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.

To the much Esteem'd Mr. Smith.

SInce't would be bold Presumption to deny That Man, the plastick of the Deity, Is Draught's great Origine:—we'le only say, You Draught pursue in'ts just Phaenomena; As Colour, Habit, Motion, Sympathy, Light, Perspective, Studious Anatomy; With all Contingences of this great Art, Which you Improve, and freely t'all Impart. Thus while thy Awfull Pen Proclaimes aloud Our wonderous Art, you make th' Astonish'd Croud Amazed stand, to hear how strong't confines Great Nature to a Cloath, with Shallow Lines: To hear that Painted Passions can Supprise, And make Spectators with them Sympathyse; That all the Learning of the Universe, Was Couch'd in Mistick Draught and Characters.

The only Fear is, least the Sordid Fry Reading, grow Mad, and throw their Craft's-Tools by, Making the Land but one confuss'd Academy.