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.

About this Item

Title
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.
Author
[Smith, Marshall, fl. 1693].
Publication
London :: printed by M.B. for the author, and are to be sold by R. Bently, in Russel-street, Covent-Garden, and J. Hancock, in Castle Ally by the Royal-Exchange. Price 2s. 6d.,
1693.
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Subject terms
Painting -- Technique -- Early works to 1800.
Link to this Item
http://name.umdl.umich.edu/A60499.0001.001
Cite this Item
"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." In the digital collection Early English Books Online 2. https://name.umdl.umich.edu/A60499.0001.001. University of Michigan Library Digital Collections. Accessed June 18, 2024.

Pages

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

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more plainly and distinctly; but if the Object be far of, the Angle of the Pyramis comes to the Eye more Sharp which ren∣ders the Object the less Discernable.

It is likewise to be noted that the Object cometh not to the Eye, but the Visible Spirits are diffused through the Clearness of the Air to the Eye; which Spirits are certain Images, like those in a Looking glass, when any thing is Represented therein.

If the Colour'd Body or Object stand near to this Image, it comes to our Eye in the same quantity and bigness of the An∣gle of the Pyramis; now because this Angle comes to our Eye in an Obtuse Forme, the Image also seems great and so is dis∣cern'd the more distinctly: but when the Colour'd Object stands afar off, the Image comes to the Eye, in a small and slender Angle, and therefore filleth not the Eye, but Wa∣vereth in such sort that it cannot be clearly and distinctly dis∣cern'd.

And lastly, the Faculty of Seeing is reduc'd into Act, by the concurring of the other two, viz. the Uisual Lines and the Colour'd Body which reformeth the Eye by reducing it from meer Ability into Act.

From which Grounds for these two Reasons, the self same Body cannot be equally Lightned in all Places.

First, because Light with all its Brightness doth not Illumi∣nate more, then that part directly opposite to it, not having Power to Illustrate the other Parts so perfectly, from the na∣ture of the dark, Terrene and Gross Body, which hindereth the Beams from Piercing Inwardly, to perform their Effects so perfectly.

The second Reason is from the Nature of the Eye, what is nearest coming with a Bigger Angle is more distinctly seen, what at distance by a less, and is more Imperfect, so propor∣tionably of a third and Fourth till the Eye can discern no farther.

Light is twofold Primary and Secondary, the Primary is that which falleth on that part of the Colour'd Body which is op∣posite to the Body giving Light, touching it with direct Beams; a Light Body is that which hath Light within it self, as the Sun, Fire, &c. now that Light which ariseth from this Primary Light is the Secondary Light.

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Light is divided into divers other important Branches drawn from the Physiologicall part of the Perspective, whose cheif end is to seek out the Principles, Causes and Elements of all visible Things, together with their Species and Essential differences, but ever in General it is divided into three parts according to the divers Considerations of Seeing.

The Secondary Light is likewise of three sorts, the Direct, Reflected and Refracted.

The first Primary Light is that which falleth upon and is re∣ceiv'd in that Part of a Colour'd Body which is opposite to the Body giving Light; which running upon the Bodys, toucheth them sweetly with a certain Natural Order, not possessing them in any of the Extreams as other Lights do, and must be ob∣serv'd in Historys suppos'd in the open Air.

The Second Primary Light is that which is caus'd by the Apparitions of Angels, or Glory, as about our Saviour in his Nativity, his Transfiguration, his Resurrection, &c. and it must be observ'd in all parts according to their distance on every side.

The third Primary Light is from Fire, Torches, Lamps, Can∣dles, &c. but must be less Refulgient then the last. In this we must observe whither it be by Day or Night, the Matter Burn∣ing, &c.

Where there be several Lights there must be care taken how they are placed that by their Opposition, they take not away all Occasion of Shaddowing, which will diminish their Beauty, through the want of force and strength; likewise that they cast not double Shaddows, and confound each other.

The Secondary Light is that which is caus'd not by Direct Beams but Reflected, though Direct from the Primary Light: which is the first Species of the second Division of Light, and is brighter according to the Thickness of the Body it meeteth with, but strikes only on the Superficies direct opposite to it.

The Reflected Light is that which ariseth from the ending of the Direct, it Lightneth all the Bodys on which it fals, cheifly the hinder parts of such Bodys as are Lightned before, by the Direct Beams.

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The Refracted Light is that (which the Philosophers say) is ingendred by the Direct Light, as it fals on Christals, Armour, Water and such shining Things as are apt to Ingender the same: and is nothing but the breaking of the Direct Light upon these Bodys, which it causeth round about in every place, as may be seen in clear water towards the bottom, as likewise on the Superficies next the Eye.

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