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. III.

The Reputation Painting hath had in the World.

IT is sufficiently Known in what Esteem Painting hath been amongst the Aegyptians, under which they Communicated all their Natural and Morall Philosophy: it was their Treasury where they Accumulated all their Arts and Sciences: For since the Power-Memorative could not contain all the Similitudes and Idea's, which by the Labour of the most Ingenious (Infinite in Possibility) were Produc'd, here they Reserv'd all the Occult Riches of their Misticall Knowledge to all succeeding Ages.

From thence, in Process of time hath been Transmitted down to us considerable Benefit, in Philosophy, by the Hands of Plato, Pythagoras and other Philosophers, who sayl'd to Aegypt to tran∣sport it thence: And though some of their Hieroglyphicks appear Ampfractnous to us, which doubtless is from their long disuse, yet some I have seen not so Aenigmaticall but might be easily Under∣stood; and as before was hinted, they had the Advantage hereby to speak in all Languages, and so of their most precious Wealth were Eleimosynary to the whole World.

In imitation of them the Ancient Romans set up Emblems in Publick places of divers Animals, under which their Philosophy∣cal Misteries were couched, and from Hieroglyphicks and Emblems they proceeded to Paint, the Famous Actions of Worthy Men, that through the Emulation of their Actions, they might Excite the Young Noble Spirits to like Performances.

Nor was this Art only Honoured, by the Noble Use made of it in this manner, but likewise by the Study and Practice therein by those of the greatest Quality; as also by the vast Sums paid for severall pieces for the Encouragment of the Artists, as well as for the future Profit and Pleasure thereby to themselves, and Posterity.

We reade of Francis King of France, and first of that Name that he Practis'd in it to a great Perfection: as likewise Charles Immanuell Duke of Savoy, who was well Read in all Heroicall Vertues as well as in the Liberall Sciences, but most delighted in Painting.

Quintus Fabius, his Family the Noblest in Rome Sirnam'd Pictores, took great delight in this Art: and Painted the Temple of Salus with his own Hand, Subscribing his own Name to his Work as the more lasting Monument of his Glory: Rutilius in vita Quint. Fab. Pic.

The Emperour Constantine, spent great part of his Youth in the Practice of this Art; as we find Sigibert in Cronicis.

Likewise Prince Lavinianus, valued himself more on this, then on his Noble Descent and other Qualifications, Them. lib. 2.

Pomponius Atticus, a Man of Profound Wisdome and Favourite of Cicero, beautify'd his own Poems, with Pictures of his own Design and Drawing.

Lucianus also of Imperial Descent, when he retreated from State-Affairs, spent his Time in this Ingenuous Art; declaring it to be the most Princely Exercise, to Copy the God of Nature in his Works; Sal. lib. 3.

With many more of the Greatest Princes in Europe and ever of the most Ingenious of them: nor wants it Patrons in the Fair Sex, for Margaret Queen of Navarre arriv'd to a great Perfection in it, with divers others.

In Plinies Time Festival days were appointed at Corinth, for the exercise of Painting, for Great Pryses and Wagers, and we see at this day they are esteem'd as the most Valuable Jewels, by the Noblest Rank of the Age, in Forreign Countrys, as well as with the most Ingenious of the Nobility in England: this Art ever being in greatest Estimate with those who have been the most Remarkable for their height of Fancy and depth of Judgement.

How former Times Esteem'd it, may be seen by these few among Numberless more, by the Sums were payd for them.

Antonius Vesuvius payd for a Piece of Michael Angelo, three thousand pounds sterling.

Caesar the Dictator redeem'd the Tables of Ajax and Medaea for Eighty Talents; which amounts to twenty four thousand

French Crowns according to the lesser Athenian Talent.

King Attalus payd for one of Aristides Pieces, a Hundred Talents.

Candalus King of Lydia gave as much for a Piece to Bularchus.

Strapbonius Polenus gave to the Value of five thousand pounds Sterling for a Picture of the Divine Raphiel.

Hortensius the Orator gave for a Table of the Argonants, one hundred forty four Talents.

The Duke of Millain Rewarded Raphiel Urbane with as many Ducats as would cover a large Piece which he made for him.

Mnason payd to Asclipiodus for the Twelve Gods, after the rate of three hundred pounds a Piece.

Pope Innocent the Eighth, so Famous for his Knowledge in all Learning and Ingenious Arts, bestow'd upon Andrea Mantegna in the Belvedore of Rome, two Thousand Ducats for a months Work.

Polidorus likewise, payd for a Piece of our Saviours Nativity of Rubens, fifteen hundred pounds Sterling.

Nor is it strange that these great Masters Works should have a higher Estimate then the most valuable Jewels, since they may be met with again of the same colour Nature and Dimen∣sions, but a great Design may be particular throughout the World: besides the variety of Pleasures and Benefits hence arriving, of which the other is wholly void.