De arte graphica The art of painting / by C.A. Du Fresnoy ; with remarks ; translated into English, together with an original preface containing a parallel betwixt painting and poetry, by Mr. Dryden ; as also A short account of the most eminent painters, both ancient and modern, continu'd down to the present times, according to the order of their succession, by another hand.

THE ART OF PAINTING.

DE ARTE GRAPHICA LIBER.

UT PICTURA POESIS ERIT; similisque Poesi Sit Pictura, refert par aemula quae{que} sororem, Alternantque vices & nomina; muta Poesis Dicitur haec, Pictura loquens solet illa vocari.

[ 5] Quod fuit auditu gratum cecinere Poetae, Quod pulchrum aspectu Pictores pingere curant: Quaeque Poetarum numeris indigna fuêre, Non eadem Pictorum operam studiumque merentur:

Ambae quippe sacros ad Relligionis honores [ 10] Sydereos superant ignes, Aulamque Tonantis Ingressae, Divûm aspectu, alloquioque fruuntur; Oraque magna Deûm & dicta observata reportant, Coelestemque suorum operum mortalibus ignem. Inde pe•••• hunc orbem studiis coêuntibus errant,

Carpentes quae digna sui, revolutaque lustrant [ 15] Tempora. Quaerendis consortibus Argumentis.

Denique quaecumque in coelo, terraque, marique Longius in tempus durare, ut pulchra, merentur, Nobilitate sua claroque insignia casu, Dives & ampla manet Pictores atque Poetas [ 20] Materies, inde alta sonant per saecula mundo Nomina, magnanimis Heroibus inde superstes Gloria, perpetuoque operum miracula restant: Tantus inest divis honor Artibus atque potestas.

Non mihi Pieridum chorus hic, nec Apollo vocandus, [ 25] Majus ut eloquium numeris aut gratia fandi Dogmaticis illustret opus rationibus horrens: Cum nitida tantum & facili digesta loquelâ, Ornari praecepta negent; contenta doceri.

Nec mihi mens animusve fuit constringere nodos [ 30] Artificum manibus, quos tantum dirigit usus; Indolis ut vigor inde potens obstrictus hebescat,

Normarum numero immani Geniumque moretur:

Sed rerum ut pollens Ars cognitione gradatim [ 35] Naturae sese insinuet, verique capacem Transeat in Genium, Geniusque usu induat Artem.

Praecipua imprimis Artisque potissima pars est, Nôsse quid in rebus Natura creârit ad Artem Pulchrius, idque Modum juxta, Mentemque Vetustam,

[ 40] Qua sine barbaries caeca & temeraria Pulchrum Negligit, insultans ignotae audacior Arti, Ut curare nequit, quae non modo noverit esse, Illud apud Veteres fuit, unde notabile dictum, Nil Pictore malo securius atque Poeta.

Cognita amas, & amata cupis, sequerisque cupita; [ 45] Passibus assequeris tandem quae fervidus urges: Illa tamen quae pulchra decent; non omnia casus Qualiacumque dabunt, etiamve simillima veris: Nam quamcumque modo servili haud sufficit ipsam Naturam exprimere ad vivum, sed ut Arbiter Artis [ 50] Seliget ex illa tantùm pulcherrima Pictor. Quodque minus pulchrum, aut mendosum corriget ipse Marte suo, formae Veneres captando fugaces.

Utque manus grandi nil nomine practica dignum [ II] Assequitur, purum arcanae quam deficit Artis [ 55] Lumen, & in praeceps abitura ut caeca vagatur; Sic nihil Ars operâ manuum privata supremum Exequitur, sed languet iners uti vincta lacertos; Dispositumque typum non linguâ pinxit Apelles.

[ 60] Ergo licet totâ normam haud possimus in Arte Ponere, (cùm nequeant quae sunt pulcherrima dici) Nitimur haec paucis, scrutati summa magistrae Dogmata Naturae, Artisque Exemplaria prima Altiùs intuiti; sic mens habilisque facultas [ 65] Indolis excolitur, Geniumque scientia complet, Luxuriansque in monstra furor compescitur Arte: Est modus in rebus, ••••unt certi denique fines, Quos ultra citraque nequit consistere rectum.

[ III] His positis, erit optandum Thema nobile, pulchrum, [ 70] Quodque venustatum circa Formam atque Colorem Sponte capax amplam emeritae mox praebeat Arti Materiam, retegens aliquid salis & documenti.

Tandem opus aggredior, primoque occurrit in Albo Disponenda typi concepta potente Minervâ Machina, quae nostris Inventio dicitur oris. [ 75]

Illa quidem priùs ingenuis instructa Sororum Artibus Aonidum, & Phoebi sublimior aestu.

Quaerendasque inter Posituras, luminis, [ IV] umbrae, Atque futurorum jam praesentire colorum Par erit harmoniam, captando ab utrisque venustum. [ 80]

Sit Thematis genuina ac viva expressio juxta [ V] Textum Antiquorum, propriis cum tempore formis.

[ VI] Nec quod inane, nihil facit ad rem, sive videtur Improprium, minim••••que urgens, potiora tenebit [ 85] Ornamenta operis; Tragicae sed lege sororis Summa ubi res agitur, vis summa requiritur Artis.

Ista labore gravi, studio, monitisque Magistri Ardua pars nequit addisci rarissima: namque Ni priùs aethereo rapuit quod ab axe Prometheus [ 90] Sit jubar infusum menti cum flamine vitae, Mortali haud cuivis divina haec munera dantur, Non uti Daedaleam licet omnibus ire Corinthum.

Aegypto informis quondam Pictura reperta, Graecorum studiis & mentis acumine crevit: [ 95] Egregiis tandem illustrata & adulta Magistris Naturam visa est miro superare labore.

Quos inter Graphidos gymnasia prima fuêre, Portus Athenarum, Sicyon, Rhodos, atque Corinthus, Disparia inter se, modicùm ratione Laboris;

Ut patet ex Veterum statuis, formae atque decoris [ 100] Archetypis, queis posterior nil protulit aetas [ VII] Condignum, & non inferius longe Arte, Modoque: Horum igitur vera ad normam Positura legetur, Grandia, inaequalis, formosaque Partibus amplis Anteriora dabit membra, in contraria motu [ 105] Diverso variata, suo liberataque centro:

Membrorumque Sinus ignis flammantis ad instar Serpenti undantes flexu, sed laevia plana Magnaque signa, quasi sine tubere subdita tactu Ex longo deducta fluant, non secta minutim, [ 110] Insertisque Toris sint not a ligamina juxta Compagem Anathomes, & membrificatio Graeco Deformata Modo, paucisque expressa lacertis, Qualis apud Veteres; totoque Eurithmia partes

[ 115] Componat, genitumque suo generante sequenti Sit minus, & puncto videantur cuncta sub uno; Regula certa licet nequeant Prospectica dici, Aut complementum Graphidos; sed in arte juvamen Et Modus accelerans operandi: ut corpor a falso [ 120] Sub visu in multis referens mendosa labascit: Nam Geometralem nunquam sunt corpora juxta Mensuram depicta oculis, sed qualia visa.

[ VIII] Non eadem formae species, non omnibus aetas Aequalis, similisque color, crinesque Figuris: [ 125] Nam variis velut orta plagis Gens disparevultu.

[ IX] Singula membra suo capiti conformia fiant Unum idemque simul corpus cum vestibus ipsis: [ X] Mutorumque silens Positura imitabitur actus.

[ XI] Prima Figurarum, seu Princeps Dramatis ultro [ 130] Prosiliat media in Tabula sub lumine primo Pulchrior ante alias, reliquis nec operta Figuris.

Agglomerata simul sint membra, ipsaeque Figurae [ XII] Stipentur, circumque globos locus usque vacabit; Ne, mal•••• dispersis dum visus ubique Figuris Dividitur, cunctisque operis fervente tumultu [ 135] Partibus implicitis crepitans confusio surgat.

Inque figurarum cumulis non omnibus idem [ XIII] Corporis inflexus, motusque, vel artibus omnes Conversis pariter non connitantur eodem, Sed quaedam in diversa trahant contraria membra [ 140] Transvers••••que aliis pungent, & caetera frangant.

Pluribus adversis aversam oppone figuram, Pectoribusque humeros, & dextera membra sinistris, Seu multis constabit Opus, paucisve figuris.

Altera pars tabulae vacuo ne frigida Campo [ 145] Aut deserta siet, dum pluribus alter a formis [ XIV] Fervida mole sua supremam exurgit ad or am: Sed tibi sic positis respondeat utraque rebus, Ut si aliquid sursum se parte attollat in unâ, Sic aliquid parte ex alia consurgat, & ambas [ 150] Aequiparet, geminas cumulando aequaliter oras.

[ XV] Pluribus implicitum Personis Drama supremo In genere ut rarum est; multis ita densa Figuris Rarior est Tabula excellens; vel adhuc ferè nulla [ 155] Praestitit in multis quod vix bene praestat in unâ:

Quippe solet rerum nimio dispersa tumultu Majestate carere gravi requieque decorâ; Nec speciosa nitet vacuo nisi liber a Campo.

Sed si Opere in magno plures Thema grande requirat [ 160] Esse figurarum Cumulos, spectabitur unà Machina tota rei, non singula quaeque seorsim.

Praecipua extremis raro Internodia membris [ XVI] [ XVII] Abdita sint: summa Pedum vestigia nunquam.

Gratia nulla manet, motusque, vigorque Figuras [ 165] Retro aliis subter majori ex parte latentes, [ XVIII] Ni capitis motum manibus comitentur agendo.

Difficiles fugitoa spectus, contractaque visu Membra sub ingrato, motusque, actusque coactos,

Quodque refert signis, rectos quodammodo tractus, Siva Parallelos plures simul, & vel acutas, Vel Geometrales (ut Quadra, Triangula,) formas: [ 170] Ingratamque pari Signorum ex ordine quandam Symmetriam: sed praecipu•••• in contraria semper Signa volunt duci transversa, ut diximus anté. Summa igitur ratio Signorum habeatur in omni Composito; dat enim reliquis pretium, atque vigorem. [ 175]

Non ita naturae astanti sis cuique revinctus, [ XIX] Hanc praeter nihil ut Genio studioque relinquas; Nec sine teste rei natura, Artisque Magistra Quidlibet ingenio memor ut tantummodo rerum Pingere posse putes; errorum est plurima sylva, [ 180] Multiplicesque viae, bene agendi terminus unus, Linea recta velut sola est, & mille recurvae:

Sed juxta Antiquos naturam imitabere pulchram, Qualem forma rei propria, objectumque requirit.

[ 185] Non te igitur lateant antiqua Numismata, Gemmae, [ XX] Vasa, Typi, Statuae, caelataque Marmora Signis; Quodque refert specie Veterum post saecula Mentem; Splendidior quippe ex illis assurgit imago, Magnaque se rerum facies aperit meditanti; [ 190] Tunc nostri tenuem saecli miserebere sortem, Cùm spes nulla siet rediturae aequalis in aevum.

[ XXI] Exquisita siet formâ dum sola Figura. Pingitur, & multis variata Coloribus esto.

Lati amplique sinus Pannorum, & nobilis ordo [ 195] Membra sequens, subter latitantia Lumine •••• Umbra [ XXII] Exprimet, ille licet transversus saepe feratur, Et circumfulos Pannorum porrigat extra Membra sinus, non contiguous, ipsisque Figurae Partibus impressos, quasi Pannus adhaereat illis; [ 200] Sed modic•••• expressos cum Lumine servet & Umbris:

Quaeque intermissis passim sunt dissita vanis Copulet, inductis subtérve, lacernis. Et membra ut magnis paucisque expressa lacertis.

Majestate allis preastant forma atque decore; Haud seus in Pannis quos supra optavimus amplos [ 205] Perpaucos sinuum flexus, rugasque, striasque, Membra super versu faciles inducere praestat.

Naturaeque rei proprius sit Pannus, abundans Patriciis, succinctus erit crassusque Bubulcis Mancipiisque; levis, teneris, gracilisque Puellis. [ 210]

Inque cavis maculisque umbrarum aliquando tumescet Lumen ut excipiens operis quá Massa requirit Latius extendat, sublatisque aggreget umbris.

[ 215] Nobilia Arma juvant virtutum, ornantque Figura••••, [ XXIII] Qualia Musarum, Belli, Cultusque Deorum: Nec sit opus nimiùm Gemmis Auroque refertum; [ XXIV] Rara etenim magno in pretio, sed plurima vili.

[ XXV] Quae deinde ex Vero nequeunt praesente videri, [ 220] Prototypum prius illorum formare juvabit.

[ XXVI] Conveniat locus atque habitus, ritusque decusque Servetur; sit Nobilitas, Charitumque Venustas, [ XXVII] (Rarum homini munus, Coelo, non Arte petendum.)

[ XXVIII] Naturae sit ubique tenor ratioque sequenda.

Non vicina pedum tabulata excelsa tonantis [ 225] Astra domus depicta gerent nubesque notosque; Nec mare depressum Laquearia summa vel orcum; Marmoreamque feret cannis vaga pergula molem: Congrua sed propriâ semper statione locentur.

Haec praeter motus animorum & corde repostos [ 230] Exprimere Affectus, paucisque coloribus ipsam [ XXIX] Pingere posse animam, atque oculis praebere videndam, Hoc opus, his labor est: pauci quos aequus amavit Juppiter, aut ardens evexit ad aethera virtus: Dîs similes potuere manu miracula tanta. [ 235]

Hos ego Rhetoribus tractandos desero tantum Egregii antiquum memorabo sophisma Magistri, Verius affectus animi vigor exprimit ardens, Solliciti nimiúm quam sedula cura laboris.

Denique nil sapiat Gotthorum barbara trito [ 240] Ornamenta modo, saeclorum & monstra malorum; [ XXX] Queis ubi bella, famen & pestem, Discordia, Luxus, Et Romanorum res grandior intulit Orbi,

Ingenuae periere Artes, periere superbae [ 245] Artificum moles, s••••a tunc miracula vidit Ignibus absumi Pictura, latere coacta Fornicibus, sortem & reliquam confidere Cryptis, Marmoribusque diu Sculptura jacere sepultis.

Imperium interea scelerum gravitate fatiscens [ 250] Horrida nox totum invasit, donoque superni Luminis indignum, errorum caligine mersit, Impiaque ignaris damnavit saecla tenebris:

Unde Coloratum Graiis huc usque Magistris Nil superest tantorum Hominum quod Mente Modoque [ 255] Nostrates juvet Artifices, doceatque Laborem; Nec qui Chromatices nobis hoc tempor partes Restituat, quales Zeuxis tractaverat olim.

Hujus quando magâ velut Arte aequavit Apellem Pictorum Archigraphum meruitque Coloribus altam Nominis aeterni famam toto orbe sonantem. [ 260]

Haec quidem ut in Tabulis fallax sed grata Venustas, Et complementum Graphidos (mirabile visu) Pulchra vocabatur, sed subdola Lena Sororis: Non tamen hoc lenocinium; fucusque, dolusque Dedecori fuit unquam; illi sed semper honori, [ 265] Laudibus & meritis; hanc ergo nosse juvabit.

Lux varium vivumque dabit, nullum Umbra Colorem. Quo magis adversum est corpus lucisque propinquum, Clarius est Lumen; nam debilitatur eundo.

Quo magis est ••••orpus directum oculisque propinquum, [ 270] Conspicitur meliùs; nam visus hebescit eundo.

[ XXXI] Ergo in corporibus quae visa adversa rotundis Integra sint, extrema abscedant perdita signis Confusis, non praecipiti labentur in Umbram [ 275] Clara gradu, nec adumbrata in clara alta repente Prorumpant; sederit sensim hinc atque inde meatus Lucis & Umbrarum; capitisque unius ad instar Totum opus, ex multis quamquam sit partibus unus Luminis Umbrarumque globus tantummodo fiet, [ 280] Sive duo vel tres ad summum, ubi grandius esset Divisum Pegma in partes statione remotas.

Sintque ita discreti inter se ratione colorum, Luminis umbrarumque anteorsum ut corpora clara Obscura umbrarum requies speetanda relinquat; [ 285] Claroque exiliant umbrata atque aspera Campo.

Ac veluti in speculis convexis eminet ante Asperior reipsa vigor & vis aucta colorum Partibus adversis; magis & fuga rupta retrorsum Illorum est (ut visa minùs vergentibus oris) Corporibus dabimus formas hoc more rotundas, [ 290] Mente Modoque igitur Plastes & Pictor eodem Dispositum tractabit opus; quae Sculptor in orbem Atterit, haec rupto pro••••ul abscedente colore Assequitur Pictor, fugientiaque illa retrorsum Iam signata minùs confusa coloribus aufert: [ 295]

Anteriora quidem directè adversa, colore Integra, vivaci, summo cum Lumine & Umbra Antrorsum distincta refert velut aspera visu.

Sicque super planum inducit Leucoma Colores. Hos velut ex ipsa natura immotus eodem [ 300] Intuitu circum Statuas daret inde rotundas.

Densa Figurarum solidis quae corpora formis [ XXXII] Subdita sunt tactu non transluent, sed opaca In translucendi spatio ut super Aera, Nubes

[ 305] Lympida stagna Undarum, & inania caetera debent Asperiora illis prope circumstantibu•••• esse, Ut distincta magis firmo cum L••••mine & Umbra, Et gravioribus ut suste•••• a coloribus, inter Aëreas species subsistent semper opaca: [ 310] Sed contra procul abscedant perlucida densis Corporibus leviora; uti Nubes, Aër & Undae.

[ XXXIII] Non poterunt diversa locis duo Lumina eâdem In Tabulâ paria admitti, aut aequalia pingi: Majus at in mediam Lumen ••••adet usqe Tabellam [ 315] Latius infusum, primis qua summa Figuris Res agitur, circumque oras minuetur eundo: Utque in progressu Iubar attenuatur ab ortu Solis ad occasum paulatim, & cessat eundo; Sic Tabulis Lumen, tota in compage Colorum, [ 320] Primo à fonte, minus sensim declinat eundo.

Majus ut in Statuis per compita stantibus Urbis Lumen habent Partes superae, minus inferiores, Idem erit in tabulis, majorque nec umbra vel ater Membra Figurarum intrabit Color atque secabit:

Corpora sed circum Umbra cavis latitabit oberrans: [ 325] Atque ita quaeretur Lux opportuna Figuris, Ut late infusum Lumen lata Umbra sequatur: Unde nec immeritò fertur Titianus ubique Lucis & Umbrarum Normam appellasse Racemum.

Purum Album esse potest propius{que} magis{que} remotum: [ 330] Cum Nigro antevenit propiùs, fugit absque remotum; [ XXXIV] Purum autem Nigrum antrorsum venit us{que} Propinquum.

Lux fucata suo tingit miscetque Colore Corpora, sicque suo, per quem Lux funditur, aër

[ 335] Corpora juncta simul, circumfusosque Colores [ XXXV] Excipiunt, propriumque aliis radiosa reflectunt.

[ XXXVI] Pluribus in Solidis liquidâ sub Luce propinquis Participes, mixtosque simul decet esse Colores. [ 340] Hanc Normam Veneti Pictores rité sequuti, (Quae fuit Antiquis Corruptio dicta Colorum) Cùm plures opere in magno posuêre Figuras, Ne conjuncta simul variorum inimica Colorum Congeries Formam implicitam & concisa minutis Membra daret Pannis, totam unamquamque Figuram Affini aut uno tantùm vestire Colore [ 345] Sunt soliti, variando Tonis tunicamque togamque Carbaseosque Sinus, vel amicum in Lumine & Umbra Contiguis circum rebus sociando Colorem.

[ XXXVII] Quà minus est spatii aërei, aut quà purior Aër, [ 350] Cuncta magis distincta patent, speciesque reservant:

Qu••••que magis densus nebulis, aut plurimus Aër Amplum inter fuerit spatium porrectus, in auras Confundet rerum species, & perdet inanes. [ XXXVIII] Anteriora magis semper finita remotis Incertis dominentur & abscedentibus, idque [ 355] More relativo, ut majora minoribus extant.

Cuncta minuta procul Massam densantur in unam, [ XXXIX] Ut folia arboribus sylvarum, & in Aequore fluctus.

Contigua inter se coëant, [ XL] Distabuntque tamen grato & discrimine parvo. [ 360]

Extrema extremis contraria jungere noli; [ XLI] Sed medio sint usque gradu sociata Coloris.

Corporum erit Tonus atque Color variatus ubique [ XLII] Quaerat amicitiam retro, ferus emicet ante.

[ 365] Supremum in Tabulis Lumen captare diei [ XLIII] Insanus labor Artificum; cùm attingere tantùm Non Pigmenta queant; auream sed vespere Lucem, Seu modicam mane albentem, sive aetheris actam Post Hymem nimbis transfuso Sole caducam, [ 370] Seu nebulis fultam accipient, tonitruque rubentem.

[ XLIV] Laevia quae lucent, veluti Chrystalla, Metalla, Ligna, Ossa & Lapides; Villosa, ut Vellera, Pelles, Barbae, aqueique Oculi, Crines, Holoserica, Plumae; Et Liquida, ut stagnans Aqua, reflexaeque sub Undis [ 375] Corporeae species, & Aquis contermina cuncta, Subter ad extremum liquide sint picta, superque▪ Luminibus pereussa suis, signisque repostis.

[ XLV] Area vel Campus Tabulae vagus esto, levisque Abscedat latus, liquideque bene unctis amicis [ 380] Tota ex mole Coloribus, una sive Patellâ: Quaeque cadunt retro in Campum confinia Campo.

vividus esto Color nimio non pallidus Albo, [ XLVI] Adversisque locis ingestus plurimus ardens; Sed leviter parcéque datus vergentibus oris.

Cuncta Labore simul coëant, velut Umbrâ in eadem. [ 385] [ XLVII]

Tota siet Tabula ex unâ depicta Patellâ. [ XLVIII]

Multa ex Natura Speculum praeclara docebit; [ XLIX] Quaeque procul serò spatiis spectantur in amplis.

Dimidia Effigies, quae sola, vel integra plures [ L] Ante alias posita ad Lucem, stet proxima visu, [ 390] Et latis spectanda locis, oculisque remota, Luminis Umbrarumque gradu sit picta supremo.

[ LI] Partibus in minimis imitatio justa juvabit [ 395] E••••igiem, alternas referendo tempore eodem Consimiles Partes, cum Luminis atque Coloris Compositis justisque Tonis, tunc parta Labore Si facili & vegeto micat ardens, viva videtur.

[ LII] Visa loco angusto tenerè pingantur, amico Iuncta Colore graduque, procul quae picta feroci [ 400] Sint & inaequali variata Colore, Tonoque. Grandia signa volunt spatia ampla ferosque Colores.

Lumina lata unctas simul undique copulet Umbras [ LIII] Extremus Labor. In Tabulas demissa fenestris Si fuerit Lux parva, Color clarissimus esto: [ LIV] Vividus at contra obscurusque in Lumine aperto. [ 405]

Quae vacuis divisa cavis vitare memento: [ LV] Trita, minuta, simul quae non stipata dehiscunt; Barbara, Cruda oculis, rugis fucata Colorum, Luminis Umbrarumque Tonis aequalia cuncta; Foeda, cruenta, cruces, obscoena, ingrata, chimeras, [ 410] Sordidaque & misera, & vel acuta, vel aspera tactu, Quaeque dabunt formae temerè congesta ruinam, Implicitasque aliis confundent miscua Partes.

Dumque fugis vitiosa, cave in contraria labi [ LVI] Damna mali, Vitium extremis nam semper inhaeret. [ 415]

[ LVII] Pulchra gradu summo Graphidos stabilita Vetustae Nobilibus Signis sunt Grandia, Dissita, Pura, Tersa, velut minime confusa, Labore Ligata, Partibus ex magnis paucisque efficta, Colorum [ 420] Corporibus distincta feris, sed semper amicis.

Qui bene coepit, uti facti jam fertur habere [ LVIII] Dimidium; Picturam ita nil sub limine primo Ingrediens Puer offendit damnosius Arti, Quàm varia errorum genera ignorante Magistro [ 425] Ex pravis libare Typis, mentemque veneno Inficere, in toto quod non abstergitur aevo.

Nec Graphidos rudis Artis adhuc cito qualiacumque Corpora viva super studium meditabitur ante Illorum quam Symmetriam, Internodia, Formam [ 430] Noverit inspectis docto evolvente Magistro Archetypis, dulcesque Dolos praesenserit Artis. [ LIX] Plusque Manu ante oculos quàm voce docebitur usus.

Quaere Artem quaecumque juvant, fuge quaeque repug∣nant. [ LX]

Corpora diversae naturae juncta placebunt; Sic ea quae facili contempta labore videntur: [ 435] Aethereus quippe ignis inest & spiritus illis. Mente diu versata, manu celeranda repenti. Arsque Laborque Operis grata sic fraude latebit. Maxima deinde erit ars, nihil artis inesse videri.

Nec prius inducas Tabulae Pigmenta Colorum, [ 440] [ LXI] Expensi quàm signa Typi stabilita nitescant, Et menti praesens Operis sit Pegma futuri.

Praevaleat sensus rationi quae officit Arti [ LXII] Conspicuae, inque oculis tantummodo Circinus esto.

[ 445] Utere Doctorum Monitis, nec sperne superbus [ LXIII] Discere quae de te fuerit Sententia Vulgi. Est coecus nam quisque suis in rebus, & expers Iudicii, Prolemque suam miratur amatque. Ast ubi Consilium deerit Sapientis Amici, [ 450] Id tempus dabit, atque mora intermissa labori. Non facilis tamen ad nutus & inania Vulgi Dicta levis mutabis Opus, Geniumque relinques: Nam qui parte sua sperat bene posse mereri Multivaga de Plebe, nocet sibi, nec placet ulli.

[ 455] Cumque Opere in proprio soleat se pingere Pictor, [ LXIV] (Prolem adeo sibi ferre parem Natura suevit)

Proderit imprimis Pictori 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉; Ut data quae genio colat, abstineatque negat is.

Fructibus utque suus nunquam est sapor at que venustas Floribus insueto in fundo praecoce sub anni [ 460] Tempore, quos cultus violentus & ignis adegit; Sic nunquam nimio quae sunt extorta labore, Et picta invito Genio, nunquam illa placebunt.

Vera super meditando, Manus, Labor improbus adsit: [ LXV] Nec tamen obtundat Genium, mentisque vigorem. [ 465]

Optima nostrorum pars matutina dierum, [ LXVI] Difficili hanc igitur potiorem impende Labori.

Nulla dies abeat quin linea ducta supersit. [ LXVII] Perque vias vultus hominum, motusque notabis Libertate sua proprios, positasque Figuras [ 470] [ LXVIII] Ex sese faciles, ut inobservatus habebis.

[ LXIX] Mox quodcumque Mari, Terris & in Aëre pulchrum Contigerit, Chartis propera mandare paratis, Dum praesens animo species tibi fervet hianti.

[ 475] Non epulis nimis indulget Pictura, meroque Parcit, Amicorum quantum ut sermone benigno Exhaustum reparet mentem recreata, sed inde Litibus & curis in Coelibe libera vita Secessus procul à turba strepituque remotos [ 480] Villarum rurisque beata silentia quaerit: Namque recollecto tota incumbente Minerva Ingenio rerum species praesentior extat, Commodiusque Operis compagem amplectitur omnem.

Infami tibi non potior sit avara peculî [ 485] Cura, aurique fames, modicâ quam sorte beato Nominis aeterni & laudis pruritus habendae,

Condignae pulchrorum Operum mercedis in aevum.

Iudicium, docile Ingenium, Cor nobile, Sensus Sublimes, firmum Corpus, florensque Iuventa, Commoda Res, Labor, Artis amor, doctusque Magister; [ 490]

Et quamcumque voles occasio porrigat ansam, Ni Genius quidam adfuerit Sydusque benignum, Dotibus his tantis, nec adhuc Ars tantaparatur:

Distat ab Ingenio longè Manus. Optima Doctis Censentur quae prava minus; latet omnibus error, [ 495] Vitaque tam longae brevior non sufficit Arti;

Desinimus nam posse senes cùm scire periti Incipimus, doctamque Manum gravat aegra senectus, Nec gelidis fervet juvenilis in Artubus ardor.

[ 500] Quare agite, ô Iuvenes, placido quos Sydere natos Paciferae studia allectant tranquilla Minervae, Quosque suo fovet igne, sibique optavit Alumnos! Eja agite, atque animis ingentem ingentibus Artem Exercete alacres, dum strenua corda Iuventus [ 505] Viribus extimulat vegetis, patiensque laborum est; Dum vacua errorum nulloque imbuta sapore Pura nitet mens, & rerum sitibunda novarum Praesentes haurit species, atque humida servat.

[ LXX] In Geometrali priùs Arte parumper adulti

Signa Antiqua super Graïorum addiscite formam; [ 510] Nec mora nec requies, noctuque diuque labori Illorum Menti atque Modo, vos donec agendi Praxis ab assiduo faciles assueverit usu.

Mox ubi Iudicium emensis adoleverit annis Singula quae celebrant primae Exemplaria classis Romani, Veneti, Parmenses, atque Bononi [ 515] Partibus in cunctis pedetentim atque ordine recto, Ut monitum suprà est vos expendisse juvabit.

Hos apud invenit Raphael miracula summo Ducta modo, Veneresque habuit quas nemo deinceps. [ 520] Quidquid erat formae scivit Bonarota potenter.

Iulius à puero Musarum eductus in Antris Aonias reseravit opes, Graphicaque Poësi Quae non visa priùs, sed tantùm audita Poëtis Ante oculos spectanda dedit Sacraria Phoebi: [ 525]

Quaeque coronatis complevit bella triumphis Heroüm fortuna potens, casusque decoros Nobilius reipsa antiqua pinxisse videtur.

Clarior ante alios Corregius extitit, ampla [ 530] Luce superfusa circum coëuntibus Umbris, Pingendique Modo grandi, & tractando Colore Corpora. Amicitiamque, gradusque, dolosque Colorum, Compagemque ita disposuit Titianus, ut inde Divus appellatus, magnis sit honoribus auctus [ 535] Fortunaeque bonis: Quos sedulus Annibal omnes In propriam mentem atque Modum mira arte coegit.

Plurimus inde labor Tabulas imitando juvabit Egregias, Operumque Typos; sed plura docebit [ LXXI] Natura ante oculos praesens; nam firmat & auget Vim Genii, ex illaque Artem Experientia complet. Multa supersileo quae commentaria dicent. [ 540]

Haec ego, dum memoror subitura volubilis aevi Cuncta vices, variisque olim peritura ruinis, Pauca Sophismata sum Graphica immortalibus ausus Credere Pieriis. Romae meditatus: ad Alpes [ 545] Dum super insanas moles inimicaque castra Borbonidum decus & vindex Lodoicus Avorum Fulminat ardenti dextrâ, Patriaeque resurgens Gallicus Alcides, premit Hispani ora Leonis. [ 549]

THE Art of Painting

*PAinting and Poesy are two Sisters, which are so like in all things, that they mu∣tually lend to each other both their Name and Office. One is call'd a dumb Poesy, and the other a speaking Picture. The Poets have never said any thing but what [ 5] they believ'd wou'd please the Ears. And it has been the constant endeavour of the Painters to give pleasure to the Eyes. In short, those things which the Poets have thought unworthy of their Pens, the Painters have judg'd to be unworthy of their Pencils. * For both of them, that they might contribute all within their power to the sacred Honours of Religion, have rais'd them∣selves [ 10] to Heaven, and, having found a free ad∣mission into the Palace of Iove himself, have en∣joy'd the sight and conversation of the Gods; whose Majesty they observe, and contemplate the wonders of their Discourse; in order to relate them to Mankind; whom at the same time they inspire with those Coelestial flames, which shine so gloriously in their Works. From Heaven they

take their passage through the world; and are neither sparing of their pains nor of their study to [ 15] collect whatsoever they find worthy of them. * They dive (as I may say) into all past Ages; and search their Histories, for Subjects which are proper for their use: with care avoiding to treat of any but those which, by their nobleness, or by some remarkable accident, have deserv'd to be consecrated to Eternity; whether on the Seas, or [ 20] Earth, or in the Heavens. And by this their care and study it comes to pass, that the glory of Heroes is not extinguish'd with their lives: and that those admirable works, those prodigies of skill, which even yet are the objects of our ad∣miration, are still preserv'd. *So much these Di∣vine Arts have been always honour'd: and such [ 25] authority they preserve amongst Mankind. It will not here be necessary to implore the succour of Apollo, and the Muses: for the gracefulness of the Discourse, or for the Cadence of the Verses: which containing only Precepts, have not so much need of Ornament, as of Perspicuity.

[ 30] I pretend not in this Treatise to tye the hands of Artists, whose skill consists only in a certain practice, or manner which they have affected; and made of it as it were a Common Road. Neither wou'd I stifle the Genius by a jumbled

heap of Rules: nor extinguish the fire of a vein which is lively and abundant. But rather to make this my business, that Art being strength∣ned by the knowledge of things, may at length pass into Nature by slow degrees; and so in pro∣cess [ 35] of time may be sublim'd into a pure Genius which is capable of choosing judiciously what is true; and of distinguishing betwixt the beauties of Nature, and that which is low and mean in her; and that this Original Genius by long exer∣cise and customs, may perfectly possess all the Rules and Secrets of that Art.

* The principal and most important part of Painting, is to find out and thoroughly to un∣derstand what Nature has made most beautifull, and most proper to this Art; * and that a choice of it may be made according to the gust and manner of the Ancients, * without which all is [ 40] nothing but a blind, and rash barbarity; which rejects what is most beautifull, and seems with an audacious insolence to despise an Art, of which it is wholly ignorant; which has occasion'd these words of the Ancients: That no man is so bold, so rash, and so overweening of his own works, as an ill Painter, and a bad Poet, who are not conscious to themselves of their own Ignorance.

[ 45] * We love what we understand; we desire what we love; we pursue the enjoyment of those things which we desire; and arrive at last to the possession of what we have pursu'd, if we con∣stantly persist in our Design. In the mean time, we ought not to expect that blind Fortune shou'd infallibly throw into our hands those Beauties: For though we may light by chance on some which are true and natural, yet they may prove either not to be decent or not to be ornamental. [ 50] Because it is not sufficient to imitate Nature in every circumstance, dully, and as it were literally, and meanly; but it becomes a Painter to take what is most beautifull, * as being the Soveraign Judge of his own Art; and that by the progress which he has made, he may understand how to correct his errours, and * permit no transient Beauties to escape his observation.

[ II] * In the same manner, that bare practice, de∣stitute of the Lights of Art, is always subject to fall into a precipice like a blind Traveller, with∣out [ 55] being able to produce any thing which con∣tributes to a solid reputation: So the speculative part of Painting, without the assistance of manual operation, can never attain to that perfection which is its object: But sloathfully languishes as in a Prison: for it was not with his Tongue that

Apelles perform'd his Noble Works. Therefore [ 60] though there are many things in Painting, of which no precise rules are to be given (* because the greatest Beauties cannot always be express'd for want of terms) yet I shall not omit to give some Precepts which I have selected from among the most considerable which we have receiv'd from Nature, that exact School-mistress, after ha∣ving examin'd her most secret recesses, as well as * those Master pieces of Antiquity, which were the first Examples of this Art: And, 'tis by this means that the mind, and the natural disposition [ 65] are to be cultivated; and that Science perfects Genius, * and also moderates that fury of the fancy, which cannot contain it self within the bounds of Reason; but often carries a man into dangerous extremes: For there is a mean in all things; and a certain measure, wherein the good and the beautifull consist; and out of which they never can depart.

This being premis'd, the next thing is to make [ III] choice of * a Subject beautifull and noble; which being of it self capable of all the charms [ 70] and graces, that Colours, and the elegance of Design can possibly give, shall afterwards afford, to a perfect and consummate Art, an ample field of matter wherein to expatiate it self; to exert all

its power, and to produce somewhat to the sight which is excellent, judicious, * and well sea∣son'd; and at the same time proper to instruct, and to enlighten the Understanding.

Thus at length I enter into the Subject-matter of my Discourse; and at first find only a bare strain'd Canvass: * on which the whole Machine (as it may be call'd) of the Picture is to be dis∣pos'd; and the imagination of a powerfull, and [ 75] easy Genius; * which is what we properly call Invention.

* INVENTION is a kind of Muse, which being possess'd of the other advantages common to her Sisters; and being warm'd by the fire of Apollo, is rais'd higher than the rest, and shines with a more glorious, and brighter flame.

[ IV] * 'Tis the business of a Painter, in his choice of Postures, to foresee the effect, and harmony of the Lights and Shadows, with the Colours which are to enter into the whole; taking from each of [ 80] them, that which will most conduce to the pro∣duction of a beautifull Effect.

[ V] * Let your Compositions be conformable to the Text of Ancient Authours, to Customs, and to Times.

* Take care that whatsoever makes nothing [ VI] to your Subject, and is improper to it, be not admitted into your Work, or not possess the chief place in it. But on this occasion, imi∣tate [ 85] the Sister of Painting, Tragedy: which em∣ploys the whole ••••orces of her Art in the main Action.

* This part of Painting, so rarely met with, and so difficult to be found, is neither to be ac∣quir'd by pains or study, nor by the Precepts or Counsels of any Master. For they alone who have been inspir'd at their birth with some por∣tion of that Heavenly fire * which was stollen [ 90] by Prometheus, are capable of receiving so divine a present. As the Proverb tells us, * that it hap∣pens not to every one to see Corinth.

Painting first appear'd in Egypt: but wholly different from the truth, till having travell'd into Greece, and being cultivated by the Study, and sublime Genius of that Nation, *it arriv'd at [ 95] length to that height of perfection, that it seem'd to surpass even Original nature.

Amongst the Academies, which were com∣pos'd by the rare Genius of those Great men, these four are reckon'd as the principal: namely, the Athenian School, that of Sicyon, that of Rhodes, and that of Corinth. These were little different

from each other, onely in the manner of their [ 100] work; as it may be seen by the Ancient Sta∣tues, which are the Rule of Beauty, and to which succeeding Ages have nothing that is equal: * Though they are not very much inferiour either in Science, or in the manner of their Exe∣cution.

[ VII] * A Posture therefore must be chosen accor∣ding to their gusto: * The Parts of it must be great * and large, * unequal in their position, so that those which are before must contrast (or [ 105] oppose) those others which are hindermost, and all of them be equally balanc'd on their Centre.

* The Parts must have their out-lines in waves resembling flames, or the gliding of a Snake up∣on the ground: They must be smooth, they must be great, they must be almost imperceptible to the touch, and even, without either Eminen∣ces [ 110] or Cavities. They must be drawn from far, and without breaks, to avoid the multiplicity of lines. Let the Muscles be well inserted and bound together * according to the knowledge of them which is given us by Anatomy. Let them be * design'd after the manner of the Grecians: and let them appear but little, according to what we see in the Ancient Figures. In fine, * let there be a perfect relation betwixt the parts and

the whole, that they may be entirely of a piece.

Let the part which produces another part, be [ 115] more strong than that which it produces; and let the whole be seen by one point of Sight. * Though Perspective cannot be call'd a certain rule or a finishing of the Picture, yet it is a great Succour and Relief to Art, and facilitates the means of Execution; Yet frequently falling into Errors, [ 120] and making us behold things under a false Aspect; for Bodies are not always represented according to the Geometrical plane, but such as they ap∣pear to the Sight.

Neither the Shape of Faces, nor the Age, [ VIII] nor the Colour ought to be alike in all Figures, any more than the Hair: because Men are as different [ 125] from each other, as the Regions in which they are born, are different.

* Let every Member be made for its own [ IX] head, and agree with it. And let all together compose but one Body, with the Draperies which are proper and suitable to it. And above all, let the Figures to which Art cannot give a voice, [ X] imitate the Mutes in their Actions.

* Let the principal Figure of the Subject ap∣pear [ 130] in the middle of the Piece under the strong∣est [ XI] Light, that it may have somewhat to make it more remarkable than the rest, and that the Fi∣gures

which accompany it, may not steal it from our Sight.

[ XII] * Let the Member be combin'd in the same manner as the Figures are, that is to say, coupled and knit together, And let the Grouppes be se∣parated by a void space, to avoid a confus'd heap; which proceeding from parts that are dis∣pers'd [ 135] without any Regularity, and entangled one within another, divides the Sight into many Rays, and causes a disagreeable Confusion.

[ XIII] * The Figures in the Grouppes, ought not to be like each other in their Motions, any more than in their Parts: nor to be all on the same side, [ 140] but let them contrast each other: bearing them∣selves on the one side, in Opposition to those which are set against them on the other.

Amongst many Figures which show their fore∣parts let there be some one whose hinder parts may be seen; opposing the Shoulders to the Stomach, and the right side to the left.

[ 145] * One side of the Picture must not be void, [ XIV] while the other is fill'd to the Borders; but let matters be so well dispos'd, that if one side of the Piece be full, the Painter shall find some oc∣casion [ 150] to fill the other; so that they shall appear in some sort equal whether there be many Figures in it, or but few.

* As a Play is very seldom good, [ XV] in which there are too many Actors, so 'tis very seldom seen and almost impossible to perform, that a Picture should be perfect in which there are too great a number of Figures. And we cannot wonder that so few Painters have succeeded who have introduc'd into [ 155] their works many Figures. Because indeed there are not many Painters to be found, who have succeeded happily, when even they have intro∣duc'd but few. Many dispers'd Objects breed confusion, and take away from the Picture that grave Majesty, that soft silence and repose, which give beauty to the Piece, and satisfaction to the sight. But if you are constrained by the subject, to admit of many figures, you must then [ 160] conceive the whole together; and the effect of the work at one view; and not every thing sepa∣rately and in particular. [ XVI]

* The extremities of the Ioints must be seldom [ XVII] hidden, and the extremities or end of the Feet ne∣ver.

* The Figures which are behind others, have neither Grace nor Vigor, unless the Motions of [ 165] the hands accompany those of the Head.

Avoid the views which are difficult to be found, [ XVIII] and are not natural, as also forc'd Actions and Motions. Show no parts which are ungracious

to the Sight, as all fore shortnings, usually are.

* Avoid also those Lines and Out-lines which are equal; which make Parallels, or other sharp [ 170] pointed and Geometrical Figures; such as are Squares and Triangles: all which by being too exact give to the Eye a certain displeasing Sym∣metry, which produces no good effect. But as I have already told you, the principal Lines ought to contrast each other: For which reason in these out-lines, you ought to have a special regard [ 175] to the whole together: for 'tis from thence that the Beauty and Force of the parts proceed.

[ XIX] * Be not so strictly ty'd to Nature, that you allow nothing to study, and the bent of your own Genius. But on the other side, believe not that your Genius alone, and the Remembrance of those things which you have seen, can afford you wherewithall to furnish out a beautifull Piece, without the Succour of that incomparable School∣mistress, Nature; * whom you must have al∣ways [ 180] present as a witness to the Truth. We may make a thousand Errors of all kinds; they are every-where to be found, and as thick set as Trees in Forests, and amongst many ways which mislead a Traveller, there is but one true one which conducts him surely to his Journey's end;

as also there are many several sorts of crooked lines; but there is one only which is straight.

Our business is to imitate the Beauties of Na∣ture, as the Ancients have done before us, and as [ 185] the Object and Nature of the thing require from [ XX] us. And for this reason we must be carefull in the search of Ancient Medals, Statues, Vases and Basso Relievo's: * And of all other things which discover to us the Thoughts and Inventions of the Graecians; because they furnish us with great I∣deas, and make our Productions wholly beautifull. [ 190] And in truth after having well examin'd them, we shall therein find so many Charms, that we shall pity the Destiny of our present Age without hope of ever arriving at so high a point of Perfe∣ction.

* If you have but one single Figure to work [ XXI] upon, you ought to make it perfectly finish'd and diversify'd and with many Colours.

* Let the Draperies be nobly spread upon the [ XXII] Body; let the Folds be large, * and let them fol∣low the order of the parts, that they may be seen [ 195] underneath, by means of the Lights and Shadows, notwithstanding that the parts should be often travers'd (or cross'd) by the flowing of the Folds which loosely incompass them, * without sitting too straight upon them, but let them mark the [ 200]

parts which are under them, so as in some man∣ner to distinguish them, by the judicious ordering of the Lights and Shadows. * And if the parts be too much distant from each other, so that there be void spaces, which are deeply shadow'd, we are then to take occasion to place in those voids some Fold to make a joining of the parts. * And as the Beauty of the Limbs consists not in the quantity and rising of the Muscles, but on the contrary, those which are less eminent have more [ 205] of Majesty than the others; in the same manner the beauty of the Draperies, consists not in the multitude of the folds, but in their natural or∣der, and plain simplicity. The quality of the persons is also to be consider'd in the Drapery. * As supposing them to be Magistrates, their Dra∣peries ought to be large and ample: If Country Clowns or Slaves they ought to be course and [ 210] short: * If Ladies or Damsels, light and soft. 'Tis sometimes requisite to draw out, as it were from the hollows and deep shadows, some Fold, and give it a Swelling, that receving the Light, it may contribute to extend the clearness to those places where the Body requires it; and by this means we shall disburthen the pie••••e of those hard Shadowings which are always ungracefull.

* The Marks or Ensigns of Vertues contribute [ 215] not little by their nobleness to the Ornament of [ XXIII] the Figures. Such, for example as are the Deco∣rations belonging to the Liberal Arts, to War or Sacrifices. * But let not the work be too much [ XXIV] enrich'd with Gold or Jewels, because the rarest are ever the dearest and most precious; and those which serve only to increase the number, are of the common sort, and of little value.

* 'Tis very expedient to make a Model of [ XXV] those things, which we have not in our Sight, and whose Nature is difficult to be retain'd in the Me∣mory. [ 220]

* We are to consider the places, where we [ XXVI] lay the scene of the Picture; the Countries where they were born whom we represent; the manner of their Actions, their Laws and Customs, and all that is properly belonging to them.

* Let a nobleness and grace be remarkable [ XXVII] through all your work. But to confess the truth, this is a most difficult undertaking; and a very rare Present which the Artist receives rather from the hand of Heaven, than from his own Industry and Studies.

In all things you are to follow the order of [ XXVIII] Nature, for which reason you must beware of drawing or painting Clouds, Winds and Thun∣der

[ 225] towards the bottom of your Piece; and Hell, and Waters, in the uppermost parts of it: You are not to place a Stone Column on a ••••oundation of Wood; but let every thing be set in its proper place.

[ 230] Besides all this, you are to express the moti∣ons [ XXIX] of the Spirits, and the affections or Passions whose Center is the Heart: In a word, to make the Soul visible, by the means of some few Co∣lours; * this is that in which the greatest difficulty consists. Few there are whom Iupiter regards with a favourable eye in this Undertaking. So that it appertains only to those few, who parti∣cipate [ 235] somewhat of Divinity it self, to work these mighty Wonders. 'Tis the business of Rhetori∣cians, to treat the characters of the Passions: and I shall content my self with repeating what an excellent Master has formerly said on this Subject, That the studied motions of the Soul, are never so na∣tural as those, which are as it were struck out of it on the sudden by the heat and violence of a real Passion.

[ 240] We are to have no manner of relish for Go∣thique [ XXX] Ornaments, as being in effect so many Monsters, which barbarous Ages have produc'd: during which, when Discord and Ambition caus'd by the too large extent of the Roman Empire, had produc'd Wars, Plagues and Famine through the

World, then I say, the stately Buildings fell to Ruin, and the nobleness of all beautifull Arts was totally extinguish'd; then it was that the admi∣rable [ 245] and almost supernatural Works of Painting were made fuel for the Fire: But that this won∣derfull Art might not wholly perish, * some Re∣liques of it took Sanctuary under ground, and thereby escap'd the common Destiny. And in the same profane age, the noble Sculpture was for a long time buried under the same Ruines, with all its beautifull Productions and admirable Sta∣tues. The Empire in the mean time under the weight of its proper Crimes and undeserving to enjoy the day, was invelop'd with a hideous night, [ 250] which plung'd it into an Abyss of errors, and co∣ver'd with a thick darkness of Ignorance those unhappy Ages, in just revenge of their Impieties: From hence it comes to pass, that the works of those great Graecians are wanting to us; nothing of their Painting and Colouring now remains to assist our modern Artists, either in the Invention, [ 255] or the manner of those Ancients; neither is there any man who is able to restore * the CHRO∣MATIQUE part or COLOURING, or to renew it to that point of excellency to which it had been carry'd by Zeuxis: who by this part which is so charming, so magical, and which so admi∣rably

deceives the sight, made himself equal [ 260] to the great Apelles, that Prince of Painters; and deserv'd that height of reputation which he still possesses in the World.

And as this part which we may call the Soul of Painting and its utmost perfection, is a deceiv∣ing Beauty, but withal soothing and pleasing: So she has been accus'd of procuring Lovers for * her Sister, and artfully ingaging us to admire her. But so little have this Prostitution, these false Colours, and this Deceit, dishonour'd Paint∣ing, [ 265] that on the contrary, they have only serv'd to set forth her Praise, and to make her merit far∣ther known, and therefore it will be profitable to us, to have a more clear understanding of what we call Colouring.

*The light produces all kinds of Colours, and the Shadow gives us none. The more a Body is nearer to the Eyes, and the more directly it is oppos'd to them, the more it is enlightn'd. Be∣cause the Light languishes and lessens the farther it removes from its proper Source.

[ 270] The nearer the Object is to the Eyes, and the more directly it is oppos'd to them, the better it is seen, because the Sight is weaken'd by distance.

'Tis therefore necessary that round Bodies, which [ XXXI] are seen one over against the other in a right An∣gle, should be of a livery and strong Colouring, and that the extremities turn, in losing them∣selves insensibly and confusedly, without preci∣pitating the Light all on the sudden into the Sha∣dow; or the Shadow into the Light. But the [ 275] passage of one into the other must be common and imperceptible, that is by degrees of Lights in∣to Shadows and of Shadows into Lights. And it is in conformity to these Principles that you ought to treat a whole Grouppe of Figures, though it be compos'd of several parts, in the same manner as you would do a single Head: or if your Com∣position [ 280] requires, that you should have two Grouppes, or even three (* which ought to be the most) in your Piece, take heed that they may be detach'd, that is separated or distinguish'd from each other by the Colours, the Lights and the Shadows, which are so dextrously to be manag'd, * that you may make the Bodies appear en∣lighten'd by the Shadows which bound the sight; which permit it not suddenly to go farther; and which cause it to repose for some space of time, and that reciprocally the Shadows may be made [ 285] sensible by enlightning your ground.

The raising and roundness of a Body, ought to be given it * in the same manner as we behold it in a Convex Mirrour, in which we view the Fi∣gures and all other things, which bear out with [ 290] more Life and strength than Nature it self. * And let those which turn, be of broken Colours, as being less distinguish'd, and nearer to the borders.

Thus the Painter and the Sculptor, are to work with one and the same intention, and with one and the same conduct. For what the Sculptor strikes off, and makes round with his instrument of Steel, the Painter performs with his Pencil; casting behind, that which he makes less visible [ 295] by the Diminution, and breaking of his Colours; and drawing forward by his most lively Colours and strongest Shadows, that which is directly op∣pos'd to the Sight, as being more sensible, and more distinguish'd, and at last enriching the naked Canvass, with such Colours as are borrow'd from [ 300] Nature; in the midst of which he seems to sit; and from thence with one glance of 〈◊〉〈◊〉 and without removing his seat, he takes 〈◊〉〈◊〉 part of her which she represents to his Sight, and turns as in a Machine about his work.

[ XXXII] When solid Bodie••••, sensible to the feeling, and dark, are plac'd on Light, and transparent grounds, as for example, The Heavens, the

Clouds and Waters, and every other thing which [ 305] is in Motion, and void of different Objects, they ought to be more rough and more distinguish∣able than that with which they are incompass'd, that being strengthen'd by the Lights and Sha∣dows, or by the more sensible Colours, they may subsist and preserve their Solidity amongst those aereal and transparent Species, and that on [ 310] the contrary those grounds which are, as we have said, the Sky, the clouds and the Waters being clearer and more united, may be thrown off from the Sight to a farther distance.

We are never to admit two equal Lights in the [ XXXIII] same Picture; but the greater Light must strike for∣cibly on the middle; and there extend its greatest clearness on those places of the Picture, where the principal Figures of it are, and where the strength [ 315] of the action is perform'd, diminishing by degrees as it comes nearer and nearer to the Borders; and after the same manner that the Light of the Sun languishes insensibly in its spreading from the East, from whence it begins, towards the West where it decays and vanishes; so the Light of the Picture being distributed over all the Co∣lours, will become less sensible the farther it is re∣mov'd [ 320] from its Original.

The experience of this is evident in those Sta∣tues which we see set up in the midst of Publique Places, whose upper parts are more enlighten'd than the lower; and therefore you are to imitate them in the distribution of your Lights.

Avoid strong Shadows on the middle of the Limbs; least the great quantity of black which composes those Shadows, should seem to enter [ 325] into them and to cut them: Rather take care to place those shadowings round about them, there∣by to heighten the parts, and take so advantage∣ous Lights, that after great Lights, great Sha∣dows may succeed. And therefore Titian said, with reason that he knew no better rule for the distribution of the Lights and shadows, than his Observations drawn from a *Bunch of Grapes.

[ 330] * Pure or unmix'd white either draws an ob∣ject [ XXXIV] nearer, or carries it off to farther distance: It draws it nearer with black, and throws it back∣ward without it. *But as for pure black, there is nothing which brings the object nearer to the Sight.

The light being alter'd by some Colour, ne∣ver fails to communicate somewhat of that Co∣lour to the Bodies on which it strikes, and the same effect is perform'd by the Medium of Air, through which it passes.

The Bodies which are close together, receive [ 335] from each other that Colour wich is opposite to [ XXV] them 〈◊〉〈◊〉 and reflect on each other that wich is na∣tur•••• and properly their own.

'Tis also consonant to reason, 〈…〉〈…〉 [ XXXVI] part of those Bodies which are under a Light, 〈◊〉〈◊〉 is extended and distributed equally through all, should participate of each others Colours. The Venetian School having a great regard for that Max∣im (which the Ancients call'd the Breaking of Colours) in the quantity of Figures with which they fill their Pictures, have always endeavour'd the Union of [ 340] Colours, for fear that being too different, they should come to incumber the Sight by their con∣fusion with their quantity of Members separated by their Folds, which are also in great number; and for this reason they have painted their Dra∣peries with Colours that are nearly related to each other, and have scarce distinguish'd them [ 345] any other way, than by the Diminution of the Lights and Shadows joining the contiguous Ob∣ject by the participation of their Colours, and thereby making a kind of Reconciliation or Friend∣ship betwixt the Lights and Shadows.

The less aereal space which there is betwixt us [ 350] and the Object, and the more pure the Air is, by so [ XXXVII] much the more the Species are preserv'd and di∣stinguish'd;

and on the contrary the more space of Air there is, and the less it is pure, so much the more the Object is confus'd and embroyl'd.

[ XXXVIII] Those objects which are plac'd foremost to the view, ought always to be more finish'd, than those which are cast behind; and ought to have dominion over those things which are confus'd and transient. *But let this be done relatively, [ 355] (viz.) one thing greater and stronger, casting the less behind and rendring it less sensible by its op∣position.

[ XXXIX] Those things which are remov'd to a distant view, though they are many, yet ought to make but one Mass; as for example the Leaves on the Trees, and the Billows in the Sea.

[ 360] Let not the Objects which ought to be conti∣guous [ XL] be separated, and let those which ought to be separated be apparently so to us; but let this be done by a small and pleasing difference.

[ XLI] * Let two contrary extremities never touch each other, either in Colour or in Light, but let there always be a Medium partaking both of the one and of the other.

[ XLII] Let the Bodies every-where be of different Tones and Colours; that those which are behind may be ty'd in Friendship together, and that those which are foremost may be strong and lively.

* 'Tis labour in vain to paint a High-noon, or [ 365] Mid-day light in your picture, because we have [ XLIII] no Colours which can sufficiently express it, but 'tis better counsel, to choose a weaker light; such as is that of the Evening, with which the Fields are gilded by the Sun; or a Morning-light, whose whiteness is allay'd: or that which appears after a Shower of Rain, which the Sun gives us through the breaking of a Cloud: or during Thunder, when the Clouds hide him from our [ 370] view, and make the light appear of a fiery colour.

Smooth bodies, such as Chrystals, polish'd [ XLIV] Metals, Wood, Bones, and stones; those which are cover'd with Hair, as Skins, the Beard, or the Hair of the Head; as also Feathers, Silks, and the Eyes, which are of a watery nature; and [ 375] those which are liquid, as Waters, and those cor∣poreal species, which we see reflected by them; and in fine, all that which touches them, or is near them, ought to be much painted and united∣ly on their lower parts, but touch'd boldly above by the light and shadows which are proper to them.

*Let the Field, or Ground of the Picture, be [ XLV] clean, free, transient, light, and well united with Colours which are of a friendly nature to each other; and of such a mixture, as there may [ 380]

be something in it of every colour that composes your work, as it were the contents of your Pa∣lette. And let the bodies mutually partake of the colour of their ground.

[ XLVI] *Let your Colours be lively, and yet not look (according to the Painter's Proverb) as if they had been rubb'd or sprinkled with meal: that is to say, let them not be pale.

*Let the parts which are nearest to us, and most rais'd, be strongly colour'd, and as it were sparkling; and let those parts which are more re∣mote from sight, and towards the borders, be more faintly touch'd.

[ 385] * Let there be so much harmony, or consent, or consent, [ XLVII] in the Masses of the Picture, that all the shadow∣ings may appear as if they were but one.

[ XLVII] Let the whole Picture be made of one piece, and avoid as much as possibly you can, to paint drily.

[ XLIX] *The Looking-glass will instruct you in ma∣ny Beauties, which you may observe from Na∣ture: so will also those objects which are seen in an Evening in a large prospect.

[ L] If you are to paint a half figure or a whole one, which is to be set before the other figures, it must be plac'd nearer to the view, and next the [ 390] light. And if it is to be painted, in a great place,

and at a distance from the Eyes; be sure on that occasion not to be sparing of great lights, the most lively colours, nor the strongest shadows. [ LI]

*As for a Portraict, or Pictures by the Life, you are to work precisely after Natu••••e, and to express what she shows you, working at the same time on those parts which are resembling to each other: As for example, the Eyes, the [ 395] Cheeks, the Nostrils and the Lips: so that you are to touch the one, as soon as you have given a stroke of the Pencil to the other, lest the inter∣ruption of time cause you to lose the Idea of one Part, which Nature has produc'd to resemble the other: and thus imitating Feature for Feature with a just and harmonious Composition of the lights and shadows, and of the colours, and giving to the Picture that liveliness which the freedom and force of the Pencil make appear, it may seem the living hand of Nature.

The works which are painted to be seen in [ LII] little or narrow places, must be very tender and well united with tones, and colours; the degrees of which ought to be more different, more une∣qual, and more strong and vigorous, as the work [ 400] is more distant: and if you make great figures, let them be strongly colour'd, and in very spaci∣ous places.

[ LIII] * You are to paint the most tenderly that pos∣sibly you can; and endeavour to lose insensibly the * large lights in the shadows which succeed them, and incompass them about.

[ LIV] If the Picture be set in a place which is enligh∣ten'd, but with a little light, the colours must [ 405] be very clear; as on the contrary very brown, if the place be strongly enlighten'd, or in the open Air.

[ LV] Remember to avoid objects which are full of hollows, broken in pieces, little, and which are separated, or in parcels: shun also those things which are barbarous, shocking to the Eye and party-colour'd, and all which is of an equal force of light and shadow: as also all things which are [ 410] obscene, impudent, filthy, unseemly, cruel, fan∣tastical, poor and wretched; those things which are sharp and rough to the feeling: In short, all things which corrupt their natural forms, by a confusion of their parts which are intangled in each other: For the Eyes have a horrour for those things which the Hands will not condescend to touch.

[ LVI] But while you endeavour to avoid one vice, be cautious lest you fall into another: for Vertue is [ 415] plac'd betwixt two extreams, which are on both sides equally blameable.

Those things which are beautiful in the ut∣most [ LVII] degree of Perfection, according to the Axi∣om of ancient Painters, * ought to have some∣what of greatness in them; and their out-lines to be noble: they must be disintangled, pure and without alteration, clean and knit together; com∣pos'd of great parts, yet those but few in num∣ber. In fine, distinguish'd by bold Colours; but [ 420] of such as are related, and friendly to each other: And as it is a common saying, that He who has [ LVIII] begun well, has already perform'd half his work; so * there is nothing more pernicious to a Youth, who is yet in the Elements of Painting, than to engage himself under the discipline of an igno∣rant Master; who depraves his taste, by an in∣finite number of mistakes; of which his wretched works are full, and thereby makes him drink the [ 425] poyson, which infects him through all his future life.

Let him who is yet but a Beginner, not make so much haste to study after Nature, every thing which he intends to imitate; as not in the mean time to learn Proportions, the connexion of the parts, and their out-lines: And let him first have [ 430] well examin'd the Excellent Originals, and have thoroughly studied all the sweet deceipts of his Art, which he must be rather taught by a know∣ing

Master, than by practice; and by seeing him perform, without being contented onely to hear him speak.

[ LIX] * Search whatsoever is aiding to your Art, and convenient, and avoid those things which are re∣pugnant to it.

[ LX] * Bodies of divers natures which are aggroup'd (or combin'd) together, are agreeable and plea∣sant [ 435] to the sight; * as also those things which appear to be perform'd with ease. Because they are ever full of Spirit, and seem animated with a kind of Coelestial fire: But we are not able to compass these things with facility, till we have for a long time weigh'd them in our judgment, and thoroughly consider'd them: By this means the Painter shall be enabled to conceal the pains, and study which his Art and work have cost him, under a pleasing sort of deceipt: For the great∣est secret which belongs to Art, is to hide it from the discovery of Spectatours.

Never give the least touch with your Pencil [ 440] [ LXI] till you have well examin'd your Design, and have settled your out-lines, * nor till you have present in your mind a perfect Idea of your work.

[ LXII] * Let the Eye be satisfy'd in the first place, even against and above all other reasons, which

beget difficulties in your Art, which of it self suffers none; and let the compass be rather in your Eyes than in your Hands.

* Profit your self by the Counsels of the know∣ing: [ 445] And do not arrogantly disdain to learn the [ LXIII] opinion of every man concerning your work. All men are blind as to their own productions; and no man is capable of judging in his own cause; but if you have no knowing friend, to [ 450] assist you with his advice, yet length of time will never fail; 'tis but letting some weeks pass over your Head, or at least some days, without looking on your work, and that intermission will faithful∣ly discover to you the faults, and beauties; yet suffer not your self to be carried away by the opi∣nions of the Vulgar, who often speak without knowledge; neither give up your self altogether to them, and abandon wholly your own Genius, so as lightly to change that which you have made: For he who has a windy Head, and flatters him∣self with the empty hope of deserving the praise of the common people, whose opinions are inconsi∣derate, and changeable, does but injure himself and pleases no man.

Since every Painter paints himself in his own works (so much is Nature accustom'd to produce her own likeness) 'tis advantageous to him to [ 455] [ LXIV]

know himself, * to the end that he may cultivate those Talents which make his Genius, and not unprofitably lose his time in endeavouring to gain that which she has refus'd him. As nei∣ther [ 460] Fruits have the taste, nor Flowers the beauty which is natural to them when they are transplan∣ted in a foreign soil, and are forc'd to bear be∣fore their season by an artificial heart: so 'tis in vain for the Painter to sweat over his works in spight of Nature and of Genius; for without them 'tis impossible for him to succeed.

[ LXV] * While you meditate on these truths, and observe them diligently, by making necessary re∣flections on them; let the labour of the Hand accompany the study of the Brain; let the for∣mer second and support the latter; yet without [ 465] blunting the sharpness of your Genius; and aba∣ting of its vigour by too much assiduity.

[ LXVI] * The Morning is the best, and most proper part of the day for your business; employ it therefore in the study and exercise of those things [ LXVII] which require the greatest pains and application.

[ LXVIII] * Let no day pass over you without a line.

Observe as you walk the Streets, the Airs of Heads; the natural Posturs and Expressions; [ 470] which are always the most free the less they seem to be observ'd.

* Be ready to put into your Table-book [ LXIX] (which you must always carry about you) what∣soever you judge worthy of it; whether it be up∣on the Earth, or in the Air, or upon the Waters, while the Species of them is yet fresh in your I∣magination.

* Wine and good Cheer are no great Friends [ 475] to painting, they serve only to recreate the Mind, when 'tis opprest and spent with Labour; then indeed 'tis proper to renew your Vigour by the conversation of your Friends: Neither is a true Painter naturally pleas'd with the fatigue of busi∣ness, and particularly of the Law, but delights in the liberty which belongs to the Batchelour's Estate. Painting naturally withdraws from Noise and Tumult, and pleases it self in the en∣joyment of a Country Retirement: because Si∣lence [ 480] and Solitude set an edge upon the Genius, and cause a greater Application to work and stu∣dy, and also serve to produce the Ideas, which, so conceiv'd, will be always present in the M••••nd, even to the finishing of the work; the whole com∣pass of which, the Painter can at that time more commodiously form to himself than at any other.

* Let not the covetous design of growing rich, [ 485] induce you to ruin your reputation, but rather sa∣tisfy your self with a moderate fortune; and let

your Thoughts be wholly taken up with acqui∣ring to your self a glorious Name, which can ne∣ver perish, but with the World, and make that the recompence of your worthy Labours.

* The qualities requisite to form an excellent Painter, are, a true discerning Judgment; a Mind which is docible, a noble Heart, a sublime Sense [ 490] of things, and Fervour of Soul; after which fol∣low, Health of Body, handsomeness, a conveni∣ent share of Fortune, Youth, Diligence, an affe∣ction for the Art, and to be bred under the disci∣pline of a knowing Master.

And remember, that whatsoever your Subject be, whether of your own Choice, or what chance or good fortune shall put into your hand, if you have not that Genius or natural Inclination, which your Art requires, you shall never arrive to per∣fection in it, even with all those great advantages which I have mention'd; for the Wit, and the manual operation are things vastly distant from each other. 'Tis the Influence of your Stars, and the happiness of your Genius, to which you must be oblig'd for the greatest Beauties of your Art.

[ 495] Nay, even your excellencies sometimes will not pass for such in the opinion of the learned, but only as things which have less of Error in them, for no man sees his own failings; and Life is so

short, that it is not sufficient for so long an Art. Our strength fails us in our old Age, when we begin to know somewhat: Age oppresses us by the same degrees that it instructs us, and permits not that our mortal Members which are frozen with our years, should retain the Vigor and Spi∣rits of our Youth.

* Take courage therefore, O ye Noble Youths! [ 500] you legitimate Off-spring of Minerva, who are born under the influence of a happy Planet, and warm'd with a Celestial Fire, which attracts you to the Love of Science; exercise while you are young, your whole forces, and employ them with delight in an Art which requires a whole Painter. Exercise them I say, while your boyl∣ing Youth supplies you with Strength, and furni∣shes [ 505] you with Quickness and with Vigour; while your Mind, yet pure and void of Error, has not taken any ill habitude to vice, while yet your Spi∣rits are inflam'd with the Thirst of Novelties, and your Mind is fill'd with the first Species of things which present themselves to a young Imaginati∣on, which it gives in keeping to your Memory; and which your Memory retains for length of time, by reason of the moisture wherewith at that Age the Brain abounds: * you will do well [ LXX] to begin with Geometry, and after having made

some progress it it, * set your self on designing [ 510] after the Ancient Greeks, * and cease not day or night from labour, till by your continual practice you have gain'd an easy habitude of imitating them in their invention, and in their manner. * And when afterwards your judgment shall grow stronger, and come to its maturity with years, it will be very necessary to see and examine one after the other, and part by part, those works [ 515] which have given so great a Reputation to the Masters of the first form in pursuit of that Me∣thod, which we have taught you here above, and according to the Rules which we have given you; such are the Romans, the Venetians, the Parmesans, and the Bologneses. Amongst those excellent Persons, Raphael had the Talent of In∣vention [ 520] for his share, by which he made as ma∣ny Miracles as he made Pictures. In which is observ'd * a certain Grace which was wholly na∣tural and peculiar to him, and which none since him have been able to appropriate to themselves. Michael Angelo possess'd powerfully the part of Design, above all others. * Iulio Romano (edu∣cated from his childhood among the Muses) has open'd to us the Treasures of Parnassus and in the Poetry of Painting has discover'd to our Eyes the [ 525] most sacred Mysteries of Apollo, and all the rarest

Ornaments which that God is capable of commu∣cating to those works that he inspires, which we knew not before, but only by the Recital that the Poets made of them; he seems to have painted those famous Wars which He∣roes have wag'd, and ended with Victory over crown'd Heads, whom they have led in tri∣umph; and those other glorious Events which Fortune has caus'd in all ages, even with more Magnificence and Nobleness, than when they were acted in the World. Correggio has made his Memory immortal by the Strength and Vi∣gour [ 530] he has given to his Figures, and by sweet∣ning his Lights and Shadows, and melting them into each other so happily, that they are even im∣perceptible. He is also almost single in the great manner of his Painting, and the Facility he had in the managing of his Colours. And Titian under∣stood so well the Union of the Masses, and the Bo∣dies of Colours, the Harmony of the Tones, and the Disposition of the whole together, that he has deserv'd those Honours, and that wealth which were heap'd upon him, together with that at∣tribute of being surnam'd the Divine Painter. The laborious and diligent Annibal Carracci, has [ 535] taken from all those great Persons already men∣tion'd, whatsoever excellencies he found in them,

and, as it were, converted their Nourishment in∣to his own Substance.

[ LXXI] 'Tis a great means of profiting your self to co∣py diligently those excellent Pieces, and those beautifull designs; But Nature which is present before your Eyes, is yet a better Mistress: For she augments the Force and Vigour of the Geni∣us, and she it is from whom Art derives her ulti∣mate [ 540] perfection by the means of sure Experience; * I pass in silence many things which will be more amply treated in the ensuing Commentary.

And now considering that all things are sub∣ject to the vicissitude of Time, and that they are liable to Destruction by several ways, I thought I might reasonably take the boldness * to intrust to the Muses (those lovely and immortal Sisters of painting) these few Precepts which I have here made and collected of that Art.

[ 545] I employ'd my time in the study of this work at Rome, while the honour of the Bourbon Fami∣ly, and the just Avenger of his injur'd Ancestors, the Victorious Lovis▪ was darting his Thunder on the Alpes, and causing his Enemies to feel the force of his unconquerable Arms, while he like another Gallique Hercules, born for the benefit and Honour of his Country, was griping the Spa∣nish [ 549] Geryon by the Throat, and at the point of strangling him.

Notes

• Primum Prae∣ceptum. De Pulchro.
• Praecep∣tum. De Speculati∣one & Praxi.
• Praecep∣tum. De Argu∣mento.
• INVEN∣TIO prima Pictu∣rae pars.
• Dispositio, si∣ve operis to∣tius Oecono∣mia.
• Fidelitas Ar∣gumenti.
• Inane rejici∣••••ndum.
• GRAPHIS seu Positura, Secunda Pi∣cturae pars.
• Varietas in Figuris.
• Figura situna cum Mem∣bris & Vesti∣bus
• Mutorum a∣ctiones imi∣tandae.
• Figura Prin∣c••••ps.
• Figurarum Globiseu Cu∣muli.
• Positurorum di••••ersitas in cumulis.
• Tabulaelibra∣mentum.
• Numerus Fi∣gurarum.
• Internodia & Pedes exhi∣bendi.
• Motusmanu∣um motui ca∣pitis jungen∣dus.
• Quaefugienda in Distributi∣one & Com∣positione.
• NaturaGenlo accommo∣danda.
• Signa Anti∣qua Naturae modum con∣stituunt.
• Sola Figura quomodotra∣ctanda.
• Quid in Pan∣nis observan∣dum.
• Quid mul∣tu•••• conferat ad•••• abulae or∣namentum.
• Ornamen∣tum Auri & Gemmarum.
• Prototypus.
• Convenientia rerum cum Scena.
• Charites & Nobilitas.
• Res quaeque locum suum teneat.
• Affectus.
• Gotthorum ornamenta fugienda.
• CHROMA∣TICE Tertia pars Picturae.
• Tonorum, Luminum & Umbrarum ratio.
• Corpora den∣sa & opaca cum translu∣centibus.
• Non duo ex Coelo Lumi∣na in Tabu∣lam aequalia.
• Album & N••••grum.
• Colorum re∣flectio.
• Unio Colo∣rum.
• Aer interpo∣situs.
• Distantia∣rum Relatio.
• Corpora pro∣cul distantia.
• Contigua & Dissita.
• Contraria ex∣trema fugi∣enda.
• Tonus & Color varii.
• Luminis de∣lectus.
• Quaedam circa Praxim.
• Campus Ta∣bulae.
• Color vivi∣dus, non ta∣men pallidus.
• Umbra.
• Ex una Pa∣tella sit Ta∣bula.
• Speculum Pictorum Magister.
• Dimidia Fi∣gura vel in∣tegra ante alias.
• E••••igies.
• Locus Ta∣bulae.
• Lumina lata.
• Quantitas Luminis loci in quo Tabu∣la est expo∣nenda.
• Errores & vi∣tia Picturae.
• Prudentia in Pictore.
• Elegantium Idaea Tabula∣rum.
• Pictor Tyro.
• Ars debet ser∣vire Pictori, non Pictor Arti.
• Oculosrecre∣ant diversitas & Operis fa∣cilitas, quae speciatim Ars dicitur.
• Archetypus in mente, A∣pographum in tela.
• Circinusin o∣culis.
• Superbia pi∣ctori nocet plurimúm.
• 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉.
• Quod ment•••• conceperis manu com∣proba.
• Matutinum tempus La∣bori aptum.
• Singulis die∣bus aliquid faciendum.
• Affectus in∣observati & naturales.
• Non desint ••••ugillares.
• Ordo Studio∣rum.
• Natura & Experientia Artem perfi∣ciunt.
• The Passages which you see mark'd with an Asterism * are more am∣ply explain'd in the Re∣marks.
• Precept I. Of what is Beautifull.
• Of Theory, and Practice.
• Concerning the Subject.
• Invention the first part of Painting.
• The Disposi∣tion or Oeco∣nomy of the whole Work.
• The faithful∣ness of the Subject.
• Whatsoever palls the Sub∣ject to be re∣jected.
• Design, the second part of Painting.
• Variety in the Figures.
• The Member••••s and Drapery of every Fi∣gure to be sui∣table to it.
• The Actions of Mutes to be imitated.
• Of the princi∣pal Figure of the Subject.
• Grouppes of Figures.
• The diversity of postures in the Grouppes.
• Equality of the piece.
• Of the num∣ber of Fi∣gures.
• Of the Joints and Feet.
• The motions of the hands and head must a∣gree.
• What must be avoided in the distribution of the Figures.
• That we must not tie our selves to Nature, but accommodate her to our Ge∣nius.
• Ancient Fi∣gures the rules of imitating Nature.
• A single Fi∣gure how to be treated.
• Of the Dra∣peries.
• What things contribute to adorn the Pi∣cture.
• Of precious Stones and Pearls for or∣nament.
• The Model.
• The Scene of the Picture.
• The Graces and the No∣bleness.
• Let every thing be set in its proper place.
• Of the Passi∣ons.
• Gothique Or∣naments are to be avoided.
• Colouring the third part of Painting.
• 〈…〉〈…〉
• Of dark Bo∣dies on light grounds.
• 〈…〉〈…〉
• Of White and Black.
• The reflection of Colours.
• 〈…〉〈…〉
• Of the Inter∣position of Air.
• The relation of Distances.
• Of Bodies which are di∣stanced.
• Of Bodies which are con∣tiguous, and of those which are separated.
• Contrary ex∣tremities to be avoided.
• Diversity of Tones and Co∣lours.
• The choice of Light.
• Of certain things rela∣ting to the practical part.
• The field or ground of the Picture.
• Of the vi••••∣city of Co∣lours.
• Of Shadows.
• The Picture to be of one piece.
• The Looking-glass the Pain∣ter's best Master.
• An half fi∣gure, or a whole one, be∣fore others.
• A Portraict.
• The place of the Picture.
• Large Lights.
• What Lights are requisite.
• Things which are vicious in painting to be avoided.
• The pruden∣tial part of a Painter.
• The Idea of a beautifull piece.
• Advice to a young Pain∣ter.
• Art must be subservient to the Painter.
• Diversity and facility are pleasing.
• The Original must be in the Head, and the Copy on the Cloth.
• The Compass to be in the Eyes.
• Pride an E∣nemy to good Painting.
• Know your self.
• Perpetually practise, and do easily what you have con∣ceiv'd.
• The Morning most proper for work.
• Every day do something.
• The Passions which are true and na∣tural.
• Of Table-books.
• The method of Studies for a young Paint∣er.
• Nature and Experience perfect Art.