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. XXXI. (Book 31)

Precepts about Ordonnance and Design. As Likewise for Drawing by the Life.

IN Designing a Peice of History we must have greatest Re∣gard to the Principal Group, that the Lights fall strongest on it, and more especially on the Cheif Figure that it be of the first Character and most Finish'd, being the Eye of the work.

That the Group be sustain'd by something that seems loose about it, which serves to extend and continue it to some other Group by, otherwise the Diminution will be too apparent, and break to much into Heaps, and the Eye not descend natural∣ly from one to another, which must, begining at the Principall, fall according to the Mind of the Story.

Too force Attitudes must be avoided, which cause extravagant Contorsions: but the boldest Actions are allowed (not exceeding Nature) which may be advantagious to the Design.

Wee must avoid an Injudicious Mixture of Passions, which will disturbe the Harmony of the Picture; as the mixing Anx∣iety, and Roughness, with Chearfullness, Clemency, &c.

We should never Express a Figure without first examining the Action from the Life; since in every Action there is some Alteration in the Muscles, Joynts, Contorsions, &c.

Passions must not only be form'd in the Features and Actions, but suited, also, to fit Constitutions and Complections.

We must reserve our greatest stock of Fancy for the Principal Part of the Picture, least spending it on the meaner parts, we should be exhausted when we have most occasion to make use of it.

In supplying Lights and Shaddows observe to dispose of the Effects, by placing all the parts of the Subject, so that at the same time we may see what the whole Composition produces.

In Designs of Great and Honourable Actions, we must avoid the bringing in any thing that savours of Rusticity, or Boorishness, but maintain the Character throughout the work.

Beyond the usual, Actual worke of Nature a Painter may de∣scribe, but not exceed the conceiv'd possibilitys of Nature, ex∣cept the Subjects are Fixions, as Pegasus, Centaurs, Satyrs, &c.

In very lean Figures we must not expose the Nuditys, least they appear too Mesquine, but seek some occasion to cover or repress them, that we may render the parts more agreeable.

Where there be several Figures we must give several Aspects, Habits, Actions &c, for the eye delights in variety as well as the Mind, and these are said, Contraster bene.

We must observe an Aequilibre in the Design, that when there be divers Figures on one side, we must Ballance it on the other; the like must be observ'd in a single Figure, when one Arme moves forwards, the other or the like must be in a backward po∣sition, to Aequipoise the Figure.

We must observe in the Figures of Mans Body, that the Head be placed well between the Shoulders, the Trunk upon the Haun∣ches, and the whole upon the Feet in Just Proportion, and that one Leg may rest firm under the Body.

In all Animals we must proportion their Bigness to their Sci∣tuation, and Strengthen their Positions by means of the Aequilibrium.

In Designs of Large Figures, the other things in the Picture must be of a Large Kinde, not only by avoiding things Dimini∣tive from the Natural, but such as are small in Nature.

In all their differences which can occur in their Positions, we must propose an even Plane to finde precisely their Scituation, and settle their place by sudden Breaks and Distances, conform∣able to their Perspective, after a just and exact Scituation, accord∣ing to the diminution of Distance whither plac'd high or low.

In all Histores we must have regard to the Climate, and the time in their Habits, taking care we Dress not Antique Figures in Modern Habits, nor one Country in the Dress of another.

We must adjust the Drapery so on Figures, that they may

appear real Vestments, and therefore we must cloath the Lay∣man, before we put it in the Action we design.

The Folds must be dispos'd in such manner, that they may make the great parts, in which the Nudity may appear, Free; the little Folds being plac'd about the Joynts; and taking great care that upon the Relief and Surface of Members, we do not strain or hurt them, but that the motions may seem disingag'd. We must also raise up the stuff, letting it fall lightly, that the Air su∣staining the Folds, may make them fall more neat and soft.

We must take care to distinguish Draperys; Taffatys and thin Silks must be full of Breaks and Flickerings; Sattens more Quick Lights, the Folds lying more soft and round; but Velvet the quickest, the deeps very dark, with Reflections on the out∣ward parts of the Folds.

Large Figures must be dress'd with Folds large and free, more to be regarded for their Grace and Facility, then for their affected Pains and Industry.

Hair must be touch'd in large Historys with a full and free Pen∣cel, not nicely workt up to follow the Nature, for that will be all lost by the distance and appear Flat.

We may neglect the Nicity of the story for the Advantage of the Picture, as putting any former Hero in better Grace and Posture (if in a great Action) then perhaps History hath transmit∣ted to us.

In Dead Bodys we must avoid all that appears Noysome and Unpleasant to the Eyes; ever observing to take the best of Nature: so in the miracles of Curing Diseases, we may take the what is Acute in pain, omitting what is Loathsome to the Eye.

We must shun all Sharpness in the Contorsions as likewise all Flatness in the Body of the Piece.

In Lights, by Night the Artificiall must govern the Naturall, but by Day the Naturall govern the Artificiall.

If the Action be in Uninhabited places, you have liberty to re∣present the Extravagant Effects of Nature, but in a well dis∣pos'd Irregularity; if in Inhabited places, you have Liberty for Ruins &c. at a distance, but not near Hand.

If the Buildings be Rustick, you may dispose them to the best advantage of the Figures, and according to the Idea of the Sub∣ject:

if Regular, we must have respect to the several Orders of Architecture. But Regular or Irregular, we must observe their Geometricall and Perpendicular, according to the Rules of Geome∣try and Perspective.

In all Mountains, Rocks, Buildings, Trees, &c. we must Proportion their bigness to the Plane where they are plac'd, and hold it for a Maxim, to make the Ground-plot great enough for the freedom of the Figures, and the meeting of all the fine Effects.

We must take care to adjust the Land skip to the Figures, not only to its Manner, but also to the Colouring part, that it may ly quiet, and put the Figures forwards.

Finally we must observe. that the whole work be of one Peice; all Free, and nothing Forc'd or Restrain'd; a judicious observati∣on in the Perspective; Actions suiting the Character, whither Noble or Rustick; the Sex, whither Masculine and Strong; or Tender, soft and Easy; the Age, whither Grave, Vigorous or Childish: that there be a Principall Eye in the Picture, to which all the rest have reference. That there be a Harmony of Colour∣ing throughout the work, that in the Drapery, the Lesser folds descend naturally without Crossings and Confusion from the greater, that the Figures bare exact Proportion: and the Fore shortnings be brought to the severest Test of the Judgment.

But wheras in History the Figures have dependency on each other, a Figure by the Life (one Figure usually making the Pi∣cture) be only agreeable to it self,

We must Consider (by divers Tryals) what Position of Body, Action and Light best becoms the Person, and when any thing seems forc'd or affected, we must Endeavour to divert them by Discours, &c.

For a Round and full Uisage take a three Quarter-Face, for a Thin and Long, more Foreright. For a soft Languishing Look, the Face something Inclining, For a Sprightly, more upright, looking over the Shoulders, &c.

Let Children be playing with Lambs, Birds, little Dogs, Catch∣ing water from Fountaines, and with the like Childish Actions, Lads and Young Uirgins Shooting, Hunting, in Sheepherds and Sheep∣herdesses Dresses, &c. and so suitable in all Ages, and Drest to their Quility, but for all Habits dress up a Lay-man and Paint

from the Nature. Nor must you only suit the Age and Quality, but also the Complexion; a brisk, Sanguine beares the Strongest, a Sallow, weaker colour'd Drapery. And where you Paint much Drapery, carry backward and in the Shaddow what you can, that you may not hurt the Eye of the Picture.

Put Scars and Defects (as much as may be) in the Shaddow; not only taking the best, but Helping Nature, where it may be done without Hurting the Intent of the Picture.

If you have several Figures, put them in manner of a Group, with Half, three quarter and Foreright Faces; not all looking on you as if they were suppris'd.

Landskip must bare a Harmony in Colouring with the Figures: putting them forward; Shunning the affected Finishing of Trees, Flowers, &c. which shew more of Labour then Art.

Be as quick as may be (without Injury to the work) in a Face, Catching the briskest Air before it sinks by the Persons growing Uneasy; and lastly, give all that are by, Liberty of their Opini∣ons in the Likeness, for thence sometimes you may Correct your work.

Thus have I giving the most Necessary Directions and Instru∣ctions throughout the whole Mistery of Painting: These with a diligent Study in the Theory and a Carefull management in the Practise will Effect an Entertainment, Suitable to the most Noble Genius.

FINIS.