An idea of the perfection of painting demonstrated from the principles of art, and by examples conformable to the observations which Pliny and Quintilian have made upon the most celebrated pieces of the antient painters, parallel'd with some works of the most famous modern painters, Leonardo da Vinci, Raphael, Julio Romano, and N. Poussin / written in French by Roland Freart, sieur de Cambray ; and rendred English by J.E., Esquire, Fellow of the Royal Society.

AN IDEA of the Perfection OF PAINTING.

TIs a very subtle and curious Enquiry, to know, from whence it should come to pass, that the Art of Paint∣ing is so much degenerated from that perfection, which it once obtain'd, and how it happens, that considering the weakness of its productions, compared with those admirable Master-pieces of the Antients, it seems of late to pre∣sent the World with nothing but the meer shadow and phantosmes of it?

For my own part, I conceive, the principal cause of its decadence to have proceeded from that little esteem

which it preserv'd, during the ignorance and barbarity of the Lower Empire, which did so far ignoble and debase it of its pristine Honour; that instead of that preheminence which it then held amongst the Sciences, it is now reduc'd and reckon'd amongst the most vul∣gar Trades; sufficient to let us see, how much the spirit and Genius of these lat∣ter Ages, have declined, in which the rare Inventions and Lights of this Di∣vine Art are, for want of encourage∣ment, almost totally extinguish'd.

However yet, that good Genius, which by a certain providence of Nature does still preside over Noble things, has al∣ways furnish'd us with some excellent Men, preserving, as it were, some Seeds of them from time to time: But as we find it in Trees, and even in the most perfect Bodies, that they attain not to their consummate forme upon the sud∣dain, and till after many years; not∣withstanding which they are yet ob∣noxious to destruction every instant, without any means of restauration, but the same from whence first they sprung: even so it is in the productions of Wit, which coming once, through negli∣gence, to be lost, or opprest under the Ty∣ranny

of evil Government, never recover themselves but by a long and laborious re-search; so, as 'tis realy prodigious; that in the Age of Leonardo da Vinci, and Raphael (who were the Protogenes and Apelles's of the Modern Painters) we should see the Art revive again with so much vigour, and flourish in so short a space. For Painting is none of those simple Arts, which Chance does now and then present us with, without any disquisition, and which every one may light on without an extraordinary Talent, or study to attain them.

There is happ'ly nothing of Ingeni∣ous amongst Men of more sublime, and whose Perfection is more difficult to attain, than that of Painting, the No∣blest Instance which humane wit can boast of: 'Tis therefore plainly an in∣supportable abuse, to obscure and con∣found her amongst the Mechanical Arts; since she is established upon a demon∣strative Science, infinitely more inlight∣ned and reasonable, than that Pedant∣ick Philosophy, which produces us nothing but frivolous Questions and uncertain∣ties, whence some have styl'd it, The Art of Doubting, a steril and idle spe∣culation; whereas Paynting, founded

upon the real Principles of Geo∣metrie, makes at once a double demonstration of what she represents: But it will indeed require different Eyes to contemplate and enjoy her Beauty in∣tirely: For the Eye of the Understand∣ing, is the first and principal Iudge of what she undertakes.

It will, in my opinion, be necessary therefore, in order to the restauration of her Honour, to evince by undeniable reasons, that she is still as worthy of the rank and dignity, which she formerly possest amongst the Greeks, the wor∣thies of Genius's that ever Nature form'd, and that the shameful deserti∣on, which has since arriv'd her, could proceed from no other cause but an uni∣versal depravation.

She has moreover had this parti∣cular misfortune, that all the Writings and Works which should contribute to her Instruction, and that divers excel∣lent Painters had long since publish'd for the better intelligence of their Art, have been buried and lost by tract of time. Nor is it strange, that this ac∣cident has more concern'd them, than all that has happen'd to the Books of Orators, Philosophers, Historians, and di∣vers

others; since 'twas sufficient for them to find out People that could transcribe them again, and by that means continually replenish their Libra∣ries; whereas, for the Writings of our great Master-Painters, the Copists were of necessity to be good Designers, and knowing in the Matter, which they tran∣scribed, to be able but to accomplish a very few Volumes in a great deal of time; so as one could hope for no bet∣ter event than what is come to pass, by reason of those tedious and very difficult Figurations, which go to the composure of its principal, and most es∣sential Parts, as may easily be deduc'd from that Treatise of Leonardo da Vinci, which it had been impossible to have explain'd, without the advantages of the Art of Graving, and of Printing, which this latter Age of ours has produc'd.

The same unhappiness arriv'd to Ar∣chitecture: All the Antient Books of it being utterly lost, that single work of Vitruvius being only excepted, which is very defective too, for want of its Profiles and lineal Demonstrations, which this Author set forth in a particular Volume that is perished; but which was to have been the Crown of all his la∣bours;

though we may yet affirm, that the Moderns; persueing his steps, have made that Glorious and Magnifi∣cent Art to flourish and revive again.

In my opinion, one might render the same service to that of Painting; since we have a Philostratus to our guide in so worthy a designe: But as Architect∣ure is more gross and material in what it undertakes; the Solidity of it, which constitutes one of its very Principles, has honour'd it with some prehe∣minence, even above Painting it selfe. It stands firm, and has continu'd many of its productions, which wonderfully supply the defect of those Books that are lost; whereas Painting, which is, as it were, altogether spiritual, has not been able to furnish us with such per∣manent monuments. And yet for all this, she has within these two Ages re∣viv'd with so much vigor, as if she had receiv'd the very same assistances. And truely, she seems to me to have been the Restauratrix of Architecture; since we find, that almost all the first Masters of that Profession were al∣so great Painters; such as Bramante, Bal∣dassar Petrucci, Raphaelo, Iulio Roma∣no, and several more, which is no other

then the result of being able to designe well, which is in truth the veritable Principle and only Basis, not of Paint∣ing alone; but, as one may well affirm, the universal Organ and Instrument of all the politer Arts.

'Twas a singular felicity and advan∣tage to the re-establishment of this rare Profession, that its Mechanical part did preserve it selfe so intire; in which par∣ticular I conceive we have nothing more to desire of the Antients. On the contrary, the very use of Oyl only, which the Moderns have discover'd, does infinitely advance it. Add to this, its re∣fining on Colours; and their improve∣ments to that multiplicity of different kinds, as even superabound, and are more than necessary; so as now a man needs only to understand, and be well vers'd in what this excellent Talent of the great Masters of Antiquity consists, and the prodigious Effects, which Histo∣rians report of them in their Works. Nor is this a thing so difficult to resolve; since by that only Treatise of Leonardo da Vinci, one may easily make it out, that a Painter well instructed from his Youth in all the necessary Precepts so methodically prescrib'd in the first

Chapter of his Book, cannot fail of pro∣ving to be an able Man in the Professi∣on: but if to this, Nature likewise fa∣vour him with the Genius of the Art, which consists in a certain vivacity and flowing of Invention and Grace (which all the study in the World will never attain) he must then of necessity be ex∣cellent. And if his Works perfectly conform to the Rules of the rest of that exact Dissertation; one may safely pro∣nounce as much of his Pieces as of those of Apelles himselfe, Zeuxis, or Parrha∣sius. But forasmuch as our Author put not the last hand to his Book, but left it us imperfect; or the Project rather of a more finished Composure, which he had under contemplation; I shall here adventure to set down some general No∣tions and Observations for the supply of what seems most defective.

Supposing then, that all Arts what∣soever have their Fundamental Princi∣ples, the knowledge whereof is absolute∣ly necessary for those who intend the Profession, and that This of Paint∣ing is superior to the rest, and conse∣quently more difficult: It is not to be expected, there should any considera∣ble progress be made without a due and

perfect cognisance of those Principles; and they consist of no mean speculati∣ons, Perspective and Geometry; without which, a Painter can never emerge good Artist.

Seeing now, it is not enough, that to the forming an able Painter, he be learned in these two Points alone (which study will soon accomplish) without three or four other more curious Qua∣lities, which he ought to be Master of; but which are not usually attain'd to without a singular favour of Nature; it happens that there appear so very few good Workmen amongst the multi∣tudes of this Profession, that it may well be verified of Them, which was said of the Poets; That a Painter is so born, not made; and really their Genius is so conform, as it became Proverbial; That Picture was mute Poesie, and Poesie vocal Painting. The reason of which will appear very obvious in the ensueing periods, where we shall Treat of the different Ta∣lents, which necessarily concurr to the production of an acomplisht Painter.

Those renowned Antients who exalted the Art to its utmost per∣fection, and rendred it so fa∣mous, observ'd in their Works five

particulars exactly, as so many Funda∣mental Principles, without which, Paint∣ing is nothing but a meer Chymaera and confusion of Colours. But before I pro∣ceed to the parts, I must first deferr the honour of this Observation to that Learned Hollander, Francis Iunius, who about Five and twenty years since, publish'd a Noble Treatise of the Paint∣ing of the Antients, wherein the in∣tire History of this Art, from the ori∣ginal to its utmost perfection, is rare∣ly deduc'd; and were not the Book in Latine, and by that means much con∣ceal'd from most of our Painters, I should satisfie my self to referr them to the Author. See what he writes at the beginning of his Third Book.

The Antients, says He, constantly ob∣serv'd these Five Parts in all their Works.

• 1. Invention, or the History.
• 2. Proportion, or Symmetrie.
• 3. Colour, (wherein is also contain'd the just dispensation of the Lights and Shades.)
• 4. Motion, in which are expressed the Actions and Passions.
• 5. And lastly, the Collocation or regular Position of the Figures of the whole Work.

But these four being Treated of in so general Terms, that it were almost impossible, our Workmen should derive the Fruit and Instruction which is so necessary for them to practise; I will here explain them in Order, and more at large, and endeavour to render them intelligible, both by Reasons and Ex∣amples.

Of INVENTION. 1. PART.

INvention, or the Genius of Histori∣zing and framing a Noble Idea up∣on the Subject one would Paint, is a particular Talent, not to be acquir'd by Study or Labour; but is properly a certain ardor exciting the Imagination, prompting and enabling it to Act. And as this part of Invention has Naturally the preheminence in the Nature of things (since it would be ridiculous in a Painter to prepare his Colours and his Pencils, without resolving before hand, what to Paint) so does it more than a∣ny other, discover the quality and force of the Spirit; as whether it be pregnant, judicious, and exalted; or, on the contra∣ry,

barren, confus'd, abject, and plainly repent.

Of PROPORTION. 2. PART.

AS touching Proportion, (i.e.) the Symmetrie and Congruity of the whole to its parts; 'tis sufficiently easie to attain, there is no great difficulty in it, and therefore the ignorant are without all excuse; since it may be gain'd with very little pains, and by o∣perations purely Mechanical: but the only way to arrive at its perfection, and be perfectly acquainted with it, is to pass through that of Geometrie, which is indeed the sourse and original of all the Arts. Now amongst the Painters and Sculptors of the Antients who have most excell'd in this, Pliny and Quin∣tilian, and others, principally instance in Parrhasius, Praxiteles and the fa∣mous Asclepiodorus, to the exactness of whose Proportions, the most cele∣brated Apelles would always subscribe.

Of COLOURING. 3. PART.

BY this third Particular, which is that of Colouring, you are not only to understand the Painting; since this Talent (though truly very impor∣tant) must yield to the Science of Lights and Shades, which is a certain Branch of Perspective, in which the Center of the Luminous body repre∣sented to the Eye, and the Section, which the beams make upon the Plan, or any other superficies, precisely ex∣presses the Contours and exact form of the body so illuminated; and therefore, whoever is Master of this remark, fur∣nishes himself with several commodi∣ous ways, how to put any thing into Perspective, even the most capricious and conceited, such as we sometimes encounter upon irregular Surfaces, and that appear so surprising and difficult to those, who comprehend not the se∣cret of it.

Of MOTION and EXPRESSION. 4. PART.

BUt as the three first Parts are high∣ly necessary for all Painters in general; this Fourth, which concerns the Expression and Motion of the spi∣rit, excells them all, and is indeed ad∣mirable; for it gives not only life to Figures, by representing their Gestures and Passions; but seems likewise to make them vocal and to reason with you. It is from hence, a Man is en∣abl'd to judge of the worth and abili∣ties of a Painter; for such an Artist paints Himselfe in his Tables, and repre∣sents, as in so many Mirrours and Glasses, the temper of his own humour and Genius.

There is none but easily perceives, by paralleling the Compositions and Fi∣gures of Raphael, with those of Micha∣el Angelo; that the First was the very sweetness of Grace it self; whereas, on the contrary, Mic. Angelo was so rude and unpleasing, that he retain'd not so much as any regard to Good-manners.

This is evident in that great Work of his in the Chappel of the Vaticane; where, being to represent the Final Iudgement over the very Altar it selfe, he intro∣duces certain Figures in Actions ex∣treamly undecent; whereas Raphael ob∣serves a Modesty, even in the most licenci∣ous of Subjects. From hence it is, we may conjecture, how highly important this Talent of Expression is in a Painter; 'tis really his greatest Excellency, and should accordingly be accompanied with a peculiar Iudgement and Cir∣cumspection; since by that alone, one may conjecture at the force of his un∣derstanding, which being far from ever acquiring any renown by his Works, whilst he violates the forms of Civi∣lity, will doubtless, be the scorn and reproach of every Man; seeing the greatest Libertines amongst Persons of Condition, generally abstain from lewd and impure expressions; which, though but in passing, as we say (which makes not so lasting impressions as what af∣fects the eye) are taken up only by the dregs and vilest of the People. And therefore, a Painter who makes profes∣sion of so noble and excellent and Art, is extreamly obliged to Modesty and

good Manners in all his productions, and should never pollute his Pensil with any Subject, but what may endure the chastest eyes to behold it; for as he en∣deavours to render his Works famous, and worthy to be sought of all the World; it oftentimes fortunes, that those pieces, which are express'd with too much Liberty, happ'ning to fall into the hands of scrupulous persons, never appear in the light, by which means those Workmen are deservedly depriv'd of what they most of all affected.

I do not inferr from hence, that one should be so precise, as not to endure any kind of Nudities whatsoever, and be so peevish and moross, as altoge∣ther to neglect both the excellency of a Work, and the History which they often represent so; or in case they do retain some of them, that they should cloath and cover them, by the hand of some wretched Dauber, which not only more defiles the Picture, but renders it more ridiculous: But I would shew our Painters, what are the Rocks and Shelves they ought to avoid in that which concerns Expression: For though this Animadversion may at first seem but impertinent; since com∣monly

our Wits and Actions are more vigorous and inventive upon such oc∣casions; yet when men shall seriously reflect upon the indignity and vileness of the Liberty which some of them as∣sume; and consider, how much more easie it is to succeed in those wanton re∣presentations, than in more worthy and Heroic Subjects; (as 'tis easier to make one Laugh, than to make one Admire) Men will but despise their extravagance and brutality: And in effect, they are never seen but in obscure Corners, as asham'd to behold the Light; or in the houses of lewd and abandon'd Persons, who feed themselves with such impu∣rities. If therefore a Painter would con∣sult the honour of his Profession, let him endeavour to pursue more Noble Ideas, and hold it for an assured Max∣ime, that there is nothing praise-worthy which is dishonest. Be this then spoken for prevention, and, but by the way, till I come to the more particular ap∣plications, and examine exactly what may farther concern this Advice.

Of the Regular Position of Figures 5. PART.

BUt in the first place, let us dispatch what we have to offer, touching the due Collocation and Position of Fi∣gures in a Piece; since it is the Base and Foundation of the whole Edifice of Painting; or, as I may term it better, the Ligature of all those four Parts we have hitherto discours'd upon; which without this, have neither Form, nor in∣deed, subsistence. For as it is not suffici∣ent in an Architect, to have amass'd to∣gether, and made a vast provision of Materials, nor even to have assign'd each Member of his Building its parti∣cular form, unless he also skill how to dispose of them all in their proper places; Nor that a Sculptor should carve out each Member of a Statue with just and due Proportion, without he know how to unite them in their natural Postures, and not place an Arm where a Leg should stand, nor the Foot where should be the Hand; but he must not so much as take one hand for another, nor the left Leg for the right, which would be to

form a Monster instead of a Man. In like sort, a Painter would be found to work in vain, and loose his time, if when he has laudably pass'd through the first four Parts, he should fall short of this last, in which the whole Eurith∣mie and perfection of the Art consists. It were the same folly to Invent and Compose a Subject, to have studied the Beauty, and just proportion of every Figure; to emerge as an able Colourist, and know how to give the Lights and the Shadows to each Body; their taints and natural Lustre, nay, and withal possess that Divine Talent of expres∣sing the very Motions and Passions in his History, (which is the soul of Painting) if after all these noble accomplishments, he be ignorant, how to give his Fi∣gures their due regular Positions.

We do therefore conclude, that if those other, or all of them united, or asunder, are advantagious to a Painter; this last which we have spoken of, is ab∣solutely necessary. For though a piece may possibly not answer in every part, some one of the former requisites be weak, nay, in some measure, defective in all of them; yet, if this last be well perform'd, the Work will always deserve

esteem, and credit the Painter. Order is the sourse and Principle of Science, and as it concerns the Arts, has this of peculiar, and to be admired, that it is the parent of all Beauty, imparting its graces to the meanest productions which it renders considerable.

Let us then consider a while, in what this so important, and indeed accom∣plisht part consists, which not only com∣pleats a Painter, but comprehends in it whatsoever the whole Art has of Sci∣entific, and emancipates from the indig∣nity of the Mechanicks, to give it place even amongst the Sciences themselves.

Our Geometricians, who are the ge∣nuine Masters of this Question, and can best explain it, have nam'd it Optica, by which term they would signifie, that 'tis an Art of seeing by our Reasons and Eyes intellectual; for 'twere imperti∣nent to imagine, that our corporal Eyes alone should be capable of so sublime an operation as to pretend themselves judges of the Beauty and perfections of a good Picture, whence a thousand absurdities would ensue. And should the Workman think to imitate things according to their external appearance; 'tis certain, that if he place them ill, he

represents them so, and will form but an ill resemblance of them; so as before he takes the Crayon and the Pensils in his hand, he should first adjust his Eye with his Reason by the Principles of Art, which teaches us to behold things, not as they appear in themselves only, but as they ought to be; and it were a fault unpardonable to paint them precisely as they are seen, how Paradoxical soever the assertion seems.

Now this so necessary Art, which the learn'd call Optical, Painters and Design∣ers Perspective, prescribes us infallible Rules of exactly representing upon any surface (be it Cloth or Table, a Wall, sheet of Paper, or the like) whatsoever is visible at one view or aperture of the Eye, without changing our place.

I shall not here insist upon the Princi∣ples, and various Methods, which the Masters of the Art have invented for the execution of it, which were to di∣gress from my present Institution: But presupposing my Reader competently knowing in it, shall shew him here by divers Instances, and a Critical examen of sundry Pieces engraven after Rapha∣el (the most renowned certainly of our Modern Painters, and most accurate

in his Works) of what importance this Perspective, or regular Collocation of Figures is; since by that, a man may pre∣cisely determine, and pronounce defi∣nitively what is well or ill done in a Pi∣cture. Nor let any impute it a presump∣tion, if in this survey, which I pretend to make of Prints, I spare not even Raphael himself, where I find him de∣fective; since, it is neither my purpose to injure or flatter any man; besides, many of the errors, which I take notice of, may possibly proceed from the im∣pertinence and ignorance of the Graver, who perhaps have abus'd, or altered the Original Drawing; as I have fre∣quently observ'd, that the Prints of An∣drea Mantegna, and Albert Durer, which were cut by their own hands, appear'd a great deal more regular and just, than those of Raphael, which had not the same advantage. And if the manner of those two great Painters designs, had been as pleasant, and noble, as they were accurate, their stamps had been without comparison; those only except∣ed, which Marc. Antonio executed by the direction of Raphael, who took ex∣traordinary care, not only to furnish him with Drawings, extreamly finish'd, but

instructed him likewise in the very Gra∣ving of them; so as one would esteem those Papers of Marc. Anthony, amongst the greatest curiosities that Painting has produc'd of the kind. And it were to be wish'd, for the Virtuosi's sakes, that the same hand had Grav'd all that are to be found after this great Master; at least, those larger Compositions of his which are painted in the Vaticane, the Capitol, and divers other places at Rome, as the Battails of Constantine against Maxentius; the School at Athens; the Assembly of the Fathers and Doctors of the Church about the Sacrament, with several more, which ill-Gravers have wretchedly abused.

To fix our Critic then on a favoura∣ble Augure, I suppose, it will redound both to the Glory of Raphael, and our own satisfaction; to begin with good Examples, and to propose Four or Five of the best of Marc. Antonios-pieces, as Antipasts of the rest; that from what we shall observe from those which fol∣low, we may the better judge, how great a misfortune it is for a Painter to fall into the hands of ill Gravers, and how infinitely our loss has been, that so many excellent Works of the same

Genius, have been so vilely lamed un∣der their tools.

The First Stamp. The JUDGEMENT of PARIS.

THe very First sheets which carried the name of Raphael out of Italy, and that shewed all the Painters of his Age, who was their Coripheus and Cap∣tain, was that noble and famous Print of the Iudgement of Paris; in which, Raphael made so happy an Essay, both for his own, and his Scholar Marc. An∣tonios reputation, that from thence for∣ward he continu'd him in the same Em∣ployment; and for that end, expresly de∣sign'd him several other rare things, which probably we had never seen, but upon this occasion, because he ne∣ver did paint them.

Let us now examine in the Figures of this Stamp, whether our Painter have sufficiently acquitted himself in our five Fundamental points; and that we may proceed orderly in the research, com∣mence at the First, which is the In∣vention: But forasmuch, as it is abso∣lutely

necessary, e're we can rationally discuss it, to understand the circumstan∣ces of this Poetique-History, we shall briefly repeat it.

Paris, Son to King Priamus, being soon after his Birth expos'd on Mount Ida, and there abandon'd to the wild Beasts (by reason of the funest dream, fatal indeed to his Country, which his Mother Hecuba had of him, during her great belly) happen'd to be taken up by one of the Country Shepheards, who bred him up as his Son. This young Prince (unknown of his Foster-Father, and indeed to himselfe) by a strange and secret virtue of the Royal-bloud in him, became so accomplish'd in his Youth, as to surpass all his other Contemporaries in Strength, Beauty and Address, and in summe, in whatsoever was esteem'd most qualified amongst them. Hitherto, it holds some resem∣blance of a true History; but the Poets, who are somewhat neer of kin to the Painters, have refin'd upon all this, and mingled it with several capricious fan∣sies; and pretend, that once upon a time, as all the Deities were invited to∣gether to the Nuptials of Peleus and Thetis, the Goddess Discordia only ex∣cepted;

this malicious Lady, in re∣venge of the affront, secretly convey'd amongst the Crowd that were at the wedding, a Golden-Ball, upon which there was engraven, Be it given to the Fairest.

Mercury, the busiest of all the rest, perceiving the Ball, catches it up, and reads the words aloud; which inflam'd all the Goddesses (emulous, who should be counted fairest) with so burning a jealousie, that Iupiter himself refus'd to decide the controversie, fearing to dis∣please his Wife Iuno, should he pro∣nounce in favour of any of the rest; or at least, be suspected of Interest. The only Rivals of Iuno, were the fierce Minerva, and the lovely Venus; so as the difference being by mutual consent of the Competitors, referr'd to the decision of the Royal-Shepherd, (who was in those days himself a handsome Youth) Mercury was immediately dis∣patcht from Iupiter with the Apple or Ball, with order to deliver it to Her, who of the Three, Paris should judge to be the Fairest.

You have here, what Raphael in∣tended to represent by this Designe, wherein, for a general consideration, and

almost ever a necessary one; he has plac'd the principal Figures of his Sto∣ry in the Center of his Ordonance; and that with admirable variety both of Aspect and Expression. There, you may behold Minerva, fill'd with disdain for missing the Prize she pretended to, turn her back upon her Iudge with a malici∣ous regard: Venus, in whose favour the Sentence was pronunc'd, stands in the middle of her two Rivals, and recei∣ving the Symbol of her Victory with a Modesty, accompanied with a marvelous Grace: The Painter has made her be seen by a side Profile, as the most ad∣vantagious to discover the shape and regularity of each part of a beautiful face. Iuno, the haughtiest of all the rest, inraged with despite, that she had not the preference, seems altogether transported with rage at poor Paris, who appears not for all this the least concern'd, but continues sitting as be∣comes a Iudge, pronouncing Sentence with the Fatal-Apple that soon after oc∣casion'd those tragical dissasters amongst the Greeks, and concluded in the total subversion of Troy, which was the place of his Birth.

This last Goddess presents her self in

front, as the most confident of the Three; and Raphael has expresly design'd them all with different aspects, to make as great an emulation, even between his own very Figures, as possibly he was able. I observe likewise in that of the Shepheard Paris, a certain variety in the Profile from that of Venus; for where this fair Deesse discovers a little of her breast, Paris on the other hand, shews a part of his shoulders side-long; so extraordinary a care our Painter took, that each part of his piece, should have something diversified.

Besides these Four, by which indeed the whole History had been sufficiently illustrated, he has yet introduced Mer∣cury (having finish'd his Commission) in a posture of returning to carry back the news of the event to Iupiter, who that happy person was, that obtained the Victory.

After this, the rest of the Compositi∣on is nothing but a Poetique expression of the Genius of the Painter, to en∣rich the Ordonance of his Table: For the Nymphs with their Cruses, and the two naked Men, who sit neer them with Bull-rushes in their hands so unconcern'd with what passes,

relates only to Mount Ida, which abounds in Rivers and Springs of Wa∣ter; and 'tis evident, that he whom you see leaning upon the Bank, is the Ri∣ver Xanthus, which washes the very walls of Troy; next to him, is the Ri∣ver Simois, both whose Sourses rising in the same Hill, with their frequent Meanders refresh the large and irriguous Campanias of the Troada, and at last unite themselves at the mouth of the Hellespontic sea, neer the Sigean Pro∣montory.

Now, as there is not the least parti∣cular, in this whole Composure, which our Painter has not mannag'd with ad∣mirable, address to shew that Mount Ida was of an exceeding height, and a∣bundantly fertile; he discovers a part of it only, which successively ascending to∣wards one of the Angles of his piece, and being not only already parallel with, but even piercing some of the ve∣ry Clouds, makes one thence easily to conjecture its prodigious altitude. The plenty of Trees and Cattel which adorn it, speaks also its great fertility: But of all this Representation, the most difficult to interpret, is that which pas∣ses amongst the Gods in the Clouds: For

at one hand you have Iupiter sitting on his Eagle, arm'd with Thunder, born up of one of the Winds, and accom∣panied by Diana, and two other Deesses; and on the other part, Apollo, (the bro∣ther of Diana) inviron'd with his Zodi∣ac, and attended by two young Cava∣liers (whom I suppose to be Castor and Pollux, the Brothers of Hellena) hastning to meet Iupiter, and seeming to be plac'd there as a kind of Progno∣stick of the Catastrophe which this jea∣lous contention produc'd, and which soon after kindled so dire a Flame a∣gainst the unfortunate Umpire, that it reduc'd both his House, his whole Race, and his City into ashes; and made so strange a discord, even amongst the Deities themselves, that every one of them siding with his own passion, band∣ed such a League in Heaven, as was not ended till ten years after.

The rest of the Fable, for contain∣ing little that concerns our Piece in it, I need not explain here; and haply, I may already be thought over tedious; but I have expresly enlarg'd, that after we have well consider'd in the Print all these observations; and that there is nothing in the entire Composition but

what is essential to the Subject; the Idea and freedom of our Painters invention, may appear with the more lustre and advantage; for seeing, that in so small a space, at one view, and with so few Figures, he has shew'd us such a consequence of varieties, we must needs the more admire the force of his Invention, which is the Talent we so much celebrate, and the first Member of our present disquisition.

The Second, which concerns the Proportion of the Figures, will not re∣quire any large discussion; 'tis too ap∣parent to those who look with Paint∣ers eyes: we may only observe in pas∣sing, what a judicious difference Rapha∣el has assign'd to every one whom he Personates, as their particular qualities distinguish them: for the three God∣desses, being the most illustrious and principal ones of his Piece, he makes of a more august and stately Mine than the rest.

The Shepherd Paris, Mercury and Apollo, discover a more light and Airy proportion, such as the Italians would call Svelta. The two Rivers are made more robust and heavy; and the Fountain Nymphs fatter than usual,

to denote their fertility and abundance.

The Third Division, which imports the projection and disposure of the Shades and Lights upon the Objects, needs as little particular enquiry into, as the former; since it is generally very regu∣lar. We shall only take notice of a cer∣tain licence, familiar amongst Painters upon such occasions; which is, that Apollo (who signifies the Sun, and consequently the Fountain and Center of the universal Light) appearing here in humane shape but as a particular Figure of the story, does not only im∣part no light to the rest of the Figures, but receives both light and shadow with the other, as the point requires, which our Painter has given to his Table.

Touching the Fourth Part, which is the Expression, that admirable and peculiar Talent of Painting, which not only discovers what every Figure does, and speaks, but even what it thinks al∣so, a thing almost incredible; I shall like∣wise pass it over without much enlarge∣ing my discourse, as having sufficienly examin'd it in the narrative of this Hi∣story; and in particular, where I treat of the Invention, and Intention of the Painter; where I observe no less than

three distinct passions most judiciously express'd in the Contentions of the Goddesses; as first Disdain in Minerva, who turning her back towards her Iudge, casts a sleer over her shoulder, and lifts up her arme after a very disre∣spectful manner. In the second, which is Venus (receiving the Prize of her glo∣rious Conquest) I remark a certain se∣cret, and bashful complacency, accom∣panied with all the grace that Beauty is capable of. As for Iuno, she is suffici∣ently conspicuous, according to the Poets description of her, full of Choler, Revenge and Arrogancy, threatning her Iudge with her very looks, and extend∣ing her arme towards him after an ex∣tream audacious and haughty manner. The next is Mercury, in a Posture per∣fectly describing his sedulity and dili∣gence, since he seems both to speak and to move forwards at the same instant, and that with an address and Meene, which sufficiently denotes his agility, and how proper he is for his Employ∣ment. The Royal Shepheard in the in∣terim, who is here one of the Principal Personages, though encompassed with Divinities, preserves still a settled Countenance, as becomes a Iudge;

nay the very Dog by his side, neither sleeps, nor importunately barks as Currs use to do; but seems as it were to bear some part, and give attention to his Masters Sentence. All the other Figures of Rivers, and Springs seem ve∣ry little concern'd at what passes, as I have already noted.

I confess yet, at first, I once imagin'd, that the Nymph who sits so neer the two Rivers, and seems so extreamly melancholy, might have been Oenane the Mistris of Paris; and he might well be jealous at what he saw; but her tres∣ses of hearbs about her head, and the Water-pot which she holds, do not qua∣drate with this conjecture: Above in the Clouds the two young Harbingers full of heat, and precipitancy, appear as augures of the ensuing Warr, which soon overflowed all Greece, by the furi∣ous resentment of the angry Godesses, enraged at their Iudge, and by that direful revenge which they espress'd a∣gainst all his Posterity, sufficiently cau∣tioning us, how perillous a thing it is, to intermeddle with the affairs and con∣tentions of Great Persons.

Those who are knowing in the Prin∣ciples of Iudiciary Astrology, will find

also by the position of the Figures about the Zodiack, that our Painter was not only expert in placing them in their right order; but that he was likewise skilfull in what concerns the Figuration of Horoscops, and erecting of Schemes: For, pretending to represent those great disasters which were to proceed from this fatal Contestation, he turn'd it to the place of Aries, which is the House of Mars, in which Thunders and Co∣ruscations are ingendred: the next is Taurus, the Domicile of Venus, who is fortunate in that Sign; Then succeed the lucky Twins, signifying to the Hi∣story, and representing the two young Cavaliers who ride before Apollo. From these Particulars so accurately re∣search'd, we may inferr with how great judgment and art he has compos'd this Piece. There is little else considera∣ble; save the Figure of Iupiter riding upon Eolus in an extraordinary garb, accompanied with three or four Divini∣ties, the Lightning in his hand, and an Eagle near him in a menacing posture, as being interested in the Difference, which also presages a Tempest to en∣sue.

Let us now proceed to examine how

our first and principal part, which con∣cerns the position of the Figures in true Perspective, have been observ'd in this Ordonance. Our common Painters imagine Perspective to be no more than a certain particular manner of repre∣senting things in Architecture, as they call it; never conceiving that it signifies any thing in Histories which are com∣posed of Figures, so as this may be: and I confess it does not appear so perspi∣cuous to the eyes of our half-Paynters, who do not comprehend it any farther than they are Mechanically taught by by a certain concourse of Lines, tend∣ing to a poynt of sight, which is the uttermost limit of their skill: But those grand Masters who own it for the Universal foundation of their Science, are curious to observe it in every the minutest touches of a Piece, as I pretend to demonstrate by this Instance, which is so much the more commodious for my purpose, as at first sight it seems as if Raphael had thought of nothing less in the Compositi∣on than of Perspective: so free and disen∣gag'd it appears from any kind of con∣straint imaginable; there being neither a∣ny degradation of the Plan, Buildings, or

other form of Horizon, from whence those simple practisers of Lineal Perspe∣ctive, can derive the least conjecture how to proceed by in their Mechanical way: But these men are to know, that 'tis a most subtile, and refin'd address in Painting, to work things exactly regular and precise, and yet to conceal the Art.

Let us begin then first to determine the point of sight; since it is as it were, the very Center, to which every part of the Table has reference; and for that we have in this Piece, no lineal guides to conduct us; our Reason must supply that defect.

The Subject of this History being chiefly about Sight, and Paris the Per∣son principally concern'd in it; the Paynter could not have plac'd the Visive point more judiciously, than in the Eye of Paris, which, for this very cause, he has represented in Profile, to shew that there ought to be but One only, as Geo∣metricians teach us in their Optics, where they represent Vision, or the function of Seeing, by a radiated Pyramis with an Eye fixt upon it.

This establish'd, and rightly under∣stood, we proceed to observe in the Ordonance of this Composition, that

the Plan on which the three rival God∣desses stand, has its degradation towards the Eye of their Iudge, towards which likewise all the rest of the Piece is con∣verted. Now Perspective being an Art compos'd of reciprocal proportions, it follows, that from the knowledge of one part, one may easily pass to that of another; and by this alternative, ar∣rive in fine, to the knowledge of them altogether: so as from this first point of Sight, and the consequent diminution of the three prime Figures, we likewise inferr another essential point, exceedingly necessary for such as practise Designing; and this they usually call the point of Distance; because it determines the In∣terval between the Object or Table, and the Eye of the Spectator. As for the right-line, compris'd between the point of Distance, and that of the Eye, it de∣notes the Axis of the visual Pyramis, which is alwayes to remain fix't, and parallel to the surface of the Plan, and the height of the Horizon. This point of Distance has certain regular and con∣stant limits, beyond which it works no effect; for approaching too neer, it causes the Plan to be so far elevated, and the Diminutions of the Figures

come so suddenly upon us, that it sur∣prises the eye; and, on the contrary, if it be too remote, it renders things as much confus'd; so as there is that mediocrity to be observ'd, which the skilful in Optics have agreed upon in the open∣ing of the Angles of Equilateral Tri∣angles. By this general Maxime, one may immediately discover, where the precise term of Distance resides, which we are seeking: And therefore I will dwell no longer upon it; the particulars being also so absolutely important to those who are already vers'd in the pra∣ctise, though something difficult, I confess, to be conceiv'd by those who never heard any thing of it before.

Presupposing then these first Opera∣tions dispos'd according to the Rules of Art; You are only to consider, whi∣ther the Figures (as well those which stand after the usual manner upon the Ground, as those who are elevated in the Air, and amongst the Clouds) be plac'd in an aspect agreeable to their Situations, with regard to the visual point; and whether they diminish, pro∣portionably to the degradation of the Plan which they should observe; since it is only in these two particulars, that

the whole intention and effect of Per∣spective in a Painting does consist. And though they are now adayes much neg∣lected by those of the Profession; Yet is the Consequence of such weight, that whosoever observes, or knows them not, is unworthy the name of a Paynter; all Pi∣ctures defective in this part, being both contemptible, and ridiculous in the eyes of intelligent Persons, who instead of Bo∣dies, look on them but as so many Chy∣maera's, represented without any possibi∣lity of Nature.

The importance of this Remark will be better understood by Instances of Ill-pieces, than by that of which we are now discoursing, wherein all is so regular and conformable to the Rules of Art: for if we shall examine the first effect of per∣spective in Figures, which consists in making them appear lesser, or greater, according as they are more or less ad∣vanc'd in the depth of the Plan; 'twill be manifest, that they successively dimi∣mish; so as from the very first, which is that of Minerva, compar'd with that of Mercury (the farthest off in the piece) there is a considerable difference in the height: And that of Venus and Iuno is yet more remarkable, though the

diminution be mediocre, and but just to the distance which they mutually ob∣serve between each other. Easie it were to pursue the examen through the rest of the Figures; and there∣fore I shall now pass to the last, and most important part, which con∣cerns their Aspect and Position in refe∣rence to the Point of Sight; and that I may proceed methodically, and useful∣ly in this enquiry, we shall first make some reflections upon these Axiomes of Perspective.

I. AXIOME.

THe Point of Sight represents the Eye of him who beholds the Picture; and this Point is the first, and principal thing to be sought for in a Piece, to enable one rightly how to di∣scern, whither it be the Work of an able, and knowing Painter, or of a simple Practitioner onely.

II. AXIOME.

THe Point of Sight is constantly, and precisely the height of the Horizontal-line.

III. AXIOME.

WHatever appears above the Horizontal-line, is seen in the nether part; and whatever is plac'd below it, is seen in the upper, seeming to ascend and mount as it were towards the Horizon.

IV. AXIOME.

FIgures of equal Altitude, being on the same Line parallel to the Base of a Table or Picture, are always equal.

V. AXIOME

FIgures, more or less advancing in the depth of the Plan in Picture, di∣minish proportionably to the degradati∣on or distance of the same Plan: For example; suppose the Plan be gradu∣ated in a scale of Squares; the Figures shall observe the same Proportion one to another, as the graduated Squares do, upon which they are placed.

VI. AXIOME.

FIgures, scituated Parallel to the Base of the Table or Picture, ap∣pear of the same Aspect in Perspective, with the Squares of the graduated Plan, upon which they have their position.

Now let us apply these Axiomes to every Figure of our Stamp.

The Point of Sight (which is the first thing observable, as being indeed, the very Compass and Guide to all the rest) being precisely in Paris's Eye; the Figures which are aloft in the Ayr, as the Victoria putting the Garland on Venus; Apollo in his Zodiaque; Eolus, who seems to support and fore-run Iu∣piter, and other of the Deities of his re∣tinue; shew altogether their Nether-Parts, according to the Third Axiome. Descending then to the Earth, towards the right side, and most distant from the Point of Sight; You have the Figures of the River Xanthus, sitting, and halfe lying-along the Base of the Picture; so as by our last Axiome, this Figure must appear in the same Aspect in Perspective with the graduated Square of that par∣ticular place; and therefore as it regards

the Point of Sight (which is here at a considerable distance from it) that part of the Breast (which according to the Position of the Body, could not be dis∣cover'd, if it stood directly opposite to the Perpendicular of the Point of sight) shews it-self almost as fully at this interval, as if really the Figure had been design'd to stand fronting; Whereas now, in re∣lation to the Plan, it stands altogether in Profile; the traverse line of the Shoul∣ders ascending also somewhat towards the Horizon, according to our Third Ax∣iome. The same may be observed of the Nymph sitting neer this River, whose Aspect (though different as to Faces) is yet upon the same Parallel, and sci∣tuation on the Plan; both the one and the other being seen in Profile also. For, presupposing one should advance the Plan of their Position parallel to the Visual point; you would find, that as the Figures approach'd it, the Con∣tours and out-lines of each of their parts, would diversifie successively, without any alteration or change in their disposi∣tion and aptitude; and so coming at last to be perpendicularly opposite to the point of sight, would appear exactly in Profile, which is in truth, their proper

and genuine Position in this admirable piece of Painting.

Would you now proceed to place them on the other side, or beyond the point of Sight; the more they incline to∣wards the left-hand of the piece, the more they alter the apparent Forme, and will come in fine, to an Aspect so contrary to their First; that the Figure which here discovers part of the Breast, will there turn its back to you, and so would the other also.

The knowledge of this Practical De∣monstration will be no difficulty to those that possess the Genius of this Art, and that are any thing conversant in Geo∣metry; but 'tis of such universal impor∣tance to all Painters, that whoever do not rightly comprehend it, will be found to work but like a Blind-man in his Pro∣fession, and especially those, who would accommodate to their designes, Figures which they borrow, and Copy after Prints of several Masters; or indeed their own Academic studies, who, above all, should take especial care, so to place them in their Works, as may the most regularly adjust, and punctually answer the point of sight, under which they were first of all designed. For 'tis a Principle in perspe∣ctive;

that whatever Figure is once fixt upon a Plan, can never be transported from thence to another, without viola∣ting the present aspect; since (as we have sufficiently show'd) the point of sight, is a thing stated, and immovea∣ble, so as 'tis absolutely impossible to place such a Theft out of another Pain∣ters Works, with any tollerable certi∣tude, or handsomness in another Com∣position, without this assistance of per∣spective.

I could inlarge these Remarks on the rest of the Figures of this particular Print, but to avoid repetition; and therefore I think it better to make choice of another Subject, in the exa∣mination whereof, and of those which follow it, I shall only insist upon what is most important, and worthy of obser∣vation; referring the rest to the dili∣gence of particular students, who by the Plan, I have already trac'd out to them, may happ'ly be curious to make the same disquisitions upon every one of our five Fundamentals, as I have e∣stablish'd them in this Treatise.

The second Print. The MASSACRE of the INNOCENTS.

THe Second Stamp which Raphael caus'd Marc. Antonio to grave, was the Slaughter of the Innocents. The History is too well known to require Re∣petition: nor shall I need to examine the proportion of each particular Figure; it may suffice to say in general, that the judicious Painter has even laden the good Women with their swelling Duggs, like so many Nurses; and on the con∣trary, made the Executioners extreamly meagre, and lean, resembling those rag∣ged Cut-throats, whom he has also left naked, and without clothes on their backs, to render them the more terrible. For this Painter did always observe an extraordinary Modesty in all his pieces; and doubtless, had not this impudent garb been the most proper to express this Subject, he had certainly clad them like Soldiers in their Arms. As to the Third part, which imports the Shades and

the Lights; I find nothing that requires any particular observation; every thing appearing so regular: But in examining the fourth (which we call the Expressi∣on) I must confess, that I expected more from Raphael upon so advantagi∣ous an Argument; for to speak truth, he has handled those violent Passions with very little force; whence one may easily conclude, how averse his spirit and Genius was from such tragical and furi∣ous representations. I should have made those cruel assassines of fierce and ex∣travagant Countenances; with fear, rage, and dispair in the faces and actions of the unfortunate Mothers; their tresses dis∣chevel'd, and their limbs bruised with the strokes and blows in defending their in∣nocent Sucklings against the savage and merciless Soldiers: That the ground should have been cover'd with Arms, Legs, Heads, cut off from their mang∣led and lacerated Trunks; that all about should have been nothing seen, save an horrible butchery, with the dreadful con∣fusion of an affrighted People; some run∣ning up and down, others crying, and the tender Mothers even expiring for sorrow upon their dead and massacred Babes; others again, endeavouring by flight

to save their Children: In summe, that on all parts, there should nothing have appear'd but desolation, bloud and Car∣nage: But our Painters Idea was not, it seems, so warm, and would certainly have succeeded much better, in a less violent Composition, more conformable to his Genius.

Let us now consider how punctually he has observed all the Rules of Perspe∣ctive, which is the last proof of our Ex∣amen; and this we shall discuss with much less difficulty in this designe, than in the precedent Piew; the Plan de∣scending here in such manner, as that the point of sight, and all that depends up∣on it, salutes the Eye, without trou∣bling it to search for it by conjectures, which are never so accurate and pre∣cise.

Those who would be curious to ob∣serve critically the proportionable dimi∣nutions of each Figure, according to the degradation of the Plan which compre∣hends them (as formerly directed in the foregoing examples) will soon perceive, how just he has every where been. And for the second effect (which is yet more considerable, and indeed the principal part of Perspective) relating to the As∣pect

of the Bodys and to their situation upon the same Plan, and visual point; there is nothing but what is most exact∣ly regular: For, albeit the Figure of the Woman, whom we behold in front of the Table, with one of her knees upon the ground, holding her Child under her right arme, and protecting it with the other against a Soldier, who seems to deal a back-stroak with his sword at its head; and that the Figure of the Vil∣lain appear also at first, as if they should rather be seen by the side of the should∣ers, than by that of the Breast; Yet, up∣on due and mature consideration of the line of their position, which is directly turn'd towards the Diagonal of the squares, and divisions of the Plan; one shall perfectly discover, that their Aspect ought to differ from those, whose situa∣tion is parallel to the Base of the Picture: Besides, that in the contention of those two Figures, one may perceive a great and violent contorsion in their Bodies, towards the parts which they discover to us.

There is no more difficulty in what remains of this Composition, and there∣fore I shall pass to the Third Stamp; whilst of this, I shall have said in general;

that omitting only the Passions; should we consider it by the exactness of the Designe in the Figures, the Regularity of the Perspective, the graceful Contoures of each individual member, judgement, and softness in the Graving; we must be forc'd to acknowledge it for an in∣comparable piece of Art.

The Third Print. Our Lords DESCENT from the CROSSE.

BEhold here another Piece of the same hand, but infinitely more estimable for the subject it represents, and the greatness of its Idea, full of rare Invention, and of an admirable Expres∣sion: It is a descent from the Cross, at the foot whereof stands the B. Virgin, overwhelmed even with sorrow, and fainting between the arms of the other Maries, whiles Ioseph of Arimathea, and Nicodemus un-nail our Lord, and are working with St. Iohn, his beloved Di∣sciple, in taking him down from the Cross, to bear him to the Sepulchre

which they had prepared for him.

'Tis almost impossible to imagine, that this History should be represented with more devotion, more affection, more sorrow, or with expressions more sensi∣bly touching, and better distributed De∣votion, in Ioseph of Arimathea; Love in St. Iohn; Grief in the Virgins and the Maries; and even the Land-skip it self does infuse as it were a kind of Melancholy, by its seeming sterility and the asperity of its situation. These are general considerations only: But that we may not confound our establish'd Order, which we have already observ'd in the Compositions that went before; let us commence with the first part; namely, the Invention, or Ordonance of the Fi∣gure in this designe; one of the most con∣siderable Maximes whereof it is, to place them so discreetly, that the prin∣cipal Figure of the subject may be set towards the middle of the Table, or most conspicuous and eminent place, as we have already touch'd in the Iudge∣ment of Paris. This I repeat here a se∣cond time, because it is seldom well ob∣served but by the most judicious Paint∣ers; and the rather, that the example of Raphael may incite others to be ex∣act

in all our five Fundamental points; since there is no other expedient, where∣by they can arrive to the perfection of the Art.

But 'ere we speak of the Situation of the Figures in this Design, we must first consider, that the Square of this Table is very different from the two precedent ones, where the Extent of the Ground-plot exceeded that of the height; when as in this Piece, the height is superiour to the bredth, by a great space, and as was meet, consider∣ing the form of the Cross, which is the principal Figure, and as it were the Scale of the Table; which I therefore observe, and mention beforehand, that when I shall hereafter come to discourse of the Site or Collocation which each Body has in Perspective, we may the bet∣ter comprehend the Particular difficul∣ty which is usually met withal in such Histories as these, where the greatest part of the Figures are up in the Ayre, and suspended above the Plan and Ter∣race.

This being established, let us consider, with what circumspection our judicious Painter placed his Figure of Christ, not onely in the midst of his Piece, but as he

has turn'd him also towards the right side, whence he receives the Light; and so makes him to descend between the armes of his beloved Disciple, who receives him with a Compassion, and a Love, better perceived by the Figure, then possibly to be described.

Now the Composition of this Piece has this singularity remarkable, that it comprehends as it were two several Or∣donances of Figures; the one of Men, and the other of Women; the first of which being all in the ayre, represent those who are working to un-naile our B. Lord, and take down his Body from the Cross; and those are Men; as being of the most vigorous and active Sex, and therefore fittest to set their hands to this painfull enterprise: The other Or∣donance, which is disposed after the u∣sual manner upon the Plan, consists of four Women, amongst whom the B. Vir∣gin is the onely considerable, and there∣fore has assign'd her the most eminent place at the foot of the Cross, where the Maries, about her, do as it were, render her the same devoires, which Ioseph of Arimathea and his Compani∣nions do to her Son. These judicious Observations you shall ever find in the

Works of Raphaels Scholars; but since they are in very small number, and that Raphael sufficiently shews himself to have been their Master, as may easily be seen in comparing his Compositions with that of others, by some transcen∣dent markes of his Invention above them, I will onely touch one of them in passing, as being of that Mode which the Italians usually call ill Costume.

Explication of Costume.

SInce this Word is not a Term parti∣cularly affected to Painting one∣ly, but common both to Poets and Hi∣storians, who write but the same things, which Painters are us'd to represent; I will not reproach the Workmen of our Nation, for not having yet imposed any name on this rare piece of Art; which may happ'ly inferr, that it is not yet ar∣riv'd either to their knowledg, or Pra∣ctise. It shall therefore suffice us to explain the meaning of it, and to shew wherein the force and intelligence of this Term does consist. Costume, is properly as much to say, as a knowing style, a judicious expression, a peculiar and specifique agreement suitable to eve∣ry

Figure of the subject in hand; so as this word rightly understood, compre∣hends, and would signifie so many things essential to the purpose, that it can hardly be well explain'd; and therefore I shall yet endeavour to un∣fold it more demonstrably by some ge∣neral Maximes and Examples, before I pass to any farther applications upon our Design.

Suppose one were to paint the Histo∣ry of Adam and Eve in the terrestrial Paradise, when upon the suggestion of the Serpent they tasted of the prohi∣bited Fruit: A Painter is here to be wa∣ry, that he introduce no other Figures of Men, or any Buildings in the Land-skip, which would be a fault unpardo∣nable, and repugnant to that Costume and Decorum of which we speak: And yet even this strange inadvertency has been committed by our famous Artist, in one of his best Pieces graven by Marc. Antonio; so important a thing it is we see, carefully to avoid those strange absurdities.

But we have yet found a more un∣pardonable Error in a Piece of that great Tramontan Master, Albert Du∣rer; where painting the Nativity of our

Lord, with all the devotion he could imagine, fitted to each Figure, as well in the B. Virgin, as the Shepherds, who came to adore him; he makes the good old Ioseph on his knees, at pray∣ers with a Chaplett of Beads, or Pater∣noster in his hands, by a strange impro∣priety, and altogether Gotick. One may observe a world of the like in di∣vers of his Prints, of a meaner Idea, and if possible, more impertinent: Of this sort is, his tying an Ape (the most ridi∣culous, filthy and vitious Animal in Nature) close by the Virgin Mary, with Christ in her Armes; which is, in my opinion, the most sottish, and extrava∣gant vision that could come into a Pain∣ters fancy upon this subject, as not only against the Decorum we mention, but even common sence.

These few Instances may suffice to de∣monstrate the importance of this piece of Art, without which a Painter, be he never so great a Designer, knowing in Perspective, good Colorist, and excel∣lent a Practitioner: I say, if with all these, he be not well skill'd in the De∣corum, men will take exceptions at his work. And though these kind of faults are not so visible to others, as to

the eyes of the judicious; they are ne∣vertheless reproachable: On the con∣trary as they are frequently the most obvious to them, and subject to the Censures of Learned Persons; they prove the more unexcusable, and of worse Consequence; as it were a grea∣ter shame for an Historian to insert some false passage in his Relation, or talk ex∣travagantly, and to no purpose, then to have us'd an obsolete Word, or un-usual Phrase.

A Painter therefore who would a∣spire to some degree of reputation in his Profession, should be exceedingly exact in this Decorum, and make it in∣deed one of his principal studies, as be∣ing universally agreeable to all our Five Fundamental Maximes, and so far perfecting its harmony, that one may well esteem it for the crown of all the rest: But when all this is done, we are not yet to imagine, that to comply with these Essentials, 'tis enough we avoid the Impertinences, and grosser Mi∣stakes which we have mention'd; but we must also endeavour to appear In∣genious, and knowing, how to express the subjects which we take in hand.

For supposing a Painter, being to represent a Battle of Amazons, or Par∣thians; or the Triumph of the great Caesar; should content himself to observe onely the general Considerati∣ons which usually accompany the Ex∣pression and Ordonance of Fights and Triumphs, without particularizing any thing more proper and singular to each of those Historick Actions; such a Painter would by no means reach that which he would signifie by our Co∣stume and Decorum, which requires that the Parthians should be totally diffe∣renc'd from other Nations, as well by their Armes and Weapons as by their manner of Combate, which is to fight backward, and draw their Bowes re∣tyring. No less ought he to observe in the Amazons; for though he may imagine it sufficient to paint them Wo∣men, (since among the people of the Earth, there were never any of this ti∣merous and delicate Sex, who had so far revolted against its own Nature, and that were so fierce and couragious as to invade the profession of the bravest Cap∣tains) yet will it be absolutely neces∣sary, to add to them likewise some more peculiar markes, to shew that the Work∣man

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knew how to have describ'd them to be Amazons, though they had not been Fighting and in Conflict; even by their very garb and Cloths; which are not to cover their left shoulders, but expose it naked, as far as under the paps; and for the right Breast, which they us'd to cut off, and seare, when they were very young, to the end they might with less impediment draw their Bowes; the Painter should leave it without a∣ny swelling or appearance under their Garments on that part of the Body; Besides, we do not read they us'd any Swords, but Battle-axes, Darts, and Iavelins, &c. with a small Buckler in shape of a Crescent, which covered their Armes.

As for Iulius Caesar, we are to un∣derstand he was very bald, and that his manner was to raze his Chin close; and therefore it were out of all Decorum to paint him with an effeminate Perrucque, spruce head of Hair, or a prolix Beard, as they frequently do Pompy, and some other of the Roman Emperours; since it would offend the eyes of judicious Persons, and were not to paint the Man we would represent.

And thus I have laid before you a specimen of all our Three examples, e∣nough to guide a Workman in the path he ought to tread, and lead him to the perfection of his Art. For it is really in this, that the very Magistry and prime of the Science consists; and per∣haps it was in This chiefly, that those famous Artists of old, Apelles, Ti∣manthus, Protogenes,, Zeuxis, and others, so far surpass'd our modern Workmen; since neither the Colouring, nor the re∣gularity of the Perspective, nor the symmetry and proportion of Bodyes, nor the different manners of Painting, or indeed any Mechanical advantage a∣mongst them, discovers them to have had the least superiority above ours: It was doubtless for this alone, and that super-excellent Genius which shin'd through all their Productions and Works, that Philostratus, Quintilian, Pliny, and other grave Authours, have immortaliz'd them in their Writings; as we may judg by what they have said concerning that noble Master-piece, the Sacrifice of Iphigenia; where the inge∣nious Timantes having painted, and with wonderful Iudgement expressed all the marks of sorrow and pity in the

Spectators faces of that funest story; when he had spent, the utmost Efforts of his Pencill, and Art, before he came to the Father of this innocent and de∣plorable Victime, and there now remain∣ing no more for him sufficiently to ex∣press his unexpressable Grief, as he had done the others, in this sad and lugu∣brous Consternation; he drew a vail upon the good mans face, leaving that to Imagination which he was not able to express with his Colours.

This is the summe of what Pliny has said in the 10th Chap. of his Thirty first Book; to which he a little after adds, in commendation of this great Master, that in all his Works he ever left some∣thing more for men to conjecture, than to see; and, that though Painting were both an excellent and sublime Art; yet this Spirit and Ingenuity of the Painter was infinitely superior to it. 'Twere greatly to be wish'd, that one could but shew this rare and ancient Piece to some of our Modern Workmen, and expose it to their Examen I cannot believe but they would infinitely value it upon the high reputation which it has ob∣tained amongst those famous men of Antiquity; But happly they would

scarcely yet discern these new beauties, and Mode of the present Age, in which they now a-dayes place all the excel∣lencies and curiosity of Painting, and have therefore invented a kind of Iar∣gon and magnifical Gibbrish, to set forth and exaggerate what they would make men admire: As the Freshness and Grace of the Colouring; the Freeness of the Pencill; The Bold touches, The Colours well impasted and nourish'd; the separa∣tion of the Masses; the Draperies well cast; the rare Folds; the Master-strokes; the Grand Maniere; the Mu∣scles throughly felt; the noble Con∣tours; Sweet Complexion, Tender Car∣nations; Handsome Groupes and Mor∣cells, and a thousand other Chymaerical beauties of this Nature, which were ne∣ver so much as once heard of amongst the Works of the old Painters, who doubtless propos'd to themselves as great Perfections in what they repre∣sented: For certain it is after all these superficial, or rather imaginary Beau∣ties, if the Invention of the Subject be not well, and properly apply'd; un∣less the Figures be judiciously disposs'd, and appositely express'd; if the History be not amply furnish'd with all the ne∣cessary

Circumstances; if the regularity of the Perspective be not exactly and throughly observed in the Position, and Aspects of the Figures, and consequent∣ly, even in the very shades and Lights; In fine, unless that Costume and Deco∣rum (which we lately so fully explain'd for the importance of it) be not accu∣rately observed; the Work shall ne∣ver pay its Author with Reputation a∣mongst knowing Persons. For even of all the old vulgar Painters, who had nothing to recommend them to Poste∣rity, save the ordinary Mechanical ta∣lent, and that through the dryness and sterility of their low and empty Genius, went no farther then this shell and out∣side of Painting; there is not one of them to be found whose name has been transmitted to Posterity; the Cri∣ticks of that Age being so nice and cu∣rious in their Examen of all those Pie∣ces, that though they were indeed ne∣ver so exactly wrought, according to the Rules of Art; if the Subject which they represented observ'd not a fit de∣corum to the places where they were painted, That alone was sufficient to decry them; so exceedingly did the Painters want of Judgement,

vilifie and debase his Workmanship.

Vitruvius in the fifth Chapter of his seventh Book, relates a story very pat upon this occasion of a certain Work∣man nam'd Apaturius; and the instance is so express, that we shall need go no further to recover our eyes, and be freed from that fond preoccupation of esteem, which the fortune and luck of some Painters has procur'd them, and that with so absolute and tyrannical a Title, that one hardly dares to cen∣sure any thing they do, as passing uni∣versally for the very Originals of Per∣fection in the Cabal of the Curious, who content themselves in knowing the Names of the old Masters, and so as they can but distinguish of their Hands and Manners, pass for most profound and able Men. But since 'tis just that Rea∣son should prevail over Custome, Let us examine the real truth of it, according to such Principles as are the most infal∣lible and assured Guides. And to render a profitable and demonstrative Proof of what I affirm, we shall begin with that so renowned and incomparable Master∣piece, the greatest and most stupendi∣ous subject that could ever enter into the Idea of a Painter; namely the Hi∣story

of the most dreadful day, the final Iudgment and Catastrophe o•• the World; as 'tis extant at Rome in the Vaticane-Chappel belonging to the Pope, over the Altar of that venerable place, and paint∣ed by the famous Michael Angelo Buo∣naroti, that Paragon, or rather indeed, that Antagonist of the Ancient Painters, and Coriphaeus of the Modern.

What would one not have promis'd ones self of so important a Subject, in a Concourse so universally advantagious on all sides, from whence he might ex∣pect all imaginable assistance to perfect it with success. But Horace has in his Art of Poetry, (which is properly but the brother-Twin of Painting) ex∣press'd in two Verses, what these great Attempts do usually produce:

Quid dignum tanto feret hic Promis∣sor hiatu? Parturient Montes, nascetur ridicu∣lus Mus.

I should do but a very ill Office to the Author of this Prodigious Com∣position, should I make the same re∣view here, which I have begun upon some of Raphaels pieces, and according

to the Principles of this Treatise; since these two Genius's have so universal an Antipathy to one another, that what makes for Raphael is totally repugnant to Michael; and one may truely affirm, that one of them is the good-Angel of Painting, and the other the evill: For as we may observe in most of Ra∣phaels Compositions a generous and free Invention, noble and Poetick; so in those of his Antagonist, a dull and ru∣stical heaviness; and if Gracefulness were one of the prime and shining ta∣lents of the First; the other seems to have delighted in appearing rude and displeasing, by a certain affected hard∣ness as it were in his very designing, mu∣sculous, and notch'd in the Contoures of his Figures, and by the extravagant and unnatural Contorsions which he ge∣nerally gives them without any variety of Proportions; so as he seems never to have made use but of some Porter or sturdy Booby for his Modell: When on the contrary, our Raphael wrought af∣ter a sweeter manner, and more conform to Nature, who alwayes takes pleasure in varying her Productions.

He had this also singularly recom∣mendable in him, never to paint any

thing of Licentious, or which might give the least offence to modest eyes, or good manners; whilst the other, on the contrary, made it his glory, publickly, to be asham'd of nothing; no, not to prophane either the most holy Places or Histories by the infamous freedome which he assumed; as does but too e∣vidently appear in this Piece of his, which represents one of the most im∣portant Articles of our Faith, which was Figur'd, or to say better, plainly dis∣figur'd, by this Fanfaron of Painting Michael Angelo; and that with so im∣pious a temerity, as if he had design'd to render it but a pure Fable, and alto∣gether Chymerical, by the sottish and ridiculous Grimaces which he gives to several of his Figures, with such odious and mis-becomming actions, as were not supportable even in places the most pro∣fane and abandon'd. I shall leave the particulars to the examination of those who have the curiosity, and the leisure to divert themselves, when I shall have in general onely said something to what concerns the Decorum, which is our pre∣sent Theme, and the principal Guide for us to define whether a Painter be Iudicious or knowing in his Art; Qua∣lities

absolutely necessary, and without which he is never to be reputed for an Able-man.

Let us in the first place then consider what the Evangelist teaches us of this History, that we may the better see, whether the Idea which this great Wit Mich. Angelo forsooth had conceiv'd, do afford us any tollerable representati∣on and Image of it.

We read in many passages of Holy Writ, particularly towards the end of St. Matthews Gospel, That at the last Iudgment day, the Sun shall be darkned, and the Moon shall not give her light. That the Starrs of Heaven shall fall; and the Sign of the Son of Man shall be displayed before all the Nations of the Earth, who shall then be surprised with horrid consternation, when they shall see this terrible Iudg appearing in the Clowds, accompanied, and environ'd with all the Celestial Court, and sitting upon a dreadful Tribunal, with unex∣pressable Majesty; the twelve Apostles being at his right hand as Iudges and Assessors, with a most glorious assembly of Saints following in goodly Order; whilest there stands beneath at his left hand, an innumerable multitude of

Reprobate and wicked Persons, in fearful and unimaginable Confusion.

What shall we now say of this Piece of Mich. Angelos, if we find nothing of all this in it! Is it to be conceiv'd he should not think of what he was to do, before he took Pencil in hand? Or that he should engage himself in a story so considerable without knowing of it, and a story of Iudgment!

This modern Painter had been very unhappy to have lived in the dayes of those Ancient Criticks, who used to be so rigorous and exact, as never to par∣don any thing; no, not even in the greatest Masters, who by the excellency of their Pensils, and sublime Genius's, had so much exalted the Art, and born the renown of their Profession to that pitch, as had been altogether inacces∣sible to this Scrabler. I deny not but he might have pass'd among them, for the Mechanical part of Painting (as be∣ing one who well enough design'd the Contours, out-strokes and Proportions of his Figures) but his strange impertinen∣cies in what concern'd Invention; his fanatical Ideas, full of filthy and ridi∣culous Expressions, had for ever rendred him uncapable of being admitted into

the Society of good Painters; nor would he ever have been numbred amongst them but as a Sophist amongst true Philosophers, or as a Stone-cutter, or inferior Mason in the equipage of a good Architect.

Examen Of the JUDGEMENT of MICHAEL ANGELO.

TO make a pleasant and yet a de∣monstrable Instance of this, Let us suppose he had been present at the Examen of the Works of Timantes, re∣presenting the sacrifice of Iphigenia, of which we have already spoken; and that in the presence of the very same Iudges who gave their award for him against Colotes his Competitor on this oc∣casion, our Michael should present him∣selfe in this honourable Contest, and there produce before them that his great Master-piece of the Vatican-Chappel, with all those necessary Circum∣stances for the better comprehending of this Divine History, namely, the Last Iudgement; that so these Soveraign Ar∣biters

of Painting may judiciously con∣sider it; with this supposal in the mean time, that they pronounce it for an esta∣stablish'd and fundamental Principle; Never to introduce any thing Fabulous, suspected, or Dissolute into any of the Mysteries of the Christian Religion, or mingle things profane, with Sacred.

This being granted, Let us now en∣ter into the Consistory, and see the pre∣ference divided between our Modern Painters, and the Antient by the exa∣mination of this piece of Mich. Angelos which is in Controversie before us.

But how will our new Artist be able to answer all those Objections which lie against almost every part of his Work, and which will be found to contradict those Maximes of their Examen, of which I shall present you with Four the most General and Essential?

• I. That in Historical Composures, the pure and rigid Truth be always religious∣ly observed.
• II. That there be great Considerati∣on had of the place where 'tis to be re∣presented.
• III. That one never discover those Parts and Members of the Body which cannot honestly be expos'd: This Max∣ime

• has ever been so solemnly observ'd amongst them, that they have frequent∣ly left the History defective, rather than transgress the limits of Modesty.
• IV. Lastly, for the fourth degree of perfection. That they strive to represent things after the most noble, ingenious manner, great and magnificent.

These are the principal of the Con∣sort, or as we may term them, the Har∣mony of Painting, as they are the result of a mutual Consent and relation to each other; and such as our Criticks will so rigorously require in the Work which we are presenting them; but in which, I much fear they will hardly find what they expect to the advantage of our Modern Pretender. For to take things in Order: How shall they come to discover the Truth of this dreadful Story, when they shall see a young Iudge standing with so little Majesty on tip-toes as it were, and in a menacing posture, tumultuarily inviron'd with se∣veral unmannerly Figures, without the least attention to what he is pronouncing, and without any regard of his presence; some turning their backs towards him, others confus'dly talking to him, and to one another, of which the greater

part are shamefully discover'd; some sit∣ting down before him, without any oc∣casion and in most undecent postures? Then we have the B. Virgin all alone, and without any of the Sex to accom∣p••ny her; incompass'd with so many v••ll••••nous Nudities, and without the least deference or honour to her Qua∣lity, which in my opinion is very unbe∣coming, and almost insupportable. And after all this, what are we to expect of tollerable in this famous piece? there being so many strange and extrava∣gant things, totally repugnant to the verity of the Gospels. For first, he paints the Iudge in a naked and uncouth po∣sture, standing upon his feet; whereas the Sacred Text tells us expresly, That our Lord shall appear sitting upon a Ma∣jestical Tribunal, circled about with all his celestial Attendants: Then he makes him Young, and like a Beard∣less Boy, at the age of more than three and thirty years. Besides, he has omit∣ted the Session of the Twelve Apostles about him, as Counsellors and Assistants as it were, in this Universal and migh∣ty Act of Iustice; but we find them so dispers'd and mingled in the Crowd, that they are hardly to be known. The

same Evangelist tells us, That the Faith∣ful shall stand on the right hand of our Lord, the Reprobate on the left; whilst this Libertine confounds them here, and there, without the least regard to this so essential a Circumstance. Moreover he represents the Iudge with a furious, and inraged Countenance, fulminating that dreadful Arrest, and Sentence, which will cause even the very Angels, and Na∣ture her self to quake and tremble; when in the interim, and that we may well imagime all to be in the profound∣est silence, and consternation imagina∣ble, You have here the Trumpets sound∣ing, and making all the noise they can; which must needs be extreamly improper upon this occasion, were not the intire piece a composition of yet greater and less pardonable Impertinences. For in all this bustle and tintamarre, and the hor∣rible dread which this irreversable Sen∣tance must needs produce, and which does so infinitely concern every indi∣vidual Soul; you scarcely find One who seems to give any attention to it; but for the most part, they are talking and entertaining one another, as if they had no interest or concernment in what was doing; and some there are embra∣cing

and Bussing each other, with a world of very apish and foolish postures.

What would Timanthes now, and his Associates have said d' ye think, to this rash and ridiculous Composition! who really has not the least true talent of Painting; and yet has the face to intrude himselfe amongst Iudges so equitable and clear-sighted, and who must needs confound him with abashment and ex∣ile him from their Assembly; as neither finding in all his senseless Composure, the verity of the Story, nor the suita∣bleness of the Figures to the Subject, or the Place; nor that decent modesty, which he ought to have observed, nor that grand and free manner of expres∣sion; nor, in summe, the least degree of that important decorum, which we have so much insisted upon in the for∣mer periods: so as in all this vast and tumultuary Army as it were of Figures, there is not to be found a grain of pure Invention, but the effects of a mean and barren Genius. Could he have told us, why he made his Angels without Wings (which is their inseparable character in all Paintings, and had been almost in∣dispensably necessary) amongst such a Chaos of Figures; where those of Souls

and Bodies, Angels and Demons, Elect and Reprobate are so jumbled together, as they cannot be distinguish'd? For he makes no difference in his painting of an Angel, and a Man, whom he forms so gross and material, and in postures so li∣tle agreeable to the function, he em∣ploys them in, that one can hardly be∣hold them without aversion, by reason of the contorsions of their Bodies, and extravagant Grimaces which he causes them to make, be it in the mouthing of their Trumpets, supporting of the Cross in the Ayre, with those other In∣struments of our Lords Passion; as if he had studied in derision to render them the most deformed, and more ugly than the very Devils themselves.

That which gives me occasion to sus∣pect him of so insolent a Libertinage, is, that I find him prophaning his Works with yet a greater impiety, by his bold introduction into this sacred and serious History of the sottish Fable of the Ferry-man of Hell, whom the Eth∣nical Poets name Charon, and faigne plying with his Barke upon the Banks of the Rivers Styx, Cocytus and Ache∣ron, to transport the souls of the Dead into the other World; which I take to

be (the Place and Subject consider'd) a more criminal, and abominable piece of Sacriledge, than all his other forgeries, which would never be excus'd by Ti∣manthes, and the rest of his Iudges, though meer Pagans, who would cer∣tainly have detested the impiety of this hypocritical Christian.

But I insensibly loose my self in the Labyrinth of this exorbitant Piece, in which, to speak sincerely, there is no∣thing but what is diametrically oppo∣site to the Laws of that decorum which we so lately discours'd of, and esta∣blish'd for the very Center and Perfecti∣on of this Art, to which, all that is Rea∣sonable, Iudicious, Knowing and Spiritu∣al in Painting, ought to resigne and submit it self. Had I not thought it expedient, or at least, extreamly ad∣vantagious, in reference to the demon∣stration of the Principles of this Trea∣tise, to instance in divers examples; and that after those excellent ones which we have observ'd in some of Raphaels, I would yet endeavour to render them more conspicuous, by producing their Contraries, to the end they might leave a deeper impression of their Effects. I would likewise willingly have spared

this tedious dissertation, which I fore∣see will be but ill resented of those Workmen who have learn'd, and consi∣der this noble Art but as a Trade, with∣out endeavouring to arrive at any more skill in it, then to Design, and draw the Contours of what they see like a Workman, and to paint their things with the greatest Relievo they can de∣vise, as in what they think consists the whole excellency of their Profession; though in this they sometimes succeed so well, that their Works are common∣ly much the worse for it; especially if you bring them to the Test of the Rules of Opticks, and good Perspective; which I here repeat, for the sake of those that are Iudicious, whom this advertisement may suffice for the full comprehension of this Paradox.

But 'tis now more then time we should resume our first Discourse, and bring Raphael into Michael Angelo's place, that so we may come again into that good way of Painting from whence we have so long been devia∣ting: Let us therefore return to where we brake off, and finish the Examen of that ingenious and devout Idea, which that noble Painter Raphael has form'd

in his Picture of Christs descent from the Cross, and in which, we have already observed all those Points which give Excellency, and consummate Per∣fection to a Work; the Decorum of Ex∣pression onely excepted, in relation to which, we have lengthned this Digres∣sion upon the Iudgment of Michael An∣gelo.

The Examen reassum'd Of the Descent of our LORD from the Cross.

SInce I have sufficiently explain'd, by variety of Examples, what this Costume or Decorum imports and sig∣nifies in Painting; it will be needless to make so exact a re-search in what re∣mains, and concerns this Print of Ra∣phaels, in which every individual Fi∣gure does amply testifie, how circum∣spect our excellent Workman has been; This will soon appear, when we shall consider that of Nine Figures (of which this Ordonance is composs'd,) That sin∣gle One, which at first blush seems to

be the least active, in a subject so full of Activity; and by consequent, to be the least studied in it too, is Mary Mag∣dalens. But upon second thoughts, re∣flecting how she is describ'd in the twen∣tieth Chapter of St. Luke; where her sister Martha is complaining to our Lord, that she took so little care in the Menage, and was so little assistant in the service of the House, She will doubt∣less appear more ingeniously decipher'd by that meer Compassion onely, and in∣teriour grief which we behold in her countenance, then if Raphael had plac'd her also busie about the B. Virgin with the other two Maries who sustain her in their armes; or that he had represent∣ed her in those transports of inconsola∣ble affliction, which vulgar Painters use to do, who conceive, that to make her known in their Pieces, she must be made to lie prostate upon the ground, or embrace the foot of the Cross, in the most deplorable manner imaginable, with her hair loose about her Shoul∣ders like a mad Woman, and the Box of Oyntment in her hands; without all which, she would, they think, be in danger never to be known: But our noble Artist had far other Ideas, and

more conformable to the sacred Text.

I remit the rest of this Composure to the examen of the curious and intelli∣gent, who by the application of our Costùme to all the rest of the Figures, will find them so well pois'd and judi∣ciously consider'd, that after a little thought, they will doubtless have but a very ordinary opinion of M. Angelo's Rhapsodies, and of the rest of his Disci∣ples; and ingeniously confess, how far the Schooll of Raphael has surpass'd this Mechanick Designer, in the spirit and excellency of his Invention.

But before I pass to the next Print, I would willingly resolve a Quoere, which may happly appear difficult to some, Why so near the Cross, upon a bar∣ren and rocky piece of ground, he should plant that single great Tree, furnish'd with leaves, and flourishing as in the height of Summer; the H. Gospel men∣tioning nothing of any such circum∣stance? Upon consideration of our learned and judicious Workmans inten∣tion, I perceiv'd that it was a Cedar; tall, strait, and without any fruit: And in truth this Mystical Introduction is highly ingenious; the Cedar being the real Symbol of Iesus Christ who is

styled the Spouse in so many places of the Old-Testament, particularly the Canticles; where he is so curiously de∣painted for his ravishing beauty, by a comparison of the Cedars of Mount Li∣banus, Species ejus ut Libani, electus ut Cedri, &c. from the extraordinary pul∣chritude, incorruptibility, Odor, strength, use in Building, and salutary shade of this goodly Tree: so as from this assembly of so many transcendent Qualities, it does most fitly (of all other Trees) re∣present the Church, and those principal Heads that compose her; namely, the Apostles, Prophets, and holy Fathers: Besides, mystically apply'd, it may farther be taken for the Cross of our B. Saviour; since the Oyl of Cedar is esteemed so soveraign a Remedy against Leprosie, which, 'tis reported, it both cleanses and heals. In summe, it most visibly appears, that it was placed in this Composition with so much reason and judgment, as from hence alone we may safely pronounce in favour of this rare, though modern Painter, worthy in truth of all that glory which has been attributed to the most renowned of the Ancients, since his Works discover to us the same Genius that they so much

admir'd in their Trimantes: For even the least things to appearance are e∣steem'd great and considerable, by the mysterious intention of the Painter, ap∣ply'd to the Circumstances of his Sub∣ject, and minister as much to the Con∣templations of the Learned, as the most principal Figures of an History: This is the Talent which Pliny so singularly admires in all the Works of Timantes, and where he takes occasion to say of him, that In omnibus ejus operibus in∣telligitur plus semper quam pingitur, & cum ars summa sit, Ingenium tamen ul∣tra artem est. Lib. 35. cap. 10. Words, worthy to be applied to this excellent Artist, and which I had already repeat∣ed upon occasion of that his incompa∣rable Master-piece, the Sacrifice of Iphi∣genia. I produce them here again on purpose that I may apply them to Ra∣phael: However, as I foresee, that those amongst our knowing men, who have not the eyes of their mind so sharp as those in their head, and who are more taken with Pictures for their mecha∣nick exactness (that is, the delineation of the Figures) then the Intention of the Painter, will be apt to judge this consequence of mine to the advantage

of our modern Workman, somewhat bold and over-confident, as it concerns his foundation (not to judge of the greatness and strength of the Lyon by one of his Claws;) I shall prevent their objections; if taking the sense of my Proposition rigorously, they conceive my intentions were to render the Me∣rits of these two Painters so equal, as to assign them the same rank: I must then explain my meaning, That what∣ever my esteem for Raphael may be, my resolution is to render all just defe∣rence to those illustrious Ancients, and such as were like Timantes, and do cheerfully acknowledg, that the Pain∣ters of the latter Age are inferiour to them; from whence I infer, in favour of Raphael, that he having best of all succeded in discovering the path which those great Masters trod, and being born with a Genius equal to them, did not onely arrive to the first degree of the Moderns, but seems to have even been incorporated of their Company, and of the same Sect with those ancient O∣riginals themselves, who have trans∣mitted to us such glorious Ideas of their excellency in the Memories of Histo∣rians.

Now if we consider in what Lan∣guage they speak of them, and what it was that we find so highly celebrated in their Works, we shall perceive, they esteem'd nothing in them so much, as the Novelty, and (as I may call it) the arguteness and ingenuity of their In∣vention; by which they discover'd, that Painting was an Art purely spiri∣tual: For that which consists onely in the Mechanical address, is so material and heavy, that they hardly made any account of it. Neither did they regu∣late the Prise of their Tables either by the number or largeness of the Figures; for it frequently happen'd, that the straitness and inconveniencies of the Place, and barrenness of the subject, gave occasion to those great Genius's to derive advantage from it; and to produce something which surmounted the reputation and renown of the more exuberant Compositions. This Pliny tells us also in the same Chapter, where he has made so handsome a recital, and elegant description of the Sacrifice of Iphigenia painted by Timantes, in which were assembled a very great number of Figures. For he afterwards speaks of another Work of the same

hand, which represented a Polyphemus sleeping; but in so narrow a compass, that the streightness of the Table hin∣dred the Painter to design so Gigantick a body, as that prodigious Cyclops re∣quir'd. But this distress gave Timan∣tes occasion to shew the World, that his Wit and Invention was superiour to all the other rules of Art: He resolves therefore to supply this defect of Mat∣ter, and discover to the eye of the mind what he could not do to the eyes of the body.

The Ingenious Representation OF A Vast CYCLOP in a narrow Table, Painted by TIMANTHES.

UPon this Occasion then he intro∣duc'd a most gentile Parergon into this Subject, being in it self too simple, as having onely one Sleeping heavy Figure to represent a hideous and enormous bulk. Now this addi∣tion was an assembly of Satyres, whom

he placed round about his snoring Cy∣clop; some of them seeming to be af∣frighted as it were at the unexpected encounter, were taking their flight, and running away; Others considering him at greater distance, had their counte∣nances mingled with fear and admira∣tion: some again more hardy then the rest, approaching nearer to him, endea∣vour'd to take the dimensions of one of his Thumbs, as his Armes lay extended a good way off from the rest of his Body; and this they did with their Thyrses; but with extraordinary caution, and without so much as touching him, for fear least they should rouse him up; so as by the comparison which one might make of these Satyres to the Cyclop (to whom they appear'd less then one of his Fingers) one would immediate∣ly conclude, how monstrously vast the Giant was; and this Invention of our Painter was thought so ingenious and new, that it prov'd a great reputation to his Piece, which was else but very in∣different of it self, and of an inconside∣rable Subject.

Imitation of the same kind By JULIO ROMANO.

I Remember to have seen at Rome in the Palace di Vigna Madama, the same Subject treated after another man∣ner, yet very noble, though the Inven∣tion were in truth, but in imitation of This; but it had something which I can∣not so well express, of particular in it, which seem'd to refine even upon the original. 'Tis a Work of the ablest Scholar that ever Raphael bred, and One whom indeed we may call his Master-Disciple, IULIO ROMANO, of the most singular spirit and fancy that this later Age has produc'd for Painting, and in whom Raphael seem'd, as 'twere, to have transfus'd his own Genius, when he quit∣ted the World; and indeed he constitu∣ted him for his principal Heyre by his last Will and Testament.

This Piece is painted a Fresco upon a Wall, which was larger than might well serve to designe a Cyclop at his full extent, without obliging our

Painter to any shifts, to represent his e∣normous stature: However, as the Hy∣perbole has sometimes as much Grace in Painting, as it has in Poetry; and in∣deed, that this Workmans Pensil was ex∣treamly poetical, he thought very plea∣santly of introducing other Satyres into his Composition, more drols and fantasticks than those of Timantes, playing their Apish tricks about the Cyclop whilst he was asleep; some of which had seiz'd on his Bag-pipe, and carrying it some di∣stance from him, were sliding one after another upon the Pipes, as Boys would do upon long Poles, the thyrses between their leggs to make them more slippe∣ry, with an hundred other capricious and munky-tricks, that would make one smile, and yet serv'd to shew how wide and monstrous a throat this stupendious Musitian must needs have, to be able to mouth and inspire this Instrument of his.

This is a kind of Imitation so rare and excellent, that it may well be com∣par'd to the original it self; and I am perswaded, that had Timanthes seen it, instead of his being jealous of this gal∣lant emulation, he would highly have e∣steem'd the gentleness of our Modern Painters invention, and made great ac∣count of the Piece.

This single example of Iulio Roma∣no, may serve for a guide to those, who having already attain'd to some habi∣tude in Designe, and Colouring, have no more to do but put themselves into the right path of the Art, and to a∣waken their Genius for Invention, as having then only to contemplate the Composures of those Masters whom they most affect, and study in general, what their Thoughts and Inventions were, without amusing themselves to take every piece of a work apart, and in severals, as the guise of our Copists is, who discerning only the rinde and out∣side of Painting, haue alwayes this mis∣fortune in their Works, that they can ne∣ver come to equal their original; where∣as, by these more spiritual and inventive Operations, Nature is so unconfin'd, that the Imitator has almost ever the advantage of the Inventor.

By this means it is, that Raphael, and Iulio Romano have not only exceeded all other Painters of their Age, but have in some degree rendred themselves comparable to the most renowned of the Antients.

That we may now make some useful reflexions upon those two several Com∣positions

of the same subject, viz. the sleeping Polyphemus's: The first, which is that of Timanthes, will shew us, that a small Piece may sometimes emerge a great and noble Master-piece, according as the Idea of the Painter is qualified and heightned, whence one may judge, that there is no Argument so poor and barren, but what may be inrich'd by an ingenious and fruitful In∣vention; and that 'tis now and then more advantagious to the glory and re∣putation of the Work to be oblig'd to adorn and Cultivate a mean and sterile subject, than to be overwhelmed under the abundance of a more ample History, from which one should rather retrench, and abate something of Essential, than presume to add any thing of our own.

For the other Composition of our mo∣dern Iulio Romano, it does in effect shew us, that an ingenious Imitation, may equal, and even exceed the original; and that by consequent, it is not less glorious so to imitate by a certain con∣currence of Wit and Invention the Thoughts of another, and refine upon them, as he has done, than it is reproach∣ful in a Painter mechanicaly to Copy a whole Piece, Figure for Figure, without

any thing of his own, but the pains he has taken, and the servile subjection of a simple Workman: Seeing this kind of Labour is not so much esteem'd the work of a Painter, as the study of an Ap∣prentise only. Hence we find, that those Copiers, who are so poorly spirited as to aspire no higher than to make that their aime, have never been reputed among the rank of Painters, but as Eunuches are among Men, uncapable of producti∣on, and defective in their particular species.

This digression has a little deverted us again from Raphael, our first and prin∣cipal Object, though we still kept sight of him, and pursu'd his footsteps, by the guidance and signal of Iulio. But 'tis now high time to rejoyn again, and make no more such sallies from him, who has hitherto furnish'd us with all our mat∣ter, by his excellent productions, the examen whereof has greatly aided us in forming that visible and demonstrable Truth; namely, the necessity of those Principles which we have establish'd, to attain the perfection of Painting. Let us therefore return to this first School of Raphael, and conclude our discourse in the same stile and spirit we began with.

Now this incomparable Painter, whose Works are so many exemplars from whence we may deduce the Rules of the Art, has produc'd such variety of them, that amidst such Plenty and a∣bundance, 'tis hard to resolve upon the choice of one before another, that which we saw last, always seeming to be the best. But since it is not our intention to Criticise his Compositions piece by piece, to judge decisively which of them to preferre, (which were an odious, and a rash undertaking) it shall suffice us to elect one of the most remarkable which is in Print, that the curious setting it be∣fore them, and studying it at leasure, may together with us, pass their opini∣ons upon it.

The First Print. The GYMNASIUM or ACADEMY of the Athe∣nian Philosophers.

IN this liberty of Election, I am re∣solv'd to seek for no other than that which I have at present in my hands; since occasion has offer'd it to me with so much advantage and satisfaction: ve∣rily it seems to me to be one of the no∣blest Ordonances that ever he Painted, and of a great, and magnificent Idea It is the Representation of one of those famous Gymnasiums of Greece, where we may behold a general Assembly of all the knowing persons of Antiquity, as well Philosophers as Geometricians, Astrologers and others.

But before we proceed to the parti∣culars of this Composition, I shall adver∣tise the curious, that the Graver who design'd and publish'd it, was not so well acquainted with the Subject which it signifies, as may appear by the Subscri∣ption in these words. Paulus Athenis

per Epicureos & Stoicos quosdam, &c. as it seems, taking it from the Preaching of St. Paul in the Areopago, upon oc∣casion of an Altar which he there espi∣ed, dedicated by the Athenians TO THE UNKNOWN GOD. The History you have in the 17th of the Acts of the Apostles.

That which makes me take notice of the Inscription is, the importance there is of knowing the truth of the History which lies before us: for if this great Doctor speak truth, Raphaels Compositi∣on will prove very extravagant; where∣as, being rightly understood, and ac∣cording to the Authors intention, 'tis both admirable and excellent, as we shall demonstrate in what we are going to add farther. As to what imports the Graver (whose Mistery, as well as that of all other simple Copists, does not con∣sist in over much spirit) his Ignorance had been the more excusable, had he been more just and accurate in the pre∣ciseness of his Designe; but there are so many gross mistakes slip'd in, in that which concerns the Perspective of the Architecture, and delineation of the Fi∣gures, that Raphael had certainly paid him some ill turn for it, had he but

seen in what a manner he has altered and disfigur'd his Workmanship.

But what shall we say to one of our modern Painters, as famous for his Pen, as his Pensils; that Historiographer of the Art, and Panegyrist of all his con∣temporary Painters and Predecessors for two or three Ages? Author of no less than three great Volumes upon this Subject, George Vasari by name; who in each of their Lives, has summ'd up, as in an Inventory, not only, all their Works, but the interpretation of them also; in which he has discovered the force of his quaint Genius. This Gal∣lant Talker undertaking to explain the Piece which we are describing, after he has in general tearms told us upon what occasion he was call'd to the Service of Pope Iulius the II. begins in this man∣ner. La onde Raphaelo nella sua arri∣vata havendo riceuute molte carezze da Papa Giulio, comminció nella camera del∣la Segnatura vna storia, Quando i The∣ologi accordano la Philosofia & l' Astrologia con la Theologia; dove sono ritratti tutti sa∣ui del mondo, ch•• disputano in vari modi. Sonui in disparte, alcuni Astrologi che hanno fatto figure sopra certe tavolette & carratteri in vari modi di Geomanzia &

d' Astrologia, & a i Vangelisti le manda∣no per certi angeli bellissimi, i quali Van∣gelisti le dichiarano. Frà costoro, è vn Diogene con la sua Tazza a giacere in sù le Scale; Figura molto considerata & ast∣ratta; cheper la sua bellezza, & per lo suo abito cosí accaso, é degna essere lo∣data. Similmente vi é Aristotile & Pla∣tone, l'vno col Timeo in mano, l' altro con l' Etica; dove intorno, li fanno cerchio vna grande Scola di Filosofi: ne si puó esprimere la bellezza di quelli Astrolo∣gi, & Geometri, che desegnano con le seste in sù le tauole moltissime figure & carat∣teri. Fra i medesimi nella figura d'vn giouane di formosa bellezza, il quale apre le braccia per marauiglia, & china la te∣sta, è il ritratto di Fredrigo II. duca di Mantoua, che si trouaua allora in Roma. E'uvi similmente vna figura, che china∣ta a terra con vn paio di seste in mano, le gira sopra le tavole, laquale dicono ess∣ere Bramante Architettore, che egli non é men desso, che se fusse viuo, tanto è ben' ritratto. E allato a vna figura, che volta il didietro, & ha vna palla del cielo in mano, è il ritratto di Zoroastro, & alla∣to a esso, è Raffaello Maestro di questa ope∣ra, ritrattosi da se medessimo nello spe∣chio: Questo è vna testa giouane, &

d' aspetto molto modesto, acompagnato da vna piaceuole & buona grazia con la ber∣retta nera in capo. Ne si pu ò esprimere la bellezza, & la bonta, che si vede nelle teste, & figure de' Vangelisti, a quali ha fatto nel viso vna certa attenzione, & accuratezza molto naturale, & massima∣mente a quelli che scriuono. Et cosi fece dietro ad vn san Matteo, mentre che eg∣li caua di quelle tauole doue sono le figure, i caratteri tenuteli da vn Angelo, & che le distende in sù vn libro, vn vecchio, che messosi vna carta in su'l ginocchio, copia tanto quanto San Matteo distende. Et men∣tre che stà attento in quel disagio, pare che egli torca la mascella & la testa, secondo che egli allarga & allonga la penna. Et ol∣tra le minuzie delle considerazioni, che so∣no pure assai, vi é il componimento di tutta la storia, che certo è spartito tanto con ordi∣ne & misura, che egli mostrò veramente vn si fatto saggio di se, che fece conoscere che egli voleva frá coloro, che toccano i pen∣nelli, tenere il campo senza contrasto.

Adornò ancora questa opera di vna pro∣spettira, & di molte figure, finite con tanto delicato & dolce maniera, che fù cagione che Papa Giulio facesse butt are a terra tut∣te le storie de gli altri maestri & vecchi, & moderni, &c.

But since the Italian tongue is not universal, I shall interpret this tedious Passage.

Whereupon Raphael having at his arrival received divers caresses from Pope Iulio, began to paint in the Chamber della Segnatura, the History of the Agreement made by the Di∣vines, between Philosophy, Astrology and Theology, in which Table are re∣presented all the Sages of the World, variously disputing with one another: At a little distance farther, stand cer∣tain Astrologers, drawing Figures up∣on little Tables with strange Geoman∣tique Characters, which they send by the hand of certain beautiful Angels to the Evangelists for their explicati∣on. Amongst these, is Diogenes with his Dish, who lies along upon the Stairs, a wonderful abstracted and con∣siderable Figure, that for its comliness and garb is worthy admiration. There are also Aristotle and Plato, the one with his Timaeo in his hands, the other, his Ethicks, compass'd about with a whole Circle and School of Philosophers: The beauty of these Astrologers and Geometricians who are there ma∣king Diagrams and Figures with their

Compasses upon the Tables, is almost inexplicable. Amidst these persons, in forme of a most lovely young man extending his Arme in the posture of admiration, and a little inclining of his head, is the Portract of Fredric the second, Duke of Mantua, who was then, it seems, at Rome. There is moreover, a Figure stooping down with a pair of Compasses in his hand, which he sweeps about a board, who they say, is the Architect Bramante, breathingly like him; Neer this is a man with his back towards you, and holding the Celestial Globe in one of his hands, who represents Zoroaster; and close by his side, stands Raphael, the Author of this famous Piece, who, it seems, drew himself by the help of a Looking-glass. 'Tis the head of a young man, of a very modest aspect and extraordinary m••ld and grace∣ful Meene, with a black Bonnet upon his head. It is not to be imagin'd the beauty, and excellency express'd in the heads and pictures of the Evan∣gelists, to whose Countenances he has given a certain attention and liveliness extreamly natural; especially, those who are writing. The same he has

done behind St. Matthew, whilst he is copying of those Characters out of the Tablets full of Figures, which are held up to him by an Angel, and transcrib'd into a Book. In the mean time, an aged Person, having a sheet of Paper on his knee, copies all that St. Mark writ, and as he is intent upon his work, one would imagine he mov'd his very jaws, and turn'd his head as his Pen, runs farther or neer on the Paper. Besides several other minute Particulars and Considera∣tions, which are in great number, there is a Composition of the intire History which is in truth, ranged in such accurate Order and Measure, as discovers his extraordinary ability, and makes it appear, that amongst all that handled the Pensil, the Works of this Master had no Competitors. Moreover, he has adorn'd this Piece with a Perspective, and divers Figures, finish'd with so sweet and delicate a grace, as made Pope Iulio beat down and demolish all the Histories of other Masters, as well the Antient as Mo∣dern, which were painted there before, &c.

The Recital is somewhat prolix, but

it was very necessary to discover to the bottom, the quality and spirit of this ample Historian; since by a lesser In∣stance, I should never have disabus'd the world, and shew'd them the weak and trifling reasonings of their great habla∣dor; his Books and Writings having been, till now, in such esteem with the Lovers of Painting, and who in effect, have some reason for it; because generally you find in them the principal Circumstances of the Lives of the Painters, and a Cata∣logue of their most considerable Works: besides, the Author being a pretty tol∣lerable designer, and (as indeed it ap∣pears sufficiently) had more wit in his fingers-ends, than in his head, he has in∣rich'd his discourse with their Pictures, which compose the best, and most cu∣rious part of his Books.

But though from this quality of de∣signes, one might reasonably conclude him a good Painter; yet the extrava∣gance of his Idea (which has made him to fancy such strange Chymaeras in this Composure of Raphael, and render him strangely impertinent) appears to me an indubitable proof, not only of his Ignorance of any real knowledge in Painting, but of the weakness also and

incapacity of his Genius, as to those two prime Talents of this incomparable and most judicious Profession, namely, In∣vention and Decorum, of which by his ri∣diculous admirations, he discovers that he had not so much as the least tincture, nor indeed any natural disposition of acquiring them; so as it has prov'd a kind of misfortune to Raphael, that he fell into the hands of so miserable a Pa∣negyrist, who instead of celebrating him and his works, does miserably dis¦grace them by his wretched and ignorant descriptions. But

As of old, it was not lawful for every one that had a mind to't, to go to Co∣rinth; so, nor is it for every Painter to examine and discourse upon the works of this admirable Painter. It had far be∣ter become Vasari to have mention'd him as a simple Historian onely, with∣out presuming to the Interpretation of his Thoughts in his Composures: for if what he here describes after his guise, and which he endeavors to magnifie by so many wild exaggerations, were no more visible than his Writings have ren∣dred it; what can we tollerably judge or conclude of them? Verily, these fond Encomiums do more prejudice than

honour to them; and we may well ap∣ply it upon this occasion, Pessimum ini∣micorum genus Laudantes; since im∣pertinent Flatterers create us more mis∣chief, than our cruelest Enemies.

I would willingly demand of our new Philostratus, where he learn'd, that the Divines had ever any such designe, of according Philosophy, Astrology and Geometry with the Holy Gospel, to ac∣commodate this fantastique Vision of his, to one of the most ingenious of Raphaels Composures, so natural, and so easily understood? But presuppo∣sing it so; what made Diogenes amongst these learned persons? Diogenes, I say, who never pretended to any Science, led the life of a Dog, that eternally barks at all Mankind, without minding any other object in all his Morality, but to despise and trample upon all those honours, which were usually and justly attributed to Men of Parts; so as in this brutal affectation he rather chose to resemble a ragamuffian Vagabond, than a Philosopher, and had never de∣clar'd himself of any Party upon such an Encounter, of which he plainly under∣stood nothing; However, in the judge∣ment of our profound Panegyrist, 'tis

a Figure which seems highly considera∣ble, amongst the rest of this famous Assembly. For 'tis one of the first he takes notice of, with this glorious Elogy, There is amongst them (says he) a Dio∣genes with his Dish, lying along upon the stairs, &c. doubtless, a very honor∣able place, and posture well becoming a Philosopher, as well as the pretty moveable, which he would have him known by, of main concernment, up∣on this celebrious occasion. Me thinks he should rather have been with his Lantern than his treen-dish, considering the employment Vasari has assign'd him, and all his Companions appear so dark and obscure, as might well re∣quire a Candle. But to engage the Reader with greater Admiration yet, at this rare Representation of his Cynic, he adds this sage reflection; that 'tis a Figure full of deep and abstracted Con∣siderations, and worthy to be admired for its beauty and habit, &c. In good earnest, the style is so abstracted and Chymerical, that one would swear, Va∣sari rather playd the part of a Mounte∣bank or Harlequin, than of a sober Hi∣storian; at least, he discovers himself a very ill Physiognomist; and that he had

yet less skill in the nature of this hu∣merous and surly Cynic, who was so lit∣tle abstracted, or endow'd with any tol∣lerable sense; his wretched manner of l••ving making him so despicable and al∣together uncapable of those Qualities. Nor does Raphael vouchsafe him any such expression either in Countenance, Habit, or Looks, from whence one can deduce the least thing to his advantage; but on the contrary, to discover the base rusticity of this Savage Philosopher in the midst of a general Assembly of the most illustrious Persons of Antiquity, he has plac'd him in an obscure corner by himself, as unworthy their Con∣versation, abandon'd of them all, and lying, like a Brute, as he was, upon the stairs of this Academic-Gymnasium, with his scowling looks, and an equipage sutable to his snarling and sottish Pro∣fession.

But it is not my intention to gloss up∣on all this tedious Rhapsody of Vasari's, Enemy, as I profess my self, to the Cri∣tical disposition of some. However, I confess, I am not able to contain, when I see poor Raphael abus'd thus by the hands of so dangerous a Friend, who whilst he thinks to flatter, most insup∣portably

abuses him, by his sensless un∣dertaking to explain his Work, and be the Interpreter of his Intentions. This little Instance is so demonstrative a proof of it, that one must be stark Blind not to discern it; there being nothing so glorious, and without reproach, but what may be rendred ugly and deform∣ed by such empty Pretenders, whose folly infects all things they undertake; because they do it always prepostrously, and by the wrong handle.

But what I find unsufferably ridicu∣lous in this here, is, that he is not con∣tented to decifer in the Historical-Ordo∣nance of our Painter, the Figures which realy are visible to every body, but for∣sooth, he would fancy to have detect∣ed and found out Others, that never any body saw besides himself, and which Raphael, I am confident, never so much as dreamt of. These, you must know, are the pretty Angels, by whom he tells us, the Astrologers sent their Geoman∣tique Characters to the Evangelists for Explication. Had this babler under∣stood what such Characters meant, he would never have employ'd Angels to propose them to the Evangelists, and would have known, that Astro∣logers

never meddle with this kind of sub∣terraneous and diabolical divination. But, I perceive that I insensibly engage my self in pursuit of these Dreams, which are meer Labyrinths, out of which it is difficult to extricate ones self, when one is once entred: we will therefore quit the Fabulist, and proceed to the consideration of the Thing it self in the design of Raphael: For albeit the stamp which they have publish'd be defective enough in some parts of the Delineati∣on, it will a great deal better serve to give us the Idea of this excellent Com∣position, than all that can be said in words; because the productions of Painting would be seen, and consider'd with ones eyes. And if these great Masters of An∣••iquity, whose workes are no where visi∣ble, (save in the writings and records of History) had had the assistances, which we now enjoy by Graving of Prints, (which is realy an inestimable Treasure of this present Age, but which of old they never so much as heard of, to our im∣mense loss) the precise Designes of those Tables which Philostratus describes to us, had certainly told their stories far better, than he has been able to do, and his Book had been exceedingly more estimable

and useful, could he have thus trans∣mitted them, as we are now able to do.

Let Us then use the advantage of our own Eyes to contemplate this noble and magnificent stamp, which we shall certainly find much more intelligible and reasonable, than the amphibological discourses of Vasari, of which one may justly affirm Asinus portans mysteria; for he renders this Print so sottishly Em∣blematique by his extravagant imagina∣tions, that instead of making wise men admire, (should one believe all he says) he renders both the Workman and the Work alike ridiculous; seek we no far∣ther then for any thing in this Painting but what we shall behold with our own eyes; and rest most assur'd of it, that Ra∣phael thought of nothing less, than the proposing of an Embleme in this Subject, which is in truth, nothing else but a na∣tural and free Representation of one of those famous Gymnasiums of Greece, where the Philosophers and all sorts of Academicians us'd to Assemble them∣selves for their respective studies, and to exercise their learned Talents.

Vitruvius describes the forme of these publick Edifices in the 5th Book, Cap. 11. of his Works, and calls them Xysti,

Palestrae, Exedrae, according to their par∣ticular uses, as he there explains them; and Palladio, in his Treatise of Architect∣ure, lib. 3. cap. 21. discourses of them more clearly, because he gives us an ocular demonstration, by an ample and very exact designe; so as there is no need for me to speak any farther concerning it.

But as the most celebrated and noble of them, was that of Athens; 'tis like∣ly Raphael took his Pattern from it, and those who are curious in Prints, do fre∣quently stile this Piece the School of A∣thens. We may boldly say that Vasari did not regard this structure, but as a meer fragment of Perspective drawn at adventure, and without other intention, then to enrich the Ground of his Table; though in effect, it be one of the most principal parts of the History. He adorn'd (says Vasari) this Work with a Perspect∣ive: But 'tis an usual thing for those, as well as for him, who see things which are not, that they oftentimes perceive not the things which realy are; so deprav'd and revers'd are the Optics of these mens Iudgement.

Presupposing then that we have at∣tain'd to some reasonable knowledge of

the Forme, and Use of these Gymnasiums, it may suffice that we here consider a lit∣tle the several Appartments and Divisi∣ons of these Students and Philosophers; there being nothing to be seen in this designe of any other corporeal exercises, which we must imagine to be done in certain places abroad, to prevent the noise and tumult which the Wrestlers and Fencers, and such as practis'd cast∣ing the Dart, Running and the like vio∣lent applications, made in that quarter, which would certainly have much di∣sturbed the Conferences of these Learn∣ed persons, which required Silence and Repose. It is towards These that our Painter has intic'd our eyes, to behold those two illustrious Chiefs of the Scien∣ces that the World ever produc'd; name∣ly, the Divine Plato, and his knowing Scholar Aristotle; though he were but little conformable to the sentiments and Genius of his Master, whose Rival he af∣terwards proved, out of an ungrateful malignity and jealousie, which procur'd him the extream hatred of all Athens, from whence he was forc'd to flie till af∣ter Platos decease. This I the more ex∣pressly consider, that we may take notice how naturaly Raphael has in this Piece

shew'd as much in their very Counte∣nances, and by which he has describ'd as 'twere, the difference of their Genius's: For the first, and doubtless the most considerable (since he merited the Ti∣tle of Divine amongst the greatest Per∣sons,) sufficiently shews by the action of his Arm and Hand, which he holds up to the Heavens, that he entertain'd his Auditors with the most sublime and transcendent speculations; whilst the Other (who was more vers'd in the Scho∣lastic) has rather the meene of a severe and dogmatizing Pedant; as indeed he still dwelt in the Schols amongst them; whiles Plato's more generous Conversa∣tion has ever been with the great and most illustrious persons.

Truly Raphael seems to Triumph in this Expression, which he has also ac∣companied with an air and countenance exceedingly conformable to the spirit and disposi••ion both of the One and the Other, making Plato to discover a cer∣tain sweetness and noble affability in this aspect, which renders him ex∣treamly venerable; as on the contrary, Aristotle, with a frowning and contenti∣ous look.

Having then, as he ought, plac'd these

two principal Champions of Philosophy, in the midle, and most conspicuous part of his Table (for there were also other famous Men, celebrated for their Wis∣dom, and exemplary Morals, such as So∣crates &c.) our Painter has not much ap∣ply'd himself to the rest of the Figures, of which the greater number are but Au∣ditors of the two first: For though these appear to be several Classes of them, viz. Geometricians, Astrologers, Cosmographers &c. Plato yet so far ex∣cell'd, even in all those Arts, that the rest seem'd to be but his Disciples: not that we might not well take them for such as Ptolemy, Archimedes, or Euclid, or imagine them of some other Princi∣pal Sects, since we have found Dioge∣nes amongst them, who was neither pro∣found Astrologer nor Sophist, but one we may rather conceive, intruded himself to jeer and scoff at them. For Paint∣ers have realy as much priviledge in these things as the Poets themselves, and are not so precisely obliged to the Laws of Truth, but that they do as frequently introduce Fiction into their Representa∣tions, to adorn and enrich their Histories; And 'tis chiefly upon this occasion, that a Painter does best discover the inge∣nuity

and gentleness of his Concepti∣ons; besides, that such vague and in∣compos'd Subjects as this is, leave am∣ple field to Invention; so as 'tis suffici∣ent, they do not exceed the limits of verisimilitude, without captiuating their Genius to the rigor of precise Truth.

Beholding our Table then in this Pro∣spect, one may allow a much more inge∣nious application to each Figure, than by contenting our selves in general, to pass them all for simple Academicians, Sectators of our two great Gymnasiarch's: And 'tis probable enough, that Raphael did propose to himself something more refin'd in this ample and magnifical Composition. For wherefore should he else set a Crown upon the head of the Astrologer or Geographer (take Him for either) who holds a Globe in his hand, had it not been to shew us by it, that he meant Ptolomie whom he would digni∣fie with that Character; and for that he is call'd, by way of eminency, the Prince of Astrologers and Geographers? Not∣withstanding yet, since he was neither Contemporary, nor so much as Compa∣triot with any of the former, it might well create some scruple amongst Cri∣tics to meet them here together. But

this Licence is familiar amongst Poets, and consequently Painters too: Instance, the incomparable Virgil, who has so dexterously adjusted Queen-Dido with his Aeneas, that at last he puts them in bed together, though there was a very considerable interval of time between the one and the other, and that Dido was the younger by at the least three whole Ages. One might farther believe, and that with greater probability, (with re∣spect to the Synchronisme) that this Fi∣gure situated in the middle of the piece, and just before the Plan, in so pen∣sive and melancholy a posture, leaning his head upon his arme, and reposing his elbow on the corner of a Table, where the Philosopher Epicurus, who wrote his Testament in a Letter which he address'd to Idomenaeus his intimate friend, as Diogenes Laertius reports; be∣cause it was the very last of his Actions, and, indeed, the most stupendious; since being then attacq'd with a Paroxysme of that most inconceivable torment of the Stone (of which he soon after dyed) he remitted nothing of his accustom'd Tranquillity of Spirit, but reason'd, and discours'd to the last minute, in the same manner as he was wont to do, when he

enjoy'd the greatest health; which a∣bundantly testifies, that the Sentiments, and Precepts of this great man, were not such as the vulgar reported, or that the Pleasure which he styl'd the Soveraign-Good, consisted in that shameful and voluptuous satisfaction which some have described.

'Twere easie to forme the like Re∣marks upon the rest of the Figures of this Table, which would furnish abun∣dant matter to the studious, who had a mind to divert themselves: For in this universal-School, open to all sorts of Learning, they did not only treat of the speculative Sciences, but of the Art Mi∣litary and Tactics; of Polity, Oeconomie, Medicine and the Mechanics; as appears by the Writings of Aristotle; so as in this so great variety, there stands not a single Figure in the whole Gymnasium, how extravagant soever it may seem, but for what we may find a sufficient and laudable pretence: And yet is not this altogether so unconfin'd, but that the bounds may be transgress'd, as appears by our Historiograph Vasari, who with∣out any Wit or Discretion, and against all shadow of possibilily, has so con∣founded the order of Times, and Things

in that Chimaerical application he has made upon this Table, that it were e∣nough to astonish a credulous Reader, who should seek for any Fruit from his fantastick dreams; For out of I know not what itch to appear Learned, he brings us in there by head and shoulders, a certain King, call'd Zoroaster, of whom I dare say, Raphael never had heard a word in his life; and who came into the World some two thousand years before Plato was born, in a Countrey also far distant from Greece: Besides, this old Scythian Prince was never fa∣mous for any thing but Magic, of which Pliny affirms him to be the Inventor, which is a st••••y they never made any Profession of in those Schools: but see the admirable address of our perspica∣cious Italian, who could espy him out a∣mongst such a crowd of others. There is a Figure (says he) with his back turn'd towards you, which is the Picture of Zoroaster. Another than Vasari would doubtless have been much put to it, to divine whose that Picture was, that had his back in that posture.

I dare not pursue to examine the rest of what this Rhapsodist says, for fear of importuning both my Reader and my

selfe, and therefore, I shall here close this dissertation, which I confess to have protracted a great deal beyond what I had propos'd to my self at first, when I intended nothing more than to give a general Idea of the perfection of Paint∣ing, conformable to the Maximes of the most antient Masters, and to derive from thence a kind of ocular demonstration from some Instances of the most regu∣lar works of Raphael, that I might awa∣ken thereby, and open the eyes of some of the Painters of our times, who realy have great dispositions of emerging, and becoming excellent in their Profession, and that have need only to be advertis'd in some Fundamentals, relating to the perfection of the Art, which yet are ea∣sily attainable; but, without which, like to Blind men, they will always be gro∣ping in the spiny and delicate ways of Painting.

This is a verity so firmly establish'd upon the Principles which we propos'd at the entrance of this discourse, that it can never be so much as call'd in que∣stion by any rational person: It may yet possibly happen, that the preoccupati∣on of those whom Fortune has elevated with a false reputation (as before their

days, St. Martin of Boulognia, Rosso, Tin∣toret, Paulo-Veroneze, Parmesano, Fre∣minet, Iosepin, and a number of such de∣signers, Practitioners of the same forme) may render them so remiss and stupid, that they will rather choose to remain and dwell in the possession of this de∣ceitful good, than take the pains which the sedulous study and application of these knowing Masters do necessarily exact of them: For certain it is, that Things which are excellent, cost in their Production, and are attain'd with diffi∣culty; the second-Thoughts of Wise-men are commonly the more judicious and advis'd than the first; whence 'tis just to conclude, that those Painters to whom all subjects seem'd alike, who find no more difficulty in one, than in another, and who after the first Idea which they form of a Table, set down, and excogitate no farther, by either changing or adding any thing in their Pieces; I say, such Painters have but superficial endow∣ments, whose productions will never gra∣tify Intelligent men, who finding nothing of rare and well studied in their Works extraordinary, will be soon wearied with a transitory view of their Labors.

Now I call nothing studied, but that

which concerns the operations of the Mind, and those judicious Observati∣ons upon that part of decorum, which is the very ligament and band of Inven∣tion and Expression, the noblest of our Five Principles, and in which all that's ingenious and sublime in Painting does consist. The other Three, namely, Pro∣portion, Colouring and Perspective, im∣port rather the Mechanical part of the Art, than the more spiritual and refined, and are, as one may say, the Instruments of the Science of Painting, so as those who bend all their studies on∣ly upon them, work rather like Men of a Trade or Mysterie; and therefore have never obtain'd other name amongst the universally knowing, than Practiti∣oners in designing, who would never have been considerable amongst the Antient-Painters: Howbeit, seeing they far ex∣ceed the rest in multitude, the current Abuse, and a certain presumptuous Ig∣norance, which at present tyrannises over this Art, has so abandon'd the Posses∣sion of the Name of Painters to them, and added so many fortunate advan∣tages above Those who are truly the Sons of Art; that the last we speak of, come seldom to enjoy the fruit, and glo∣ry

which is due to them, till it be very late; continuing for the most part op∣prest as long as they live, by the Num∣bers and Cabals of the Ignorant, amongst whom, Painting is at this day but a ma∣terial and gross Idol, whereas heretofore she was consider'd as a Deity altogether spiritual.

The poor Dominiquin, who was que∣stionless the most able of all Caraces Scholars, and happ'ly, the most worthy the name of Painter, had long succum∣bed under this disgrace; though almost all his Competitors were inferior to him, and not worthy to be nam'd in the day with him; excepting Guido, who was indeed by Nature more favour'd than the other for a Gracefulness which ren∣dred him singular in his time; but who was no ways comparable to him for Ex∣pression, and less yet in the skill of Re∣gular Perspective: What shall we say then of the blindness and stupidity of the Painters of our days; who prefer a Io∣sepin, a Lanfranc, and such Manierists before him, whose Works containing no∣thing save the false dazle of I know not what Novelty, which they stile, forsooth, a Fury of Designe, and Freedom of Pen∣sil, that their ignorance of the native

Beauty, and true Principles of Art makes them admire, never preserv'd their Reputation any longer, than this transitory favour and partiality of For∣tune continued to indulge them; so as they are now banish'd out of the Cabi∣nets and Collections of the Virtuosi, who being at last dis-abus'd, are grown quite weary of them.

The same perversion of Iudgement, seconded with the natural jealousie of the Italians (who will by no means en∣dure, that Painting should smile upon any other Nation but their own) had be∣gun to exercise the like Injustice to∣wards that illustrious Frenchman, Ni∣colas Poussin, the worthiest certainly, that has appear'd since the days of those renowned Antient Painters, Apelles Ti∣mantes, Protogenes, and the rest of those famous men.

But since it were difficult for me to render this Testimony of him without suspicion of flattery, speaking of a per∣son (so lately) living, and born a French man; yet as his Works have already gain'd so many Triumphs over all their Envy, and that his merit has been so powerful (though in a strange Countrey) to produce, and elevate it self with so

much Luster, above its Rivals, at no less than four hundred Leagues distance from the Court of France, and in the Reign of the greatest Favourer, that the Virtuosi must ever hope for, since the King himself (who has so far honor'd him as to call him to his service) is an excellent Designer, and universally know∣ing in all good Arts: It has proved a conjuncture infinitely advantagious to our Painter, and a Iustice which Fortune owed him; so as it seems, she is not al∣ways blinded, nor envious at the me∣rits of deserving-men. Since that time, all the reputation of his Competitors has rather serv'd to establish his Glory, than be an obstacle to it; and now we see visi∣bly, by comparing their Works together, that this Poussin is in effect a great Eagle in his Profession, or to say better, and without a Trope, the most perfect and ac∣complish'd Painter of all the Moderns.

There is no difficulty in making this appear to knowing-men, who examine and judge things like Geometritians, that is to say, rigorously, and as they ought, by pure demonstration, and the Analyses of its Principles, without gratifying Opi∣nion, or Favour; which are the very bane and peste of Truth: But those who are

Masters onely of superficial knowledge, and will yet be presuming upon their Iudgements, may happ'ly take this for a Paradox, and thereby render them∣selves uncapable of being inlightned: I shall therefore quit this discussion, and content my self to have in this Treatise establish'd the Fundamental Maximes and Method which we make use of in ex∣amining the Works of Painters, without any farther interesting my self in this Controversie: Onely, I would add by way of Advise, that those who have the Curiosity to come to the decisive Proof of what I affirm, will find it suf∣ficiently demonstrated in that Work of his of the Seven Sacraments, which are to be seen at Paris, in the Possession of Monsieur de Chantelou, Master of the Houshold in Ordinary to the King, an intimate and dear Friend of this incom∣parable Painter. 'Tis a Consequence of Seven Uniform Tables, of a midling size, but consisting of an extraordinary study, where this noble Artist, seems to have given us the utmost proof, not on∣ly of the regularity of the Art, according to all the Parts explicated in the Dis∣course, but of its supremest excellency likewise, by the Novelty of his Inventi∣on;

the greatness of his Idea upon eve∣ry Argument, by the profound and judi∣cious observation of the decorum, (in which he is almost singular) by the vi∣gor of his the Expressions, and in a word, by all the very Qualities of those illu∣strious Genius's of the Antients, amongst whom (I perswade my self) he had ob∣tain'd one of the most eminent ranks; since we generally find in his Works, the same excellencies which Pliny and others have observ'd of their Apelles, Zeuxis, Timantes, Protogenes, and the rest of that first Class of Painters: For if Apelles ap∣pear'd so rare a Person amongst them for his knowing how to represent the noise of Thunder; one may see in the subject I am speaking of, that our Poussin has even painted the very Voice; which is so much the more difficult to express, as in effect it is less sensible: I have re∣mark'd this ingenious stroke in his first Piece of the Seven Sacraments, where St. Iohn, conferring Baptisme on our B. Saviour, the Standers-by who were pre∣sent, and ready to receive him for their Lord and Master, do visibly discover it by the surprise and astonishment in which they appear looking up to Hea∣ven, and on every side about them,

from whence the Voice seem'd to de∣scend, This is my Beloved Son, &c.

The same Author who propos'd (as altogether miraculous in Painting) this expression of Thunder, adds farther, that this great Master Apelles, took delight to represent the Histories of Agonizing and dying Persons; And we here meet with (by I know not what fortuitous encounter) that the Sacrament of ex∣tream Unction presented the same Sub∣ject to our Painter; who being about to handle this holy Mysterie, under a no∣ble and magnificent Idea, suitable to his Genius, has expresly chosen the Per∣son of a Roman Captain in his last Agony, environ'd by all his Relations; Mother, Wife and Children, and a number more of his Domestics, every one of them se∣verally afflicted with regret or compas∣sion; amongst whom, and in the most conspicuous place, he has painted the Priest assisting the poor Dying-man, and administring the Holy Oyls with a devo∣tion full of Piety.

I should be over tedious to undertake here the description of all those other Considerations, and judicious Circum∣stances to be seen in this admirable Composition: I should sooner have said

in a word, that 'tis the real Parallel of that famous Master-piece of Timanthes upon the Sacrifice of Iphigenia, which I have already mention'd, and which Pli∣ny and Quintilian describe to us as the rarest, most ingenious and accomplish'd Table of Antiquity. But to determine whether of the Two; their Old, or our Modern has express'd his Subject with greater Art, and more Pathetically, is a Question I cannot resolve; contenting my self in affirming this, that amongst all our Modern Painters, our Poussin ap∣pears another Timantes.

The same reason which restrains me from any farther engaging in the Exa∣men of this excellent Composition, obli∣ges me to pass over the rest of this great Work, which makes up but its Seventh part; besides, that the Enterprise would prove too vast for me, who have alrea∣dy transgress'd the limits which I pro∣posed to myself at my first setting out.

I will only add one thing in general, which seems very considerable to me, and worthy of remark, with which I shall conclude. That every one of these Pieces are so admirable in their kind, that 'tis Impossible to particularise in any sin∣gle one of the whole Seven, which ap∣pears

to have the least advantage of the other, as to what concerns the Artist: For though the story of the respective Mysteries which they represent, were not always equally redundant, and fit for expression; yet this puissant Genius knew so well how to proportion each part of his Subject to the tearms of their mu∣tual equalities, and give so relative a perfection to the whole, that he has left us no place for our choice, or that we could wish for any one of them, prefer∣able to another: For though each Table, consider'd by it self, and separated from this Vnion, or, as one may say, this Encyclopedia of Sacraments, be usual∣ly look'd on as a compleat and indepen∣dent History from the rest; yet our Painters original Intention, being to form of them One particular mystical body, compos'd of these seven holy Members (which is the oblest Idea could be con∣ceiv'd in the Mind of a Christian Painter, and which is so peculiar, that it seems not to have been ever thought of by any before him) striv'd to render it a Chef d' Oeure, in which he has discover'd himself such a Ma∣ster of the Subjects he undertakes, that we may easily conclude, he knew how

to have done as much, even in the most barren and simple Argument, as in the most rich and magnificent; the fecundi∣ty of his spirit having no need of any aids from Matter, which at first appears as incredible to be affirm'd of him, as it is realy true, and visible in the Works of his, by the equality which he has introduc'd with so much Art in each particular, that there is nothing which domineers above the rest; And this uni∣formity of Perfection is an Effect of the most Consummate Excellency which is to be attain'd.

I thought to finish this demonstration, which certainly had been very glorious to him, in setting one of these seven Compositions in Parallel with a subject resembling it, treated of either by Le∣onardo da Vinci, or Raphael; for after these two Soveraigne Painters, we need seek no more of the Moderns capable of this noble Contestation. But when I had well consider'd, that those kinds of Com∣parisons are almost always odious, I re∣solv'd to refer the Decision to all the World, without a syllable more, and con∣tent my self to affirm, that I had for this reason cast mine eyes upon the prin∣cipal work of Leonardo, that renowned

Supper of our B. Saviour, which he paint∣ed at Milan, in the time of our great King Francis the First; which succeed∣ed so well for the fortunate Artist, that it purchas'd him the good Grace of their illustrious Monarch, who did him the honour to invite him to his Court, and retain him ever after in his particu∣lar Service. We have in the Royal Pa∣rish of St. Germains at Paris, an excel∣lent good Copy of this Supper, which many believe to be of the very hand of Leonardo himself. But the same Histo∣ry has been frequently treated of by Ra∣phael, and are all to be seen in Stamp, which is a most commodious expedient by which to paragon them, with that which we have in our Poussins Work of the Seven Sacraments.

But to arrive to this accurate Criti∣cisme with the requisite circumspection, and follow the guidance of our Princi∣ples; we must above all things remem∣ber, with what importance we have there establish'd the diligent observati∣on of decorum, in which consists the principal Magistry of Painting, and which is indeed (as we may say) the very Ra∣tional Soul of it, as the rest of the Me∣chanical supplements, Colour and the de∣lineation

of Figures compose the Body only with its Organical members: so as without the intelligence of this first part, nothing can be acceptable to the eyes of knowing men, who are always more offended with errors in Iudgement, the most essential and necessary Circum∣stances in an History, than in what may possibly be defective in the Mechanical part. Behold here the very knot of the Question, which yet will not prove so difficult to unravel, when we shall be fully instructed in the Ceremonial of this Supper, and above all in the posture which they us'd at Table in those days, which is here a very important conside∣ration, and without which it is impos∣sible to conceive, how St. Iohn could decently repose his head upon the bosom of our Lord; since in that which we may observe in some representations of it, there is expres'd a most unpardonable indecorum.

In pursuit of this grand remark (the fame whereof is totally due to our knowing and most judicious Poussin; since before him we find it scarce consi∣der'd by other Painters) it must visibly appear, that as this Action past at Night, the Figures could not be conspicuous,

but from an artificial light; for what other circumstance could represent it to be a Supper, and not a Dinner as well? Now these two are points so essential and necessary, that they are not to be dis∣penc'd withall without an inexcusable fault, and against all decorum. After these two rigorous observations, one may make other less important recherches; which yet would be attended with certain ob∣vious and remarkable Circumstances, without which something will still be defective: As suppose upon that suddain emotion amongst the Apo∣stles, when our B. Lord had advertis'd them, that One of them should that ve∣ry night betray him; one should see St. Iohn not only leaning, but asleep up∣on his dear Masters bosome, without so much as taking any notice with the rest, of what was said: This would cer∣tainly be a most unseasonable and alto∣gether disadvantagious Posture in this Instance. I purposely take notice of this Absurdity amongst others, because it is realy so usual amongst our com∣mon Painters, and did once escape even Albert Durer himself, as is to be seen by one of his stamps, though this great Ma∣ster had few equals in his Profession; but

it seems he was not much acquainted with decorum.

It would in like manner be a notable mistake to set St. Iohn in any other place than by the side of our Saviour; be∣cause then he could not have inclin'd on his Masters Breast, as the Gospel does expresly observe it to us.

By the sedulous examination of such like Particulars, we should soon be qua∣lified to determine concerning the Spi∣rit and Iudgement of a Painter, and after that, give Sentence boldly in fa∣vour of the most Ingenious and correct in this observation of Decorum; there∣by imitating the example of those ce∣lebrated Arbiters of Antiquity, whom we have brought upon the Theater, and to whom we are no less oblig'd, than are those whom they have immortaliz'd by their Writings; seeing by the descri∣ptions which they have left us of their Pieces and Works, with those excellent Reflections of theirs upon the merits and quality of the different Genius's of those renowned Painters of Greece, they have preserved that Idea of the Perfection of the Art, which would never have descended to us without them.

'Twas from these incomparable Books

that our illustrious Modern N. Poussin has been so well instructed, emulating even the most renowned of the Anti∣ents, by the extraordinary Advantage which he gain'd by studying Humane-Letters, before he so much as ever took Pensil in hand; which is a thing at pre∣sent as rare amongst Painters, as it is in truth absolutely necessary in those who aspire to its perfection: For since Poetry and Painting are but one and the same form of Genius; and that to e∣merge a good Poet, 'tis not held suf∣ficient to be able to compose a well-measur'd Verse, with numbers agree∣able to the Ear, unless what you write be sublime and ingenious also; it follows that in the School of Paint∣ing, he who applies not himself but to the designing of a Model, and relies upon his Pensil onely, shall never prove other than a Mechanical Workman; unworthy the Character of a Painter, as our Poetaster would pass but for a simple Versificator.

From all which we deduce, that in the service of this noble and glorious Princess of Arts, Painting, which is al∣together compos'd of Spirit, One had need be endow'd with Talents and No∣tices

extraordinary, to pretend only to the honor of her good-Graces: And Those who by the meaness and dulness of their Nature, arrive no farther than the Mechanical part, resemble those ill-Cour∣tiers of Penelope, who not having the Wit to insinuate themselves into her particular Esteem and Conversation, nor address enough, or Merit to render themselves considerable with the Lady, were forc'd to stay behind the more sprightly Gallants, and make Love to her waiting-women.

FINIS.