The art of painting according to the theory and practise of the best Italian, French, and Germane masters. Treating of the antiquity of painting. The reputation it always had. The characters of several masters. Proportion. Action and passion. The effects of light. Perspective. Draught. Colouring. Ordonnance. Far more compleat and compendious then hath yet been publisht by any, antient or modern. The second edition. By M.S. gent.

CAP. I. (Book 1)

The Definition and Qualities of Painting.

PAinting is an Art, which by Draught of Lines and Colours, doth not only Express the Forms of all things, on the super∣ficies of the Earth (according to Socrates) 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 with the Actions of all Animals, but likewise the Passions of Intellectu∣al Beings.

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

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

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

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

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

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

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

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

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

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

And those great Men whose Works have been held in such Admiration, both by the greatest Judgments as well as the Noblest Quality; it shews in them Souls Capacitated and Adapted for such high Actions as themselves have Exprest so to the Life: for there must be a Concretion of Idea's into a

Form in the Minde before Action is produc'd: of Mindes to Replete their works are sufficient Evidence.