Graphice. The use of the pen and pensil. Or, the most excellent art of painting : in two parts. / By William Sanderson, Esq;

GRAPHICE: OR The use of the Pen and Pensil; In the most Excellent Art of PAINTING.

* 1.1 THe most excellent use of the Penn, and Pen∣sil, is illustrated by the admirable Art of Drawing, and Painting; and perfectly defi∣ned, to be the Imitation of the Surface of Na∣ture, in Proportion and Colour.

By Mathematicall Demonstration of Globes, Spheres, Charts, Mapps, Cosmographicall, Geogra∣phicall, Chorographicall, and Hydrographicall.

Or, by particular description of Plotts, Fortifications, Formes of Batalia's, Scituation of Townes, Castles, Forts, Lands, Rocks, Mountaines, Seas, Ilands, Rivers.

Or, by shapes of Creatures; Men, and Beasts; Birds, and Fishes.

Or, by Vegetables; Fruits, Flowers, Hearbs.

In all, it preferrs likenesse to the Life, and conserves it, af∣ter Death; and altogether by the Sense of Seeing.

Of the Five Senses.

THe number of Senses, in this Microcosm, or little world of Man, do correspond to the first Bodies, in the great World, as

• ...* 1.2 Sight, to the Heavens.
• Smelling, to the Fire.
• Hearing, to the Ayre.
• Tasting to the VVater.
• Touching, to the Earth.

I have lamented the defect, that most Men mis-understand the true use and perfections of the senses; when the advan∣tage of our Reason prefers us before ordinary Creatures, that enjoy them in common.

How many men that have Organs, and de hear, yet can∣not distinguish the Excellency of Musicall sounds, and find not the defect?

As many, who have the sense of Touching, that labour not their hands to the things that are good.

Those that can smell, yet professe their ignorance in the de∣licacy of sweet Odours; and conceive no more benefit thereby, than others, who are satisfied with a stinck.

To cram the Belly, & fill the gutt, diseaseth Nature, without apprehension of health in a choyce diet, or, in difference of Tasts

And there are severall notorious degrees of sin depending on the extream fruition of those Fower, which taints both body and mind with impurity.

* 1.3 But in my Opinion, the whole World, and all the formes of Nature may be safely comprehended, by the royalty of exter∣nall sight, (There being a Lordship of the Eye, which as it is a range∣ing, impetuous, and usurping Sense, can indure no narrow circum∣scription, but must be fed with extent and variety to the glory of the Creatour,) and yet without prejudice to the reasonable Crea∣ture) except in the mis-use of looking with Lust, after that, w^ch is none of his, Lasci••iously, Covetuously, Superstitiously; To which possibilitie of Mis-application, not onely, those Semi∣liberall Arts, but the highest perfections, and endowments of Na∣ture, are subject; Nay Religion it selfe. Therefore

Ab Abuti, ad non-Uti, negatur consequentia.

* 1.4 Of the Excellency of Sight.

BUt, Sight deserves, a higher, and a more mysterious consi∣deration, and therefore, let us compare the difference, with other Senses.

The State of sense may be devided into two parts; Inward, and outward; commodity, and necessity; Soul, and Body: but, as the soul is more excellent, then the body, so the sense that pro∣fits the soul, is to be more esteemed then those, that are need∣full for the body; because it is better to be well, then simply to be.

The Soul of man, (that most perfect forme of the Creator) not consisting of matter, or subject to division, and so by conse∣quence, whole in all the body, and wholly in every part: Yet, in every respect, the noblest powers thereof are more eminent, in distinct places; some have lodg'd and bounded the limits with∣in the compasse of One Member of the Brain, (the magnifi∣cent stately Turret of the soul,) wherein is placed Reason,

the Soveraign power of the Soul,) as the Messengers of understan∣ding. The Eyes, Ears, Nose, Tongue, (Guards and Servants to Reason) placed in the head, as ne••r att••ndants.

The externall Senses are but five because of the five sorts of Objects, either unto Colour, Sound, Smell, Taste; or to those Qua∣lities whereabout Touching is conversant. Seeing and Hea∣ring are the most pleasurable; Sensus Jucunditatis▪ The other more Practicall; these more contemplative: Those, Sensus Disciplinae; these are Mentis, Noeticall.

* 1.5 The excellency of Sight, is especially, in four things.

1. Variety of objects; which it presents to the Soul.

2. It's meanes of Operation; altogether Spirituall.

3. In respect of its particular object, Light; the most Noble Quality that God hath created.

4. In respect of the certainty, of his Action.

(In a word; all things, under the first Moveable Orbe, are subject to the power of sight.)

For the first; all Naturall Bodies, are Visible; but all are not effectuall, to other Senses. Heaven, (the World's Ornament) is not to be touched; Harmony of the Spheres, not to be Heard; No taste in the Earth, or Fire; All these may be Seen.

* 1.6 Sight, besides his own proper Object (Colour), hath infinite others, as Magnitude, Number, Proportion, Motion, Rest, Scitua∣tion, Distance: And therefore called, the sense of Invention of all Arts, and Sciences.

And all the skill in deep Astronomie, Is to the Soul derived by the eye.

Philosophie was begot, by admiring of Things; Admiration, from Sight of excellent things; the Mind, raised up and ravi∣shed, with the consideration thereof, desirous to know the cause, began to play the Philosopher.

* 1.7 Secondly, Sight is the Sense of our Blessednesse, as it brings us, to the knowledge of God. The Invisible things of God, are mani∣fested to us, by the visible. Infinity cannot be known, but by his effects.

Set on work this Noble Sense, to view and consider the Excellencie of the Workmanship, of the Great Creatour; the Heavens, and the glory thereof, in Proportion, and Colour; the Beauty of the Surface of the Earth, and the Creatures there∣on. Consider Man, the Wonder, and utmost indevour of Na∣ture. so that the Prophet-Singer cryed out; How secret and wonderfull am I made!

* 1.8 Thirdly, it is endowed with the goodliest qualitie in the World, Light, The Heavens off-spring, the eldect daughter of God, Fiat Lux the first dayes creation. Common, as in∣different to all; best known of us, (for other Naturall Bodies

consist of mixt Colours. It discovers it selfe in the modesty of a morning Blush, and opens it's fair and virgin eye-lids in the dawning of the day, shine out in its Noon-daye's glory. It twinckles in a Star; Blazes and glares out in a Comet; frisks and dances in a Jewell; dissembles in a Glow-worm; Epitomises and abbreviates its self in a spark; Ruddy in the yolke of the Fire, pale and consuming in a Candle.

Thus described in old Rime.

Light, the Grand-child to the Glorious Sun, Opens the Casement of the Rosie Morn; Makes the abashed Heavens, soon to shun The ugly darknesse, it imbrace'd beforn. This, a true Looking-glass, impartiall, Where Beauties-self, her self doth beautifie, With Native hue, not Artificiall; Discovering falsehood, opens verity. The day's bright-eye; Colour's distinction; Best judge, of measure and proportion; The only means, by which, each mortall eye, Sends Messengers to the wide firmament: That to the longing Soul brings presently High contemplation, and deep wonderment: By which aspiring, she, her wings displayes, And, her-self thither, whence she came, Up-rayes.

It performeth his Office, at an instant, though far distant, without moving it self. And as the understanding part of the mind, receiveth from the Imagination, the forms of Things naked, and void of substance; So the sight is the subject of Forms without a Body; which are called, Intentio∣nalls.

It comprehends Universality, without pestering any room or place contained: the largest Mountains, enter at once un∣diminished, through the Apple of the Eye, without straitness of entrance.

It judgeth, at one instant of two Contraries, White and Black, and distinguisheth them; the knowledge of the one, No impeachment to the knowledge of the other; being that, of what the other Senses are not capable. It receives at One instant, the circumference of the World; But the other Senses move by entercourse of Time; the reason why we see Lightning, be∣fore we hear the Thunder; being neither of them made before or af∣ter another.

It hath a kind of liberty, which Nature hath denyed to the other Senses; The eares are alwaies open; so is the Nose; the skinne alwayes subject to cold and heat, and other injuries of the aire: but the eye, opens and shuts, at pleasure.

* 1.9 Fourthly, it is the most infallible Sense; which least deceives being ten times of more certainty, than hear-say; as between truth and falshood.

According to the French Proverb.

Ce qu' on voit est plus certain que cequ' on oit.

Horace saith, Oculis potiùs credendum, quàm auribus.

The Prophets confirm their Sayings, by the Sight (Visions) as most true; It is the form, and perfection of man: by it, we draw neer to the divine Nature, seeming that we are born, only to see▪

* 1.10 The Eyes, the Looking-glasses of Nature: Consider the beau∣ty, and excellency thereof, from severall Objects: Behold the spangled Canopie of Heaven by Night: the watry Clouds, by day, with excellent Colours, and Shadows of the Sun's re∣flection: The wonderfull painted Rainbow: The glorious ap∣pearing of the Morning Lamp of Light: the golden rayes, round about him, spreading a faint and trembling Light, upon the stickering and gilden waves: How, his shadows lessen at Noon-tide; and how they increase towards eve∣ning, and at the burning ruddy Sun-set.

To view, the Towring tops of Mountains, unaccessable Rocks, with ridgie extents, or suddain fractions, by some stee∣py abruptnesse: Here a vally, so large, that at the end of the plain, it seems to meet Heaven; there a Grove, and here a Green pleasant Arbours; rows of Trees, spreading their clasping arms, like gentle lovers imbracing each, with intricate wea∣vings; gently swelling Hillocks; high delightfull plaines; flowry meddows, pleasant streams; naturall fountains, gushing waters down the rocks.

Stately Cities; famous Towers; large Bridges; spiring Steeples; intermixed with Orchards, Gardens, Walks; and what not of these kinds, that delights the mind of Man?

Consider the shapes of each severall Creatures; from the Elephant to the Emet: the admirable and absolute perfections of each Limb; the beautifull Colours of Birds; silver skaled-fi∣shes; wonderfull forms of worms, and creeping things.

And all these to praise the Lord, for his mercy endures for ever.

Of the Excellency of Sight, in the Art of Painting.

HAving said thus much in generall: Let us draw down to our particular use of this Sense, first to be apprehen∣ded by speculative knowledge, in the Art of Designing, Draw∣ing, and Painting, which comprehends It: when lights and shadows, (set out by Art, to counterfeite Nature) give the

workman the excellency of representing in proportion and Colour, what ere Nature hath produced. Nay more, de∣scribed into form, what ere can be uttered by speech of ano∣ther, or to be imagined, by his own fancy.

Of a Landskip.

* 1.11 VVHat a large scope of severall objects, are dayly of∣fered to delight the wearied travailler, when with true judgment, he beholds the variety of Nature, and the Ar∣tifice thereof, within the Landskip of his Horizon in a well chosen Prospect?

Give me leave to describe unto you, a Landskip; by which, and many such like you may apprehend with delight, the excellency, of a journy by land, or voyage by Sea, Which commonly, are either not observed with judgment, or soon lost to memory, for lack of Art to put them into form, and Colour.

* 1.12 For example; An English Gentleman, of singular ingenuity, came to Naples by Sea, at the instant, of a strange accident without the Citty: The report whereof amazed the people, into suddain fear; Yet curious they were, to behold that, which they apprehended, horrid: Each one, crouding for∣ward, to pull back his Neighbour; disorderly Number, stopt their haste, so that, they stuck fast in the Gate. Only this Stranger, whose single discretion taught him, alwayes, to avoid a Tumult; and now shewed him the way, to creep out at a Wicket.

* 1.13 He soon discovered the cause; casting his eyes up to the view, of the Towring Hill, Vesuvius, from whose Base, the fruitfull vallyes, trend down to the Strond of a River, refresh∣ing this Citty.

This double topp'd Mountain, had one Speer burnt, in time of Pliny, by which meanes, (that Rocky part dissevered into fractions) there appeared, rare reflections of Lights, and sha∣dows, occasioned from a fearfull Fire of the other Speer, now flaming up into the Clouds.

Sometimes, with blazing flash to frighten Heaven, instantly quencht by a crouding vapour, as darke as Hell: And yet each raging quality stinted by Him, that in a bounded measure, preserves all from destruction. These objects (unequally mixt) expressed such glaring variety of Colours, as two con∣traryes, Light, and Darke in opposition, usually doe pro∣duce. * 1.14

So had he seen (he said), a sight at Sea; a Ship so gallant never plow'd the waves, but she, and our brave Soveraign; when in the

moment of a twinckling eye, the Wretchlesse Swabber, with a Lint∣stock-match, tin'ds but some powder for his knavish crack, which kindled all on fire;

So q••i••k is Sulphur, that the sound and sight Soon into Air dissolv'd the fabrick quite.

But now his sight, dim'd with much gazing, and his Eye∣lids wearied, wi••h force of long looking up-wards, of them selves took ease, to descend.

(So did his thoughts, in an humble consideration, of the Naturall Cause, Sulphurous matter, many ages past, pent in for a time, and now (fired with heat) burst out into this fury. Which, though not seldom hapning in hot Conntries, yet to his sense, the more rare, that never saw the like.)

* 1.15When suddainly he seemed ravished, with the most plea∣sing Prospect of Nature, and Art, mixt with accidents of divers manner, such as possibly might delight him;

* 1.16 It took its Scite, at the entrance of Naples, from the Val∣lyes; where the coole streams of—gently pass; seeming then, a preservative Element, of powerfull contrariety to quench the raging Fire with turnings and windings, on the right hand, so far as the Countries of Apulia, six Leagues off.

* 1.17 Over this River is raised a stone-Bridge of antiquity, more then splendor, yet fair enough, with sixe locks, or vaults, through which, the water runns, not too quick on purpose to delight you; but murmuring down on the left hand, to a single Pile of Red-marble; partly ruined, more by Warre, then time; and yet of some Antiquity, by the remnant of Pillars, Pedestalls, Cornices, and such like, of old Tuscan, and Dorique Sculpture.

* 1.18 Neer unto an Orchard of Palms, and Sicamours, where, un∣der an ample Arch, the River seems convayed to utter losse of all, but imagination.

* 1.19 A world of people, from far, filled the Bridge, with haste; being come to secure themselves, their goods and cattell: Those of Quality rod, pranzing on their Gennets; not too fast, being fettered, within a flock of Sheep.

The good Man and his VVife, load their own backs, to save their Bedds, leading their Infants, frightned with the Fire.

The poor Asse now beares his Burthen, not in vain, being driven from danger, as concern'd in the Interest, as well as the wiser sort, who govern'd the Beast.

The Wagoner, whips on his wearied Jades, who yet, huye so fast, that they tread, on Horses heels.

Fearfull apprehensions scare them all, that follow in a Train, beyond the comprehension of Sight; and untill from

severall degrees of dimensions, each Creature seems contracted into Shapes, almost of Atomes.

* 1.20 These Multitudes, fled from Torre, del Greco, and Nunciato, two pleasant Towns, seated upon this River, appearing so far distant from the eye, as usually, the Judgment assists the Sight, to distinguish them into Buildings.

Before these Towns, anchored two Neapolitan Gallyes, sent thither to receive the people, and their goods aboard, from the destruction of stones and ashes, disgorged by force of the fire, and which the violence of the Rock-water stream, hurried down from the top of the Hill, overwhelming these Villages, almost as a Cover; the suffocating heat of this rubbish, more fearfull then any Fire.

Behind these you might discern, the rising sallow-fields, here and there, mixt with trees, and hedge-rows.

* 1.21 Beyond them, the proud Hills, covered with whitenesse of S••ow, which the Sun-beams exprest, like Silver Towrs, that reached up, to the next Region.

* 1.22 Then on the left hand view, you might behold, (Sun a••d wind cleering that side) the whole Vale grac'd with severall structures, and buildings, heer and farther off.

Here, and there, the stately Pines, overtopping their Tops, naturally intermingled with Cedars, and Citrons.

* 1.23 From these, your sight (ascending the rise of the Hill) becomes ravished, with pleasant Gardens, and Orchards; beautifull rowes and walkes of Trees, gracefully high and large; Here vineyards of Grapes; there Groves of Granadoes, Citrons, Pome∣granes, Figges, and Olives, and other Fruits without Num∣ber.

* 1.24 These reach so farre, untill your sight is lost, into the Edge and Circle of an Horison, where Heaven and Earth, beget a wonder, This in contemplation covets to mount, That, in affec∣tion, willingly descends, untill with joynt imbraces (like two reconciled Lovers) kisse each other into everlasting kindness, Terram Coelo miscere.

* 1.25 Neer hand, a Loader, following the heels of his Horse; and to spare his overmuch burthen, the good old man, in charity to his Beast, takes part of the paines, and stoops his own ben∣ded Back, with the remaine of the carriage.

Not farre before him, trots another, ready to climb the mounting ground, and to ease himself, the poor Jade, spares his pace; but two rustique Swains, hard hearted drivers, (or else in more ha••te, than good speed) both of them beate him.

Beyond them, you may perceive two more; one hastning for∣ward, the other returning; their businesse belike, of more con∣cernment,

than to salute; though the narrownesse of the way, necessitates them to meet.

And thus the Traveller, having long time looked over these objects; he turnes his back from all, with religious Contempla∣tion: That in such varieties of Prospect; contrarieties in Na∣ture and affection; Fire and Water; Hills and Vales, barren and fruitfull; Trees, and Medows; Heaven, and Earth; all should concurre in beautifull Objects, and Ornaments of delight, to Gods glory, and content to the Creature.

* 1.26 VVhen loe, he espies a Neopolitan gallant, caressing his Curtizan; she was handsome, he was not so; and yet the custome of the Country, taught him boldness, to court her, into more then ordinary kindness; which no doubt, in depen∣dence thereto, was soon after, put into practice, when the opening of the Gates, received them into the Citty.

The Stranger being entred: He tells this Story, unto other Guests, to one of them, that for a Wager (The Table taken away) * 1.27described this Tale, into the form of a Picture; and Painted it to the Life from the others report; which being done, be∣came such a Miracle of Art to everlasting Memory, that deser∣vedly, might adorn the Vice-roy's Gallery.

The papers of this print were lost at▪ Sea. But any other print of a Prospective, may serve the practitioner to discourse thereupon; and ••it this example.

* 1.28 Another, of the Sea, a storm and ship-wracks.

It was so fair a Morn as midling-June, which invited ten∣der virgins, to the brinck of the Ocean: where they beheld, a Fleet of gallant Ships, such as ne're grac'd the Floud be∣fore.

Each distinct Squadron attending their Admirals, in an or∣derly course, to the very Bay of a secure Haven; the Seas as smooth as glass.

When, for Novelty; (the various desire of change) one of the virgins, wisht to see the Waves.

* 1.29 The stormy-Fiend obeyed, and vexed the Ayr with wind which volved the Waves, till they on end do stand; ranging their race with mighty furrows; wave shoveth wave, and Bil∣low beateth Billow.

Twixt Ridge, and Ridge; the engulphing space was hollow, Much like infernall Jawes, whole Fleets of Ships, to swallow, In those devouring, liquid Graves. * 1.30 The Marriner by often tryalls, becomes fearlesse; Yet his Sailes takes in, and stoops to an ill, he cannot master. * 1.31 A monstrous showre of rain, thickned the face of Heaven; peale after peale.

"So dark as Hell; and yet the Stars are seen, "And dreadfull terrours, had bin▪lost to sight, "But that, (these) dire Lightnings turn "To me•••• horrid fears. "The Seas▪ like quenchlesse flames, do burn: "Sad ••louds, sinck into showry teares: "You would have thought, "The high swoln Seas, to Heaven had wrought, "And Heaven, to Seas descended. * 1.32 Away goes steerage, Lead, and all adiew; The Card and Compass too: Of two and thirty winds, not one of safety shewes; All point to death. The Load-stone uselesse; The Needls-North, drunk with the waves Turns round, and reeling too: so did the Ship. And disengorged the Sea, into the Sea again. The Jacob-staff, no farther sight could reach, Then second surge. * 1.33 The dancing Beak-head, dives into the deep, Then bounding up again, then down amain, Which cracks her massie ribbs. "So have you seen a fierce strong Bear, "Stand bolt upright, to paw the Mastive Dogge, "VVhich in his Clutch, once got, he gripes to death. No place for Art, or force, yet all are try'd: For now▪ the waves must have their will, "Obedienc••▪ best to follow, and that was ill. * 1.34 The Ship sides crack, and tackle tare like Twine, The six-fold Buck rom sheet, is rent to ragg•• "Nor left so much to wipe a tear "From the distressed Passengers, that weeping were. * 1.35 A bucksome-bully Boy, up to the Top-mast climbs To cleer a Haulfer, or lesse waightier course; Like Crow on May-pole ••ane, a wondrous height, Yet he obeyes, and chearly cryes, Done, done, Sir: VVhen in the moment, of a twinckling eye; Not half way down, a blast of mighty force, "Darts him as farre "As Davids pibble from his sling of war. * 1.36 Upon the Decks two stand, but bind themselves, Yet both are blown away: Another, on his hands, into a corner creeps; But bounding Hatches, band him to the deeps. Some trust to Haliards, others to their holds, But cardage cracks, and they o're-board, are roul'd. The giddy Ship turns Saylor's brains,

Though bound his browes; And as from flint, so sparkles Fire, from both his eyes; * 1.37 The sickly Soul was worse, weary of Life, he dyes. Those on the shore (by prospective) that saw, were giddy grown. And whilst I tell this tale, I'me not mine own. My brains turn round, so does the Reader's too, No wonder then, the Mariners did so: The stresse of horrid storm, none but by feeling know. * 1.38 Some seeming wiser, hear the Long-boat's out, and leap therein; Which soon like froth are spew'd upon the sands: And with the stroake are torn to smallest chips. The aged father strides the lusty Lad, Some swim, others wade, till many footing find; VVhen by degrees, the swallowing tide, steales on them, * 1.39 First to the feet, the anckles, knees, and waste. Then to the rising ground they all retire, And down they kneel; * 1.40 Their Sacrificing hands, above their heads, they heave, and hold them there: Till brinish Seas, up to the Chin comes in, and choakes them all: * 1.41 A dozen of such, by severall scapes, got thither, Freed from the Sea; on sands are drown'd together. Those in the Ships see this, and on their knees they fall, * 1.42 This sad example, makes them, one, and all: for now, The Rudder's torn away, the wracks begin, And trayterous leakes, the dryving Seas drink in, No Master, Mate, nor steer's-man, now; Nor Plummet guide or Watch can shew; No standing on the decks; The unbridled beast, the Master casts, And shakes off the Saylor, griping close the Mast, The rest shrink into Cabines, as their gravy rooms. The main Mast, by the Board is cut, * 1.43 The goods thrown o're the Hull to save. Then gaping comes the fatall wave. VVhich into watry womb, at one suck d••••ws down all. Yet as a Load too heavy to disgest, One s••rge, plaies it over to the rest, Some pieces of the wrack, on sands are cast, Some on the ragged Rocks: * 1.44 The Timber plancks, start out; the Ribbs in pieces crack▪ And these, thus yeelding, breaks her massie back.

* 1.45 Here, barrells flote, there packs, not yet through-wet, And chests of mighty wealth; Men and boyes, bestride them, whilst they can, Then shrink, and cry, Farewel, from boy to man. The Hog sheads, full of Claret VVine, The curled Foame, doth mixe with brines Both being dipt, in dies of red; and seem to blush with shame, * 1.46 For swallowing down, the Merchant's gain. The Factors, Saylors, Children, Wives and Friends, In wretched losse, the whole adventure ends. A world of scattered goods, on Billows green, * 1.47 (As at a Mart on grasse) you might have seen. The shore, more cruell, then the Seas, devoures. For they, who claime the wrack, crye, All is ours. The sunck ships fall, and beaten waters roare, VVhich mightaiy affrights them, on the shore. VVho scapes the greedy waves of Seas, are cast on land, Find buriall there; the people, weeping stand: * 1.48 You might behold, one Man, ne're stoop'd To basenesse, though to brine In swimming sincks, but up again he gets; Now strides a Mast, layes hold, on yard, and planck, And though amongst the lost, himself doth vault. Yet strives with arms, and leggs, and (often so) Death favour'd him, and lets him go. God unto Man, gives gifts of such a mind, Above the power of Fortune, Seas, or Wind.

The Maidens wept when they came in; and it was her taske to tell this story, whose beauty, (shadowed only by her teares,) gave grace to the relation, and pitty to the distres∣sed. But afterwards, being put into a Draught and colou∣red, it is accompted no lesse than a singular dignity to Car∣dinall—Cabinet, his most admired Piece. And the Prints of this are likewise lost at Sea. Which you may supply with any other such storm.

Of Painting and Poetry compared.

THus have I adventured the challenge, in the name of A∣pollo, to the Art of Apelles; by comparing Wit, and Words, by the Poem, with Draught and Colour by the Pen∣sil; in these two distiall discriptions, of the Fiery Moun∣tain, and Prospect at Land, and of the horrid tempest and Ship▪wrack at Sea▪ the like may be conceived of many other

millions of change. There being such Harmony in them, * 1.49that may not be separate; and when Eloquence flourished, Pain∣ting was esteemed.

For Poesie is a speaking Picture, and Picture is a silent Poesie, the first, as if alwayes a doing; the other, as if done already. In both, an astonishment of wonder; by Painting to stare upon smitation of Nature, leading and guiding our Passi∣ons, by that beguiling power, which we see exprest; and to ravish the mind most, when they are drunke in by the eyes.

* 1.50 Yet Painting was before Poetry; for Pictures were made before Letters were read. For before that the Aegyptians had Letters, they signified their conceptions by Hierogly∣phicks of Figures, Characters, and Cyphers, of divers things: as Birds, Beasts, Trees, Plants, and by tradition to their Children were readily understood. As by the Earth, the Oxe, a beast of the Tillage; by the Faulcon, diligence and swiftness; By the Bee, a King, mildness and justice, by hony and a sting; by the Eagle, Envy, not accompanying other Birds; by a Serpent his taile in his mouth, the revolution of the yeare; for hea∣ring, a Hare listning; and such like numberlesse. And fram'd their gods also of such Creatures, and things; as that ancient piece of Antiquity, a carved Stone in Rome in the Garden of the House of Julius, the form of a Man with an Apes face and Doggs eares, holding a Sphere of the Heavenly Circles in one hand, a Mercury-Staff in the left, standing upon the back of a Crocodile, according to these verses.

Templa Paretoniis onerâsse Altaria Monstris Quis negat? inter quae Simia et Ibis erant; Et Canis et Vasto frendens Croc••dilus hiatu, Herbae etiam cultu, non caruêre suo.

Dij Aegyptiorum. Romae in Hortis Julij. III. P. M.

* 1.51 The Greeks adventured on this Art, meerly in the first E∣lements of Black and White; which afterwards were put into Colour by the Romanes, with whom Painting was much in esteem, and had the honour of a liberall Art. In Rome the fa∣bij were surnamed Pictor, and the Temple Salus circumscri∣bed. Quintus Fabius pinxi: from whence the Italians, of ex∣cellent spirits and best designers, gave examples. The Ger∣manes more laborious, followed their fashion; and the English, Dutch, and French, become Imitators of them all.

* 1.52 The Art of Painting hath been valued, from Antiquity; yet rarely arrived to its perfection, in any age: partly by igno∣rance, of most men in this Art, seldom encouraging the Pro∣fessor: Besides, in truth, it is a gift in the Artist peculiar; more naturall to a single fancy, then common to all. The difficul∣ty therefore to attain it, is not to be laboured out by ordina∣ry paines, and industry; yet requiring indefatigable assistance, to bring the work to become a wonder.

* 1.53 Picture insinuates into our most inward affections: Things by the Eare, doe but faintly stirre the mind, but captivate the Eyes; as being the more accurate witnesses of the two: Gods may be conceived by Poesie, but are madeby Painters.

* 1.54 So did they well; who, to enforce a more horrid recepti∣on * 1.55of the Dutch-cruelty upon our English at Amboyna in the East Indies, described it into Picture (after that it had been, most eloquently urged, by Sr. Dudly Digs and imprinted,) to incense the Passions, by sight thereof; which truly (I remem∣ber well) appeared to me so monstrous, as I then wished it to be burnt. And so belike it seemed prudentiall to those in power, who soon defac'd it; lest, had it come forth [ 1653] in common, might have incited us then, to a nationall quar∣rell and revenge; though we have not wanted other just provocati∣ons since to make them our enemies.

However, at the time before, it wrought this strange ef∣fect upon the widow of one of the Martyrs; who, upon for∣mer relations, prosecuted her complaint; but when she saw the Picture, lively describing her Husband's horrid executi∣on, she sunck down, in a dead swound.

* 1.56 Wee read, of Kings and Nations, that have valued Pain∣ters; so have they sought their Paintings, for their weight in Gold; for 100 Talents; for 6000. testers; 12000. testers Nay some Pieces were preserved with so much safety, that their Kee∣pers lives, have been responsable for their security.

* 1.57 An example of that nature, we had in Abraham van-Dort, Su∣pervisor of the late King CHARLES his Repository of Rari∣ties; with especiall command and care of one most excellent piece of Miniture; which therefore he lodged (more secure then safe) so farre out of the way, as not to be found by him∣self, when it was missing, to his own memory, at the KINGS demand; till after his death, the Executors brought it home. * 1.58This chance, fitted the story; which was [of the lost Sheep found] The designe of the Limner, A shepheard bearing upon his shoulder a strai'd sheep to the fold. The Doctrine; Christ re∣claimes the sinner. But miserable it was to the poor man who at the first, for fear of his Masters Van Dorts displeasure,

or perhaps his own love to the excellency of that Art, in sad regret, went home and hanged himself.

Severall Pieces have been presented to Citties, Common∣wealths, Nations, and Kingdomes, as overvaluable for any pri∣vate person. Our late King CHARLES, had many most rare Originalls, Collections, both of Painting and Sculp∣ture. He being the most of fame, for his incouragement, and Patronage of Arts and Honour. His love to this Art, be∣gat three Knight-Painters; Rubens, Vandick, and Gerbier, * 1.59the last had little of Art, or merit; a common Pen▪man, who Pensil'd the Dialogue in the Dutch Church LONDON; his first rise of preferment.

The Ʋse and Ornament of Pictures.

* 1.60 TO give a Picture its value, in respect of the use: We may consider, that God hath created the whole universe for Man; the Microcosm whereof, is contracted into each Mans Mansion House, or Home, wherein he enjoyes the usus-fructus of himself, and leaves it so, to his Son, as an Inheritage of strength, Profit, Pleasure.

* 1.61 The great Oeconomistes of all Ages (and so other men from noble examples) have indevoured, to magnifie their own Memories, with Princely Pallaces of structure, and afterwards to adorne them distinct and gracefully, with Pictures with∣in, and Sculpture without. And both these witty Arts, have * 1.62contended for Supremacie, whether Imagery imbossed, which pretends (as indeed it is to ordinary Capacities) more natu∣rall, and so easier to be apprehended, whose excellency is on∣ly in the soft Sculpt of the Chizell, as if it were Painted; Or the other, Painting, being the more rare by enforceing shadows upon a Flat, as if Carved; and yet the shadows themselves, not grossely apparant.

Certainly, this latter, must be the more excellent Artifice, by forcing this to seem so, upon a Flat, which Nature makes rising and hollow; and indeed, the truth is wonderfully con∣cluded by one A. B.

* 1.63 He is a blind man, yet by feeling the form and lineaments of Nature in the Life, doth mould by the hand in Clay, rare fi∣gures exceeding like in shape, which is impossible to be don by him, in Painting.

But of this, more hereafter when we come to working in Colours.

* 1.64 A Picture in truth, must stand off Naturall, as if it were Carved, gracefull and pleasant at the first blush, or sight there∣of; which are the excellencies of ancient Painters: of whose

* 1.65 Originalls many, even pretenders to this Art, are deceived with Copies.

Of Originall Pieces and of Copies.

* 1.66 GEnerally, in Originalls, the Colours become often va∣ded, and, in many, much changed; the Piece in time grown crusty, and often peeles by ill usage. Yet you shall find the Lightnings bold strong, and high; the shadowes deep and gracefull.

Their Copies, if well counterfeit, the workeman must alter the manner of his Colours by a mixt tempering; otherwayes then the Modern Naturall way of Painting admits. To do this well, he may be lesse excellent in the Precepts of Painting, and yet in this way of working, out Master, a better Artizan; * 1.67I knew but one, that herein (La Croix) who out-went all; and copied many of the Kings Originalls, from severall rarities in this kind.

* 1.68 It is said that Laniere in Paris, by a cunning way of tempe∣ring his Colours with Chimney Soote, the Painting becoms duskish, and seems ancient; which done, he roules up and thereby it crackls, and so mistaken for an old Principall, it be∣ing well copied from a good hand.

* 1.69 To judge of them with facility; Originalls have a Natural force of Grace Rising; Copies seem to have, only an imper∣fect, and borrowed comlinesse; and if you stay to judge of them, though they seem so, to the sight of Imitation, yet it proceeds not out of a Naturall Genius in the Worke∣man.

* 1.70 An Imitator, does never come neer the first Author, (unless by excellent modern Masters own working) a similitude ever more, comes short of that truth, which is in the Things them∣selves: The Copier being forced to accommodate himself, to another mans intent. Authority gives Pictures repute by age, which no Art can well imitate. Garish Colours, in new Pieces, take the eye at first; But in old Pictures we are delighted, with their decayings, horridnesse of the Co∣lours.

* 1.71 Old PICTURES in a wonderfull simplicity of Colours, draw their chief Commendations, from a more accurate, and gracefull designe.

New Pieces, on the contrary, being but carelessely designed, stand most of all on their garish Colours, and some af∣fectation of Light and shadows, strained with over-da∣ring.

It is the opinion of many Masters of this Art concerning

Ancient Originalls; that the ayre, by time and age works so much upon the Colours, that the Oilynesse thereof, being vaded, the Colour becomes more fleshy, more Naturall than at the first. So they say of Tytians, and of Jurgiones being his Master. In Copies you shall not find such freeness of the hand and Pensill; It will discover it self to skilfull observa∣tors, not to be Naturall, but forced: Painters express the difference; they judge of old pieces and their decayes from what they were at the first, by viewing them through their fingers as through a Lettice or Vale, by a secret Mystery in that Art. Like as to a good Judgment we usually may guesse of the Beauty of her Youth in an ancient well formed Matron.

Choyce of Pictures.

AFter the first view of a Picture you may limit the under∣standing (without more difficulty) in few observations; as first.

1. The Artizans care and paines must be visible,

2. It must appeare that he had knowledge and under∣standing in the Art, and followed it in every particular throughout; Not as if done by severall hands, good and in∣different.

3. Then observe if he have expressed his Naturall Genius, with delight, upon some special fancy, as more proper to him∣self, than any other.

• For Example, some.
• In Historie and Figures.
• Others in Prospective.
• Some in Shipwrack and Seas.
• In designe.
• In likenesse to th' Life.
• In Landskip, not many.
• In Flowers.
• In Huntings and Beasts.
• Cattle and Neat-heards.

The Prints of these were also lost but you may meet with others for Example.

And in each of these severall Artists have been (properly) more rare.

* 1.72 The ancient Italians, who first began in Figures were Ci∣mubes, and he was farre surpassed by Gotto, famous untill the time of Peter Perugino, who was infinitely out-done, by his excellent Scholler Raphaell Urbino; In his time flourished the most admired Artizans for Architecture, for Paintings, for Sculp∣ture,

as Bramon•• for Architecture; &c.

Then came the World's wonder Michael Angelo; Bona R••tto; Georgeon del Castelfranco; Coregio Dannielle; Macerino▪ Andrea del Certo, Julio Romano. These all excellent History Painters, whose works (for the most part) they throughly fi∣nished.

To these, succeeded Titian, and Jacobus Palma, whose Pain∣tings were Inferior to none; but as to the Invention and De∣sign they mastered it in another manner. After them, we find Lu••hetta, Tenteret••a, Paulo Vern••s, who for Noble Inventions, quantity of make, excellent designe, beauty of Colouring excee∣ding all before, are different in Painting from all the rest.

The late age produced many brave Masters, but somewhat inferior to the former; viz. Anniball and Lodowick Carosier (two brothers). And another Michael Angelo (called Corro∣wageo••) Joseph d' Arpi••as, Guido•• Paleneza and many other their equalls; at present, Peter de Cordova.

* 1.73 That famous Albert Durex, who never learned of any, yet he is known of all. He never travelled abroad, nor had the light of study after the Antique Marbles, wherein he was deficient; otherwise no doubt he had infinitely surpassed all the former, as it may appear by his admirable works in Oyle, Limning, in water, Etching; and Graving in Copper and Wood. His works of Graving were the first that were e∣ver seen in Italy, which set that Nation Imitators of him therein, for his Master Marta (20 years before) found out that Art, but never performed any matter therein prayse∣worthy.

We find only this Albert Durex (of a Painter) that writ me∣thodically of the Art of Perspective & Geometry: No modern hath writ better. And his Symmetry, so exact, both of truth and diligence; that none other hath adventured to imitate. This defect he had, that all his designes were disgraced by his Gothick way of Architect, which he followed, after the gross building of his owne Country, alwayes living at home.

Hans Hobben and Antonio More, in that curious smooth Painting specially after the Life, have not been exampled by any.

About the same time lived Martin Hemskerke, So••oclere, and divers others, good Masters.

Since these; we find Blewmart, Seagers, Ruberus▪ and Antonia Vandike, who exceeded these, especially after the Life.

* 1.74 The ancient French Masters were Le petit Barnard, Voget, Le∣here, Blancher. And at present, the most excellent Nicholas Posen for History.

Foquere and Claud Delaverne, for Landskip.

Particular Masterie••.

* 1.75 FOr excellent designes of Noble History, vve may be a∣mazed to behold the aforesaid Urbin, Angelo, Vernes, and Tinteret.

* 1.76 For Life, Titian, Holben, Antonio More▪ but now it becomes the bold adventure of all, as the ordina ry practice that most men apprehend, of common Use and Sale. In which Van∣dik was excellent; and now in England the most Painters pro∣fess it.

* 1.77 Albert Durex was the first in Landskips whose errors are now amended by late observation. He usually wrought, his Horison to the top or edge of the Piece; which may be true to nature and Art, but nothing gracefull (as hereafter is observed when we come to working.)

The best indeed in this kind, were Paulus ••rill, Claud de Laniere, and Vanbots: The French were well affected to this way, Troquere for one; for of that Nation, their Spirits are seldom so well setled, as to be excellent. And for the Dutch, Van∣gore was the best▪ but pretenders not a few.

Of our own Nation I know none▪ more excellent but Streter who indeed is a compleat Master therein, as also in o∣ther Arts of Etching, Graving, and his worke of Archi••ecture and Perspective: not a line but is true to the Rules of A••t and Symmetry.

* 1.78 For Flower-pots and Paintings of that kind, Brugel and De∣hem were excellent: but now Paulus Seagers is best of all, a rare Artizan, and Van Thewlin of Antwerpe, his Imita∣tor.

And in dead-standing-things, Little-House, a Dutch∣man.

* 1.79 Stenwick in Prospective.

Porsellus in Sea Pieces and Shipwracks.

For Hunting and Beasts of Prey, Snider▪ and in little, Ell∣samere, Rohen, Hames, Tambots, who led the way to sundry o∣thers that practise after his excellent hand in this kind, and for Horses; Woverman for Cattle and Neat-heard, both the ••as∣sances; * 1.80the Elder, more exact.

And in an excellent Master, you may meet with all these Eminencies compleat; Raphael Urbin, and Titian the best that this Art can boast of.

All these had their severall ages of Fame, and decay; their Growths and Wanes; Perfections and Weakenes∣ses.

* 1.81 These now in England are not less worthy of fame then a∣ny forraigner; and although some of them be strangers born, yet for their affection to our Nation we may mixe them together. Our Modern Masters comparable with any now be∣yond Seas: Not to take upon me to enroll them in order and degree of merit; each one hath his deserts.

In the Life, walker Zowst, Wright, Lillie, Hales, Shepheard, de Grange, rare Artizans.

Fuller for story. Stone and Croix ingenious Painters in the incomparable way of Copying after the Antient Mas∣ters.

Barlo for Fowl and Fish, and Streter in all Paintings.

Then have we Marshall for Flowers and Fruits.

Flesher for Sea-Pi••ces.

Reurie for most Paintings, usually in little, and John Baptis∣ta; also Cleve his excellent designes for those rare Tapstry work, wrought at Moretlake, and otherwise, which will eternize his aged body.

* 1.82 For Miniture or Limning, in water-Colours, Hoskins and his Son, the next modern since the Hilliards, father and son; those Pieces of the father (if my judgment faile not) incompara∣ble.

The like of Coopers and Cary: And let me say it with submi∣ssion, Gibsons great piece of the Queen of England's head to the Life, done with that elaborate and yet accurate neatness as may be a Master-piece to posterity.

And to make good that Maxime, that the ground of all excellencies in this Art is the Naturall fancie bon-esprite, quick wit, and ingenuity, which adds and enables the elabo∣rate part, pick me out one equall to Madam Caris, a Brabanne; Judgment and Art mixed together in her rare pieces of Lim∣ning, since they came into England. And in Oyl Colours we have a virtuous example in that worthy Artist Mrs. Carlile: and of others Mr. Beale, Mrs. Brooman, and to Mrs. Weimes.

And to give honour to this Art of Painting many worthy Gentlemen, ingenious in their private delight, are become Juditious practitioners herein; Namely Sr▪ John Holland, Mr. Guies, Mr. Parker, Mr. Sprignall, and others; I need not name the rest; their works will better their worths and esti∣mations in this and other excellent sciences of Art and Lear∣ning. Quaere, Haines and Thorne.

Of Abilities in Painters.

* 1.83 HIstory informs us, that in Warre, all Arts dissolve into that action; but when the Roman Sword had bounded the Em∣pire, then the peacefull endevours of cunning Artizans out∣went former excellencie of the Graecian instructions; from whom, these derived their Learning.

And yet of all Arts, this of Painting is least beholden, to the Gramaticall Pen, for any knowledge of the Theory by their deficiency in the Practicall: and so not doubly qualified in both, Pen and Pensil, Rule and Example, the perfection becomes less communicable to posterity; being rarely conjoyned in one, a Learned Painter.

This observation leads me into an ingenuous Confession of my self, to be neither; but as a Lover of Arts, I am an in∣truder upon either. The Liberty of these latter loose times prevailing over my former imployments, (heretofore of somewhat more concernment) have now resolved me into the harmlesse simplicity of doing any thing, that may be aequè bonum to divert me, (even my thoughts) from Ma∣lignity.

* 1.84 You may desire many Abilities of an Artist in his Piece, but the Italians observe each single prayse to deserve merit, in any one Master.

Some, are noted for one of these, viz.

• Diligence and Proportion, ••ith a free hand.
• Fancie, and conceiving of Passions.
• Invention.
• Grace.

* 1.85 Of all these, we shall discourse hereafter.

But in a word, there may not be wanting these two,

First, to be well drawn, or (as Artizans term it) well de∣signed; and herein without exceptions, let there be truth and Grace.

Secondly, well Coloured, with Force and Affection.

Well Designed.

FOr the first; there must be truth in every part, and Pro∣portion of the figure, just and Naturall with the Life. Some artizans, strain Limbs into extream. Albert Durar, Golties, Spran∣ger, did so, in that which was; and Michael Angelo, in that which should be; and thereby in truth, loose the grace∣fulness.

* 1.86 But then, if an Artizan adventure on a Fiction, it will ap∣peare

* 1.87 lesse pleasing, unless it be done boldly; not only to ex∣ceed the worke, (but also the possibility) of Nature; as in Centaurs, Satyrs, Sirenes, Flying-Horses. And therefore I say.

Pictur a fit ejus, et quod est, et quod non pote st esse.

Which are easily figured, by those that dare adventure, with Judgment. And so the beauty of such a fiction, may consist in Exorbitance, and the fancie of the Painter to be with∣out Limitation.

And yet the Philosophers have writ of wonderfull inter∣mixed shapes, that have been seen of severall kinds, in one Creature. Earthly, as Satyrs, Centaurs, Flying-Horses, Wate∣rish, Fishes Flying, Sea-Horses, Tritons the Male, Nereïdes the fe∣male. Th••odore Gaza caught one of these Nereïdes in Grece; and in Zeland, was another taught to spinne; so sayes Alexan∣der of Alexan••••ia, and some others that have seen Monsters, Chimeraes Hippotames, and others such, which Heraulds under∣take, to bestow upon Gentlemans Buryings.

Beyond the actuall works of Nature, a Painter may des∣cribe, but not to exceed the conceived possibilities of Nature in the same Culture. St. Austin affirmes, that in Utica, a Town in Affrica, he saw the Jaw-bone of a man, as great and weigh∣ty, as of 100. men of that age.

The descriptions of men in great actions, were the constant designes of Poets, to afford the•• large and ample Limbs. The Statuaries of Roman Gods, and men of fame, were so imita∣ted; and being well drawn, (that is Proportionate to Disproporti∣on) in Picture, are excellent Ornaments: for though I con∣fess a Painters profession, may be, the imitation of Nature, yet to exceed her kind, shews his own store and provision of fancie, without borrowing of her example; and does well in Picture, if not ill done by the Painter. Since it discovers no suspition of ignorance in him, having his liberty allowed, that what he could not master, he might have left un∣done.

* 1.88 The Naturall figures indeed, shew property and decencie to delight common Judgement; and the forced figures, may be the sign of the Novelty in expression, and plea∣sing the Excitation of the mind; for Novelty causeth admi∣ration, and admiration enforces curiosity, the delightfull ap∣petite of the mind.

And certainely from an Artizan's excellencies, proceed those extravagant varieties, or admirable Novelties, which are not the issues of an idle brain, or to be found within

the compass of a narrow conception, but please the Eyes, like new straines of Musick to the Eares, when common ayres become insipid.

* 1.89 Grace, is the bold and free disposing of the hand in the whole draught of the designe. You have the pattern to the Life, in an unaffected freedome, La mode, or Bon mene of fashion in Man or Woman; which sets out, or supplyes beauty; the French have devised that phrase, to commend a Madam, whose behaviour mends Natures defects, and thereby the Courtisie of Court allows her, not unhandsome.

Well Coloured.

* 1.90 SEcondly, for well Colouring, you may observe, that in all darkness there is deepness; but then the sight must be sweetly deceived, by degrees, in breaking the Colours, by insensible passage, from higher Colours, to more dimme, bet∣ter expressed in the sight of the Rain-bow; where severall Co∣lours intermixt with soft and gentle distinction, as if two Co∣lours were blended together.

* 1.91 Force, is the rounding, and rising of the work, in truth of Nature, as the Limbs require it; without sharpnesse in out lines, or flatnesse within the body of the Piece; and both these are vi∣sible errors.

* 1.92 Affection, is to express Passion in the figure; Gladnesse, Grief, Fear, Anger, with motion and gesture of any Action. And this is a ticklish skill of the hand, for Passions of contrary Nature, with a touch of the Pensil, alter the Countenance, from Mirth to Mourning, as a coincident extream.

We have done with our Picture of Choyc not to trouble you with more, or other Notes of perfection, for the preseut untill afterward, that we treat of Working. Indeed Per∣fections of these kinds, are so various, and mysterious, that chief Masters themselves, in the right censure of their worke, have undergon, severall characters of defect.

Grecians the first Painters.

* 1.93 WE have it rendred from an old Author, that the first of Antiquity, that drew Proportions, were Grecians (as a∣foresaid) in Black and white; who have begotten others, that in time became Masters in Painting also. And afterwards, many added to this Art. The first inventing the due dispo∣sition of Lights in the draught, and evermore, with ampler Limbs then the Life. Homer set out so his gods 〈◊〉〈◊〉 goddesses with large formes and features, as aforesaid.

Then they came to limit Proportions exactly, as Law-makers; whom others followed as decrees.

About the time of Philip, Painting began to flourish; and so to the successors of Alexander; for we have severall of those antient Artizans, set out to us, for their excellen∣cies, in sundry of those Abilities, which we have named, as,

• * 1.94 Pictegenes, in Diligence.
• Pamphilus & Melanchius in Proportion.
• Antiphylus, in Facility.
• Theon, in Fantasie and Passions.
• Apelles, in Invention and Grace.
• Euphranor, a rare Artizan as in Generall, so in Pain∣ting.

How to dispose of Pictures and Paintings.

* 1.95 ANd now; supposing that you have purchased the most costly Pieces, we must next consider, how to dispose them properly, with Conveniencie and Grace, for the adorn∣ment of your House.

We shall not doubt the Question, whether Painting be∣comes * 1.96out-sides of walls of the House; In imitation of the Germain; Caecill Viscount Wimbleton (sometime generall of the English in the Dutch Warrs) seems to intend the beautifying pleasant Scite, and gracefull Edifice at Wimbleton, with large and ample figures without doors; in Fresco and Stoke parke in Northampton, they are done by claine. And Carew House at Parsons Green, large and bold, but almost decayed, though but lately done. Some Towns are done so amongst the Germains, but then, not with glaring Colours; that were to please common judgments.

I have observed other Pieces in England, not many; for in∣deed the worke is soon lost upon a moist Wall; which in our Clime necessarily follows. That excellent Painting of the two Kings, Henry the seaventh and eighth, with their Queens, done upon the Wall in the Privy Chamber of the late KING at White-Hall in Oyle only, by the rare hand of Holben, hath been preserved with continuall warmth within doors, and benefit of fire, even till now. But withall, I observe the Wall, prim'd with a very thick Compost of Playster, and some other mixture fixed, to preserve the worke.

Therefore I admit of no Colouring upon Walls; If any Draugh•••• ••••en let them be Black and White, or of one Colour hightn•••• 〈◊〉〈◊〉 Figures of Life, Men and Women: Or other∣wise

Nakeds, as large as the place will afford. If without Personages, I wish it of Counterfeits, or imitations of Mar∣bles, Aquae-ducts, Arches, Columns, Ruines, Cataracts, in large pro∣portions, bold and high, and to be well done; for fear of Lamenesse, which is soon discerned.

Of Grotesco.

* 1.97 AS for Grotesco or (as we say) Antique-worke; It takes my fancy, though in forms of different Natures, or Sexes, Sirenes, Centaures, and such like, as the outward walls of White-Hall, observes this kind; as running-trale▪worke, and not ill mastered: But when all is done (now a dayes) it looks like an Ale-house; Citizen painting, being too common; and u∣sually else-vvhere, were very ill wrought. Excellent prints of this kind were lost at Sea, of Steven de Labella.

And if Poets devise these double Natur'd-Creatures, why, not the Painters; who can do what the other but bespeake? But in true Judgment I would confine Grotesco, only to Bor∣ders and Freezes: then it may become the Wall, within or, without doores. Here a Print of Grotesco should have been inserted.

Of Fresco.

* 1.98 THere is a Painting upon Walls called Fresco: It was the ancient Graecians Noble way of Painting, and since much used by the Romans. Plutarch tells us: That Aratus the great Commander under Ptolemie of Aegypt, (being curious to satisfie his Soveraign's delight in Pictures) presented him with such Rarities, as his Victories made him Master of; or, that he could purchase at any price, and (in a Complement to the Emperour's affection that way) spared the sacking of a wealthy Citty▪ meerly for the Excellency of Fresco-Painting, upon the Wall, and out▪side of Houses; lest the unruly Souldier, by Fire, or otherwayes, should ruine the raritie.

* 1.99 There have been PAINTINGS of this worke, in severall Towns of GERMANY, rarely done; but now rui∣ned by Warre.

* 1.100 At Rome; there are three Chambers, in the Popes Pallace, of Frescoe; done by Raphael Urbin, and Julio Romano, (his disciple,) who finished his Master's vvorke, and are yet called, Raphaells designes. Other places, done by Andrea dél sexto, and Mi∣chael Angelo, and some other Artists.

* 1.101 At Fountain-bleau in France, is most excellent worke of this

kind; they are the continued Travails of Ulysses in 60. Pieces, done by Bollameo, Martin Rouse a Florentine, and others. But more of this hereafter; when we shew the manner and order of this worke, in the second Book.

To place the Pictures within Doors.

* 1.102 LEt us therefore contrive our Pictures within doors; spare your purse and pains, not to Clutter the Room with too many Pieces, unlesse in Galleries and Repositories, as rarityes of severall Artizans intermingled; otherwise it becomes only a Painters-Shop, for choyce of sale.

* 1.103 Place your best Pieces, to be seen with single lights: Tho∣rough Lights on both sides, or double windows at each end, are Enemies to the view of Painting; for then the shadows fall not naturall, being alwayes made to answer one Light. Observe in their placing, as you may see how the Painter stood in his working, the light of the windows to fall upon the right side of the worke from whence their Shadows al∣wayes fall backward. The Italian's evermore, stand low beneath their high windows; so then, the shadows in his fi∣gures, have that respect, as a descending light, best for mens * 1.104faces, and shews them lively, and generally low Lights to large Pieces, do prejudice Paintings.

Then bestow them orderly, and in their Qualities pro∣perly, and fitly, for Ornaments; lest your cost and dis∣cretion, be cast away at once.

In the entrance of your house, or Porch; with some Rusti∣que figures, or things rurall.

* 1.105 The Hall with Paintings of Neat-heards, Pesants, Shep-heards, Milke-maides attending Cattle, in proper degrees, some other also, of Kitchenry; severall sorts of Foul and Fish, sitted for the Cooking.

* 1.106 Pictures becomes the sides of your Staire-case; when the grace of a Painting invites your guest to breathe, and stop at the ease-pace; and to delight him, with some Ruine or Build∣ing which may at a view, as he passes up, be observed. And a Piece over-head, to cover the Sieling, at the top-landing, to be fore-shortned, in figures looking downward, out of the Clouds with Garlands or Cornu-Copia's, to bid wellcome.

* 1.107 The Great Chamber with Landskips, Huntings, Fishing, Fowling; or, History of Notable actions.

* 1.108 The Dyning-Roome; with the most eminent; a King and Queen, if possibly to be purchased at any rate, (I mean their Pictures) rarely done; the want whereof in former times, were supplyed onely, with the Court-Arms of their Majes∣ties;

few good subjects then, but conceived it expedient, to express their Love and Loyalty, by some such Embleme, or note of remembrance. But then in reverence to their Per∣sons, forbear to place any other Pictures of Life, as not wor∣thy their Companions; being, themselves, Ornament suffici∣ent, for any Room: unless (as some will have it) at the ne∣ther end, two or three, of their own bloud: Or of chiefe Nobility, (Favourits) to waite upon their princely Per∣sons.

* 1.109 Inward with drawing Chambers; place others of the Life, whether of Honour, friendship or of Art only.

* 1.110 Your own and your wives or Children, best become your discretion, and her modesty, (if she be faire) to furnish the most private, or Bed-Chamber; lest, (being too publique) an Italian▪minded Guest, gaze too long on them, and commend the worke for your wive's sake.

We had an arrant Knight, notorious in this error, who was so mistaken with the love of his wife and handsome daughters, that in each hole (of his house I mean) you might salute them; As for which, they became the more common here, and after beyond Seas, to his and their ruine.

* 1.111 Cheerfull Paintings, In Banquetting Rooms: but here, as any where, forbear Obseene Pictures; those Centaures, Satyrs Ravi∣shings, Jupiter-scapes in severall Shapes, though often done by rare Artists: unless you mean to publish the sign, because you delight in the sinn.

* 1.112 Graver stories; Histories your best figures, and rarest worke becomes Galleries; here you Walk, Judge, Examine, Cen∣sure.

* 1.113 Landskips become Chimney-pieces, Boscage, and VVild∣worke, in Tarraces or open places; Summer-Houses, Stone-walks some Church Prospect, or Buildings, set out well, at the end of the Walke.

* 1.114 One Rule for all, and every pieces; If they hang high a∣bove reach, set them somewhat bending forward, at the Top from the wall; because (as one observes) the visuall beames of the eye, extend to the top of the Picture, appeare far∣ther off, then the foot; to reduce it, allow the advantage of stooping forward above.

* 1.115 And thus much of Pictures their Choyce and Use, there be∣ing five kinds of Paintings. Distemper or Sise-colour; Frescoe; Oyle-Colours; Miniture or VVater-Colours; Croyons, or dry Co∣lours.

By this time having told you thus much, to make you in Love with the VVorke, let me say somewhat to teach you the ART; and so to save your purse, and delight your practice.

Which to do, I must begin, with the beginning of the Practise of the Pen; and then, to the Pensil.

Of Drawing, and Designing in generall.

* 1.116 I Have marvailed, at the negligence of Parents in generall; they not to enforce a Necessity, in the Education of their youth, to this Art of Drawing and Designing, being so proper for any course of Life whatsoever. Since the use thereof for expressing the Conceptions of the Mind, seems little in∣feriour, to that of Writing; which in no man, ought to be deficient. And in many Cases, Drawing and Designing per∣forms, what by words are impossible; and (to boot) perf••cts the hand, for all manner of writing.

And, if it be the generall Rule, (or should be) that Chil∣dren be taught some gentle Manu-facture; then, doth this of Drawing, apt them for those. For almost, nay in any Art, we must respect Rule, and Proportion, which this makes per∣fect. And such as will not make it up to a trade, yet, the Idea thereof, renders a man very usefull,

• As for Navarchy; Modells for building Ships, and Rig∣ging them.
• Architecture; Modells for Houses.
• * 1.117 Anatomie; forming Skeletons.
• Magneticks; Compasses, Globes, Instruments, Dialls.
• Batonicks; Gardning.
• Astronomicalls.
• Graving, Etching, Carving, Embling, Moulding, &c.
• Thus much in generall, for the Excellencie of this Art.

But to our particular purpose of Painting, it is the only Consequence. And therefore to draw well with the Pen, after a Copy, or the Life, is the most difficult to begin, and the only pains, for the present; but when mastered, the whole worke of Designing (which leads you into Painting) will become the greatest pleasure; and of more variety, then any Manuall Profession what ever. Being the singular delight, rather to be doing, then to have done. The Spirits ever∣more refreshed, with new fancies, and unexpected success in the end, are never wearied. The livelin••sse of the fan∣cie, cannot be contained within the compass of ordinary practice, readily expressing the inward Motions of a forward mind.

The Practice of Drawing or Designing.

* 1.118 I Would prepare you with Rule and Compasse, and o∣ther Instrume nts, necessary for you to lye by you at hand; but advise you to practise without them; It is your eye must judge, without artificiall Measuring. And when you have past my first directions, and are perfect to draw by the Life, you may afterwards, in large Proportions and di∣mensions, use your Instruments, both for perfection, ease, and speed.

So then you may have large and lesse paires of Compasses, the one foot shorter, to put therein a Pen for Inke, or Black lead; a strait Ruler and a squire. Of Box, Holly, Sallow, and Prick-wood.

Provide your self necessarily of Cole-Pensils, split into shi∣vers, from a Charcoale of Sallow wood, soft with a pith run∣ning through it, well burnt, the grain, and Colour like Black Satten. Other Pensills, of Black-lead, Black and white Chalke, and Pastills also of severall Colours; the making and use is hereafter taught you in the second book.

Get a booke in Folio, of a double Quire of fine Paper, (as also some sheets of Blew Papers and other Colours) to avoid loose leaves, soon lost; that by overlooking your first draughts thereon, you may with incouragement, delight in your proficiency.

The foundation of Proportion consists in severall particu∣lar figures, by which, I would have you enter your Draw∣ings; as the Circle, Ovail, Square, Trangle, Cilinder: Each of these have their effects.

Ovall, is a direction for the Face Square, for Platforms, buil∣dings, fortifications; Circle, for all Orbicular Shapes; Triangle, for three-side lines; Cilinder for Pillars, Columns; and these with small practice, you will Master: they do, but, make your hand.

* 1.119 Begin your Example, by a Copie or Print, of those severall forms of figures; a the Sun, ••ull-Moon, Orbicular Flowers, or o∣ther Circular shapes, and so of the rest, by the outside line on∣ly, without shadows.

These I propose as most easie, to win your affection, to more difficulties; to bring your hand, to hold your Cole, to draw lightly, to wipe it out, with a feather and to practice it, over again, untill you master these formes, as your first worke.

* 1.120 Then, practise by severall members of the body; in some Print; as the Eare, Eye, Nose, Hand, Foot, Legg, by themselves

in severall Postures, all which are particularly designed for * 1.121this Art.

The next is, by a Print, or Copy of a Head and shoulders of a Man or Woman, frame the out dimension or Table, which comprehends your Sample with equall lines, whether Square, Circle▪ or Ovall; by help of Rule and Compass.

Observing the distance from the lines of your Table, by your eye; then take your Cole, made very fine and sharpe, with a Pen-knife, or smooth File. Begin from the top of the Brow or Forehead; trace the out line of the face down to the tip of the chin with a soft and gentle hand, hardly dis∣cernable, wiping it out with a feather, or piece of Spanish Leather with sharp Corners so oft, until your practice comes like your Pattern.

Then gently draw Orbicular, the out side line of the Head, from the Brow where you began, to the Crown; and so back∣wards, down to the Neck, compassing it to the Throat and Chin, vvhere you left; all which becomes Ovall.

Then guesse at the Eye-browes; marke out the place of the Eyes; between them, draw down the Nose and Nostrills, score out the Line, and length of the Mouth and Lipps; lastly, the Eare, and the Haire, falling upon the Face; wipe it out all with a feather; leaving the Lines discernable only, by which you may discover the errors and amend them.

Then draw it all again as before; overlooking each part, untill it becomes reasonable; then perfect the Eyes, Nose, Lips, Eares, Hair, go on boldly; adventure a stroke or Line, down from the Chin, for the Throate; the Back-stroake, alike, from the Eare, to the Neck, and Shoulder; and so proceed to the Breast, or further down, as your Print is in length, which com∣monly is not deep, for a Head▪

Looke over this worke; be not discouraged, though de∣formed; wipe it out as before; and by the Errors, amend it so oft till it become reasonable handsome.

Let this draught remain in your Book; begin another of the same, and so a third, or more; perfecting each with cou∣rage, and confidence, for 2 or three severall dayes practice, that you may find delight in your proficiencie.

When you can Master a single head of severall postures; as side-face, three gutters and full; looking upward, downward, fore-shortned; Then adventure on a whole figure at length, * 1.122Man, VVoman, or Child; Then some Skeletons, forward, back, and side, and after all, cloathed with Garments; Lastly, sha∣dow * 1.123each one of those severally, as a true Copy from the Principall; drawing over the Lines of the Charcoale, and then over that, with a Ravens quill pen, for to remain in your book, and hatch it.

I had prepared Prints for all these directions but they are lost at Sea.

* 1.124 Black Chalke Pensils draws handsomely (without the Cole) upon Blew-paper, and shadowed neatly; being heightned with VVhite-lead Pastils, you may practice upon severall coloured papers, as the ground and shadow; and heighten it with other Colour Pastils, as your fancy affects.

By Copies of Prints; first drawings of good masters, by Pain∣tings or by Sculptures of round; and then by Observation of nature, in the Life, learn to understand (before you shall perfectly draw them) the reason and cause of true shadows of Bodies, as they appear heightned, outward, or deepned, in their Concave or hollow. Which are caused by neernesse, as farther distance, from the light; and therefore, those Prints which duely observe them, express much judgment, and the true Spirit of a Picture.

* 1.125 Drapery-garments; of severall Stuffs, coorse or fine, Silke, VVollen, or Linnen, have their▪ different and naturall folds; So as in the Lines, of greater, or softer shadows, (well done by an Artist) you may (though in black and white) easily dis∣cerne the meaning of the draught; to be of such a Stuffe, or Cloathing.

* 1.126 In shadowing, with hatches, or small strokes (as in your print) use the pen of a Ravens-quill; and be sure not to cross any stroake, before the former be dry; lest they runne into each other.

After some practice with the Pen (which follows the use of the Cole) proceed to shadow, with black and white Chalks, in stroakes, or sweetning (as in Painting.)

For your better directions herein, get some Designes or draughts, done in Chalke, Red-oaker, dry Colours, Croy∣ons, or Pastills, for your patterns.

* 1.127 The best Prints, for true proportion; take Raphael of other Old Artizans well graven.

Coltius, (a Hollander of Harlem,) varies his postures, ve∣ry much; large and bold hatches; but curious and true, in all his shadows; Michael Angelo, his Pieces are not com∣mon, a famous Italian; Hans Holben, a perfect Master; his bold hand appeares in severall Ornaments of Painting, at VVhitehall Chappell, and Palace; at Greenwich, Hampton Court: but mostly defaced by the injurie of time. He was im∣ployed by King Henry the Eighth against the entertainment of the Emperour Charles the 5th, his Prints are not com∣mon.

* 1.128 Shadan, VVierin, Spranga, Michaell-Jans of Delph, Raphael and John Sadler, and other Masters sans, Number.

* 1.129 Now, though we name these, as other Artizans, for draughts, and to be met with in Prints; you must know that they were Painters, and for the most part, wrought their Pieces first, by designe, and draught, with blacke and white Chalkes in little; and so in Oyl-Colours, to the Life or History: from which other Masters, Gravers in Copper, or Etching with Strong-water, have preserved them in Prints, for more publick use, and e∣ternall memory of the first Authors, either after their first Draughts, or Paintings.

* 1.130 So shall you have, two or three, or more, severall Names oft-times, set to the Print; the Designer, the Painter, the Graver, and sometime the Printer. Our excellent Artists in Gra∣ving are, Father Lambert, Hollar, Vaughan, Trevethen, Gay-wood, Crosse.

* 1.131 By this time, and Practice, you expect that I should put you into Painting, the usuall longing desire of the Practitio∣ner; but forbear, by any means, untill you be excellent in Copying of draughts, according to the foresaid Rules; nay, untill you can boldly and truly, adventure upon your own fancie, and designe a Pattern for others. And believe it for truth; hasty Colouring, undoes the Painter. He shall never be excellent, that is not ready, in his own Draughts; Nor be able to paint (and be esteemed) till he understand a Picture as it should be made. And therefore, give me leave to read a Lecture of the powers of a Painter.

Of the powers of a Painter and Painting.

* 1.132 PHilosophers, divide the universe (which is their sub∣ject) into three Regions; Caelestiall, Aeriall, Terrestri∣all.

* 1.133 So the POETS, (who imitate humain Life, in measured * 1.134lines,) have lodged themselves, in three Regions of Man∣kind; Court, Citty, and Country.

* 1.135 So, the PAINTERS, (whose Art is to imitate Nature) performe it in three severall Qualities; Design, Proportion, and Colour.

* 1.136 And these, into three sorts of Painting; Prospective, (or Landskip,) Historicall, and Life.

Prospective; a wonderfull freedome, and liberty, to draw, even, what you list; so various is Nature in that.

Historicall; respects due Proportions and figures.

Life; only the Colour.

In each of these; you must have dependency upon all the other, but necessarily, on each in particular.

* 1.137 The powers of a Painter, is expressed, by Imitation of Na∣turall

things, whereof the most excellent, are ever, the most difficult; easie to paint deformity.

In your Imitations of Art or Copying, observe to hit the virtues of the Piece, and to refuse the vices; for all Masters have somewhat, of them both. For, Paintings▪ may be puft-up, but not stately; starved in Colour, not delicate; rash▪ not Con∣fident; * 1.138Negligent, not Plain. Severall men, severall excellen∣cies: Some in Grace, Boldness, Diligence, Subtility, Magnifi∣cence, &c. (as aforesaid). In all, do not imitate outward Ornaments, but express inward force? Yet in some Pieces I have found these vertues not pleasing, and, even vices (them∣selves) gracefull; but then, it hath been by a Master, that boldly did it, to shew, that he was able, to make his conceite a pattern, (as before said.)

Generally, follow best Masters, lest an indifferent choyce bring you to an evill habite.

* 1.139 Proficiencie of Painting, is purchased, not (altogether) by Imitation, (the common drole-way of ordinary Painters) if you neglect the amendment, by your own generous fancie; (Estautem proprie Imago rerum animo insidentium). For, he that on∣ly follows another's steps, must (needs) be the last in the race: Lazy Painters study not, the brain: Nature can do much with Doctrine; but not Doctrine, without Nature: Nature, is of greater Moment: Every Artificer hath a peculiar Grace, in his own worke, agreeing to his Nature; though many (of the o∣ther sort,) owe most to Doctrine.

The force, of Imitation of Nature, is in the Fancie; which worketh with the more Wisdome. It being an imagina∣tive faculty, or Wit, and is set on worke to imagine, what we have seen (or at least made up with some other Sense) being * 1.140the Print or foot▪steps of Sense. It is the treasury of the mind, The darkness of night awakes our Speculations of the day; when sleep failes, the Mind does, then, digest the con∣ceived things into Order; that so, the whole invention wants nothing, but the hand of the Artificer, to effect the worke; and, without Art, to do, Imagination is uselesse; Fancie supplyes Imitation's weakness; the property and Of∣fice whereof, is to retain those images, and figures, which the Common Sense receives: First, from the exterior sense; and then transmits it to the judgment; from thence, to the fancie; and there looked up, and covered in the memory; and we may alter and move with the re-presentation of things, al∣though it have them not present, which the common Sense can∣not have, unlesse present. * 1.141

Herein appears the marvailous force of Imagination; A man sleeps, his Senses are at rest, yet his Imagination is

at worke; and offers things to him, as if present, and a∣wake. * 1.142

Imagination moves the passion and affections of the Soul; and can provoke the body, to change the Accidents; as to make a man sick, or well; sorrow, joy, sear.

We may paint a conceived, or intelligible thing, Perfect, by the Idea of Fancie: but, by Imitation, we may faile of Per∣fection. Hence it was, that the Antients intending to excell in the forms and figures of their Jupiters, would not imitate, * 1.143or take a pattern, generated, but rather, by a conceived des∣cription of Him, out of Homer, or other Poets.

There is in the form and shape of things, a certain perfection and excellencie; unto whose conceived figures, such things * 1.144by Imitation, are referred, that cannot be seen.

To amend fancie, we must lodge up such rarities, as are ad∣ministred to sight, to encrease the meditation of fancie; as in your dayly view of forms and shadows, made by lights and darknesses; such as in the Clouds neer summer Sun-setting; which soon alter change and vanish, and cannot remain for Copying, but must be lodged in the fancie so that it is no difficulty, to study this Art walking by day or night. In your bed, waking or sleeping, or what dr••ams and fancie pos∣sesses your sleep. You have Lessons in all, and Paintings there are of either.

* 1.145 In a draught of designe, the Artist must fancie every circum∣stance of his matter in hand; as usually Rubens would (with his Arms a cross) fit mu••ing upon his work for some time; and in an instant in the livelinesse of spirit, with a nimble hand would force out, his over-charged brain into description, as not to be contained in the Compass of ordinary practice, but by a violent driving on of the passion. The Commotions of the mind, are not to be cooled by slow performance: discreet diligence, brings forth Excellence: Care, and Exercise, are the chiefest precepts of Art. But, diligence is not to stagger, and stay at unnecessary Experiments; and therefore I have ob∣served in excellent Pieces a willing neglect, which hath ad∣ded singular grace unto it. Be not so over-curious that the grace of your worke be abated by the over-diligence; as never to tell, when you have done well: therein you will be maximus tuî Calumniator, your owne worst de∣tractor.

* 1.146 Not to dwell upon every line; nor to alter what is well; It wants true judgment and makes it worse; and so to love every thing we do, whilst a doing, though too much. Not being able in the exercise of designing, to overtake the quick∣nesse of fancie; we must therefore unbend the intention of

our thoughts; breathing, and reviewing what is done, by which we make a handsome connexion of things.

* 1.147 To adde or detract, to allay those things which swell too much, to raise things that sinck, to ty things that flow, to digest or compose what is without order, to restrain what is superfluous, require double paines; to lay it by for a time, and as it were to give it new birth; festina lente.

* 1.148 Admit of censure; What others justly reprehend, amend: Apelles did so; great wisdome in a confessed ignorance; and be content with every ones opinion, for you shall lye open, unto two exceptions; the Incompetent, and the corrupt witnesse; the first, if not a Painter; the second, if no Poet.

* 1.149 But if your Piece deserve it, a man of knowledge should say in general termes.

That you have chosen a good Argument, Story or History.

That the Parts are excellently disposed.

The Maintenance of the severall characters, of the Persons, properly.

The dignity and vigour of the expression, in Forme and Colour.

A good Spirit, boldly done, &c.

And so, it may seem to have in it performed, all the parts of various experience, cleer judgment, ready memory, swift and well govern'd fancie, and this being enough for truth, and the weight and credit, of a singular testimony.

But if your understanding be call'd to councell, you may please both parties, and speake like a stranger in this or the like manner, viz.

Of a Picture.

I Know nother Person for the Life; Yet I like the Picture of this Lady. A lively Spirit and good Grace. Well wrought; Round, and Neatly painted. The Lady becomes a Limner's Art. He takes the lesse pains, when Nature makes her so, to his hand. Comely Tall. If she designed her own posture, it was done with discretion. Bon-Mene adds to Nature, and yet to yield her the due, a Handsome Lady, A beautious blushing Browne.

Her haire proper to the complexion; neatly put into Curles and folds. I believe she did direct her own Dresse, and so saves the labour of his fancie; for if I mistake not, the Lady wants no will, nor judge∣ment to set her self forward.

The face made up of excellent parts. A quick Eye and full, a∣mends the defect in the Colour; and yet the circled brows gracefully

big and black Her Nose not over-Romane, with Nostrils fair e∣nough. A sull mouth: the largenesse of the Lipps commendable, because plump and Red. I like well the deepned shadow stroak, which parts them, and almost shews her Ivory teeth, as if to appear; and altogether seems to be speaking.

The very dimple by the Cheek, with a wanton touch of the Pensil, singly sets out her looks, most lovely: Somewhat long visage; and it may be in true measure to the Life, and sufficient Symmetry. But see the Painter hath done his part and me••ded Nature by round shadows, whichdeceives the Eye to the better. He did well to make her face not too full, the features had been lesse becomming.

The Head is w••ll set on, supported by her Noble Neck: round∣rising full and fat. Ample Brests interlined with River'et Vaues See, see; the swelling Papps like fair Pome-waters. The Nipples too, like Rasberry fountains, in true center to their circles. Her brawny Arms of good flesh, and pure colour. A Hand well drawn; the singers spread, and yet not forced. Her Body well fed, not too fat. An Italian Dou's delight.

Her Drapery of good fashion, true Mode; the very Colour not improper for her complexion; well chafen Colours become the countenance. Certainly, the Painter was well paid; or sel••∣pleased in his owne worke, for it must be valued a Master∣piece of Lilly and might shew with more advantage, by a better light.

This way and manner to commend, does not a misse for the Painter, nor to the Person if the worke deserve merit. Yet judgment will be the more true, when your eye dwells not upon particulars, but views the Limbs apart, and skips from severall Objects, to a full Close, and Censure of all.

It is pitty that a Piece well done, should hang like an offen∣der in Chaines, as if set up only, to be seen a far off not to be valued neer hand. I could wish that the Ladies would read their own Lectures this way, and though not so becom∣ming to commend themselves, (which the man does too much, to their faces) yet they may cunningly informe under∣hand, and set out the worke to the full view of their own excellencie. To teach the Gallant by such Artificiall Pat∣terns, how to ascribe due praise to a deserving person and so in sooth with modesty and truth, to commend both as in particular upon the Lady Vandikes Picture in Eng∣land.

I marry Sir, Vandick's rare Mistresse, and his Master∣piece, she needed not of his Art to help her forward. A goodly Plump, Fat, well Favoured, well formed Fi∣gure.

A lovely looke. How she leers out her inticeing Italianated eyes, able to confound a Saint. Her Habit put into a Gar∣ment, call it a Petty-coate, and Wast-coate, or morning dresse. (an Alphabet of Titles, serves not sufficient to number the names of Ladies coverings.)

But ile say so much for this Piece, not overcurious (it seems) to set out her self. A delicate Isabella sarsnet; the Bodies tackt together before, with sour Jewells set into but∣tons of Diamonds; on each side thereof an Orient Pearle, and a fift Jewel more faire, the pendant to the other four, in fashion alike; only, the lowest pure Pearle, so large, (such is the Pain∣ters Art to make it) inestimable. These but untacked, (with little paines, but much passion) you come to the smock, which peeps out between them; and at the hand-wrest carelessely purfled of purest Holland (the Nunns ne're spun neater twine) which needs no Flanders-lace to come neer it. Indeed the Nations are at Odds, we know, their Ware may not mingle. What a stately head she has! wel set on! A goodly Rope of Pearle surrounding her firm, fair, and noble Neck; full and fat fleshed shoulders, plump breasts, well coloured skin, and alto∣gether, able to indure a mans handling. Her haire of a well chosen mingled Colour, (as you may say) of all into one. Not brown, nor black, and too too gracefull she was, to produce a flaxen. I can tell that the Painter was put to it, upon two ••al∣lats full, to mixe them into a Colour, which made it as you see a lovely pure bright Aburn; with which the darkned folds, set out each Circle, sufficient to enchant a man into those Mazes. But that her looks were so neer, which hooked yours into her eye-balls, full black and rouling, and when she had you, she held you there. Only, you might have leave to steal to her Cheek and Lippe, and there to dine and sup, and sip. The whole frame of her face a very Miracle of Nature. Her counte••ance double, for though she seems to invite you, yet with so much majesty, as to command your distance, on∣ly to admire, not to meddle.

And what's her fancie, would you think? Somewhat she must have of ••ashion to set her out. Surely, Nolshe needs none Yet she goes not farre to fetch it. A Sap green and golden coloured Oken-branch tackt to her head. The Embleme, Strong and lasling. So was she; a bounsing Bona-Roba, to indure for ever.

Hold Sir! Her self gives you the Ensigne of Religion; for having done her devotion, she wraps her Row of Beads a∣bout her Arm, lifting up the pendant crosse, as who should say: At the end of all. Look upon this Sir, and you shall never sinne.

'Tis Vandick's. The first Painter that e're put Ladies dresse into a careless Romance. This way suits well to most fancies, and not improperly befits the various modes, that alter with the time, and which our vine-folkes call a New-fashion. But if we looke upon Paintings of late ages, how ill doth the apparrell in use then, become the Picture now? A Noble Custome of the antients, to be so divers in their dresse, as not seriously to settle upon any; and so of this and other his Pieces of different devised dress.

This figure (you see) side-way; perhaps her body would not otherwise beare it out forward, with so much advantage as to the pleasing humour of Plumpnesse. She seems flat∣breasted; and therefore the Painter has done what he can by Art, to hide defects of Nature, and sets her out in such a posture best becomming her parts. Yet hath he given her Grace to her good Face, which she turns from the bodies posture and shews it at the best, three-quarter. She is fair and full, not fat; plump enough, and with good features to her length; Not over-tall, nor too slender. See, see, how pretily she is busied to wreath her Lilly▪flowr'd branch into a Chapelet which signifies her innocent mind intent to Nature, not Art, holding it forth as an Embleme, that Solomon in all his Loyalty came short of Nature's purity. A light brown hair; handsome∣ly curl'd; not too forward upon the face. Her fair cheeks and pure complexion need not her locks, for shadow, them∣selves will bear out all censure; and the better, for she used no Art to make them Red, nor hath the Artizan painted them at all. Look behind, how her Tresses roule up with ropes of Pearle; rich and pretty, without so much as a knot of fancie to be seen, or any strain of dress about her; her mind seems to be more serious. Her eyes somewhat sad. A Cherry lip and full, which does invite you. Her neck, some∣thing too long; and therefore, the rope of pearl does well to help nature which cannot promise plumpnesse.

Take her together, she's better for a brave Wife, than a compleat Mistress; her mantle rich for Winter-covering. A deep Ruby velvet, lin'd with Aurora sarsnet with excellent true shadows well folded, & ••ackt up backwards, with an e∣quall pair of Collets▪ pure Ovall Emralds, large and fair, well set, between four Pearles (quarterly) round and great. Over all, a tippit of Sables rich and deep; Certainly, the great Tartar sent it a present to salute her. It sets off the colour of her skinne, Pine Lilly w••ite; smooth as unspotted Marble (if it were proper, or possibly comparative in any degree, to pattern lively flesh, to be like a stone.)

Her linnen not seen at all, unless her smock-sleeves, cuffed

with a Neat-new-fashion-Flanders lace, rich and deep. Her Arms and hands well formed by nature, and may not be ill done by the Artizan. Altogether, framed equally to an eeven feature. No parts strain'd, to make her other than she should be. A handsome Piece, well worth the Painter's fame, that hath not left his fellow.

[illustration] portrait of Mary Ruthven, wife of van Dyck

Maria Ruten Vxor D. Antoni van Dyck Eq:

W Faithorne excud▪

A Picture of the Husband and his Wife.

IT is a painting of figures, inseparably two, and so made up into one Picture; nor needs there any more addition, themselves are grace sufficient, to fill up a story▪ The designe sets it out, as after Mid-Noon Summer, when heat hath influ∣ence on hearty affections.

A new Bed-Bridall went out a walking, led by the way in∣to a well-grown Wood, where, under the branched boughes of an ample Oak they two sat billing: and after all, in the close of the Even, the Married Man starts up, and looketh wishly on Her.

His Aspect cheerfull; a silent testimony of a cleer Soul and an eeven Conscience at peace with it self. His Countenance not more nor less than Manly; His Constitution Sanguine, com∣plexion ruddie. His hair of good grace, and proper colour, a darkned brown fitted for length and curling; eye-brows, more sad, full ey'd and quick. The Nose somewhat rising, not Ro∣man: His youthfull chin but thin, for Nature was in doubt, whe∣ther a Beard were better, or without:

I might read a Lecture of his out-side Limbs, but better what's within. His looks not unlovely, shew him Manly∣mild; a tender heart full of Noble pitty. Of a Spirit too brave to offer injuries to any, and so much a Christian as to pardon them from an other; rather willing to suffer, than to disturbe the temper of his well-composed mind into a degree of Anger. His Apparrell of Silke, and (like civility it self) the Co∣lour Black. His Mantle-Cloake cast on his Arme. He looketh long upon her, and having twined his hand in hers, He seem•• to speak unto Her.

But She sat still; for having found his Eye-balls fierce, an•• fixed on her, and hers the like on him, and they thus im∣prisoned; both of them blusht, and she looks backe: he would have done so too, had not her modesty began first.

Had you but seen her thus upon the suddain, you would have said she did so, as not to undoe him, with over-looking. Her beauty was of brown: Her hair of Aburn-black; and though she sits down, her dimension shew'd her Symmetry of personagetall, not thin. Her years beneath his, yet at such a desired distance as made eithers age equally matchlesse. Her beauty, in this blush, caused her to look the more lovely. A full eye and piercing; the circled brows gracefully big and black; Her forehead high, her cheeks so well complexion'd, as never till non) she could indure (or need they) Painting;

some-what long visage, in true measure of the Life; yet the Painter did his part by artificiall shadows and roundings, that you could not easily distinguish it, to be any defect of Nature. Her hair curled in wreaths and folds, as if she had a mind to enchant the Man into those fetters, and hold him there. Her ear came under all, round and small, such as men say belong to witty Women; the tippe rather graced a Pearl than that It: In form it was most like a Pear (no doubt there was a paire, the other though unseen) but of such Value that a single one might be sent a Present to a Princesse; the pat∣tern sampled a Rope of them so round, that they were eno∣bled into her Neck-lace. Her dress, her own direction, sur∣passing the Painters design; so then, she might teach him that Art, for ever after. Her Knots of choyce Riband sap-green and silver, fancied into witty fashions, twining her hair like mazes made up into round Rouls, that lodged in the Crown and center of her Head behind.

Her Head was well set on (as Artists use to say) supported by a round necke, down behind to her rising shoulder, full and plump, and meeting before with a fair breast, well proporti∣on'd, interlaced with Riveret-azur-veines. See, see, the swelling paps like ripe Pome▪waters, well grown and fit for her Husband's gathering. The ruddy nipples, two if seen, would seem Rasbery fountaines in true Center to their Globy-Orbs. Her brawny Arms▪ of good flesh, and pure colour. A hand well drawn, holding a sprig of Gesmine, the other shadow∣ed in his. Her body well fed not fat, sitted onely for his de∣light.

Her Apparrell right Mode. I dare say, therein she learns of none, being her self a sample to all. Her Drapery well fashioned of Aurora Silke. Her Skarfe of Azure skye, opened with the wind to let in Aire, or to uncover her beautious breasts toher Husbands beholding.

In a word; She appeares a Lady of a high Fancie, and an equall Wit; both of them made up, by a commanding Judgment.

The Grove was deepned dark, which set out all like a Sun∣setting; so seem'd the skie, in the view of a farr fetched Horison. When loe, (a distance off,) you might discern her pretty Dogge (Sable) came running in; Love to his Mis∣tresse's looks, made him hasten his diligence, seeming to consent to her desire, as being now time to returne home.

Certainly, the Painter was well paid for his paines, or well

pleased to see them while they sat to his elaborate work. A comely Piece, rather with dignity of presence than beauty of aspect. The Artist rather busie not to erre from his pattern, than in labour to produce greater excellencie than their own deserving. And thus, in summe, it must be valued an Or∣nament to the Dyning-Roome; being besides well known to be the Art of Sowst's handy-worke, and he a Master of suffi∣ciencie.

A Promontory of Land, like a Mans head.

A Promontory which bears it self into the Sea and makes a Cape of Land (formed by Nature) in fashion of a Mans Head.

The face (as it were) lying upwards, Necke and Shoulders fixed; like to St. JOHN's Head in a Platter of bloud.

The Grove of Trees rising thick and round, shagging them∣selves in shew downwards, like curled locks.

The Brow-part forceth outwards, (with Hills) leaving a Valley towards the rising Nose, a Rocky Clift so formed by Na∣ture as needs no Art to modell it, to be the same.

Between that and the Lips, a tust of bushes of an eeven length, makes the tuske of hair as it were the upper Lip: only a little Lodge-House raised (per chance) for necessary use, ap∣peares, as if by consent of Art and Nature, to answer for the nether Lip.

The place for the Chin is right set, round with bushes for the beard, proportionably thick and short, alongst the cheeke, breaking off, before you come to the eare, and bearing a space of sallow ground, being the usefull way up to the Mount.

For the Eare, indeed a convenient plat is left by Nature to raise a worke of safety to the place; the inner Contri∣vers, made up with Stone, answer to the Eare in all parts; and the Eye at some distance, shews it selfe to be such in truth, being yet no more than a Rift in the Rocky part, e∣qually formed to the rest, and in proportion to all.

Then comes the Throate and Neck; a large Valley with small Hedge-rows in breadth and length orderly in frame, for the ri∣sing and falling of Veines, to make up the whole fabrick a compleat Head-piece. So we see, Art or Nature can counterfeit each other.

Of the Parts of a Piece.

* 1.150 IN a PICTURE from Nature, there are five Principall parts.▪

1. Invention or Historicall Argument.

2. Proportion, Symmetry.

3. Colour, with Light or Darknesse.

4. Motion, or Life▪ and their Action and Passion.

5. Disposition, or oeconomicall placing, or disposing, or orde∣ring the work.

The four first, are observed in all sorts of Pieces.

Disposition only in those Pictures, that have many figures; not to appear mingle-mangle; but, in all and every part of the Piece, to observe a decent comlinesse, or grace, in a mutuall ac∣cord, of all five.

Of Invention.

* 1.151 IT must flow easily; to force and strain it, marrs the Life and [ 1] Spirit of the work; perfect Invention flowes from generall knowledge; Antiquity must be familiar to the workman; most of all, multitude of Historicall and Poeticall Narrations; Geometry; Obtieks; and so to order your Piece, as to be valued neer or farther off.

Observe to expresse, proper and fit things, agreeing in Circumstance to the Time, Place, and Person: Habits, according to the fashion of such a people or Nation, ancient or Moderne.

Of Proportion.

IT's called Symmetry, Analogie, Harmony.

* 1.152 Proportion is of any part; a Hand fitted to the bigness of a [ 2] body.

Symmetry is the proportion of each finger to that bigness; Analogie or Harmonie. All together in one; a Concinnity of Har∣monie; A congruence, or equality of parts and members; or, due connexion, in reference of all parts, one to the other, and all to the whole, which produceth a perfect Nature, or beauty. * 1.153

Whatsoever is made, after a conceived or Intelligible thing, is Fair.

Whatsoever is made, after a thing generated, is not faire.

* 1.154 Beauty, may be perfectly conceived.

True beauty in any Creature, i•• not to be found; being full of deformed disproportions, far remote from truth; for sinne is the cause of informity.

Beauty in truth, is, where Joynts and severally every part with the whole, hath its due proportion and measure; and therefore hard to describe.

Beauty should consist but of One at the most; and deformi∣ty contrariwise, measured by many: for the eeven Lineaments and due proportion of fair and goodly Persons, seem to be created and framed, by the judgement and sight, of one form alone, which cannot be in deformed persons; as wit•• blub cheeks, bigg eyes, little nose, flat mouth, out chin, and brown skin, as it were moulded from many ill faces; and yet some one part considered about, to be hand some, but altogether be∣come ugly; not for any other cause, but that they may be Li∣neaments of many fair women, and not of One. The Painter did well, to procure all the fair maides naked, to judge of each * 1.155severall and single perfection; and so from the Idea of fancie, to shape a Venus.

And thus, by often exercise from severall beauties, you * 1.156shall fix•• a conceived Idea i•• your mind of accomplished Pulchrit••de grace or comlinesse▪ according to the true rule of Symmetry. So like the Life, (if done by Lilly.) that by the Lines and Colour, a skilfull Physiognomer (another Lilly) may by the Picture foretell her fortune.

A Beauty may be expressed by a comely body, though not of delicate features; rather dignity of presence, than beauty of aspect. It is seen at the first sight. Favour more than Co∣lour; and yet that of decent and gratious motion, more than that of favour.

There is no excellent beauty without some strangeness in the proportion, and both Apelles and Albert Durer, doe but trifles out the time and trouble us; The One to compose a Personage by Geometricall proportion; and Apelles by col∣lecting the best parts from severall faces, to make one excel∣lent. Indeed a Painter may make a better personage than ever was seen since the first Creation; which he does by a kind of felicity, not by Rule; as a Musitian doth his French Aires, not by true Method of setting.

Some faces examined by Piece▪meale do not well, and yet put together make a good one.

If then beauty may be had in a comely decent motion, it is no wonder if Persons in some years, oft▪times, seem more lovely then youth; Pulchrorum autumus Pulcher. Such is she, N. B. T. For no youth can be comely but by excuse, and

considering the youth to make up the handsomnesse. Beautie being a Summer Fruit, easie to corrupt and cannot last.

* 1.157 But the worke of Art, is not singly in the Similitude or likenesse to the Life, (as common judgement will have it) but in the Symmetry; which in truth, proceeds from someskill in the Artizan's surpassing Art.

* 1.158 It was distinguished by that excellent Painter. A Boy holding a cluster of Grapes so like, that deceived the Birds, and yet not deterred by the shape of the Lad; which there∣fore being an exception to the excellencie of the Pie••e, the Painter put out the Grapes, (though most like,) but reserved the Boy (for his Symmetry,) as the better esteem of the Art; not understood by ordinary capacities. * 1.159

You shall hardly find an Artist, very excellent in a naked body, where true Symmetry is expected; and therefore the ancient skill of the Graecians, sildome apparelled any. A ti∣morous Painter, excuses his weaknesse, by covering the body, with a muffled Mantle. * 1.160

The Artizans call this proportion, the designing lines▪ Scatches, the first draught, and so a second and third, before you Paint * 1.161them; which stroaks, by those that have in••ight in Art, are esteemed of high value; for by these first draughts, the true force and undisguised Lineaments of Nature, do ravish the contemplation; wherein the thought of a studious Artificer is perfectly evidenced.

And lineall designes or proportions, draugh••d, Scatches, may be called Picture; which rarely done, shew not only the shape, but also the partie's mind and intent, for we may draw in white-lines, the Symmetry of a Black More, and to be like him; there may be beauty and force in a proportionable designe, naked and undisguised Lineaments.

After design and proportion, we come to Colouring.

Of Colouring.

COrruption composition or mixing of Colours, we call [ 3] Painting; which is, to express shadows in Colours; there∣by, * 1.162to resemble, what we do desire to imitate, by a moderate confusion, or tempering, discordant Colours; as white, black, red, blew, green, &c.

• To mixe them accurately:
• To shadow conveniently.
• To apply them seasonably.

* 1.163 Observe herein Light and Shadows, Obscurity and Bright∣nesse.

Contrary things are more apparant, being placed neer their Contraries; Light and Shadows forward, set out any Painting outwards; as if you might take hold of any part.

Obscurity or Darknesse, is the duskishness of a deeper sha∣dow; as brightness is the Intension of Light:

white appears sooner, or neerer to the Eye; and the black seems farther off, any thing that should seem hollow (as in a Well, or Cave,) must be coloured blackish; more deep, more black.

On the contrary, to lighten or rise forward, with white.

* 1.164 Tonus or brightnesse; as it is of necessary use, so of excellent ornament in a Picture, it is that which is above light; spark∣ling * 1.165as in the glory of Angels, twinckling of precious stones; Armory, Gold and silver vessells; Flame, Gold; a burning glittering Lustre: the variety of these Ornaments, must be expressed excellently; but avoid satiety, not cloy your Picture with it.

* 1.166 Harmoge in Colours, is an unperceivable way of Art; stea∣ling to pass from one Colour to another, as in the sea and skie meeting in one thin misty Horizontall stroake, both are lost and confounded in sight; water and ayre become one in * 1.167their meeting. The Rainbow's sundry Colours, seeming one mixture, not distinct; and consisting of one Colour, shews excellent; but considered of severalls, becomes a won∣der.

So also in Art; to paint the line or meeting of a Centaur in his two Natures, which must seem to unite and joyn in∣sensibly, as not to distinguish where they meet; deceive∣ing the Eye with a stealth of change; a pleasant confusion of differing Colours. It is hard to be expressed, and difficult to be done, the very excellencie of an Artist; when the ex∣tream or utmost lines, the unrestrained extent of the figure, lightly and smoothly coosin the Eye, as if something were behind the figure, more to be then the Eye sees, when the Li∣neaments, * 1.168that do circumscribe, or include the figure, are so thin, as to vanish by little and little; the highest subtility of * 1.169a piece, like spirits and souls painted.

You may call it a Geometricall Line; which is, without breadth: Observe the parting of the Sun-shadow, upon * 1.170the Wall, the line parting the light, and that is thus.

In Painting of a Man consider his dignity, stout and un∣corrupt; (in effeminate smoothness) the Limbs moderately swelling-grac'd with true and lively Colour; of pure and

wholesome bloud: Bloud and strength makes it goodly fair; the black exquisite black, pure white, with the flower of red∣ness intermixt: Ivory died in Purple.

* 1.171 As for the beauty of a Woman, possibly so rare and pure; not to be imitated with Colour of Painting. Her naturall gracefulnesse not yielding unto an Art, which does but counterfeit. No hand, in truth, knows the temper, for such a countenance. Confound Lillies with Roses, and what re∣flection the Ayre takes of them, that's her complexion. N. B. T. Never to be well done, but by an Ingenious, Excellent Artizan, and a faithfull admirer of his beautious Mistress.

Of Action and Passion.

* 1.172 THe next observation, is out of which, Life and Motion [ 4] doth result: It shews no Action or Passion in a Piece, barely, upright, looking forward, the Armes hanging down, the feet close together, and so seems unmoveable, and stift.

* 1.173 In lineall Pieces, there may be a deceitfull similitude of Life and Motion, and statues may seem to live and breathe but coloured Pictures shew a lively force in the severall effects, and properties of Life and spir••t.

* 1.174 To be well acquainted with Nature, Manner, guize and be∣haviour; as to paint a Man, angry or sad; joyfull earnest; or id••••iall passions to be proper to the figure: for every com∣motion of the mind, alters the countenance into severall passions of fear, hope, love, joy; so does a touch of the Pensill from mirth to mourning. The head cast down, seemeth hum∣bleness; * 1.175cast back, Arogancie or scorn; hanging on the Neck languishing stiff and sturdy, morosity of the mind. Indeed the severall postures of the head, describe the Numbers of passions; the countenance as many; the Eyes, the like. So excel∣lent must the Art be, to counterfeit Nature. In a word, each severall member or part of the body, either of themselves, or in reference of some other part, expresses the passions of the mind, as you may easily observe in the Life.

* 1.176 The Arms abroad; the Hands expansed; the Fingers spread; all motions of the parts of the body assist whilst we speak; but the hands seem to speak themselves, in severall actions, and postures

The Poets in their descriptions of their gods and great men, do rarely express the passions of their minds, and I would have an Artizan to observe so much in each Picture of the Life (which indeed they only aim at, but do not take the

pains to express) this being effected more by the Master's thoughtfulness, then by diligence and labour.

Study therefore to your self, that affectation in your thoughts, which you intend to express. So shall your in∣deavours be assisted by a vertue, which the Greeks called * 1.177Energia, effectuall operation, evidence or perspicuity, won∣derfully studied by them.

* 1.178 I have seen a piece of Tytian's: A Child in the Mothers Lap playing with a Bird; so round and pleasing, it seem'd a doubt whether a Sculpture or Painting; whether Nature or Art, made it; the mother smiles and speaks to: the child starts, and answers.

* 1.179 Another of Palma's; a speaking Piece indeed. The young Damsell brought for Old Davids Bedfellow; all the compa∣ny in Passion and Action: some in admiration of her beauty, others in examining her features, which so please the good Old Man, that in some Extasie of passion, he imbraces her, which her humility admits, yet with a silen•• modesty a•• best became her, only to be dumb and to suffer.

* 1.180 Another; the Picture of an Infant, in a Surprised C••tty, creeps to the Mothers breast gr••velling on the ground, a∣mongst other Captives and dying of a wound: seeming to have only so much sense, as f••aring lest the Child finding no Milke, should suck her Bloud, and so be ••••oakt; she stri••es with death to prevent the Infant so distruction. In an••ient Excellent Pieces, you may at a view under••ake to read the mind of the Artizan, in his intent of the Story. We are gone through all, but the last.

Of the disposition of the Parts.

[ 5] A Picture of many figures, must needs express some Histo∣ricall * 1.181part in it; Every figure ought to represent there∣in, by a speechless discourse, the connexion in them. Assigne therefore the principall place, to the principall figures, next to hand: Other figures, farther off. Finish the Principall fi∣gures, * 1.182whilst your Spirits are fresh. Frame not your Histori∣call Piece, rude, loose, and scattered, but rather, in an equita∣ble roundness of composition; to be perceived by each ob∣server; to be liked of the most; but to be judged, only, by ••he * 1.183learned. Neglects in disposition, are soon discovered.

Pourtray in your excellent Pieces, not only the dainty Li∣neaments of Beauty, but shadow round about, rude thickets, rocks; and so it yields more grace to the Picture, and sets it out: this discord (as in musicke) makes a comely concordance; a disorderly order of counterfeit rudeness, pleaseth: so much

grace, doe mean and ordinary things, receive from a good and orderly connexion.

* 1.184 All these together, make that perspicuous disposition in a Piece of History; and is the effectuall expression in Posture and Action; the very Passion of each Figure; the Soul of the PICTURE; the Grace and Ayr of the Piece; or the sweet Consent of all manner of perfections heaped together, in one Picture.

* 1.185 And so have we done with an Example of all in One: For

• Invention allures the mind.
• Proportion, attracts the Eyes.
• Colour, delights the Fancie.
• Lively Motion, stirs up our Soul.
• Orderly Disposition, charmes our Senses.

* 1.186 These prodnce gracefull Combiness, which makes one fairer then fair; and all together, confirme us into Rupture. N. B. T.

This Grace is the close of all, effected by a familiar facili∣ty in a free and quick spirit of a bold and resolute Artificer; not to be done by too m••ch double dilig••nce, or over doing; a careless shew, hath much of Art.

* 1.187 For additions▪ to your Piece to adorn it, or Parergia to your worke. Some by Paintings are not amiss; pretty draughts upon sheilds; Sword, hilts; Pots, brakes of Vines, Ivy, Cypress, and such like devices: we call them sweet seaso∣nings of the Picture.

But then, these do but adorn, and must be dimme and carelesly drawn, rather seemingly with a light ayre, then actually done.

* 1.188 And these conclude the worke. That all sorts of people, wise and weak, ignorant and Learned, Men and Women, one and all, may find in it, to be delighted, which comes now to be a Wonder.

Our Antient Painters, famous for Art, Immortalized their works with all excellencies, and thereby consecrated * 1.189the Wisdomes of their hands, as Donaries unto Delphis, a sacrifice to Deityes.

* 1.190 Our late Painters strive for wealth, by sale of Ordinary and quick work, (the bane of all Arts) rather than labour for Fame, and Glory; the cause of many Pieces, so common and few of Art.

For, upon enjoying of Glory, follows a confident boldness of Art, incredibly advanced by success and repute. Success, is that veneration of Art, by Kings and Nations. In such a

Man, shamefastness is a vice, causing our Wits to rust with too much secrecie. The shunning of vice, when it wants Art, leads us into vice. Be bold and know your merit, and in Gods Name when you do well, make others pay for it. Art cannot be over-valued.

Conclusion of this first Part.

* 1.191 TO reduce & discipline my scattered Notes and Papers; & such indigested Collections, as require a more formal Method and a better Pen, hath been my pains and desire to effect; Wherein, perhaps, I have been over prolix; A fault pardonable, and excusable from such, as are any thing ac∣quainted with the profoundness of this Art, and Artificiall Mysteries.

The consideration enlightens my understanding, and sits my mind, with such a treasure of discourse, as that with great difficulty, I cannot be brief; to distinguish, or to de∣vide.

* 1.192 This subject, being so fruitfull, that store makes me pe∣nurious.

And now, with no more adoe, I represent you with the Second Part. The Art of Limn••ngton Water Colours, differing somewhat from Oyl-Colou••s; In both, the practice will easily distinguish. The way and manner, those directions before and what does follow will serve for either.

And so, I put you forward, to your Pallet and Colours.

Notes

• * 1.1

  Pen and Pen∣sill described.
• * 1.2

  Of the five Senses.
• * 1.3

  Sight the best sense.
• * 1.4

  Sight compa∣red with other senses.
• * 1.5

  Excellency of sight.
• * 1.6

  1. Variety of Objects.
• * 1.7

  2. In spiritual operation.
• * 1.8

  3. In Light the Noblest Qua∣lity.
• * 1.9

  4▪ In infallibi∣lity.
• * 1.10

  Eyes their ex∣lency and ef∣fects.
• * 1.11

  In the descrp∣tion of a Land∣skip.
• * 1.12

  By an English Gentleman.
• * 1.13

  The Mountain Vesuvius bur∣ning.
• * 1.14

  Simile▪
• * 1.15

  Prospect of the Vale.
• * 1.16

  River.
• * 1.17

  Bridge.
• * 1.18

  And Orchards.
• * 1.19

  People flye from the Fire.
• * 1.20

  And from the mixt Villages.
• * 1.21

  Hills a farr off.
• * 1.22

  The left hand Prospect of the Vallye.
• * 1.23

  Foot of the Hill.
• * 1.24

  Horison.
• * 1.25

  Travalers.
• * 1.26

  A Curtezan Courted.
• * 1.27

  The Tale put into a Picture.
• * 1.28

  Description of a storm at Sea.
• * 1.29

  Storm begin•• with wind and waves.
• * 1.30

  Lowers the Sayle.
• * 1.31

  ••orridnesse.
• * 1.32

  Ships Instru∣ments useless.
• * 1.33

  In sundry ships severall distresses.
• * 1.34

  Sheets rent and Tackling tare.
• * 1.35

  Boy blown a∣way.
• * 1.36

  Mariners mi∣series.
• * 1.37

  Spectators frighted.
• * 1.38

  Passengers in a long-boate, cast away
• * 1.39

  upon Sands,
• * 1.40

  And
• * 1.41

  They are drowned.
• * 1.42

  The Wrack described.
• * 1.43

  Goods thrown over-board.
• * 1.44

  Ship sincks.
• * 1.45

  The lading flotes, and men upon them.
• * 1.46

  And men drowned.
• * 1.47

  Wrack on shore.
• * 1.48

  Only one man saves himself.
• * 1.49

  Harmony of Poetry and Painting.
• * 1.50

  Painting be∣fore Poetry by Hierogly∣phicks.
• * 1.51

  Graecians the first Painters.
• * 1.52

  Paintinghigh∣ly valued.
• * 1.53

  Excellency and
• * 1.54

  Effects by
• * 1.55

  massacre at Amboyna.
• * 1.56

  Pictures valu∣ed at a mighty Price.
• * 1.57

  Van Dorts death by losse of a Picture.
• * 1.58

  Mr. Gibson, the Marqui∣sate Picture.
• * 1.59

  Three Knight-Painters.
• * 1.60

  Use of Pain∣tings.
• * 1.61

  Ornaments to Houses.
• * 1.62

  Whether Sculpture or Painting, be supream.
• * 1.63

  Decided by a Blind Man.
• * 1.64

  1. The first Grace of a Picture.
• * 1.65

  A Cut here∣of.
• * 1.66

  To distin∣guish Princi∣pall from Copies.
• * 1.67

  Mr. Croix.
• * 1.68

  Of Laniere.
• * 1.69

  How to judge of them
• * 1.70

  By distinction
• * 1.71

  Of Old and New Pictures.
• * 1.72

  In History. Antient Itali∣ans and their successors.
• * 1.73

  Dutch Mas∣ters.
• * 1.74

  French Mas∣ters.
• * 1.75

  Designs.
• * 1.76

  Life.
• * 1.77

  Landskip••
• * 1.78

  Flowers.
• * 1.79

  Prospective Sea Pieces. Beasts.
• * 1.80

  Neat heards.
• * 1.81

  English Mo∣dern Masters.
• * 1.82

  Limning in Water Co∣lours.
• * 1.83

  War destroyes all Arts.
• * 1.84

  Abilities of Painters.
• * 1.85

  Confined.
• * 1.86

  Of Factions.
• * 1.87

  The Painter's freedom.
• * 1.88

  Difference of Naturall and seigned Figures.
• * 1.89

  And with Grace.
• * 1.90

  Well Colou∣red.
• * 1.91

  1. With Force, what it is?
• * 1.92

  2. And Affecti∣on, what?
• * 1.93

  The first orde∣ring of Paint∣ing by Greci∣ans.
• * 1.94

  Their Names and Qualities.
• * 1.95

  How to dis∣pose of Pic∣tures.
• * 1.96

  Not upon out-side of Houses.
• * 1.97

  Grotesco work, what it is.
• * 1.98

  Of Fresco what it is▪
• * 1.99

  Whole Towns of this worke.
• * 1.100

  Three Cham∣bers in Rome.
• * 1.101

  And in France.
• * 1.102

  ••o dispose Pictures with∣in doors.
• * 1.103

  How for light?
• * 1.104

  Orderly for grace
• * 1.105

  In the Hall,
• * 1.106

  Staire-Case.
• * 1.107

  Great Cham∣ber.
• * 1.108

  Dyning-Roome.
• * 1.109

  Drawing-Chambers.
• * 1.110

  Bed-Cham∣ber.
• * 1.111

  Banquetting-Rooms.
• * 1.112

  Galleries:
• * 1.113

  Tarraces. ••
• * 1.114

  Note.
• * 1.115

  Five sorts of Paintings.
• * 1.116

  Drawing and Designing, their excel∣lent use.
• * 1.117

  The Cuts of these, all lost •••• Sea.
• * 1.118

  The practice of Drawing and Desig∣ning.
• * 1.119

  How to draw by Copyes.
• * 1.120

  Of severall members o•• the body.
• * 1.121

  Head and shoulders.
• * 1.122

  Nakeds.
• * 1.123

  Skeletons.
• * 1.124

  Pensils.
• * 1.125

  Drapery what?
• * 1.126

  Of hatching.
• * 1.127

  The best Prints.
• * 1.128

  Shadan and o∣thers.
• * 1.129

  Most Pictures are Copied by Gravings.
• * 1.130

  With severall Names to them.
• * 1.131

  Not to Paint¦ere you can Draw well.
• * 1.132

  In reference to Philosophy and
• * 1.133

  Poetry
• * 1.134

  And
• * 1.135

  Painting.
• * 1.136

  Into three sorts.
• * 1.137

  Of Imitation.
• * 1.138

  In severall graces and abilities.
• * 1.139

  Of Fancie.
• * 1.140

  Surpassing Imitation.
• * 1.141

  Fancy in sleep.
• * 1.142

  It changes pas∣sions and af∣fections.
• * 1.143

  Mr. May.
• * 1.144

  To encrease fancie.
• * 1.145

  And order it in a Picture.
• * 1.146

  Not to dwell upon d••sign∣ing.
• * 1.147

  To correct what is amisse.
• * 1.148

  And to submit to Censure.
• * 1.149

  being wisely judged.
• * 1.150

  Five Principa parts in a Picture.
• * 1.151

  Invention.
• * 1.152

  Proportion.
• * 1.153

  Of true beau∣ty.
• * 1.154

  Naturall or conceived.
• * 1.155

  By the Idea.
• * 1.156

  His brave and un∣pattern'd and unparallel'd Piece of Arti∣me••ia.
• * 1.157

  Likenesse, not to be compa∣red
• * 1.158

  To Symmetry
• * 1.159

  And therefore Naked Bodies hard to Paint.
• * 1.160

  Designing Lines, what?
• * 1.161

  A Cut.
• * 1.162

  Colouring, what?
• * 1.163

  With Light and shadows.
• * 1.164

  Tonus, what?
• * 1.165

  A Brightness.
• * 1.166

  Harmogia what?
• * 1.167

  As the Rain∣bow in Co∣lours.
• * 1.168

  Of Spirits and Souls Painted ••••
• * 1.169

  A Geometricall Line.
• * 1.170

  Colouring of a Man.
• * 1.171

  And beauty of a Woman.
• * 1.172

  Action and Passion.
• * 1.173

  How to be ex¦pressed
• * 1.174

  And to be im∣proved
• * 1.175

  In severall postures of the Head.
• * 1.176

  Hands and Arms.
• * 1.177

  Energia what?
• * 1.178

  By example of Titian' Pie∣ces.
• * 1.179

  And of Palma's Piece.
• * 1.180

  And of ano∣ther.
• * 1.181

  Of Dispositi∣on.
• * 1.182

  In order to perfection,
• * 1.183

  Soon disco∣vered.
• * 1.184

  But altoge∣ther excellens.
• * 1.185

  By exampl•• in brief
• * 1.186

  Conclude a rare Picture.
• * 1.187

  Parergia what? With pretty adornments gracefull.
• * 1.188

  And to con∣clude it a wonder.
• * 1.189

  Dedicate to the gods.
• * 1.190

  Painter's faults.
• * 1.191

  Conclusion of all
• * 1.192

  Sets you for∣ward to the Second Book.