The painting of the ancients in three bookes: declaring by historicall observations and examples, the beginning, progresse, and consummation of that most noble art. And how those ancient artificers attained to their still so much admired excellencie. Written first in Latine by Franciscus Junius, F.F. And now by him Englished, with some additions and alterations.

CHAP. II.

THe Argument being found, it followeth that an Artificer should observe in his Designe the rules of true Proportion: seeing no man beateth his braines to invent any thing, but that he meaneth to make some use of the mat∣ter invented. As for the Proportion that is to be observed here, severall Authors name it severally. Philostratus and o∣ther Authors call it by the names of Symmetrie, Analogie, Harmonie: the younger Philostratus therefore joyneth these three denominations together; the wise men of old, sayth he , doe seeme to me to have written many things about Sym∣metrie to be observed in Picture; setting in a manner lawes

concerning the Analogie of every member and limbe; as though it were not enough excellently to expresse a motion conceived in their minde, if they did not also keepe their Harmonie within a measure agreeable to Nature, (for whatsoever is exorbitant from his kinde and without measure, Nature admitteth not) I say, to Nature rightly acting her motion. It appeareth then that the Greeke names of Symmetrie, Analogie, and Har∣monie signifie the same thing; and yet is it not so evident what name the Latines have for it. Symmetrie hath no La∣tine name, sayth the elder Plinie lib. xxxiv, cap. 8. the youn∣ger Plinie for all that seemeth to expresse the force of this Greeke word by the names of congruence and equalitie. If you did see a head or any member parted from his statue, sayth he , it may be you should not be able to finde out by that the whole congruence and equalitie, yet should you be able to judge whether it be elegant and neate in it selfe. Suetonius likewise when he speaketh of the Emperour Augustus, he was of a low stature, sayth he , but that his lownesse was hid by the fitnesse and equalitie of his members, and it could not be perceived but when he was compared with a taller man that stood neere him. And againe, when he speaketh of Tiberius, as he was broad in the brest and shoulders, sayth he , so was there also in all his other members to the sole of his feet a certain equalitie and con∣gruence. Tullie calleth it an agreement of parts and an apt composition of the members; for when he doth speake of the great dignitie of man, of all these things that are perceived by seeing, sayth he , there is no other creature that is sensible of pulchritude, comelinesse, and convenience of parts. And a∣gaine, in the same place, the pulchritude of the bodie draweth our eyes by an apt composition of the members, and delighteth us with nothing so much, as that all the parts agree among them∣selves with a certaine kinde of pleasantnesse. Vitruvius na∣meth

it almost every where a commensuration or commodu∣lation, and sometimes also by another name. Agellius cal∣leth it a naturall competence of all the members among them∣selves. The same writer sayth in another place , Analogie is called in Latine by some Proportion. Quintilian seemeth also to approve of the word Proportion; Those that goe nee∣rest to translate the word Analogie into Latine, sayth he , call it Proportion. Seneca thinketh it best to keepe the word Analogie, Seeing the Latine Grammarians have enfranchized the word Analogie, sayth he , I am not of opinion that it is to be condemned and to be sent backe to its owne Citie.

§ 2. Truely it is likely that Artificers have borrowed the words Analogie and Harmonie from that Proportion which is found in Arithmeticall numbers or in Musicall concords: for Proportion is nothing else but a certain law or rule of numbers which Artificers follow. Artificers, whose trade is to fashion and to produce bodily figures, sayth S. Augu∣stine , have in their Art certaine numbers and ideall perfecti∣ons, by which they fit and square their workes; and withdraw not their hands and tooles from the fabricating thereof, untill that which is outwardly fashioned, compared to that internall light of number and perfection, be found as absolute as is possi∣ble; and through the presentation of the sense without, please the judge within, seeing it conformable to his exemplarie and supernall numbers. Plutarch also delivereth the very same in expresse words, saying , that which is beautifull is perfi∣ted by many as it were numbers disposed together in one apt manner under a certaine Symmetrie and Harmonie: but that which is ill-favoured, quickly taketh his beginning from any one thing either wanting or unfitly redounding. The Musician Mintanor also, being induced by the neere band that is be∣tween Musicke and Picture, seemeth to have intituled a

booke of the art of Musicke set out by him, Chromatopoeum, or the composing of Musicke called Chroma, or colour, as Fulgentius witnesseth. Damascius also in Photius, where he speaketh of Jacob the Physician, calleth some kinde of Musicke Chromaticum, that is, soft and elegant, and as it were decked with colours. It appeareth lastly out of Pliny , that Painters have taken from Musicians the words tonus and harmoge, and have transferred them into their owne Art. Wee see therefore, that not onely Musicians from Painters, but also contrariwise Painters from Musicians have borrowed termes of Art; and that for no other cause, but onely to shew that in both those Arts the same respect of that manifold Proportion, which consisteth in numbers, is had; as if one of them did stand in need of the other.

§ 3. Wherefore seeing it is agreed upon of all that even every light consideration of numbers requireth a quicke and readie use of reason (for nothing sooner bewrayeth a weake and crazed understanding, then to labour, and hacke, and mistake in continuing and comparing numbers together) it is evident that this Analogie, wee speake of, needeth a judgement much more exact and sharpe; as ha∣ving this scope, to worke out in one or other materiall the ideall perfection of the numbers conceived in our minde, and as neere as may be to expresse the wayes of artificiall and ingenious Nature. By Symmetrie Art draweth neere un∣to Reason, sayth Philostratus in prooem. Iconum. And by this affinitie between Symmetrie and right reason we may like∣wise see the truth of that which is written Wisdome XI, 21. that God almightie, the onely fountaine of true and un∣corrupt reason, hath disposed all things in measure, number, and weight: so doth Plutarch say, that the ancient Theo∣logers, which were the first Philosophers, made the statues

of their Gods with musicall instruments in their hands; not as they were a harping or piping, but for that they jud∣ged no worke to be so agreeable unto the Gods as Harmo∣nie and concent. Indeed God the maker and framer of the Universe hath in all his creatures imprinted plaine and evi∣dent footsteps of this most beautifull Harmonie, which all Artificers endeavour to follow; neither hath any Artificer without the carefull observing of this Symmetrie attained to any shew or shadow of that beauty, which by a due com∣position and agreement of all the parts among themselves draweth and delighteth the eyes: and this is that concinni∣tie of the bodie and due connexion of all the parts Philostratus speaketh of: for one of the members being cut away from the rest and alone by it selfe, hath nothing that any man should e∣steeme; but all of them mutually together doe accomplish a per∣fect systeme, being by their communion made into a bodie, and thereto inclosed all about with the band of Harmony, as Dionys. Longinus speaketh de sublimi orat. § 35. The beautie of the bo∣die, sayth Stobaeus , is a Symmetrie of the parts referred one to another, and all to the whole. Wherefore as the true pul∣chritude of naturall bodies is no where found, without this concinnitie of Harmonie; so the right imitation of them consisteth in the due observation of the same Proportion. All the parts of a statue ought to be beautifull, sayth Socrates in Stobaeus . In colossie workes wee require not so much the beautie of every particular, but wee doe rather consider the whole, whether it be well or no, sayth Strabo lib. I, Geogr. We count those imitations most of all ridiculous, sayth Galen , which keeping a likenesse in most of the parts, faile much in those which are the principall. The first and most exact observers of Symmetrie were Parrhasius, Polycletus, and Asclepiodorus. Parrhasius did first of all give Symmetrie unto picture. Plin.

xxxv, 10. Polycletus was a most diligent observer of Symmetrie, Plin. xxxiv, 8. Apelles was an admirer of Asclepiodorus for the Symmetrie observed in his workes, Plin. xxx, 10.

§ 4. An Artificer therefore shall study most of all to attaine to an exact knowledge of the proportion of man, as it is in some kinde set downe by Vitruvius, lib. III. Architect. cap. 1. And out of a continuall observation of the most ab∣solute bodies he shall likewise propound unto himselfe cer∣taine generall and profitable notions, especially such as he findeth confirmed in antient good authors. Seeing there are two sorts of pulchritude, sayth Tully , the one consisting in sweet∣nesse, the other in dignitie. We are to know, that sweetnesse becom∣meth a woman; dignitie on the contrary is more proper for a man. This dignity is maintained by the goodnesse of colour, and colour is maintained by the exercise of our bodies. And in this same con∣sideration of sound and well complexioned bodies of lusty men, as on the one side he remembreth with an antient Wri∣ter , That a certaine kinde of swelling doth very often imitate a good constitution of the body: so can hee not but avoid on the o∣ther side such a kind of raw-boned hardnesse as dis-figureth the bodies that otherwise might bee esteemed proportiona∣ble enough; As there must be bones in the body, and as they must be tied together by their sinews, so are they for all that to be covered with flesh, sayth Quintilian, in prooemio libri primi. That body of a man is onely faire, sayth another , wherein the veins doe not appeare, and the bones cannot bee counted: but temperate and good bloud filleth up the members, and raiseth the muscles, covering also the sinewes with rednesse, and commending them with comelinesse. In fair women he considereth the beauty of their face above all the rest. That woman is not instantly counted faire, saith Se∣neca , whose leg or arme deserveth to be praised: but whose whole face leaveth nothing in the other members that may seem admirable:

unlesse he will esteeme that woman fairer, whose beautifull face is the least part of the handsomenesse that sheweth it self in all the parts of her most absolute body. My Limone, sayth Aristaenetus , though she hath a face faire beyond Nature, yet put∣ting off her cloathes she seemeth not to have any faire face at all, in regard of the other excellencies that were concealed. Statius Papi∣nius describeth the faire Parth nopaeus, Atlanta's sonne, even just after the same manner; his limbes shewed themselves, sayth he when he unbuckled his riding coat, the whole cheerfulnesse of his members did lie open: his brave shoulders, his brests that might very well be compared with his bare cheekes, yea the beautifull coun∣tenance of his visage was drowned by the beauty of his body. In o∣ther women, and chiefly in Virgins, he observeth with Vitru∣vius , That Virgins in regard of their tender age being made more tender limbed, receive handsomer effects in every thing that may be for their ornament. Unlesse hee liketh better of the course taken by Zeuxis, who did indulge something more unto the mem∣bers of the body, thinking it more stately and more majesticall. Some also are of opinion, that this same artificer followed Homer in this point, seeing he would have woman it selfe be of a stout and able shape, Quintil. xii. 10. Zeuxis is found greater in heads and joynts. Pliny xxxv. 9. Euphranor seemeth first to have made use of Symmetry: but he made the whole bodies smaller, the heads and joynts bigger. Pliny xxxv. 11. Statues, images, pictures, sayth the younger Pliny , the figures of men, of dumb creatures, trees also, being but comely, may be esteemed much better for being great.

§ 5. Go over the Chronicles of all ages, observe eve∣ry one of them that have made profession of these arts with good succes, and whithersoever your minde and thoughts turne themselves, you shall ever finde that such artificers onely haue attained to a great and durable name, who bent their naturall curiosity to understand the true Symmetry of

the body of man: for beeing once by the assiduitie of this same study made thorowly acquainted with the complea∣test beauties, they endeavored to imitate and to expresse them with their art. Neither could it bee otherwise, but that this exercise having ingendred in their minds an Idaea of perfect beauty, their works likewise should shew forth an accurate resemblance of that proportion there is in nature. They drew therfore the first grounds of art out of the imi∣tation of the fairest bodies. It is a most foolish thing in my opinion, that a man should not study to imitate the best things, sayth the younger Pliny, lib. I. epist. 5. The most famous sta∣tuaries and painters, sayth Quintilian , when they would cast or paint well favoured bodies, did never erre so grossely, as to take one or other Bagoas, or Megabyzus, for a pattern of their worke: but rather that same Doryphorus, fit for warre and wrestling, or else the bodies of such warlike champions as they tooke to be truly handsome. It seemeth that the inhabi∣tants of Abdera had something notable in their faces, for Stephanus de Urbibus , witnesseth, that the antient Pain∣ters were wont to draw a multitude of them. Many noble and renowmed Painters did in great troups resort to Lais, drawing for strife the brests and paps of her most beautifull body: yea Apelles made for this very reason wonderfull much of her, when she was not yet growne to her full age. The same Apelles made also that same famous picture cal∣led Venus Anadyomene, after the example of Phryne, as shee, to celebrate Neptunes feast, went starke naked into the sea, with her haire hanging loose down. See Athenaeus. lib. xiii, Deipnosoph. Although Pliny affirmeth, that the said Venus was made after Campaspe, a Concubine of Alexander the Great.

Clemens Alexandrinus doth likewise relate, that the anti∣ent

painters ordinarily drew Venus in the likenes of Phryne: and that the antient Carvers also made the images of Mer∣cury after the similitude of the goodly and handsome shape of Alcibiades. Arnobius teacheth us, That Praxiteles his Cnydian Venus was made after Cratina the whore. Other artificers did runne to the strumpet Theodota. See Xenophon, lib. iii. Apomnem. See also Aristaenetus, lib. I. Epist. 1. As it is then cleare, that the Antients for their imitation made choice of the rarest bodies, so did they for all that princi∣pally marke the face in them. For though in our face &coun∣tenance there are not much more but ten parts, saith Pliny , yet can we hardly among so many thousand men meet with two countenances like in all things. And seeing that almost all the other parts of our bodies are most cōmonly smooth and plaine, the countenance alone hath great varietie in it, by reason of the inequalitie of divers parts in the face, as they do either rise or fall. Our face is rough, sayth Ammonius , because it is made up of unlike and unequall parts; the mouth, the nose, the eyes, and the rest, whereof some sticke out by their scituation, and some have a kinde of hollownesse. Although this was not the onely reason why they spent their labour chiefely about the face, but also because they knew, that there is ever in the outward lineaments of our face an evi∣dent proof of our inward inclinations. Painters making ve∣ry small account of the other parts, sayth Plutarch , take their main similitude from the countenance and such favour of the eyes wherein there are some marks of our manners and disposi∣tions. It is likewise to be observed here that they were at the first so nice in this same way of counterfeiting, that they would not so much as suffer the Painter to erre for the best, as the younger Plinie speaketh lib. IV, epist. 28. Their feare was that they should never hit the true similitude, if once

they should beginne to flatter them they would resemble. Such as paint faire bodies, sayth Eunapius , when they will gratifie them they paint too much, overthrow and spoile the whole similitude: swarving aside as well from the patterne it selfe, as from the beautie.

§ 6. After the most accurate Imitation of singular bo∣dies, wherunto the ancient Artificers did accustome them∣selves for a great while, they did not continue still in the same way, but they went on to expresse by a more difficult workmanship such an Idea of accomplished beautie as their former exercise had given them to conceive: neither did they trouble themselves any more to set forth a lively simi∣litude of one or other particular though never so faire a bo∣die, but they studied rather to produce a perfect pulchri∣tude according to the true law and rule of Symmetrie; a∣spiring ever to that same grace of comelinesse and beautie, which as it cannot be found in any one particular bodie, so may it be gathered out of many bodies. Painters, Carvers, and Statuaries, sayth Galen , doe paint, carve, and caste the fairest of every sort: they expresse the fairest man, horse, oxe, lyon, considering alwayes what is most proportionable: this was the commendation of the statue called Polycletus his canon, so named, because all parts did therein agree one with another by an accurate Symmetrie: see our first booke, cap. I, § 3, where wee doe speake more at large of this point.

§ 7. Though now this course seemeth to have been ta∣ken by the ancient Artificers when they meane to shew the height & excellencie of their Art, yet did they not in these excellent and in other ordinary workes neglect Similitude: it is exspected that Statues resemble a man, sayth Longinus . Neither may wee justly call it an image, sayth Arnobius , that doth not draw equall lines from his principall: see also Nazi∣anzene

orat. IV de Theologiâ: the resemblance of Socrates set forth in a picture, sayth Ammonius , if it doth not expresse his bald head, his flat nose, the standing out of his eyes, may not be called a true image of Socrates. Wee doe reade of Apelles that he made his pictures so like, that a physiognomer could as well by them as by the life foretell the houre of death: see Plinie xxxv, 10. And Philoponus affirmeth that a good Painter cannot but hit the similitude of what he goeth a∣bout to expresse. Monsters are very seldom engendred in man∣kinde, sayth he , because man bringeth forth perfect creatures: for whatsoever can bring forth perfect creatures, doth seldome erre: even as the best Painters doe very seldome mistake them∣selves about the similitude of the things imitated.

§ 8. The ancients therefore as they did not neglect Si∣militude, so did they for all that make more worke of Sym∣metrie: esteeming Similitude to be the worke of Art, whereas Symmetrie proceeded out of some perfection in the Artificer surpassing Art: see Maximus Tyrius Dissertat. XVI, where he doth most accurately distinguish these two things. It is reported also that Zeuxis painted a boy hold∣ing a cluster of grapes; and when the grapes were so like that the birds came flying to them, it happened that one of them who were present sayd that the birds did not thinke well of the picture; for that they never would have ventu∣red to come so neere, if the boy had been like: yet doe they say that Zeuxis did put out the grapes, keeping what was better in the picture, and not what was more like: see Sene∣ca the Rhetorician lib. X, Controv. 5. Lysippus and Praxi∣teles are esteemed to come neerest unto truth; sayth Quintili∣an , for Demetrius is blamed as being too curious in this point, and loveth Similitude more then pulchritude. As for Lysippus, Plinie giveth him this testimonie, that he advanced the Art

of casting very much, by expressing the haire, by making the heads lesser then the ancients, the bodies also slenderer and dri∣er, that the Statues might seeme taller. He was a most diligent observer of Symmetrie, changing the square Statues of the an∣cients by a new and unusuall way: and he was wont to say, that the ancients made men as they are, but that he made them as they seeme to be: see Plinie xxxiv, 8.

§ 9. As it is then cleare that Symmetrie was anciently esteemed to be the highest point of Art, so cannot we think it strange that the ancients did most of all delight in naked bodies, which doe not hide what is faultie, and doe not sparing∣ly set forth what is praise-worthie, as the younger Pliny spea∣keth lib. III, epist. 6. Nakednesse it selfe, sayth Lactantius , doth wonderfully helpe pulchritude: see Aristaenetus lib. I, e∣pist. 1. Yet among all others the Grecians did chiefly love naked and undisguised bodies, being loathe to hide Sym∣metrie, the chiefest commendation of their Art, with the ornaments of a lesse artificiall attire: it is a Grecian custome, to apparell nothing; but the Roman and military way is to adde brest-plates, sayth Plinie xxxiv, 5. Apelles painted one of the Worthies naked, provoking Nature it selfe with this picture, Plinie xxxv, 10. Praxiteles found a readie way to teach us what a maine difference there is between cloathed and un∣cloathed figures; he made two statues of Venus and set them to sale both at one time and at one price, sayth Plinie , the one being clad, was preferred by the inhabitants of Cous that had the first choosing, because they thought it more grave and honest to take the attired image: the Gnidians bought her that was left, there being a huge difference of fame: for Praxiteles made Gnidus famous with that same image. The whole case is ope∣ned, that the Goddesse might be seen from all parts; shee her selfe, as it is beleeved, liking the fact well enough; seeing the same ad∣miration

remaineth from what side soever you doe looke upon her. If therefore there was any thing in the ancient Statues and Pictures that did deserve commendation, it was que∣stionlesse that same plainnesse and simplicitie of Nature ob∣served by the ancients in their workes, and whosoever will but caste his eyes upon the ancient workes that are as yet remaining, he shall see better things then ever he could meet withall in his reading, sayth Cassiodorus , he shall behold fai∣rer things then ever he could conceive; namely, Statues that doe keepe the markes of their authors; he shall view the veines ex∣pressed in brasse; the muscles swelling with a certaine kinde of straining; and a man so caste in severall similitudes, that he may rather seeme to be such by a naturall generation: he shall wonder that there is such a mettled fervencie in horses, as to make him beleeve by their wrinkled and round nostrills, by their shaking joynts, and their eares laid in their necke, that they would faine runne, though he knoweth well enough that it is a∣gainst the nature of brasse to stirre at all.

§ 10. Besides that same accuratnesse of Symmetry ob∣served by the ancients in all their workes, wee doe find also that they were wont to proportion the base to their works, and their workes to the place they should be erected in. Of the first sayth Plutarch , poore Artificers when they doe put little Statues upon great bases, argue the smalnesse of their workes the more. Of the second are these words of Vitru∣vius , Temples must have in every one of their members and parts a convenient proportion answerable to the whole magni∣tude. That now by the name of members wee must under∣stand here as well the consecrated Images and Statues as o∣ther parts of the sacred buildings, may be gathered out of Arrianus , where he certifieth Adrian the Emperour that the statues of Mercurie and Philesius consecrated in the Tra∣pezuntian

temple were too little for that same Church. Apollodorus the Architect, as it is reported in Xiphilinus , did like wise finde fault with the Images set up in the tem∣ple of Venus built by Trajanus, affirming that they were big∣ger then the proportion of such a building could suffer. Strabo doth in like manner observe that Phidias took good notice of this same Proportion, when he made Jupiter O∣lympius his statue sitting; for though the temple was large enough, yet did the image for all that in this posture al∣most touch the roofe of the building: so that it would have pierced the roofe and all, if he had made it standing up∣right: see Strabo lib. VIII Geogr. As it is then cleare that the ancients did fit their Statues and Images to the Churches wherein they were to set them up, so is it that the most ac∣curate Masters did furthermore regard the altitude of the place ordained for their Statues: for as their standing place was appointed to be higher or lower, so made they them ac∣cordingly: whereof although we have set downe a notable example in the eight Section of our former Chapter, yet will it not be amisse to alledge here out of Vitruvius a suffi∣cient reason of this practice of theirs. By how much our sight climbeth higher, sayth Vitruvius , with so much the more dif∣ficultie doth it cut the thicknesse of the aire: and finding it selfe lost and weakened by the altitude, it doth report unto our sen∣ses an uncertaine quantitie of measures. The parts of Symme∣tries therfore stand continually in need of a proportionable sup∣ply, that the workes being set up in higher places, or else being of a colossie bignesse, might have a certaine proportion of mag∣nitude.

§ 11. As many as are well skilled in the perfect rules of Symmetrie, doe very often effect strange things by the ver∣tue of this same skill. Phidias, as it is reported in Lucian ,

could tell upon the first sight of a Lyons claw, how big a Lyon he was to make to the proportion of that same claw. Phlegon Trallianus telleth us of such another artificiall con∣jecture, happily performed by Pulcher, a most excellent Geometrician, who lived in Tiberius the Emperour his times: see Phlegon himselfe cap. 13 & 14, de Rebus mira∣bilibus. The Aegyptian priests make likewise a relation out of their sacred Records, sayth Diodorus Siculus , that the most famous Statuaries Telecles and Theodorus, sonnes of Rhoecus, lived a great while with them, and that these two made the image of Apollo Pythius for the inhabitants of Samos: they report likewise that Telecles made one halfe of that statue in Samos, whilest Theodorus his brother made the other halfe at Ephesus, & that those halfes being brought together did agree so well as if the whole statue had been the workmanship of one and the same hand: they do more∣over affirme that this manner of working was never practi∣sed among the Grecians, but that it was most frequently u∣sed of the Aegyptians; seeing they doe not esteeme the fa∣shioning of a statue by the eye, as the Greekes use to doe, but when they goe in hand with the stones that are cut out and distributed in equall parts, they doe then take an exact Proportion from the highest to the lowest, and they doe expresse the whole Symmetrie by dividing the whole stru∣cture of the body of man into one and twentie parts. Wher∣fore when the Artificers are once agreed about the big∣nesse, and are now gone to severall places, yet doe they make their workes agree so well in magnitude, that the un∣usuall workmanship striketh the hearts of the beholders with an astonished admiration.

§ 12. Lineall picture in the meane time not yet being trimmed up with the varietie of pleasing colours, maketh

us after a most plaine way sensible of the great force there is in a meet and convenable Proportion. I doe stretch out my hams, sayth Horace , to see battels so painted with red chaulke or with a coale; even as if men did fight indeed and stirre their weapons, sometimes bringing blowes, and sometimes shunning them. Philostratus cometh neerer, and openeth the nature and power of Lineall picture somewhat further; Line aments consisting in light and shadow without any colour, sayth he , deserve the name of Picture: for we may not onely see in them the shape of the parties designed, but their intent also, whether it be shame or boldnesse that possesseth them; and although these lines, being put together after a most simple manner, doe not represent any mixture of bloud, nor expresse the flower of bright haire, and of a newly up-growing beard, yet doe they resemble the similitude of a tanie or a white man: yea if wee doe designe any one of the Indians in white lines, he shall for all that seeme to be blacke: seeing his flat nose, his standing haire, his plumpe cheekes, and a certaine kinde of dulnesse about his eyes maketh all black and sheweth him to be an Indian to every one that doth view him not foolishly. Lineall picture therefore as it is the ground of all Imitation, so doth it represent unto us the first draught onely of what is further to be garnished with plea∣sant and lively colours. Whence it is that many who have a deeper insight in these Arts, delight themselves as much in the contemplation of the first, second, and third draughts which great Masters made of their workes, as in the workes themselves: neither is it any marvell that they should be so much ravished with this contemplation, seeing they do not onely perceive in these naked and undisguised lineaments what beautie and force there is in a good and proportiona∣ble designe, but they doe likewise see in them the very thoughts of the studious Artificer, and how he did bestirre

his judgment before he could resolve what to like and what to dislike. Those in the meane time who have sufficiently practised designing, may not content themselves with this exercise; seeing the practise of designing, though it be a great matter in it selfe, is nothing else but an entrance to some thing that is greater. The matchlesse collection of de∣signes made by my Lord of Arundell serveth here for a suffi∣cient proofe: seeing our Honourable Lord out of his noble and art-cherishing minde, doth at this present expose these jewells of art to the publike view in the Academie at Arun∣dell house. Our sight, sayth Plutarch , is very much revived and fed with the most pleasant and flourishing colours. And as it doth appeare by our former proofe that Lineall picture being done after the true rules of Proportion, may very well represent a lively resemblance of the thing delineated; yet can that same similitude not be compared with the per∣fections of a coloured picture. Thus after the considerati∣on of Designe and Proportion, it followeth that we should proceed to Colour.

Notes

• In prooemio Iconum.
• Lib. II, epist. 5.
• Cap. 79.
• Cap. 68.
• Lib. I, de Officiis.
• Lib. I. Noct. Attic. cap. 1.
• Lib. II, Noct. At∣tic. cap. 24.
• Lib. I, cap. 6.
• Epist. 120.
• Lib. II, de Libero ar∣bitrio, cap. 16.
• De Audi∣time.
• Lib. I, My∣tholog.
• Lib. xxxv, cap. 5.
• De animae procreatione quae in Ti∣maeo Platonis describitur sub finem libri.
• Heroic. in Protesilao.
• Eclog. E∣thic. cap. 5.
• Serm. 1.
• Lib. I, de usu partium corporis hu∣mani.
• Lib. I de Off.
• Auctor Rhe∣tor. ad He∣rennium.
• Auctor dia∣logi de causis corruptae e∣loquentiae.
• Epist. 33.
• Lib. I, E∣pist. 3.
• Lib. VI, Thebaid. v. 570.
• Lib. IV, cap. 1.
• Lib. I, ep. 20.
• Lib. V, cap. 12.
• In Abdera.
• Lib. xxxv, cap. 10.
• In Protrep∣tico.
• Lib. VI. adversus gentes.
• Lib. VII, nat. hist. cap. 1.
• In Arist. de∣cem Categ∣rias.
• In Alexan∣dro, circa initium.
• In Iambli∣cho.
• Lib. I, de Temperam.
• De sublimi orat. § 32.
• Lib. VI, adversus gentes.
• In Aristot. de Interpret.
• In Lib. IV. Aristotelis de Generatione animalium.
• Lib. XII, cap. 10.
• De opificio Dei, cap. 7.
• Lib. xxxvi, cap. 5.
• Var. vii, 15.
• De Alexan∣dri fortunâ aut virtute, lib. II.
• Lib. III, Archit. cap. 1.
• In ipso sta∣tim initio pe∣riplus ponti Euxini.
• In Adriano.
• Lib. III, cap. 3.
• In Hermo∣timo.
• Sub finem libri primi.
• Lib. II, Satyrà 7.
• De vità A∣pollonii, lib. II, cap. 10.
• In Pericle.