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. XIV. (Book 14)

Proportions of a Woman, Child, and other Observations.

THe Proportions of Man and Woman differ in their height: a Woman hath a longer neck; the parts of the Brest and the lower parts of the Belly by nere a half part, which makes the space from the Brest to the Navel, less by one Part, and the Thigh about a third part shorter: as to Womans breadth, her Brests and her Shoulders are narrower, her Haunches larger, her Thighs at the place of their Articulation, so too; her Arms and Legs are thicker, her Feet streighter. And Women being more Fat and Fleshy, their Muscles are the less seen: therefore their Contours are more even and smooth.

A young Maid hath a little Head, long Neck, low Shoul∣ders, a slender Body, pretty big Haunches, Legs and Thighs long and little Feet.

Young Men, their Neck thicker then Womans, Brest and Shoulders larger, Haunches and Belly narrower, their Legs and Thighs Slenderer, and their Feet bigger.

Young Men about sixteen or seventeen, in their length have their Proportion as Men of forty, but differ in breadth.

At twelve or thirteen, mine Faces to its height, being equal∣ly divided, the breadth about the Shoulders two Faces, about the Haunches one Face, one third part and a half.

For Four years of Age the height six Faces, and one third part; from the top of the Head to the bottom of the Belly three Faces and one third part, and from thence to the Sole of the Feet, three Faces; the breadth about the Shoulders one Face and two third parts; and about the Haunches one Face and one third part.

For three years of Age, we count five Faces, from the top of the Head to the Soles of the Feet. From the top of the Head

to the bottom of the Belly, three, thence to the Feet two; its breadth about the Shoulders, is one length of the Face and one eighth part; and in the place of the Hips one Face.

Yet not withstanding these certain Rules of Proportion take these observations: in Common Country-Fellows, as they are People of a duller Wit, they must have more Heavy and Rough Proportion. The Head big and the Neck short, the Stomach lit∣tle, the Shoulders high, the Knees and Thighs thick and the Feet large.

For more Grave and Noble Storys, the Figure must be well shap'd, the Joynts well knit, little and compact, the Haunches high, a small Hand and a Nervous Neck, not very fat or fleshy. Thighs Muscly, the principall Muscles rais'd up and knit toge∣ther at their Head and Axis. Shoulders large and high; the Body elevated, the Belly little, with smooth Legs and slender Feet.

In Great Heroick Historys the Figures may be much bigger then the Life, only observing exact Proportion: but remem∣ber (as before) that if they stand high, (as such always should) the upper parts must be made larger, according as the Distance Diminishes.

Farther observe, that there is a difference in the Contours in some Parts, as the Body changes, as the Arm, when bent is bigger then when streight so likewise of the Feet, Knees, &c.

In Measuring of Figures of the Relievo, great care must be taken of the Parts Jutting or swelling out, or you'l make great Faults.

The Contours of Old Folks must be more stiff, and the Joynts sharp, in young People more easy, the Joynts Rounder.

Great care must likewise be taken to observe the greater grace of Proportion in the Principal Figure in a Picture, which is cheif∣ly design'd to take the Eye, keeping your minde most fixt on that, lest you spend your Conceit on the other Figures and so the Design wants the Beauty expected as hath besell great Masters.

Euphranor being to draw the twelve Gods in Athens, began with Neptune, which he had finish'd so exquisitely both for Pro∣portion and Colour, that after designing to make Jupiter with

fat greater Perfection, he had spent his Conceit so on Neptune that he could not Finish Jupiter or any of the rest of the Gods.

The like besell to Leon: Uincent, who being to Paint our Saviour at his Last Supper in the Refectory of St. Maria de Gratia in Millain: and having finish'd the other Apostles he re∣presented the two James's with such Perfection, of Grace and Majesty, that Endeavouring afterwards to express our Sa∣viour, with a more Sacred and Divine Countenance, he was not able to accomplish it, wherefore advising with Bernard Zenale, he us'd these words to comfort him; O Leonard none but God himself could correct this Error, for thou nor no Man living can bestow more Beauties then in these two James's.