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. VIII. (Book 8)

The Characters of several Masters.

I Shall only give Hints of some Names known amongst us, since the Ingenious Mr. Sandrart hath so well Treated on the Generality of them, which book is design'd to be Translated.

Michael Angelo is allowed the most Famous sor all Bodyly Mo∣tions, all Foreshortnings, &c. as is universally acknowledg'd in that wonder of the world, the Resurection in the Popes Chappel at Rome.

The divine Raphael (so usually call'd amongst the Italians) may be allow'd the Prince of Painters an Excellent Antiquary, his Designs of Lofty and Noble Subjects with a great Manner and Spi∣rit in his Works.

Titian and Tintoret likewise exercis'd their Judgments on Great Storys, the latter whereof was call'd the Furious Tintoret, from his bold way of Painting with Strong Lights and Deep Shaddows.

Rubins was an Indefatigable Painter, he had a great Excellen∣cy in Colouring Flesh, which was most Beautifull, Soft, Tender and Clear, and the Nature it self; and had he had the Italian Measures he had been one of the Greatest Masters in the World: he was a general Master for History, Landskips, Sea-piece, Fish, Foul, Architecture, &c

Van-Dyke Painted wonderfull Natural, variety of Colouring, delicate Touches, Soft and Tender, with extream fine Observati∣ons about the Cheeks, Chin, &c. he Painted Armour to a Mi∣racle, Sattens and other Draperys extream Fine, Loose and Gentle in his Postures: he us'd to Paint after those two Great Masters, being a Disciple of the latter.

Lyly brought up first the curious Loose-Dressing of Pictures, which most of our Masters since have follow'd; he was extream fine about the Eyes, very delicate upon the Hands, a Free Masterly Touch in Hair, he was Disciple of the Incomparable Van Dyke.

Holbin had a delicate Tender soft way in his Flesh, Finisht up to a Miracle.

Rembrant had a Bold Free way, Colours layd with a great Body, and many times in old Mens Heads extraordinary deep Shaddows, very difficult to Copy, the Colours being layd on Rough and in Full touches, though sometimes neatly Finish'd.

Moor had a very smooth neat way of Colouring, which may be one Reason that his Paintings keep so fresh, because the dirt is not apt to get in, there have likewise been other Great Masters by the Life as Walker, Zoust, Hales, Greenhill, Wishin, the late Rily, &c.

Albert Duter generally wrought up his Horison of his Land∣skips to the Edge of his Pictures, which is not so Gracefull al∣though it may be Natural.

One of the Brugels, Willebeck, Dehem, Seagers, Thewlin, &c. were very fine in the Stillife, especially Dehem.

Another of the Brugels (generally cal'd Hellish Brugel) was Famous for Scenes of Hell, St. Anthonys Temptation, &c. his Head was strangely Pregnant of Chimera's, but very prittily Touch'd.

Snyder, De Vos, were excellent in Beasts of Prey, Fowling and Hunting in Large, and Elshamet extraordinary in small, as likewise Roben, Hames and Tambois for Cattle, Woverman was a great Master, likewise the Elder Barsan.

Stenwick, Masuccio, De-Nef were three Extraordinary Masters in Painting Perspective.

For Sea-Pieces, the Famous Precellus, Bonaventure, Peters, &c.

The Great Possene, Paul Brill, Lanier, Vanbots, with many more were Remarkable in curious Landskips.

For Night-Pieces the Incomparable Dow; Likewise Barsan and Elshamer have done Famous works in that way.

Brower was the most Famous for Boor-Pieces, for every Touch speaks a Master, and with a few stroaks could put what Passion in a Face he pleas'd. Teneers likewise and one of the Brugels did very well in that manner of Painting.