Eye, what is nearest coming with a Bigger Angle is more distinctly seen, what at distance by a less, and is more Imperfect, so propor­tionably of a third and Fourth till the Eye can discern no farther.

Light is twofold Primary and Secondary, the Primary is that which falleth on that part of the Colour'd Body which is op­posite to the Body giving Light, touching it with direct Beams; a Light Body is that which hath Light within it self, as the Sun, Fire, &c. now that Light which ariseth from this Primary Light is the Secondary Light.

Light is divided into divers other important Branches drawn from the Physiologicall part of the Perspective, whose cheif end is to seek out the Principles, Causes and Elements of all visible Things, together with their Species and Essential differences, but ever in General it is divided into three parts according to the divers Considerations of Seeing.

The Secondary Light is likewise of three sorts, the Direct, Reflected and Refracted.

The first Primary Light is that which falleth upon and is re­ceiv'd in that Part of a Colour'd Body which is opposite to the Body giving Light; which running upon the Bodys, toucheth them sweetly with a certain Natural Order, not possessing them in any of the Extreams as other Lights do, and must be ob­serv'd in Historys suppos'd in the open Air.

The Second Primary Light is that which is caus'd by the Apparitions of Angels, or Glory, as about our Saviour in his Nativity, his Transfiguration, his Resurrection, &c. and it must be observ'd in all parts according to their distance on every side.

The third Primary Light is from Fire, Torches, Lamps, Can­dles, &c. but must be less Refulgient then the last. In this we must observe whither it be by Day or Night, the Matter Burn­ing, &c.

Where there be several Lights there must be care taken how they are placed that by their Opposition, they take not away all Occasion of Shaddowing, which will diminish their Beauty, through the want of force and strength; likewise that they cast not double Shaddows, 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 first Species of the second Division of Light, and is brighter according to the Thickness of the Body it meeteth with, but strikes only on the Superficies direct opposite to it.

The Reflected Light is that which ariseth from the ending of the Direct, it Lightneth all the Bodys on which it fals, cheifly the hinder parts of such Bodys as are Lightned before, by the Direct Beams.

The Refracted Light is that (which the Philosophers say) is ingendred by the Direct Light, as it fals on Christals, Armour, Water and such shining Things as are apt to Ingender the same: and is nothing but the breaking of the Direct Light upon these Bodys, which it causeth round about in every place, as may be seen in clear water towards the bottom, as likewise on the Superficies next the Eye.

THE Light falling on the Flesh of Young Women and Children causeth a Pleasant, Tender Shaddow without much Reflection; but when on old hard and stiff Flesh, it re­maineth more Harsh, the shaddows being harder: but falling on Plaistick Figures though round like Flesh, it maketh certain unpleasant and too apparent Reflections; not suffering the Thing to appear round like Flesh, confounding one Member with another, and the more the more White the Body is. From, the not due consideration hereof several Painters have run into Errors, by Painting after Antique Statues and Plaisticks, observing the Light as it falls there, whence their Flesh ap­peared Unnaturall.

In Drapery it must be observ'd that those Folds which come nearest to the Bones, as the Joynts of the Fingers, the Shoulders, the Knees and other Eminences, must be more strongly Touch'd then the other Parts, and by that means the Flesh will appear the more soft and sweet.

On Diamonds and other Pretious Stones the Light falls more quick and strong according to the Condensation of their Bodys, next upon polisht Mettals as Silver, Armour, &c. in Armour must be Reflections of all things about it, but dimmer then the Armour Receives from the Primary Light, otherwise it will shew Ignorance in the Perspectives. So likewise in other Polisht Mettals, &c.

Light is strongest upon the Body which hath most Correspon­dency with it, as Red Sanguine and well colourd Complections, which on the balls of their Cheeks, top of their Noses &c. have a stronger Luster, and sharper shining then those of Pale and Wan Complections, for there the Light finding no Cor­respondency, is Dilated with a more remiss brightness.

Black yeildeth no sharp quickness, except in respect to the Perfection of Matter, as in black silk in comparison of Wollen Cloth.

In Yellow the Light causeth a clear brightness having Affinity with it, especially in those which are freest from Paleness.

The Light in Green hath a Mediocrity, and rather Comfor­teth then Quickneth the Visual Faculty.

In White it is too much Continued, by reason of the Clear­ness which hath Correspondency unto Black, whence it receiveth its shaddows.

We will now shew how Light Ingendereth its Effects in Bodys according to the Eminency or Depression, Restraining or Dilating of their Superficies, from whence ariseth the Harshness or Sweetness.

In Infancy the Light on the Superficies is Dilated and not sharp by reason there is no other impression wrought in the beholder, then a certain Dilating of a Fat and simple Matter without sharpness and very little shaddow.

In Childhood the Lights begin to appear more sharp by reason of the contracting of the superficies, but with a kinde of Variableness answerable to the Gestures which proceed from the Spirit beginning to distinguish between Good and Evill.

In Youth the Superficies being Protracted and Restrained makes the Body seemly, yet soft and tender, neither Fat nor Lean; in this Age second Light breeds wonderfull sweetness, Delightfull to the Eye, being dipriv'd of spreading of the Lights, and with great Decency gives sweet and Firm Shaddows.

In Manhood the Lights run with greater Force, having the greatest Perfection as ever they will have; not too unpleasant nor too Sweet but much Delightful, accompanied with a firm Stoutness and in some Parts something more Feirce.

In Constant Age the Body is more compacted and settled, the Lights more sharp and full of Force.

In Old Age the Lights appear Heavy and full of Majesty and Gravity and so contrary wise the Shaddows: by reason the Superficies is depriv'd of that Quality of Increasing and Vigour, yet not Crude and Hallow without Order, but in a middle Temper.

In Dotage the Superficies is sharply Elevated and making A­cute Angles and declining Lines, cause the Lights running up­on them to appear Sharp being Encountred with very deep Shaddows, the Eyes wholly shaddowed with the Eye-brows, the mouth with the Nose, the Cheeks with their Balls, the Forehead with Pulses, and so through all other Parts, as the Concavities of the Bones without Flesh by the most Apparent parts of the Bones.

In Infancy, we must therefore express Simplicity; in Child­hood, a sharp Simplicity; in Youth, Amiableness; in Manhood, a Graver Beauty; in Constant Age, Lustiness and Courage; Gravity, Majesty and Consideration in Old Age.

We must likewise observe that in the Design there be one Principal Light, which must sall most strongly on that part nearest to the Light, and as the Superficies is shortned accord­ing to the Distance from the Light so the Body looseth as much of its Colour as it lacketh of the Light, and so the Colour faileth by Degrees untill the superficies decay together with the Light.

IT is a General Rule that the Lights must be given to Bo­dyes according to the place through which they pass, and this must be order'd so that the Light do ever Touch more suddenly on the middle Line, supposing that part of the Bo­dy which may be seen at one view to be devided by five Lines into four Spaces, equall in Power.

The Painter must suppose one of these four spaces to be lost and the three other to appear, imagining that these three [Page 57] Spaces which are seen be divided in four Lines equal in a per­spective Semi-circle, making the chief Light to strike more strong­ly on the second Line, and in the second space Heightned (which is consequently to be plac'd in the third Line) he shall put as much shaddow as he seeth, and by this means the Figure shall be wonderfully Rays'd, and more then if the Ligbt were plac'd side-long in the first Line, or in the middle on the space between the second and the third, because that makes too much shaddow and this too much Light.

But in Ceilings the Light is taken from the Window so that it cannot be avoided but that the Light will sometimes be receiv'd in the first Line according to the aspect of Lively Bodys either side-long, from above or from below as the Body is tutn'd to the Light.

In the plain Superficies this Rule must be always observ'd that the Light given to Bodys must never be Perpendicular o­ver their Heads, for it will breed this inconvenience, that the upper parts will always shaddow 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 such Light.

That part of the Body is counted next the Light which from the first Pointed extendeth it self farther out on that side then the rest; especially if it be from on high, therefore that Light being the Quicker, causeth the Superficies to receive the Light more strongly viz. that Superficies which is next to us, and that which looketh upwards, both which receive it so much the more strongly by how much the higher they are, because they are nearer the Apointed Light; and this is the Original & Ground of all other Lights which are orderly dispos'd through all Bodys, giving them their Heightning aceordingly to the Direction of that only Light.

Situations and Climates must also be observ'd, they who Inhabit the Temperate Zone the Light casteth their shaddows towards the North: who Inhabit the Hot Zone having a right Spheare, and the Aequinoctial for their Zenith; their shaddows [Page 58] are under their Feet at noon; because they have the Sun Per­pendicular to their Body: but they who dwell under the Poles, have their shaddow carryed round about them like a Wheel.

Nevertheless we must generally consider the best Effects of Nature, immitating them by proposing unto us their Examples.

And so must we doe on the Surfaces of High-wayes taking the Light from the East in imitation of the Sun which in that part where it beginneth to rise casteth the shaddows of Bodys towards the West and to other parts according to his Aspects.

We will now lay down a few Precepts necessary to be observ'd and so conclude this Discourse of Chiaro Scuro.

In Light we must consider the Sun in his Luster, as Rising, Meridionall, Setting and according to the Vapours he meets in the Air. Clear Air likewise, through which the Light is spread and is something blewish; and Cloudy Air which is Darker, but leaves more easiness for Objects to be discerned in their true Colours, the Eye not being dazled with too great a Brightness.

We must Consider Lights as Principall falling Perpendicu­lar (without Interruption) on any Surface or Extremity. Glancing by sliding Diagonally on Elevated Bodys. And Secondary, for things at distance, according to the Thickness of Vapours which Intervene, and offer many incidental opportuni­tys for giving the more Beauty to the stronger Lights; as likewise loosen the Lighted parts by the opposition of the deep Teints.

If the Design be in the open Air, the Light is extended and diffus'd on the Objects with the greater Tenderness. If in In­closed Places, it is more consin'd, the Lightnings more strong and Quick.

The Chief Light must be on the Principall Figure of the Group, and must be extended without the Interruption of little shaddows, that the Relievo may stand more boldly out.

All Shaddow must have a Sympathy with the Lights in their Colour as likewise the Reflections with the Bodys Reflecting Arteficial Lights, if very bright, give a quick Heightning, and dark and deeply shortned Shaddows.

Lastly it must be carefully observ'd that betwixt all Lights and Shaddows there must be such Mediums, as may take of all Hardness, and so Arteficially wrought in as may not soul ei­ther with the other and so take away the Beauty and strength of the Picture.

PRospective (being a Species of Geometry) is a Science treat­ing of Visible Lines, and may be divided into three parts, Optica, Sciographica and Specularia.

Optica of two kindes, either Physiological or Grammical.

The Physiological part scearcheth the Vniversal Principles, Causes and Elements of the appearences of things which may be considered three several ways, as Vision is Direct, Reflected or Refracted as when things are seen in Water, Glasses &c.

The Grammical is the Art of Delineation, and is more Ne­cessary to Painting then the other. It considereth Sight either True or False, and is of three sorts, Anoptica, Optica and Catoptica.

Anoptica is the Art of Delineating Objects elevated above the Horizon, Optica designs those extended Foreright, level with Horizon, and Catoptica those beneath the Horizon, which appear as if they came nearer the Eye below.

Another Species is call'd Sciogrophica; It handleth the Causes, Principles, Elements, and Properties of Shaddows; giving the Reason of the Variety of the Apparitions of the Shapes and I­mages of Things, according as they are elevated either above, direct against, or beneath; far of or near the Eyes and as by the Laws of Grammica are distributed the Out lines of the Superficies as they ought to be, according to their distance and Situation: so this part considereth the Shaddows of Bodys, ac­cording as their Superficies are Protuberant, or Depress'd.

The last Species is Specularia, and considereth the Reflections and Refractions of Beams, giving Directions for making Glasses, [Page 60] either Plane, Convex, Concave, Pyramidal, Angular, Inverting Erecting, &c. which I shall wave, as not being so Pertinent to this Art.

The Eye is the Foundation of Perspective, because thence the Natural and the Rational Sight is Formed: Natuaral where­in the shapes of Things seen do come to it simply, by the Beams of light; Rational, wherein there is farther Consider'd the Rea­son and Effect of the Sight, even where the Eye cannot be o­therwise plac'd then by supposition, as at an infinite di­stance, &c.

The Eye is call'd by some Italian Authours, the Term; because by it all Things in a Picture are Limited, and any Thing made without the disposition of this Term, cannot be true, as not being dispos'd for the Sight, nor order'd ac­cording to the Visuall Beames, coming to the Eye from the whole.

It is call'd also the Center because all the Lines of the Base and Circumference of the Object do meet in it, as in a Circle all Lines run from the Circumference to the Center.

It may be consider'd also as the Apex of a Pyramide; be­cause all the space between the Object and the Lines or Beams which pass 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 Distance we must observe that the Object come not too near to the Eye, nor yet be too far of, for then the Air be­tween will take away too much of the Colour and Beauty.

In too Obtuse and short Distances, Things seem to decline and run too much backwards, in a preposterous manner; so Things too far of, making Acute and sharpe Angles in the Eye give no grace to the work; it is reckon'd a proper Di­stance, for the Beholder to stand from the Object, three times the Length thereof.

Next we will consider the Object which is the Thing that standeth before our Eyes; the first Figure to be observ'd is cal'd the Natural, and must be exprest in the first and prin­cipal [Page 61] part of the Picture: so that whatever you place inwards, towards the Eye of the work, must be diminish'd, according as the Lines and Beames shall extend themselves.

Now we will consider the three sorts of Sight, and first A­noptica, which is the Real and Upper Line, by help whereof we consider all the parts of the Object above the Horizon, and therby bringeth them to the Intersection, or Line of Shortning; whence according to the situation of the Body, the hinder parts are made to run downwards and the nearest parts to rise upwards, and from hence the Declinings and Arisings, the Shortnings and In­creasings of the parts of the Body are caused.

This Line hath his Original from the Center or the begin­ning of the Distance, which is the Eye; so it returns to the same through the midst of the Beams, which couple all the Extreem Limits of the perfect Body.

Optica is the second Real Sight and Direct Line, and is that which is nearest the Object, so that the upper parts of the Ob­ject belong to the foremention'd Line, and the lower to Catop­tica; this is that therefore which principally touches all parts of the Object both above and below, and therefore it is call'd the Direct Line.

For the Beams parting themselves strongly at the Eye and falling on the nearest parts of the Object, end there, causing the upper and lower parts to be shortned and diminish'd and the E­minences to hide the Concavities, and the larger parts to co­ver the narrower, making the Object to encrease and diminish according to their respective distances from the Perpendicular, in the due observance whereof consisterh the chief Difficulty as well as Beauty of the Art.

Catoptica is the third sort of Sight whose beams touch all the lower parts of the Object, conducting them to the Point of Intersection, so that when the Object is below the Eye, the farthest parts seem to rise and the nearest to decline down­wards.

BEsides these Real Sights there be severl Deceitfull Sights, as upper Perpendicular, middle and lowermost: the upper Perpendicular Considereth the Reasons how the Intersections are carry'd to the place appointed for the Shortning, which were ordain'd in the Perpendicular, by reason of the upper Parts, and it representeth to us Figures in a little space, from be­low Perpendicularly on the top of a Vault, perfectly expressing as well the lower as the upper parts. But those which stand out in length are (for the most part) so shortned that the Fi­gures seem broader then they are long.

The Oblique Deceitfull Sight causeth us to see the Oblique Shortnings in their places viz. such as may be made in the Vaults of Chappels, nor in the Squares, but in the Semicircles and such like places, as the Tiburij or the Truine, whence not­withstanding the declining of the Vault where they are paint­ed, the Figures may be seen to stand upright as on their Legs, as if their were no Vault at all. So that the arch'd appear­ance of a Vault causeth no interruption in the draught. In such sort that a Chappel may seem truly to be open to Heaven, or in other pretty Inventions, as is usual in such places: but this part being difficult to be conceiv'd, you may see it better ex­press'd in those works, in the Chappal of Zenales doing in Mil­lain; another in Parma of Antonio Correggio, &c.

By the third Deceitfull Sight above, all the Figures placed above the Eye are shown by their Lower Parts more or less according as they stand higher upon the Wall at the Horizon: wherefore the hinder parts run inwards, and the foremost fly upwards, whence you shall see wonderfull great spaces, stretch­ing forth of Arms, Shortning of Legs, &c. and in these Fi­gures you cannot see the upper parts except they bend for­wards.

The fourth deceitfull middle Sight is that which giveth a Body in such sort, that in the hinder parts the lower Superficies seemes to run upwards, and the upper to run downwards, wherefore our Eye must strike directly on some part of the Body, as about the middle; this is the least Shortning as can be, and yet considereth all those difficultys as the others do.

The fifth deceitfull sight below is that by which, all the Pi­ctures that are seen from above, placed more or less below the Horizon, are made, which also teacheth the Reasons why they are so made, it causeth their rising up on high, the running down of the hinder parts, and the Increasing of their fore­parts: and below it makes that appear, which on high seems contrarywise to be uppermost. In the rest it followeth the o­thers, and is to be understood after the same manner, though the Effects be divers.

The Sixth Deceitfull Sight is deep or inward, and represents to us on plains the Bodys stretcht out upon the Earth in Per­spective, with the Head one way and the Feet another, seem­ing to run into the wall, by performing in this place the like Effect against the Eye, which a Figure doth being wrought in a Vault Perpendicularly above the Eye, according to the first sight, and this is to be understood of such which standing on the lower ground, cannot be seen from above but only direct­ly or below, as such who looking directly downwards, can only see Peoples Heads.

We will now conclude with some Reasons why of Nesce­ssity Distance must diminish the Object.

The Air doth not carry the Species, which it taketh from the Images afar of, to the Eye, in the same Individual Quan­tity; but carryeth them lesser and weaker.

The first part of the Air, which is next the Image, represents the Species lesser to the next; and so that to a third &c. till the Image come to the Eye; which coming (according to the Positions of the Mathematicians) between two Lines not Parallel, must then of Necessity meet, so concluding in the Point of the Intersection which is in the Eye.

For should the Species of a Body, be Represented in every part of the Air, in the same Vigour and Quantity; it must [Page 64] follow that a Finite Thing have an Infinite Power to excite Vision: for supposing the Air to be Infinite and without Impedi­ment these Species must be equally seen in every part of the Air and so a limited Body, would have an Infinite Power.

And did the Form of things at a distance, come to the Eye, in the same Quantity, as when near, the Multiplicity of Species crouding on the Sight, would Confound it: therefore since it is of Necessity, that the Figure must loose by Distance; take this for a General Rule, that how much the whole Figure looseth, the same contraction is to be observed throughout the whole Image.

Yet although in Things at Distance, we must go by the Rationall Proportion in Perspective, and in things near by the Natural; yet we must not so observe the Natural, but regard must be had to the Grace of the Picture.

For the Power of Painting, not only extends it self, to the Imitation of Nature, but sometimes to the Correcting of it: ren­dring Things more pleasing to the Eye, then they are of themselves.

DRaught is a Physical Line, or Lineal Demonstration; and hath always some Dimentions, if it be never so slender: and serves to represent Bodys according to their Forms, Aspects and Scituation; Limiting and Determining the surface of an Ob­ject; and Marking out the Several Parts, which are contain'd therein. For no Superficies can Exist, without being Termi­nated by Lines, Streight, Circular or Mixt.

The Extent of Draught is Immense; for it is not only concern'd in all the Visible 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: nay, so vast is its ex­tent, that it adventures to Dive into the very Soul, and express its Thoughts; for though Colour is accessary to Expression, yet nothing can be Terminated without Lines.

They that would arrive to the Perfection in the Practick, must dilligently observe these following Rules.

First he must draw by the Hand, Circles, Ovals, &c. then the several Features of the Face by themselves, as Eyes, Nose, &c. then the several Members, as Hands, Feet, Arms, Legs, &c. Observing in the Hands and Feet, to draw the upper Lines first then the lower; afterwards to divide them into Fingers and Toes. In the Trunk of the Body, first to draw the Con­tours of each side, then to place in the Muscles.

When a Facility is gained in the Features and Members, to begin with a Face, where first draw the Eyes, then the Nose, Mouth, Eye-browes, Chin, and next the Contours of the Trunk on each side, then Thighs, Legs, Feet; observing the going down with Each side, not drawing to the Bottom one side first: then adding the Arms and Hands, and afterwards all the Muscles, and the other Remarks of the Body, and Members as Nails, Hair, &c.

But before he attempts a Body, he must take a Face in all A­spects, as Half, Three-quarter and foreright: then looking Up­wards, Downwards and Inclining, then all Fore-shortned Faces.

When he attempts a whole Body, he must begin with a Body standing Frontwise, observing which Foot the stress of the Body rests on, and draw it Perpendicular under the Head.

Then he must proceed to Bodys in several Postures, as sit­ting, Kneeling, Running, Fencing &c. as he will find in di­vers Prints.

And lastly proceed to all Foreshortned Bodys, which are the most difficult, in which he must diligently study the Perspective.

He must first draw with Sallow Coal finely sharpned, till by diverss Essayes and wipings-out, he comes to the Truth.

And although it is usual to finish; either by washing with In­dian Ink, or French red Chalk, yet I think the best 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 insencible­ly brings his Hand to exact Draught: but he must take Care, [Page 66] when he hath Hatch'd one way, to let it dry ere he proceeds for fear of Blotting; but they who draw with a Pen must propose to themselves much Time and Patience.

He must take care to Coppy after good Originals, and to finish the draught before he begins to shaddow.

At first he must Coppy Things, which are negligently fi­nish'd, such as are in Fialetty, then Goltzius, next Sadlers Things, after he may proceed to Van Dycks postures by Voster­man, Pontius &c.

But he must remember to use no Compasses, Rules, Squares and the like; which stint the Judgment, but he must let his Fancy and Spirit Act freely till he gets a Habit.

He must likewise Design perfectly after Nature, before he be­gins the use of Perspective 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 must be carefull in, is, that when the upper part or Head of the Figure is drawn, to observe by his Eye what part of the Body comes Perpendicular under any Feature. In the Dilatation of the Members observe how many parts of the Face, the Original bears, in such member, till with carefull Examination, and dilligent study, you have the Compass in your Eye; which when you have obtain'd, you may proceed as follows.

You must take great pains in Designing after Nature and the Life, where you must observe to make the Figures of a Big­ness, to be determined by the Visual Angle, and of a Propor­tion'd Distance from the Eye to the Model.

You ought to study the fine Antique Features (such as are in the Farnese Palace) at Rome, that the Idea of them, may be always reserv'd in your Memory.

Nuditys, are Principally to be study'd; the Colours of which you must make in great Pieces, not having so great regard to the small Muscles and lesser Observations.

For Rustick and Country Figures, the Contours must be Gross, Equally Counterhatch'd and Notch'd, without regard to extraordinary Neatness and Roundness.

But for Grave and serious Persons, they must be rounded, noble and Certain; not so at adventure as the foremention'd.

They must be strong, Resolute, Noble, Perfect and Chosen for Heroes.

They must be Puissant and Austere, full of Greatness and Ma­jesty, for Deifyd Bodys.

And for young women and Children, the Contours must be Smooth, Round and Delicate.

They must Design the Nudity, Model, &c. exactly, with­out Charging or overburthening any of their Parts; their being no way to obtain an entire exactness, but by proportioning e­very part with the first, comparing them exactly, so that we may be at liberty to Strengthen and go over again the Parts as we shall think fit, when we make use of this Design; as it truly follows and represents the Models whither they be Antique or Natural.

They must principally study the Rules of Geometry and Per­spective, that they may use them with ease and exactness in im­movable Bodys; for as to Animals and principally Man, by rea­son of the various dispositions of their parts and Motions, it is ve­ry hard to design them by Rules.

They must likewise study the Geometricall Part, and first the Ichnography which is the Representation 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 mea­sur'd Distances and Scituations.

The Profile, which marks out the Parts, Members and Jet­tings out of Sollid Bodys, their Heights and Proportions.

The Elevation, which perfects and Finishes the Constructi­ons of Bodys, by Heights, Lengths, Breadths, &c.

And lastly we must consider the Perspective, which repre­sents the outside or surface of the Object, where we are to consi­der these following Things.

That in one View we see the whole Object, whose Rays will meet in a Point.

Next we are to consider that the Eye and the Object ought to be both Immoveable Things.

We must suppose the Outside or Superficies, as Transparant between the Eye and the Object, through which we may marke all the Appearances of the Object, which is that we call the Picture; and this may be done by placing a piece of Lawn be­fore our Eyes, where the Rayes that come through will deter­mine all their Places in the Picture or Table.

The Eye, the Object and the Picture, ought to be placed at a proper Distance, which is usually computed to be double the bigness of the Picture; such scituation is the Principle on which is founded the way of representing every Thing in true Perfection.

Lastly we must observe that in the Pictures near Hand, the draught ought in a manner, Loose it self, after all the parts of the Work are Form'd; but in a Picture for a Distance, we ought to pronounce them like an Artist, that there may nothing appear in the Draught out of the place where it ought to be seen.

THere be Seven Cardinal Colours viz. White, Blew, Yel­low, Red, Brown, Green and Black.

White denotes Innocency, Light &c. the Planet Luna.

Yellow, denotes Majesty, Honour, Nobility &c. the Stone a Topas; the Planet, Sol.

Blew, the colour of the Skys, signifys Devotion, Breathing to Heaven &c. the stone a Saphire; the Planet Jupiter.

Red denotes Heroes from their Bloody Acts. The symbol of Fortitude. The Tipe of Modesty from Blushing, and is the middle colour between Black and White. the stone, a Ruby, the Planet, Mars.

Green is the Colour of the Spring and shows Peace and Plesantness of Mind; and Hope from Tillage; likewise Youth. The stone an Emerald. The Planet Venus.

Brown, from Red and Black, (scarce deserves the Name of a Colour) signifys Mediocrity, Prudence, Frugality &c. The Stone an Amethist. The Planet, Mercury.

Black is opposite to White; and is Obscurity, therefore not properly cal'd a Colour, but the Death and Burial of Colours. It is the symbol of Grief, sorrow and Damnation; from the Infernall Darkness. Yet denoteth Constancy, being the most durable Colour. The stone a Diamond. The Planet Jupiter.

Wee will now consider the Nature, Propertys, Qualitys, Sympathys, Antypathys, Greatness and Smalness of Bodys of the Several Colours, which are us'd in Painting.

Those of the Greatest Bodys are Umber, Indigo, Indian Red and Vermilion. The next are Colens Earth; Ivory Black, Light Red, Yellow Oker, Masticots, Orpment and White. those of a smaller Body are Ultramarine, Carmine (which is the most beautifull Red) Lake, Pinks, destil'd Verdegreece next Terravert and the smallest Body of all, is Smalt, which the young practi­sioner must not adventure to use except mixt with others.

Vermilion, is apt to change somewhat black when Com­pounded, but us'd simple in Draperys &c. is of a lasting Nature.

Indigo turns Green in Time, and should be chiefly us'd in Dead-Colouring, but if boyl'd, or kept buryed some years it will hold better.

Smalt turns black, but holds best in Glasing, in like manner doth destill'd Verdegreece.

Orpment should be us'd only in Touches by it self in Drapery, Gold, &c. for if it be compounded it grows foul,

Umber should be us'd only in Dead-Colouring, or in deep Shaddows, which you cannot obtain by Brown Pink, Lake, &c. but from its Body, it is of great use in Dead-Colouring.

Drying Oyle must not be us'd with any Colours (how bad dryers soever) if you have occasion to mix them with White, Distil'd Verdegreece, Vermilion, Umber or Masticots; except ve­ry little of these go into the Composition: never if you use a­ny Quanity of White.

The foremention'd Colours of Greater Bodys, in their Com­positions, must deepen the Lights, till you bring them to your [Page 70] Dark Shaddows; because their Strength and force is so great, that it will occasion the loss of much Colour to bring them to the lighter, especially Indigo.

Those of lesser Bodys you must Heighten on the contrary and not deepen down.

If yon bring down your Shaddows with the greater Bodyed Colours, you must take care that you use very little of those Colours, for it will be to great spoyle, of smaller Bodyed Co­lours, you may use much more according to the Body in your first Lights.

In the lighter Shaddows which may be obtain'd without White, you must use no white in them, for it makes them look Gray and Cold, but more especially in the dark Shaddows.

Diligently observe what Colours bare a Sympathy or Antipa­thy to each other, and order your mixtures on your Pallate ac­cordingly, as Blew and Yellow make a Green but Blew and Ver­milion produce a Nigre Colour.

In the disposal of Colours on a Picture, consider the whitest Colours are not always the Stronger, but as they are Luminous or agreeing with the Light, as Vermilion is stronger then Green brought up to the same Height: and Yellow Masticot is stronger then White Masticot and will be seen at a greater Distance.

Those Colours must be laid near to one another, that are proper of their own nature to help one another, and give a mu­tual help to rayse up their Briskness, as the Red doth to the Green, and the Yellow to the Blew, &c.

What Colour soever we put in Drapery, &c. and there be a Colour by of a near kind we must bring a different one in between, which may loosen the Drapery, otherwise they will Loose themselves in each other.

WHite Flakes being pick'd and scrap'd must first 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 galli­pot or it will skin over. But so it must not be kept very long for the Oyle will grow Fat and make it unfit for use. For Dead-Colouring you may grind white lead in Lynseed Oyle.

Vermilion if it have glittering specs in it, or of very light Colour, it is not good as being mixt with Red Lead, the best you may buy at the Wax-chandlers: it must be first finely ground in Brandy or Urine. Temper it on the Pallat with nut Oyle, if for Flesh: but for Drapery, &c. use a very little drying Oyle.

Red Lead being finely ground in water, and dry'd; may be Temper'd on the Pallat with Lynseed Oyle being a great dryer of it self.

Light Red, Burnt Oker, Indian Red, must be ground very fine in Lynseed Oyle; and temper'd on the Pallat with Nut-Oyle if for Flesh, but if simply us'd for Draperys, &c. there may be a little drying Oyle in it.

Fine Lake must be well ground in Lynseed Oyle; if us'd in the light Carnation of a Face in Nut Oyle; and so temper'd on the Pallat, but if us'd simple in Glasing it must be mixt with drying Oyle or Vernish or nut Oyle and Turpentine mixt.

Masticots not being fine enough as they are bought at the shops, must be finer ground with Lynseed Oyle on a Porphery: reserve them in Bladders but not too long; There be divers sorts but the principal are of light Lemmon Colour, or deeper bright Yellow.

Orpment after you buy it, must be finer ground in Lynseed Oyle, then laid on brown Paper to take out what Oyle you can, that you may add the more drying oyle, or rather Glase ground to an impalpable powder and then you need not dry it on a Pa­per, the Glass being the greatest dryer and will not soul the best Colours.

Light Pink, Green Pink and Brown Pink, must be ground in Lynseed Oyle, and with the same be temper'd on the Pal­lat if for the Medium Shaddows, but in the darks a little dry­ing Oyle. The several Okers, as Yellow, Brown and Roman O­ker, must be ground and temper'd as before.

Terravert must first be beaten fine in a Morter, or it will hurt the stone, then ground in Lynseed Oyle, and so temper'd on the Pallat, except us'd simple, then a little drying Oyle.

Verdigreece must be ground in Lynseed Oyle and so us'd. Ver­diter must only be temper'd on the Pallat with Lynseed Oyle.

Ultramarine must only be temper'd on the Pallat with nut Oyle. And Smalt must be order'd in like manner.

Indigo should be ground in Lynseed Oyle and bury'd eight or ten Years, if you cannot procure such, grind some and put it in an Earthen vessel, which stop close that no water can get in and boyle it four or five hours, by this means it will hold Colour near as well as the buryed.

Colens Earth must be ground in Lynseed Oyle, drain the Oyle out by laying it on a brown paper, then add more drying Oyle or Glass ground as before.

Umber must be first burnt in a Crucible, till it be of a warm, brown Colour, then ground in Lynseed Oyle and kept in a gallipot cover'd with water, for it is a great dryer.

For Bone black you must 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 Lynseed Oyle, and temper it with drying Oyle.

Blew-black is made of small coal, but the best of Vine branches, burn it in a Crucible, grind it in water; if it be us'd simple it must be temper'd with drying Oyle.

For Indian Red the Stone Red is much the better, the smaller will serve for Dead Colour. Fine Lake must be of a warm and Beautifull Colour, that which is of a lighter, cold and Purplelish Colour, will serve for Dead-colouring. The best Pink is of a smart, Clear, Yellow Colour.

In Brown Pink make choice of the deepest and warmest Colour. in Yellow Oker, of a bright, Clear and smart Colour, of Terravert, the Spanish is the best.

Ultramarine, the right will endure the Fire; if it be put in water and any thing swims on the Surface, it is mixt; the deep­est and finest Powder is usually the best: though some that is pale will mix deeper. The Ashes will serve for the blew Shad­dows in a Face. The best Smalt is the deepest and soft like But­ter between the Fingers.

When Ivory is burnt you must scrape of all the white and and brownish Colour, reserving only the Jet Black.

Observe in winter to use more drying Oyle then in Summer: and Proportionably as it is hotter or colder; but the lesser 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 Co­lours.

For your Powder-Glass, take the whitest Glass, beat it very fine in a Morter, and grind it in water to an Impalpable pow­der; being throughly dry, it will dry all Colours without dry­ing Oyle, and not in the least Tinge the purest Colours, as White, Ultramarine, &c. and is much us'd in Italy.

If in the hottest weather your greatest Dryers dry too fast, as White, Umber, &c. and so grow too stiff to work with; you may prevent it by mixing a little Sallat Oyle with the Colours.

You must likewise on your Easel-board, have a little gallepot of Turpentine Oyle to dip your Pencels in when your Colours grow to stiff.

You must have a Tin-Pan, for cleaning your Pencels in, de­vided in the middle, and the one end devided into a larger and lesser Dimention; the larger is to dip your Pencels in, striking them several times over the Partition, and pressing them with your Fingers, till they be clean then dipping them into the smaller trough, in which must be Sallad Oyle (which best pre­serves Pencels from drying) lay them by for use on a ledge, on your Shelf; if by negligence they grow hard with the Co­lours in them, lay them in Soap sometime and with water Scour the Colours out of them.

For the Grinding-stone, the Porphery is the best, next a Peh­ble, whose hardness you may try by hacking a knif on it, if it leaves no impression, then the Stone is good.

When your Colours are ground before the reliques dry, you must grind some Shavings of Leather on the Stone: then to fetch it more clean, some crums of Bread, till there be no Tincture of Colour left.

Your Pencels must be Swans Quils, Goose Quills, Ducks, Crows, &c. of which you must have black and white Fitches, the finest Fitches are Ermine; Pointed Pencels and Brusles; the best of which you may have at the Black-moores head in Drury Lane and some other shops.

The Black Fitches must be well bound, full and with a spring in the Hair. The White, must be soft, the Hair a little spread­ing and well bound and even at the end. Before you use them let them lye a little in water to fasten the Hair, Then let them be through dry, and dip them as likewise your other Pencels in Nut-Oyle before you use them in Colours, your Pointed Pencels must be likewise well bound, if good they will come to a Point by wetting them and drawing them gently on your Hand.

Your Brushes and Black Fitches when they are well worn, reserve them for the rubbing in of Dead Colours; for in many Cases they are better to use then new ones.

For your Pallat, you should give order to the Colour shops, to let it lye sometime in a Vessel 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 com­ing Taper toward the end for the smaller. They must be both of good mettle, with their Edges, and thickness of their back ground of.

Your Mostick is best of a Bamboo, or some other stick that is light and yielding to the Hand, but not standing bent: with a small ball of Cotten ty'd in a Leather at the end, which lean­ing on the Picture may not indent the cloath: about four Foot long.

Your Pencel-sticks must be of Cedar, wrought smooth, but thicker in the middle, that the Pencels may spread in your Hand and not foul each other; and about sixteen inches long: if for large Landskips, longer; for which likewise you must have Leaf­ing-Pencels with the Hair twice as long as the other.

Your Cloath must be of an even thread: if any nobs of Co­lours be on it, take them of with a Pumice-stone, before you begin to work. If Pannels, let them be of old Wenscoat, which is not so apt to warp. Before you Prime your Pannels, there must be a Coat of Whiting and strong Sise six 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 Easel must be of a convenient Sise according to your work; with Lead round the Feet to secure its Fixedness.

The best Light is a North-Light, with a Sash of Pollish'd-Glass as they prepare for Looking-glasses. Free from any Build­ings against your work Room, which would cause diverss Re­flections and by that means change the Propertyes of your Co­lours.

It is convenient in winter to have in your Room a round Iron-stove for your Fire, for the better drying of your Colours and the securing of your Room from Dust and Smoak.

AFter you have attain'd to a Mastership in Draught, ha­ving got the Compass in your Eye; so that you can at first sight Copy whatever is before you; not only Prints, but also Nature it self: having diligently studyed Nuditys at the Academy, so that you can take a Figure of any Age, in all Aspects, Postures and Foreshottnings; you may begin the great Mistery of Colouring.

And first begin in two Colours as White and Umber &c. after good Draughts or Prints: which you may do in this manner.

First 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 course Lake, having some Turpentine Oyle by, to dip your Pencel in [Page 76] to make the Colours run thin.

Lay on your Pallat White and Umber; for the Heightnings, clear White, then add a little Umber; then more for the Me­diums, till you come to clear Umber.

Take half a dosen Pencels in your hand, one very small for the Eye-stroaks, and likewise some Fitches: having your Pal­lat on your hand, holding your Mostick between your little Finger and Ring-Finger, thus begin.

First with a large Pencel lay on the lightest parts of the Forehead, Balls of the upper Cheeks, top of the Nose, Chin, &c. then the lightest shaddows on the Forehead, under the Eyes a­bout the Mouth the sides of the Cheeks, Chin, &c. and so till you come down to the Darkest: taking care to leave no edges about the Eye-lids, Lips; &c. Observing to keep your Pencels for the same degree of Colouring, but if they foul, press out the Colour on a rag kept in your hand for that Intent. then with a very Light Hand soften all the work with your white Fitches. Goe over it again in the same manner (when dry) in the Finishing; but when you have sosten'd the work, Touch over the Heightnings again.

Thus when you have copy'd some time in Two Colours, ha­ving obtain'd some freedom in Pencelling by a light but steady hand: observing carefully all the Muscles and other Remarks: working all in with much Softness; free from Edges as well as Flattness in the Rising parts, you may adventure on things of Diverse Colours in the Stillife, but be sure to Copy after the best Masters, therefore I would advise all Gentlemen that de­sign to divert themselves with this Art, to purchase a piece or more of the Famous Roustrate while they are to be had.

First Practise your Hand in Boylt Plate, not Burnish'd, and other things of fewest Colours, then Fruits, Flowers, &c. ob­serving that in your Learning, you Dead Colour things very well, and, take care you do not Paint out your Draught. Ob­serve amongst Fruit, especiall Grapes to finish well in the Dead Colour, or you will not obtain their softness and roundness in Finishing, by Reason, they must be Finisht with Gla­sing Colours.

Observe in things which require a strong Yellow as Peaches &c. that although you may obtain much of that Colour, with White, Pink and Vermilion, yet you must use only Masticots, as being of more Force.

In some Beautifull blushes in Fruits, where you cannot Paint up the Delicateness of Colour, you must obtain it by Fitly preparing the Ground to go over with Touches of Glazing.

In Silver and Gold burnish'd Plate, with the greatest care and Judgement put in the Reflections of all things about them, but take care you work them not into the rest of the Plate, which will make it look rather batter'd then beautifull.

When you have attain'd to a good Knowledge in the Miste­ry of Colouring, by Copying after many things in the Stillife that have the greatest variety of Colours, so that at first sight you can perceive most of the Colours in a Picture, and Judge whence they are Compounded, you may adventure on the Profoundest part of the Science viz Painting of a Face.

FOr a Clear and Beautiful Complection, lay on your Pallat and Temper them by themselves (cleaning your Pallat well after each Colour) these following Colours. viz.

White Flakes, Yellow-Oker, Burnt-Oker, Vermilion, Red Lead (which some use in the Lips, though many not at all) Light-Red, Indian-Red, Lake, Smalt, Blew-Black, Terravert, Roman-Oker, Brown-Pink, Umber and Bone-Black.

For the first Lights, White and a very little Light-Red, some­times instead thereof a little Vermilion, though never but when you cannot avoid it, because in a Complection it is apt to change; then add a little more Light-Red; lay by the first of these Colours, and devide the second 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, and lay a little of it by; [Page 78] to the rest add a little more, lay some by: then add to the remainder a little Lake and the least touch of Indian Red: ha­ving laid some by, add a little more. Then cleaning your Pal­lat where you temper'd them; temper together a little Vermili­on, Light Red and Lake; lay by some, and add to the remain­der more Indian-Red and Lake, then leave out the Vermilion and Light Red and add more Lake, and lastly lay by a little Lake.

Then take the Second Devident of the White and Light-Red, and for the greenifh Shaddows, mix a little Terravert with it, and lay some by, then more Terravert with a little Light-Red and lay a little of that by: for deeper Green, more Terravert, a little Yellow-Oker and Blew-Black; and so down, always re­membring, as you add Terravert to add a little Light-Red or, some such like to keep the Shaddows warm.

For the Blew Shaddows under the Eyes and the deeper Blews add to some of the White & Light-Red a little Ultramarine, & more of Ultramarine with more Light-Red as occasion serves, but for a dead Colour, Blew-Black will serve.

For the Purplelish 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 occasion.

For the Yellowish Shaddows, to the White and Light-Red, add a little Yellow-Oker and more Light-Red, then more Light-Red, Yellow-Oker and Terravert, then more if occasion require it of the three last with a little Blew-Black.

For the dark Shaddows you must always (as before menti­on'd) leave out the White, which makes them Grey and Cold.

For dark Greenish Shaddows, use Yellow-Oker, Roman-Oker, Burnt-Oker, Light-Red and Terravert; for Blewish, add more Blew-Black, for more Yellowish add Yellow-Oker and Roman-Oker, and for more warm and Glowing, add more Burnt-Oker.

For Deeper Shaddows, add Brown-Pink, Course and Lake, part laid by, add more Brown-Pink and Lake, and to them Bone-Black and so on to the Darkest.

Thus must you temper them, till by comparing the Colour on the Point of your Knife with all the Carnations and Tink­tures [Page 79] in the Face, you have obtain'd every Colour.

Note that this Method is to be us'd by Beginners, but those that are more experienc'd in Mixture, are not oblig'd to com­pound every Touch of Colouring on their Pallat, for they will soon understand how to mix great part of them with their Pen­cels as they work.

But sure I am that most of those Tinkturs I mention'd will be us'd in such a Face as I propos'd, and possibly all.

For a more Swarthy Complextiou you must use more Yellow-Oker throughout all the Lights; and still as you add Yellow-Oker you must for the most part add Light-Red to keep it warm: but the Nature it self (by carefull studying of it) will soon in­struct you better then is possible to be done in writing: nor in a Swarthy Face will you have so much use of those clear Blew­ish and Lakey Colours as in a very Clear one.

Your Colours thus prepar'd; with a hand of Pencels, which must consist of about a dosen and a half, of Pointed, Black and White Fitches of all sises, you may begin to work in this man­ner (after your Face is exactly drawn in Chalk or Tripoly and cor­rected by going over the Draught again with a single Colour, and the little nobs of colour scrap'd of from your Cloath, which must be a very even thread.)

Take a large Black Fitch (which I hold to be the best for the free delivery of a Body of Colours) and strike on the large lights, as the Eminences of the Forehead over the Eyes, the up­per part of the nearest Ball of the upper Cheek, the top of the Chin, and with a smaller Fitch put in the top of the Nose, 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 first Lights, each side towards the Bottom of the Gutter of the Nose, the Ridge of the Nose, the highest part of the upper Lip, and where you see occasion.

Then with the Lightest Greenish or Blewish Shaddows, go a­bout the Second Lights of the Forehead, upon the upper Lid of the Eyes, under the Corners of the Nostrels, the devisions of the Chin, about the Temples, and then with darker Shad­dows of that kinde, till you come to the deepest the Face requires.

The Blewish and Purpleish Shaddows are sometimes in the Shaddow of the Nose, little Tinctures about the Chin, in Fresh-Colour'd Men, newly Shaven, and other places as Nature will best direct you, as likewise the blewish Shaddows under the Eyes, &c.

Next the Warm, dark Shoddows towards the Corners of the Eyes, the deepest Shaddows of the Nose, on the Cheeks near the Hair, and about the Chin.

Then the Darkest Shaddows, in the Mouth-stroake, the Nostrels, sometimes in the Shaddow of the Nose, on the dark side of the Face, &c.

After that strike in the Eye-brows, having left space for them, but not to the whole breadth of them, that you may the bet­ter strike the loose Hairs over the Skin; not too dark, consi­dering that will appear very dark over a Light part, which is not so in it self.

Next the Eyes, putting in the Lightest part first though some will put in the Sight first. Then the Lips, observing to put in the lightest parts first (as in the others) and so down to the deepest.

The Colours being thus all put in, you must begin to work them into each other, striking them in with a light Hand, ta­king great care that you strike not the Shaddows so far, to soul the Lights, nor the Lights so as to Injure the Shaddows: dri­ving 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 Pencels, then very lightly and with much Dexterity, run all over with your White Fitches, keeping them always ve­ry clean as you Sweeten.

They being all layd Soft. Touch over the whole Face, as you may see occasion, and if the least Edge remains, be sure to take it of.

Then rub in the darke places of the Hair with a brush; then the lighter, lay it soft, and Touch it over slightly with a pointed Pencel for a Dead-Colour.

When your Head is thus Dead-Colour'd, and through dry; having scrap'd of all the Crums of Colours arising: with a bristle Brush, rub it very thin over with a mixture of Nut-Oyle and [Page 81] Vernisb, for too much will change the Colours, then mix up your Colours as before, and accordingly Paint it: but instead of Smalt, use Ultramarine Ashes, and no Umber, except necessity requires it, to cover in some deep Shaddows.

Having layd on your Colours, worke them up with your Pointed Pencels, and Soften the whole work with your W ite Fitches, Touch it all over again with a steady and free Hand; and lastly, where it may require it, Soften of all the Edges.

But this time you must take more pains with the Hair then before, having rub'd your Colours hard, but thin in your Dark­er and Lighter parts; with a little Turpentine Oyle and a large Pointed Pencel, you must strike in the Hair, carrying your Pen­cel Circularly as the tendency of the Hair requires, and last of all Touch up the Lights and the Reflections and Dark Places as you see occasion.

Then when the whole is through dry, where you have oc­casion to Touch, rub in very thin a little Vernish and Nut Oyle, if you cannot touch it soft without it.

In Draperys, when your Colours are in, you must give the Sudden Lights with an extraordinary free Hand, and if possibly, work them in without Fitches; for if they be not delicately us'd, they will blunt the Briskness of the Silk which is the Beauty of it.

As for Colour in Drapery, though some have (absurdly) layd down Certain rules for all Colours, it is a thing im­possible to do, by reason the same Colours from divers disposi­tions of Lights and Reflections, have various Tinktures: nor need the Practisioner be concern'd about it, for when he can once ap­prehend all the Colours in the Face, he may with great Facility mix all Colours for the more difficult Drapery, even from Na­ture it self.

WHite represents Light and gives the Heightning; Black, Darkness, and Obscures and effaces the Object, likewise [Page 82] sets of the light parts and makes them appear by their appositi­on, and both serve one another to loosen the Object and di­stinguish the parts of the Group.

In Carnations, we must avoid the Affectation of too many Clear Red Colours, which more resemble the Skin when Flead of, then the true Natural Skin.

Nor must we affect the diversity of Sparkling and Glowing Colours, as the Bright of Diaphanous Bodys, which represent re­flections of the variety of Neighbouring Colours; always re­membring, that mans Skin how Beautiful soever, dwells in a delicate down-Colour.

We must observe in the Contrast, or the Opposition which In­tervenes in the Union of Colours; that by a sweet Interruption it may rayse up its Briskness, without it a fading Disagreeable­ness ensues.

In Landskip we must observe, that the Air being univer­sally overspread, carrys something of Light with it, and admits nothing Darke in places at distance and approaching the Ho­rizon.

That which way soever we carry the Wind, the Clouds, Trees and all Things Subject to its Motion, tend the same way.

That in Clouds for Storms, &c. they be Painted in manner of a Group, and not to much Scattering by Breakes, which will disturb the Harmony of the Picture.

We must carefully observe all the Squars, as on the Fore­head, Chin, top of the Nose, between the Neck and Breasts, &c.

In great works we must lay the Colours on Full, that we may Empast and Incorporate them sweetly, and that will make them to hold Firm and be lasting.

We must have regard to the expressions of Matters and Stuffs, whither they be Polisht or Rough, Shining or Dull, Diaphanous or Solid, Soft or Hard, &c.

Colours must be so laid together, that they may be all sweet­ly united under the Briskness of a principall one, that it may participate of the Light which is chief over all the rest in the Picture; and that all the Colours be Connected together by an agreeable Vnion, and likewise so dispos'd as they may partake of each other, by the Communication of the Light and help of Reflection.

We must not only avoid all Garrish and Gandy Colouring (the Effects of a poor Judgment) but likewise a Briskness in the Meaner Parts which may any way hurt the Eye of the Picture.

We must observe to lay the Colours very strong at first, be­cause it is easy to weaken what we would put back; but more difficult to give a strength, where it is weakly put in.

Touches must be Bold, by the conduct of a free and steady Pencel, with all possible Freedom: that thereby, they may Ani­mate the work with Life and Spirit, and may appear most Fi­nish'd at a Proportionable distance.

But in works finish'd to be seen near at Hand, you must apply each Colour properly in its place, sweetning with a light Hand all their Extremitys, without Tormenting or Fretting them, that their Purity may be preserv'd.

In Drapery we must consider, that we have a perfect liber­ty in choosing the most proper Colours to produce good effects accordingly we must shew our Judgement therein.

When a Picture is Dead Coloured, we must avoid the smeer­ing it to much with Oyle, for the more speedy and easy Finish­ing thereon, which soon causeth 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 in­corporating with your work will also cause it to Change; as likewise that a Dead Colour be dry for the same Reason. Where you use Turpentine Oyle take care the Colour under be hard dry, for it is of so peircing a quality, it will raise the Colours.

We must have regard to the scituation of Colours, where we must observe to put before the Picture, those which are Naturally the stronger and of the greatest Purity; that by the Force of their Briskness, we may keep back the Force of them which are Compounded, and which must appear at a distance; all Compositions diminishing the Force which is in the Purity of Colours.

In Glazing, the Colours under must be layd smooth and strong, by reason it takes from their strength, we must also have regard to the Body of the Colour we Glaze with, and accordingly do it oftner or fewer times over.

Note that the same Ground by the diversity of Glazing Colours, produceth divers Colours in Drapery; likewise the Glazing Colours by the diversity of Grounds.

For a Scarlet, your Drapery must be in the Heights, Ver­milion, and brought down first with Indian Red, then with Bone-Black; when Finish'd, Glaze it twice or thrice thin, ac­cording to the Body of your Lake: if it requires more strength Touch up the Lights with Vermilion, and Glaze it thin or'e a­gain, then in the extremest Lights of the Sleeves, Scarf &c. of the Drapery, touch it up with Vermilion and White, always remembring, that you Glaze not the Heightnings where there is any White, by reason it will render it Purpleish and take from the Beauty.

For a Crimson, 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 distill'd Verdigreece. A Grass-Green, in the Heights Masticot, then Yellow Oker, Um­ber 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 seven or eight times, very thin with a very steady, but free hand. Glaze with Ultramarine on the same Ground. For the most Beautifull Red, lay the Ground as in Grass green, but in the Finishing use Pinks instead of Yellow Oker and Umber, as likewise in Finishing the Grass Green Glaze the Red with Carmine. You must Glaze with Nut Oyle & Vernish mix'd, in the Darkes you may use Dryiny Oyle.

And lastly you must take care in the Colouring of the Har­mony which makes the variety of Colours agree, supplying the Weakness of some by the Strength of others, to sustain them, as by a Consonance well manag'd, where they must neglect on purpose certain places, to serve for the Basis and Repose of the Sight; and to raise up those which by their Briskness keep up­most. And likewise of the Degradation, where the more ease­ly to Proportion the Degree of Colours that fly back, we must reserve some of the same kinde and entire purity, and then to compare them which ought to be a far off, according to the Perspective Lines, to justify the Diminution; observing the Qua­lity of the Air, which being charg'd with Vapours, duls them more then when it is Serene.

These are the most General and Principal Rules I could recollect, but the Practise will insencibly iuforme your Judg­ment with infinite lesser Observations; which with diligent study, and a Mind adapted to so Ingenious a Diversion, will procure you the Happy Fruition of your desired End therein.

IN Designing a Peice of History we must have greatest Re­gard to the Principal Group, that the Lights fall strongest on it, and more especially on the Cheif Figure that it be of the first Character and most Finish'd, being the Eye of the work.

That the Group be sustain'd by something that seems loose about it, which serves to extend and continue it to some other Group by, otherwise the Diminution will be too apparent, and break to much into Heaps, and the Eye not descend natural­ly from one to another, which must, begining at the Principall, fall according to the Mind of the Story.

Too force Attitudes must be avoided, which cause extravagant Contorsions: but the boldest Actions are allowed (not exceeding Nature) which may be advantagious to the Design.

Wee must avoid an Injudicious Mixture of Passions, which will disturbe the Harmony of the Picture; as the mixing Anx­iety, and Roughness, with Chearfullness, Clemency, &c.

We should never Express a Figure without first examining the Action from the Life; since in every Action there is some Alteration in the Muscles, Joynts, Contorsions, &c.

Passions must not only be form'd in the Features and Actions, but suited, also, to fit Constitutions and Complections.

We must reserve our greatest stock of Fancy for the Principal Part of the Picture, least spending it on the meaner parts, we should be exhausted when we have most occasion to make use of it.

In supplying Lights and Shaddows observe to dispose of the Effects, by placing all the parts of the Subject, so that at the same time we may see what the whole Composition produces.

In Designs of Great and Honourable Actions, we must avoid the bringing in any thing that savours of Rusticity, or Boorishness, but maintain the Character throughout the work.

Beyond the usual, Actual worke of Nature a Painter may de­scribe, but not exceed the conceiv'd possibilitys of Nature, ex­cept the Subjects are Fixions, as Pegasus, Centaurs, Satyrs, &c.

In very lean Figures we must not expose the Nuditys, least they appear too Mesquine, but seek some occasion to cover or repress them, that we may render the parts more agreeable.

Where there be several Figures we must give several Aspects, Habits, Actions &c, for the eye delights in variety as well as the Mind, and these are said, Contraster bene.

We must observe an Aequilibre in the Design, that when there be divers Figures on one side, we must Ballance it on the other; the like must be observ'd in a single Figure, when one Arme moves forwards, the other or the like must be in a backward po­sition, to Aequipoise the Figure.

We must observe in the Figures of Mans Body, that the Head be placed well between the Shoulders, the Trunk upon the Haun­ches, and the whole upon the Feet in Just Proportion, and that one Leg may rest firm under the Body.

In all Animals we must proportion their Bigness to their Sci­tuation, and Strengthen their Positions by means of the Aequilibrium.

In Designs of Large Figures, the other things in the Picture must be of a Large Kinde, not only by avoiding things Dimini­tive from the Natural, but such as are small in Nature.

In all their differences which can occur in their Positions, we must propose an even Plane to finde precisely their Scituation, and settle their place by sudden Breaks and Distances, conform­able to their Perspective, after a just and exact Scituation, accord­ing to the diminution of Distance whither plac'd high or low.

In all Histores we must have regard to the Climate, and the time in their Habits, taking care we Dress not Antique Figures in Modern Habits, nor one Country in the Dress of another.

We must adjust the Drapery so on Figures, that they may [Page 87] appear real Vestments, and therefore we must cloath the Lay­man, before we put it in the Action we design.

The Folds must be dispos'd in such 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 strain or hurt them, but that the motions may seem disingag'd. We must also raise up the stuff, letting it fall lightly, that the Air su­staining the Folds, may make them fall more neat and soft.

We must take care to distinguish Draperys; Taffatys and thin Silks must be full of Breaks and Flickerings; Sattens more Quick Lights, the Folds lying more soft and round; but Velvet the quickest, the deeps very dark, with Reflections on the out­ward parts of the Folds.

Large Figures must be dress'd with Folds large and free, more to be regarded for their Grace and Facility, then for their affected Pains and Industry.

Hair must be touch'd in large Historys with a full and free Pen­cel, not nicely workt up to follow the Nature, for that will be all lost by the distance and appear Flat.

We may neglect the Nicity of the story for the Advantage of the Picture, as putting any former Hero in better Grace and Posture (if in a great Action) then perhaps History hath transmit­ted to us.

In Dead Bodys we must avoid all that appears Noysome and Unpleasant to the Eyes; ever observing to take the best of Nature: so in the miracles of Curing Diseases, we may take the what is Acute in pain, omitting what is Loathsome to the Eye.

We must shun all Sharpness in the Contorsions as likewise all Flatness in the Body of the Piece.

In Lights, by Night the Artificiall must govern the Naturall, but by Day the Naturall govern the Artificiall.

If the Action be in Uninhabited places, you have liberty to re­present the Extravagant Effects of Nature, but in a well dis­pos'd Irregularity; if in Inhabited places, you have Liberty for Ruins &c. at a distance, but not near Hand.

If the Buildings be Rustick, you may dispose them to the best advantage of the Figures, and according to the Idea of the Sub­ject: [Page 88] if Regular, we must have respect to the several Orders of Architecture. But Regular or Irregular, we must observe their Geometricall and Perpendicular, according to the Rules of Geome­try and Perspective.

In all Mountains, Rocks, Buildings, Trees, &c. we must Proportion their bigness 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 must take care to adjust the Land skip to the Figures, not only to its Manner, but also to the Colouring part, that it may ly quiet, and put the Figures forwards.

Finally we must observe. that the whole work be of one Peice; all Free, and nothing Forc'd or Restrain'd; a judicious observati­on in the Perspective; Actions suiting the Character, whither Noble or Rustick; the Sex, whither Masculine and Strong; or Tender, soft and Easy; the Age, whither Grave, Vigorous or Childish: that there be a Principall Eye in the Picture, to which all the rest have reference. That there be a Harmony of Colour­ing throughout the work, that in the Drapery, the Lesser folds descend naturally without Crossings and Confusion from the greater, that the Figures bare exact Proportion: and the Fore shortnings be brought to the severest Test of the Judgment.

But wheras in History the Figures have dependency on each other, a Figure by the Life (one Figure usually making the Pi­cture) be only agreeable to it self,

We must Consider (by divers Tryals) what Position of Body, Action and Light best becoms the Person, and when any thing seems forc'd or affected, we must Endeavour to divert them by Discours, &c.

For a Round and full Uisage take a three Quarter-Face, for a Thin and Long, more Foreright. For a soft Languishing Look, the Face something Inclining, For a Sprightly, more upright, looking over the Shoulders, &c.

Let Children be playing with Lambs, Birds, little Dogs, Catch­ing water from Fountaines, and with the like Childish Actions, Lads and Young Uirgins Shooting, Hunting, in Sheepherds and Sheep­herdesses Dresses, &c. and so suitable in all Ages, and Drest to their Quility, but for all Habits dress up a Lay-man and Paint [Page 89] from the Nature. Nor must you only suit the Age and Quality, but also the Complexion; a brisk, Sanguine beares the Strongest, a Sallow, weaker colour'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 Defects (as much as may be) in the Shaddow; not only taking the best, but Helping Nature, where it may be done without Hurting the Intent of the Picture.

If you have several Figures, put them in manner of a Group, with Half, three quarter and Foreright Faces; not all looking on you as if they were suppris'd.

Landskip must bare a Harmony in Colouring with the Figures: putting them forward; Shunning the affected Finishing of Trees, Flowers, &c. which shew more of Labour then Art.

Be as quick as may be (without Injury to the work) in a Face, Catching the briskest Air before it sinks by the Persons growing Uneasy; and lastly, give all that are by, Liberty of their Opini­ons in the Likeness, for thence sometimes you may Correct your work.

Thus have I giving the most Necessary Directions and Instru­ctions throughout the whole Mistery of Painting: These with a diligent Study in the Theory and a Carefull management in the Practise will Effect an Entertainment, Suitable to the most Noble Genius.