CAP. XX. (Book 20)
Of Light.
LIght hath so great Force in Painting, that the Gracefull Part consists much therein, for if the Lights are well dispos'd, there will be a Beauty in the Picture (although not a Perfection) notwithstanding the Draught be not Extraordi∣nary; for it is through the Vertue of that, that the Figures are brought off from the Flat.
The Force hereof may be seen in the Resurection of our Saviour (as hath been observ'd) in the Covent of the Church of Grace in Millain, by Bernard Zenale Triviliano; where though the Muscles and other Necessary Complements for a perfect piece of Work are not seen, yet it gives a great satisfaction, by the strength and orderly Disposal of the Lights. The Power of it is likewise such, that it gives admirable Foreshortnings and Perspectives; neither can Form, Motion, Proportion, Com∣position, Order or Figure have Perfection without it, like a Body without Situation or Spirit.
The Paripateticks say, this is the Cause or Formal Reason whereby colour'd Things are seen, whose Images pass to the Fancy, especially inlightning the Eyes, in which the Image is Formed, passing first to the Common Sence, then to the Fancy and Lastly to the Understanding.
We are to observe three Things concur to our Slight, the Visual Lines, the Colour'd Body, and the Faculty of Seeing which is in our Eye. The Visual Lines Lightned (which are the proper matter and subject of the Perspectives) come to our Eye in a Pyramidal Form, the Basis of which Pyramis resteth in the Object, and the Conus or Angle thereof cometh to the Eye more Blunt and Obtuse, and hereby we see the Object