■f J- ARS PICTORIA O R A N ACADEMY TREATING OF DRAWING, PAINTING, LIMNING, AND ETCHING. To which are added Thirty Copper Plates exprefsing the choiceft, neareft and mod exact Grounds and Rules of Sy- metry -, Colle&ed out of the moft Eminent Italian, (jerman, and Sutherland Authors. By eJ LEX*A?s(t>E% <B % 0 W J^E Pra&itioner of the Art of Limning, and Published for all Ingenious Gentlemen and Artifts. LONDON, Printed by J.Redmayne, for the Author, and are to be fold by him at his Lodging, at the Sign of the ^ingel, the Corner of James /freer and Long i_Acre, and Richard Tempfon at the Sun in Bedford ftreet, and ^Arthur Toeker at the Globe in the Strand near the Nett Exchange, 1669. To the Reader. YOu have the Contents of this Treatife fo par* ticularly in the Title- page, that I meant it no other Tteface : But upon fecond thoughts , I shall fay fbmewhat to the Conception a^cPaulm Lo* matins, Page the i \th. touching the Affinity betwixt Symetry and z5hfuficjue. It has been urged, that in re- gard of the Obfcurity of the c5\dufical termes there made ufe of; as Ditpente, 7)iapafon> Sefquiaher, &c. It were requifite to give fbme explanation of them; but 1 shall rather referr the Reader for his fatisfacti- on to Merfennus, Motley > or any other writer upon that Subject:; then enlarge this Difcourfe; which I have contracted, both for his eafe and my own, as much as I could conveniently. But if any ill temper'd perfon should be angry at the hard words and Terms of Art here, becaufo they do not well underftand them: They may know this was not intended for a Dictionary, but a Treatife only foL the ingenious, who need no Key to lock or unlock this Cabinet, in~> which thefeMyllerious terms aro couched. Nei- ther- have I been ambitious in the lead of popular ap- plaufe in the publication^ of this Piece, butmeerly have aimed at the publique benefit, being ashamed it should be objected 'that I who have in the courio of my Life and Study been fo muchbeholding to others, should prove ungrateful, orniggar, to conceal any thing from the view of the world, fince we aro as Men and Chriftians, all defigned by induftry and ex- perience to improves each other; more particularly what I have here wrote, is directed to the lovers and favourers of all noble ScienceSj towhomlftand ob- lieg'd, and whofc pardon I only beg, wherein-* I may be found unhappily or ignorantly ofFenfive. And in- deed I am extrcamly unwilling any perfon should lofe time, or take the trouble of calling his eye here, were not I modeftly of the opinion, fomething may not be impertinent, or unworthy curious mens Lection. lumyourhHrnblt Servant A.ti In Laiidem Operofi Voluminis ALEXANDRI BROWNE Generofi. 6cc. TAndem "Browne venis, expectatiffimus hofpes Florilegas imitatus Apes 5 qui Sculptilis Artis, Quicquidabexternispopulisexfuxeris, annis Pluribus, in proprium prudensdifponisHymitton, Et nunc in Patrii partiris commoda Mundi- Quanta Poetarum praeconia dona morantur, Quanta Patronorum Te ! Qui velamine dempto Artibus, antiquum reparata luce Timantem Afrlafti, & Britonum radiis melioribus orbem. Quod fi %oma dabat pro digno munere ferta, Civica, cui civem Bello fervaverat unum; Debentur turn "Browne tuis quot ferta capillis ! Qui tot femineces artes in luminis auras Duxifti, propriaquemanucadatanovafti ArtificumiimulachraSenum. Jam Cous Alettes] Praxitilefquecluens, StmagninominisUrbin, Angelo & infignis, vifi rupifle fepulchris, Et redi viva fibi TumpfifTe cadavera rurfus, Aufpiciismi2?ro#7«?tuis. Correggio jamjam EtDelvincentus, nee non Holbenus, ciaudax Titian, et noftri Vandikus gloria fecli, Dogma Pythagoricum,de fpontefatentur, & artes Sculpendi pariter veterum,pariterque modernae, In chartas migrafle tuas : ubi machina Mundi EtnitidonaturaGlobofpirarevidetur Principiis animata novis. I fortibus aufis Dexter Alexander^multo et faelicior illo Qui face lanquentem ferroque fubegerat Orbem*, Alitibus procede bonis! nomenque per artes Sic extende tuas , ut te primae va falutcnt Teque hodierna fuum, venturaque fecla Magiftrumo f. fisher dudum Miliums Scrviens Major. On my INGENIOUS FRIENDS Moft EXCELLENT PIECE. HSreyou may find objeBed to your Bye, Taint, the creations, ManCjods I ma 'gry, Wbatfcatter'd ray's of Heaven in us remain , zAre herepreferv'd, i f not renew' d again. For who can draw to life the humane face Do's therein [hew the intelieBual grace. Whojefair I dea though it's not oppreji With natures body, or Arts colour dre [I -t From thence yet allthofe numerous Jhadow's floWi Which men Jo Worfhip and admire below. Fancy th' original, andparent, gives This Art a birth, which beyond nature lives y Andfyeps the Father youthful as the Jon, With the fame colours, when complexions gone), Death cannot part them -y for when ugly age That (frand dejlroy ersy lafl and fatal page Is all decipher' a, He a column [lands Coeval to his heirs, and alibis lands. fiAndwhen his body to the grave is fent He ferves for furniture and monument. ?S(ature is troublefom in its decayes, 3\(o Toet cares to wear the wither 'd bayes. 'Tiskjndnejs, and 'tis manners to remote/ FFhenwecanneitberbebeloVdnorloye. e5\s£ujl then all die? no, that the painters styll Forbid 's, assisted with the Writers quil. This immortality dear Friend you caufe* Without ordaining, or repealing Laws, Your'Bookadvances further, anddifplayes What Tlutarcju's z5A/f orals, or his lives havefaid. Weary Thilo/ophy expires inftrife Whifft you expofe plain truth unto the Life. 2\(atures excefs, or narrownefsby you I s cfoily reprovd, and aU that's due, Ofbeautious art,and Symetry to manh aSMuJl own its payment to your mind and hand. We know no form of Angels but from paint, J\(or difference make of devil, or of Saint. The famous ^Michael Jngelo fo drew Hell and the damned,andinfuch a hue-, 'Tinas thought th' Archangel fome old grudge might bear, And hid bit namesake to renew the war. Tu then hop 'd by the painter at the leaft. He may a[siflant be unto the Trie fl. Since Virtus lovely drawn, and vice foe ill Sinners by him converted are 'gainjl will. Emblems of honour, piety, and love, Artsgreatejl teachers, by him only move. J. H. ERRATA, In Pag the 4 Line. if. fork, Read us; for whofeevcver Read whatfoever. In Pag 17. line ij. for in, read and. In pag 7?. line 14. for Sonne, read fum. Inpag74.1ine 4. for near", read were. In pag 87. line 10. for keeping colour, read keeping the colour. In pag 88. linen, for filvea, read filver. In pag 90. line 3. for ufc vrith, read ufc it With. In pag 91. line 7. for white Scrus, read white or Serus. OF THE Vertue and Praife O F T \0T 0 %TiOJsQ, or, SYME<r%Y. SUCH is the Importance^ and Vertuo of 'Pro- portion, that nothing can any way fatisfietheEye without the help thereof: So that whatfoever worketh any Pleafuro or Delight^ in us, doth there- fore content us 5 becaufethe Graco of Proportion con- fitting in the meafure of the Tarts, appeareth therein $ Wherefore all the Inventions of Men carry with them fo much the more Graco andBeautiej, by how much the more Ingenioully they are proportioned, whence Vitrwvius faith, That wbofoewr toiii proceed in bis Works "with fudgment , mujl needs be acquainted tvith the !J\Qature and Force of ^Proportion ; which being well and kindly under- flood, will make him not only an excellent Judge of ancient and late Workmen , but alfo an Inventor anet "performer of Rare and Excellent A^mhimfelf Now the Effects proceeding from Proportion are urn fpeakable, the Principal whereof, is that Majeitio andBeautio which is found m^odies^ called by Vi~ tmyius, Eurithmiaj And hence it is , that when we beholda well-proportioned thing, wecallit!Bfr/#- tiful, as if we shouldfay, Indued with that exa6t and comely Grace, whereby all the Perfection of fweec Ttelhhts belonging to the Sight, are communicated to the Eye, and fo conveyed to theUnderftanding. But if we shall enter into a farther Confiderationof this2foz«/jy, it will appear mofi evidently in things ap- pertaining to Civil Difcipline ; for it is ftrange to con- fider what effects of Piety, Reverencoand Religion^ A are 2 OfProportion are ftirred up in mens Minds, by means of this fuitable comelinefs of apt proportion. A pregnant example whereof we have in the Jupiter carved by Thidiasat Slis9 which wrought an extraordinary fenfc of Religion in the People, whereupon the antient and renowned Zeuxh well knowing the^ excellency and dignity thereof, perfwaded </reecc_? in her mod flourishing Eftate, that the Pidures wherein this Majefty appear- ed were dedicated to grjeat Princes, and confecrated to the Temples of the Immortal gods, fo that they held them_> in exceeding great eftimation_j; partly becaufe they were the Works of thofe famous M afters, who were reputed as gods amongft men; and partly becaufe they not only reprefented the Works of God, butalfofupplyed the defects of Nature: ever making choice of the Flower and QuintefTence of Eye-pleaf- ing delights. Neither yet is this Proportion proper unto paintincr alone, butextendeth it felf even unto all other Arts, infomuchasis drawn from mansBody, whichasthe Painter chiefly propofethtohimfelf, ( as Vitmv'w not- eth )fo doth the Architect much imitato it, in the convenience of his buildings, and without which, neither the Carver, nor any Handicrafts man can per- forme any laudablo Work; becaufe it was the fir/I pattern-* of all Artificial things : So that there is no Art, but is fomeway beholding to Proportion: yet notwithstanding the Painter as (Loo 'Baptijla Albertm affirmeth) info much as he confidereth mans Body more efpecially , is juftly preferred before all other Artizans, which imitate the fame, becaufe antiquity meaning to grace Painting above all the reft, Handi- crafts men exempting onely Painters out of that num- ber. Of or Symetry. j Of the J\(ecefiitj and Definition of Proportion. TT was not without-* juft Caufe, that the antient -■■ (frteciam (at which time; the Art" of Painting had fully attained to his Perfection, by the Induftry of Timantes , Eufenidas± ojfri/lides > Eupompm , S 'icy on't as and 'Pampbilus , the Famous Macedonian Painter, and Ma- iler of Jpelfef, whoalfowas thefirft learned Painter directing his Workes by the Rules of Art, above any of his Predeceffors, and well confidering that what- foever was made without meafuro and proportion, could never carry with it any fuch congruity as might reprefent eitherBeauty or Grace to the ju- dicious beholder) were wont to fay, that it was impoflible^ to make any tolerable, much lefs any Commendable Picture, without-* the help of geo- metry and <tArithmetic\j wherefore they required the Knowledge thereof, as a^ thing mod neceffary, which faying was alfo approved by "Philip tZMacedo. And furely it is impofTible(toomitt the meere Ar- tizans) that he who is ignorant-; of thefe two Sci- ences , should underftand the exact meafure and proprotion of any probable or true Body , the ne- ceffity of which proportions shall be shewed here- after. It is apparent then_-» that a Picture lacking this, is like a piece of Marble grofly wrought, without Rule or Meafure, or two Columns : which al- though they be to (lender, ortogrofle, to short or to long, yet are called Columns ,- asDwarfesand deformed Creatures are named Men. Now this Book shall contain the general proportions of the principal things alone, from whence the reft are- derived, of which before I begin tofpeak, / bold A 2 ft 4 Of Proportion h convenient to confide/ the definition of proportion, and the parts thereof-, Proportion is a correfpondency and agreement of the Meafure of the parts between themfelves and with the whole, in every Work, this correfpon- dency is by VitruVms called Commodulation, be^ caufe aModell is a Meafure which being taken at the firfl meafureth both the parts and the wholei And this is that ( to omitt the feveral kindes there* of, which shall be diftinguished in their due place, ) which for fo long fpace having been loft, was the caufe why the exact and true proportion of Mans Body was not underftood, by Occafion_> whereof there never came any Excellent Peeces abroad, al- though the matter were never fo coflly .* Andcon- fequently that the Painters being ignorant of that they had in hand , inftead of proportionable men made lame Pictures as the Architecture, Temples, Images, and Pictures made throughout-' the whole World (but cfpecially in Italy) about the timo of ConJlantin<^j> the Great > untill (fiotto in Tufcany, as ^Andrino di Sdefia^T^auef^jinLombardy can funic iently witnefs, and this ("in 2u word) is that, the know- ledge whereof ib fatisfieth the judgment, that it-/ maketh it not onelyableto makowhofoeven. we lift, but alfo teacheth us to judge of Images, and Pictures, as wellantient as new, and without^ this, a-jPainterfbefidesthat he is not worthy thenamo of 2u Painter )islike one which perfwadeth himfelf he fwimmcth above "Water, when_, indeed he fink* eth, to conclude then it is impofllble to make any decent^ or well proportioned thing, without^ this Sy metrical meafure of the parts orderly united. Wherefore my greater! endeavour shall be, to lay ©pero the worthinefs of this part of painting unto or Symetry. J unto all fuch as are naturally inclined thereunto, by reafon of a good temperature joyned with an apt Difpofkion of the parts thereof, for fuch men Will be much affected therewith , to the end they may the better perceive the force of d\(ature: who by indu- flry and help of a good conceipt, will eafily attain to fodeepareach, that they will be able upon the fudden to difcerrLj any Difproportion , as a thing repugnant-* to their CSQiture: unto which perfection on_> the contrary Side they can never attain, Vvhofe Judgements are corrupted through the <Di(iemperature of theirs Organkal parts, I fpeak of fuch who not knowing the virtue of proportion , affect nothing elfe, but the vain furface ofparilb colours, wrought after their own humour, who prove only -Dawbers of Ima- ges and Walls throughout the whole World; moving the beholders partly to fmile at their Follies , and partly to greivethatthe Art should be thus difgraced by fuch abfurde Idiot\: who as they have no judge- ment herein; fo do they run_j into divers other moil shamefull errors, into which I never heard that any. ever fell, who were acquainted with the "Beauty of proportion , but have rather prooved men_j of rare Spirits and found Judgements, as may be gathered, by the great requeft it was in , untill the times of thofe Princes , as well antient as late : 'But before I proceed any farther , / thin\ it necejfary to treat [omething of cu* Head /'// particular, Firfli Of the Head in Trophile or fide-way es. >T,He manner to make this Head by juft and fafe rules ■* is thus, Firft forme a perfect equall Triangle in what pofition you will, turning the Triangle to make the Face upon_j one of the three fides, be it B which? 6 Of Proportion According,,," which it will , either upwards or down* £** f> wards , higer or lower s dividing that fide into three equall parts, the one to ferve from the lower part of the Haire, to the lower., part of tho Forehead -y the Second thenco to the under pare of the Js(j>Jlrih'y the Third to the lower part of the Qbirmz now having framed thefe three lines, drawalittlo crooked ltroak with a £o/e or QmH+ out of the right Line , that may reach from^ the top of the Forehead unto the Eyebtov>, from whence draw away the (lope Line, bending at the end. Toperforme the J\(ofe, either long, short, grofs or thin, as you would have it, ending that at the fecond diftance, where the Z\(ojlrih end, then fubdivide the remaining third part in the midft, where the zfMouth shall be placed for the parting of the upper and under Lipps, then-» frame the Qhinn, having a refpect to the perpendi- cular Line, thatitfall not out of the middles of the Q)\nns adjoyning thereto the finder Chinn down-; to the Throat-pit. So with the other two dividing lines, the one from_> the Top of the Forehead downwards (and ends in the midft of the back part of the Ear h) the other proceedeth upwards from the Chinn, alien- ing till that meet with the Superiout-, defcending Line, whofe Interfedtioro dire&eth the Earc, that the circumference thereof ftretch not too far : Thus with your judgement take the upper part of the Fore- head, and come to defcribo a great circular Lino about, to Form with that the roundnefsof thcHead, unto the Nape of the 3\(ecJ^y keeping the propor- tion^ that 3\Qiturc^ teacheth; and from thenco downwards frame the reft of the J\(eck^ remembring that the Tip of the Eare doth not exceed the lower part of the 3\(ojlril, So yon may fox»o th« Head in "what T'oftion or Symetry. f Tofition you "will, fo this abandon not the wo other Lines, each concurring in their due points. Of the Foreright Face. BEing then defireous to draw the Foreright Face^ it will beneceffary to Forme a perf eel: Ovall, which being made* divide it in the midft, with aline the longed way ( that is to fay J) a perpendicular line , divide this line into three equall parts, allowing a_> fourth of one of the three parts for the Hair in the Forehead, theFirft fortheForefoW, the Second for the j\(ofe , the Third for the £fe In the midft thereof muft the zSMouth be formed, alwayes remembring thatthe£jywmuftbeinoneline, thecrofs line of the &fofe and alMouth muft alwayes be correfpondenf to thecrofs line where the Eyes are placed; and the Byes muft be the length of one6>^ diftanr from tho other 5 and that their inward Corners be perpendicu- larly over the out-fide of the Nojlrils punctually, but to mako the Fares in a_> Foreright" Face proportio- nable, they muft be much Foreshortned by Fore- shortning, I mean when.; the Eye doth nor fee the full Latitude of it, the proportion of the length of the Earei to be from the Syebroms to the bottomo of the No/Zri//, and then joyn the N^ with the Hair in^ fuch fort as may feem moft pleafint unto the Bye, OftheHeadin ^orefhortning; Itherto I have treated of the Head, both Foreright and in other Pofitions, but that you might know all that is needfull for the perfeel underftand- in^ of this profeflion, it is neceflary that I fpeci- fkTthe manner how to draw theF^e by an eafy, ab< B £ H 8 Of Proportion folute and fair way; Treating thus I propound id you Methodical means therein 5 becaufe my intent is to Facilitate the matter in thatmanner, butwith- out writing thereupon it may be intelligible^, fori, a draughts well made hath that power , that it makes itfelf underftood without" any difcourfe of the Au- thor thereon, but I alwayes obferve both the one^> and the other alfo ; I fay that the forejhoming which is mado onely withFmfr, (prates, Squares, or with geometrical Instruments, breed onely a confufion of lines, which is not the bell: principal of expert" In- genuity, the reafon whereof is, that it can hardly be meafured by any Rule, unlefs the whole Body be framed together, therefore I mil (hew an eafy ^ulet very lil^e to that oftheforerightV^c^j, that u , to mak§_j a Circular draught with the afyetl upwards , or downwards, as in the foreright Head, "where the Trayerfe lines ar^_j> Jlraight , but the fe go Cir~ cularfy, for if the Heads flye upwards the Traced Jlro\es and the T>ivifions mu/l be raifed, with caution that tht_j> Eares and Eyes fallnotout of their due points, asis/ignifiedinthefir/lT/ate. Of the fide face without any Meafure. T)Eing defireous to make the fide y»«? without any *-* Triangle or Meafure, which with a littlo care and practice, obfervingthe diftances andMeafurcs which will ferve for Direction, becaufe the Head and other parts of the Body oughts to be proportio- nal, and made from_> Meafures } it will eafily fol- low, Framing ol Traceing many, you may not" only Facilitate it by the Bye and Judgements, but alfo accommodate the Hand, to Trace and draw, all things right, for it is true that the £y will have its place. I having drawn certain^ flroaks or draughts from or Symetry, g from the life ofnature, and reduced it with the Pencil into Colours, have found it como off piin&ually right, of a correfpondenr_> bignefs to thac; which I have imitated, and have not found any thing dif- proportioned > but have alwayes found it fall out right as I would havo it, therefore I fay that this Rule, and Meafure which I have fet down, in the Torphile or other opofitions of the Head,is not any hin- drance to the excellency of the Art, nor will weak- en your worth; but will ferve for^ a general Rule being once poffeft therewith, and alfo become pre- valent when occafion_» shall require, to make a Head Ten times as big as the Life ; for that with this Meafure , you shall readily Frame it right by any crreat Head\ and thaL~> becaufe^ the underftanding therein is equally extended, but the more the capa- city is wanting, the more my Labour will farthers when_j heed requireth. ^hefe then 1 give as Trincipal for the firH ftroakgs, as in the next figure may he percefred, 'which is fronuthe Forehead, as I have already faid, for the beginning of the Nofe ; that is from-> the lower part of the Hair, to the hoi- lotonef of the Nofe and the Noftrils 3 and from-, thence to the Chinn. Several Obfervatiomy in drawing a-> Head after the Life. ■ ANd becaufe the greateft difficulty, and principal parts of this Art confift infome part in drawing the lively Refemblance of a Face, therefore I thought it very neceffary to add this as a_> further Dire£tion_> to draw any 'Pace after the life. Therefore if you will draw any tace after the life, that it may refemble the party you draw it after-, take notice in the Firft place of the Thyfiognomy or circumference of thcllace, whi- ther it be round or long, Fat or Lean* Big or Little; G ft* to Of Proportion fothatin theFirft place you mud be fureto take the right Thyfiognomy and bignefs of the Face, and in cafe itbeaFar'^ce,you will perceive the Cheeky to make the fide of the Face to fwell out, and fo make the Face look as if it were fquare : And if it" be neither too fat nor too lean, it will be round for the molt parr"; but if it be a learp Face the fa»-<Bones will ftick out, and the Cheeky fall in, and theF^cO will be long and Mender,, oblerve when_>you draw the outmoft cir- cumference of a face, to take the Head and all with it, or otherwife you may be deceived irt-j drawing the true bignefs of suFace, then you mufl diligent- ly and judiciouflyobferveand difcernall the Gentle zfJlfafter Touches, which gives the Spirit and Life to a Facey and diicovers the Grace ol Difpofition of the eSWind, wherein lieth the whole Graces of the Work, and the Credit of the aJfrtift, youmayeafj- ly difcern-j a fmiling Countenance in the Corners of the z5\fouthy when they turn up a little; you may bed difcern a flaied and fober Countenances in the Eyes, when the upper Eyelids comes fbmewhat over the Balls of the Syes, but a frowning Countenance is e-atl- lydifcernedintheFore^W by the bending of the Eye- broker, and fome few wrinkles about-; the top of the 3\£o[e between the two Eyebrows , and a_> laughing Countenanco is eaflly decerned all over the Face, but an angry Countenance is difcerned by extraor- dinary frowning; there are alfo fome touches about the Eyes and Mouth which you muft diligently obferve, which gives the Spirit-* and L ife to a Face. The 'Proportion of a Man of Ten faces. IT ftandeth with good reafon, that( following the Method of the Antieat-> Cjr<ttim)l should make this or Symetiy; \[ this Body, whofe proportion^ I intend to handle particularly, anfwerable to the Symetry of all others Artificial Bodies, which may be made farn. more^ Beautifull, then_> Stature affordeth any; wherein^ notwithstanding the whole Symetry of Art" may be comprehended moreorlefs; and this Point" I mean to handle in this Chapter and the next, wherefore I have prefixed this before the reft, becaufe it is, as it were the Foundation of thern^ all. This Figure then is Firft divided into Ten farts or faces : the Firft whereof (I mean in length ) beginneth at the top of theHead, and reacheth to the root^ of the 3\(oHrils : the Second from thence to the Throat-pit : the Third thence to the parting of the "Breaft : the Fourth thence to the J\(avile: the Fifth thence to the Trinities, which is juftthe middle of the length of the Body ,from thence to the Sole ofthcFoot are Five Faces, whereoftwolye between the Trivities and t\\cz5Mid-Kjiecs, the others three betwixt that and the Sole of the Foot. Thm ac- cording to thu T>iVtfion allthefe Tarts are email. Now the firft Part from_» the Top of the Head to the y^ofe, anfwereth to the fpace betwixt" that and the China 9 in a triple proportion^ which maketh a Diapente and a T>iapafon) that beneath the Chinri, and the Throat-pit anfwereth to that betwixt the ^o/eandthe Chinn in a double proportion f which makes a T>tapa[on) whereunto tho Head anfwereth in the fame According,o proportion^ the Thvcc faces ( between th o *«-**>v^ Throat-pit and the Trtiities anfwereth to the Second be- twixt them and the ^w^^f^/terproportionjWhence arifeth a Diapcnte , but with the Leggs they are Vnifont for it hath the fame proportion with the Thigh. Now the breadth of this Body confifteth likewife of Ten faces ; namely between the- extremities of both the rniddlo fingers , when the <tArmes are fpread C 2 abroad i2 Of Proportion abroad, and is thus divided; Oneto the thrift of the Hand, one and a half to the Elbow, fo much to the Qavicolce or joy nt of the Shoulder, and one to the Throat- pit, fo that only the Hands are Vnifons, with that be- tween the Shoulder- foynt and the Throat-pit, and tho fpace between^ the Shoulders and the Elbow, with that between^ the Elbow and the JVrijl ; fo that thefe an- fwer to each other in a Sefquiaher proportion called a Diapente ) again a _/*« is as much as the diftanco between-* the Hopples, and fo much more frorn^ each of them to the; Throat-pit, making art Squattier Triangle. The compafs of the Head from the Eyebroms to the ^(ed^ behinde is double to the length of the whole Head , the circumfe renco of the JVajte is 2u> Triple Scfcjuialter to the "Diameter thereof? and is all one with the Trunk of the Body, which is three Faces , the circumference of the Body under the <*Arm-pits, and the fpaco between them and the VVrijt anlwerin_> a_* double proportion, and is all one with any half of the Body. The Meafiires which zreVnifon or all one, and equal I between themfelves, are thefe: Firftthe fpace between theC/;/>wandthe throat-pit,- is as much as the "Diameter of the ZN^eck} the circumference of the ^{ect^ is as much as from the Throat-pit to the 3\QiYde, the Diameter of the FFafle anfweretli tothe'diitance be- tween the Kjiobbe of the Throat and the top of the Head, and this is the length of the Foot, the fpace between the Eyelids and the Noftrils is all one with that betwixt/ the Qomn and the Throat-bone, again from the No/eto the Chinn, is as much as from the Throat-Hone to the Throat -pit, moreover the fpace from the hollow of the Eye below, andfromthe Sye-brow to tho Center of the Eye, is the famo with the prominency of the Noftrilfy or Symctry. i| &(ofiriisi and fo much it is between the TSqftrih, and the end of the Vpper Lip ibthat thefe three (paces be equal, befides the diftance between^, the top of the Nai/e of the Fore-finger and the laft Joy nt thereof, and from thence to the FFri/iare equal!, again the fpaee between the Naile of the Middle Finger, and the laft Joynr' thereof ; and from thence to the Vr/rijl is all one, the greater Joynt of the Fore- finger, is the height of the Fore-head^ and the fpace between that Joynr" and the top of the ^(atlei iscquall to the V\(oJe, be- ginning at the bottomo of the mod eminent Arch above the Eyes, where the Fore-head and the J\(ofe a ro divided , the two frill Joynts of the Middle Finger, are equall to the fpace between the -<^(oft_^ and the Chinn, the fir ft Joy nt whereon the JsQiile grow cth; is the diftanco between the No/e and the *5M.outbs fo that the fecond Joynt anfwereth to the Firft inaSef- quiaher proportion, as alfo doth the fpace between^ the z5\Fouth and ths Chinn, (whence arifeth the Conj cord Diapente ) the bigger Joyntr of the Thumb giveth the length of the zfAfouth, the fpaco betwixr" the top of the (Jnmi) and the Dint under the Lonper Lip ± anfwereth to the lelTen, Joynt of the Thumb , and is as much as from_> thcNofe to the fameDintJ, where- fore from the greater Joynt there is a Sefquiaher propor- tion and a Concord (Diatefferon ) the laft Joynt of each Finder, is double to the length of the Naile, and make- cthaZ)w/w/0»from themiddft between^ the Eye-hroios to the outward Corner qf the Eye, is as much as from thence to the Bare, the heighthof the Fore-head, the length of the No/f, andthelength of the *5\4outh are ( Vnifons ) the breadth of the Hand and Foot are all one, the length of the Foot in refpe6tof the breadth make- cth a double ( Supra hi partient, and a Diapajon and a T)id- teferon.) 4 D The i4 Of Proportion The breadth of the Foot to his height at the hiftep, makes a ( Se[quiaher and a DiateJJeron ) the breadth of the Hand is double to theheighth, the Arches of the Eye- brows, areequall to the Arch of the VpperLip, at the Divifion of the zIMouth, the breadth of the J^ofe and thesis all one, and either of tr^em half the length of the nofe, the navile is the midft betwixt the twfe and the Ifyiee, from the top of the Shoulder to the Elboiv, and from thence to the Hand, is a T>iate(feron , the fpaces between the lower_,endof the Eare, and the JoynL-> of the Shoulder, is half as much as the breadth of the 'Breajl at the Shoulders, which maketh a double Scfquiaher the whole breadth of the Body to the fpace between the top of the Head, and the Throat-Bone makes a Qua- dmple proportion ; w hence arifeth a T>ifdiapafon, the fame proportion hath the Cubit, or lower Part_» of the Arme from the Elbtm to the top of the Middle Finger, with the breadth of the Body, by the zArmes fpread abroad the breadth of theF W%i is double to the Thigh or a_> Diapafon, the length of a z5\4.an isallon?_j Jvith his breadth. The breadth of the ^ack^ at the zArme-pits ; of the Hippes at the "Buttocks , and of the Leggszt the K^nees, in refpecl: of the Solesof the "Feet, make a triple (Sefqui- tenia) the like is from the fpace of the Head to tho tBrea/l-pit : the Diameter of the Head at the Forehead, to the depth thereof, ( that is between-; the Syes, and the Nape of the Head ) is a Se/quioEtava : whence arifeth a Tone , the circumferences of the Fore-head at_> the Temples, is a. Quadruple to his heigth, or zDiapa- [on, theheighth of theVace, and the fpace between-* the Chinn and tfye Throat -"Bone, makes a triple propor- tion^, oraD iapafon, and Diapente. nAnd thus if Kvefliould proceed, toe might finde in the Head all the other proportions of the fmallejl Tarts, together Vith their Concord moH exactly: fehich for Brevities fak^j, I omit, ha/le- ing or Symetry. if in? to the Measures of all the Tarts , 'which ate truly Symmetric caly and correspondent to the Tarts of the World. TheTroportion of a Mans 'Body of Ten faces. THe proportion^ of a long and {lender Body muft be patterned after the Body of tSMars the god of Warr, amongft the (/entiles, who by reafon_j of his Heat and Drynefs hath a long and (lender Body a- greeabk_; thereunto ; and may alfo ferve for any o- ther Body of that nature, as being Boyfterous, Cho- lerickj Cruel, Martial, Mutinous, Rash and prone toAnger-, as are all active and ftrong men, byreafon of the bignefs of their "Bones, void of much Flesh; which caufeth them to be of a hard, and sharp Body* with great Joynts, and big Noflrils dilated with Heat; whofeSyes, ^Mouth, and other paflages, are corref- pondenf ; as in his due placo shall be more particu- larly shewed. The breadth of tho Hand , being divided into Four Parts, makeththe Four Fingers from the top of the Middle Tringer to the Elbow, is the Fourth Part_; of the whole Body5 And this proportion is offucb indifferent Beau- ty, that [paring the zSMartial afperity and bouldnefs , it may ft divers other /lender and nobl<c_> Bodyes , as occafionjhallferiee. The extravivant "Proportion of Ten Heads. Since my purpofe is to Handle this matter^ exactly it shall not be amifs, briefly to touch the Height proportion of Ten Heads delivered by aAlbert T>uret for although it be (in truth J) to {lender in all Mens judgements, yet I may not_>omitit, becaufe it hath the authority of fo Famous a Man_, in the Skill of D ^ \6 Of Proportion Taintino, as (jermany cannot^ match again. Tirftthefi this proportion^ is in length from the top of the Head to the (jbinn9 a tenth part of the whole : thenco back- wards to the top of the J?ore-beady an_j Eleventh : The face may be dhided into Three equal Tarts, as the reft are. The ^Proportion of a Young Man of nine Heads. I Am of opinion that Francis n^Kia^alinus would have proved the only rare; Man of the World, if he had never 'Tainted any Other kind ofPicturcs { as rude, grofs, and melancholly ) then thefo (lender ones which he reprefentedwith anadmirablo dexterity as being naturally inclined thereunto > fo that" if he had only reprefented tApollo, Tacchus, the JsQmpbes, &cc. he had fufficiently warranted this his mod ac- ceptable,; proportion , which was ever (lender, and oftentimes to Height , but when he took upon him_> to exprefs the Prophets, our Lady and the like in_> the fame; as appeareth by his aZMofes at Tarma, our Lady at ^Jncona^, and certain nJngells not farr from-, thenco, and divers other things quite contrary to the Symetry they oughtr to have , he gave a prelldent to all other T aimers to shunne the like error : which himfelf might alfo havo eafily avoided, being re- puted little inferioun. to Raphael Vrbine_j, whom he might have propofed to himfelf as a_>patterne; for Raphael ever fuited his perionages anfwerablc to the variety of the J\(atures, and T>ifpoftions of the Parties he imitated : fo'chatr' his Old Folks feem ftiffand crooked, his Young Men agile and (lender., and fo forth in the reft, which example admonisheth us, that iu Painter ought nor" to tye himfelf to any one kind of proportion.^ mall his Figures-, for befides that he shall lofe 'the true Decorum-/ of thcHiftory: He of Symetty, if He shall commit a_j great abfurdity in the <lAh by making all his TiBures like Typihns: Into which errors notwithstanding divers (otherwife^ worthy Tamers) have runn,whofe names I fupprefs; and efpecially one of thofe two great ones, which over-fighr_j all crood practitioners will eafily difcern^, becaufe all their Figures are of an Uniforme proportion, though wonderfully exprefUng variety of aclions: And for our better^ underftanding in this kind of proportion^ ( as beft fitting Young Men, who are fomewhat Beau- tifull by means of their, flendernefs, agility, and gentle Difpofition-; mixed with a kind of boldnefs) ItypkVrbine hath very Well expreffed ir" in St. (feorge fighting with tho 'Dragon, now to be feen_> m the Churches of St. Vittore deFratri in zSWiiane ; in St. %5\4ichaell at Vontainbletp in France , and in that Cjeorg?^ which he made for the Duke ofVrhine on a^Peice richly guilt, according to which Obfervation of his, every Man may difpofe of this proportion^ in the like young Bodies , now for our more exacl: infight" hereinto, byway of precept, wemuft firft note that a {lender^ young Body of Nine Heads is from the top of the Head to the end of the Qrim, aNineth Parf of the whole length : And thence back again_/ to the root of the //^/VaTenth or Eleventh Part, aslhave obferved in %aphaels St. Michael and in an old tApollo, but.* which way fbever you makeif, this fpace is divided into Three equal Parts 5 whereof the Firft makes the fore- head) the Second the J^fe* theThirdtheCfc/wz, how- beit I grant that in a face which is the Eleventh Part (byreafonof a certain Tuff of Hair which is ufually exprefled ) the fore-head becometh lower by a Third Part ; which Rule the antient Cfr<ecians kept, as theio Statutes do evidently witnefs. E The i8 Of Proportion The ^Proportion of a Man ofEipbt heads. W'Hereas in every Work there is lomeone entire Figure, whereunto all the particulars of the whole Hiftory ought to be principally referred, the ^Painter ought not to imagine, fbecaufe he is more skilfull inreprefenting fome other thing in the work then that which beareth the reference of the whole.) that therefore he shall defervo commendation, but rather difcredit, for it is mod certain^ that Work will prove offenfive, where fome inferiour and by matter, is more cunoufly handled then the princi- pal, and the rather, becaufe the other Parts cannot^ chufe but loofe their Grace. A thing which hath caufed divers excellent-; T aimers ( as well new ) as antienf ( being purpofely carried away with too great a defire^ of doing well) to leave their Works imperfect , which they could not remedy any otheiu way, thereby utterly defacing that which they had dono, were it never lb excellent. A moft pregnant-; example whereof we have iro that antient Painter Euph^anor- who being to draw the Twelve gods in ^Athens, he began-; with the Picture of ZhQptune, which he wrought fo exquifitely both for proportion, colour, and all other points; that pur- pofing afterwards to mako Jupiter with far greater perfection^, he had fofpent his conceit in the Firft Figure , that he was not able afterwards to exprefs any of the other gods, much lefs Jupiter) the like^> Difgrace happened to Zeuxes by the Naturalenefs of his Grapes, and the Imperfection^ of the 2?ojv, not unlike unto which was that of Leon: Vincent of late Dayes, who being to Paint Cbrift at his laft Supper in the middft of his Difciples in the %efec~lory of St. Maria or Symetiy. k> t2\4ariade(fratia-jMs5\£ilane, and having finished all the other ^fpo/lles , he reprefented the two fames! with fuch perfection-* of (/race and Majejly, that en- deavouring afterwards to exprefs Qorift> he was not" able to perfeffzndaccomplifb thatfacred Countenance-, notwithstanding his incomparable skill in the iArt9 whence being in a defperate Cafe, he was enforced to advife with "Bemad Zenale concerning his Fault, who ufed thefe Words to comfort him. 0 Leonard this thine_j Error u of that quality, that none but Cjod can corretl it% for neither thou nor any Man living, is able to beftow more Divino Beauty upon any Figure, then thou haft upon thefe fames'* > wherefore content" thy felf, and leave Chrijl unperfecl, for thou may eft not fetChrift nearthofe drfpoflies, which advife Leonard obferved, as may appear by the Picture, at this day, though it be much defaced. Whence my Council is ■ that for the avoiding of the likg Errors, toe examine^ the original thereof, having an efpecial regard to our proportions ; as the cheif Caufe of the groffnejl,, flendernefs, clownifhnefs, and dainty nefs of 'Bodies : "whence all the Beauty and IU-fayourdneJs of Ticlures pro* ceedethy wherefore let each Body have his true and particular pro- portion : which is to divide the Body into Eight equal Tarts, whereof the head is one, which may fen><^j> for all z5\4en in general, who aoree With this mofl absolute form , whofc proportion follow th . Of the Proportion of a Mans Body of Seven Heads. ^pHe grand Philosopher Tythagoras , giveth fafrl- * cient Teftimony of the Truth of theio Rules concerning the proportion of Mans Body • info- much as by their help he diftinguished the propor- tions of Hercules his Body, from the other gods, by finding out the true Stature thereof, and confe- quently how much he exceeded the Stature of ordi- E % nary 20 Of Proportion nary Men; of whom aJn: (/ellins writeth, that he obferved the Quantity of Hercules Foot, wherewith the racoin Acaia^ before fupiter Olmypius his Temple ( where the Olympian Games were celebrated every Fift YeaO was meafured 5 and found it to agree, in the Number^ of Feet, with the other Races, which were fix hundred Twenty Five Foot-, and yef to be much longer then any of the reft. 2?jy which Example we may ea/tly conceive , that every propor- tion Will not Jit all kindes of IZodyes , became there^j are many varieties thereof , as there are Statural Differences of cBodyes t therefore I will proceed to the handling of the proportion of a jBody of Seven fubftantial and big Heads , all whofe <s5\d embers are flrong, flurdy> and raifed-3 his length then fro/n^ the Crown of the Head to the Sole of the Foot , is f even-times the length, of his head. OftheTroportion of a Woman of Tew Paces* A Lbeit Dame J^ature, the cunningeft Work-Mi- *** ftrefs of all others, doth ordinarily obferve fo grearJ variety, in all her Workes, that each of her particulars difFereth inBeauty and proportion; yet not- withstanding, we find by experience, thaf she is more induftrious, In shewing her Art and Skill in fome few mod Beautifull creatures , whereupon^ I (infbmuch as Art being the counterfeiter of J\(ature, muft ever endeavour to imitate the mod abfoluto things) intending to handle the proportions of a Woman mean not to fpend much time in difcourfing of the feveral proportions of all the Sorts of VV omen which J^ature affordeth ( for that were infinite) but purpofe to wrrite only of the moft pleafing propor- tions appearing in dainty and delicate Bodies, now this Body is thus meafured : Divide the Body into Ten or Symetry. if Ten equall Pares, whereof the Head mult be One, from_; the Crown of the head to the privities mud be Five of the Ten, and from the privities to the Sole of the Foot Five more. And this is the Meafureand proportion of a come -=■ ly Womans Body > drawn not only froaL> the ob- fervations of the antient Statues of Pcnus, but even from_^ the ground of Nature it felf; which propor- tion may ferve fo r any Woman^ wherein you would efpecially reprefent the perfection of Beauty, and not for every common Woman 5 as Martial, HuntrefTes, grave Matrones, or other flayed Women, incline- ing to groiTnefs, as the other tend to flendernefs, and becaufe all the other proportions depend upon thefe two ("as may eafily be proved by Geometrical linesj I thought-' good to fet them down firft, as 2u Rule and Direction for the reft, which I pu rpofe now to handle, with the fame Method I did the other two: Leaftotherwife, it might happily be thought* that thefeproportions were made by chance; where- foro all the particulars are to be framed , anfwer- able to the Stature of fuch Bodies as they refemblo 5 otherwife fome one difproportionable and unfuitable Partr^, will caufe as great, or rather a greater, ble- mish inabeautiftdl Body: <iAs a Tufcan Capital, inaCo*> rintbian QuUumne ; or a Thrigian note mixed Kvitk a T)orick^ The Proportion of a Woman of Ten heads. '"pHe proportion of a Woman of ten Heads in length, •*■ is thusmeafured, between^ the top of the Head and the Sole of the Foot-, is ten times as much as be- tween the Chirm, and the top of the Head, thenco to the Trinities is half F The ii Of Proportion The Proportion of a woman of J\(lne Facer. TT was not without juft caufe that VitruYim in theFirft * of his Architecture , diftinguishing the manner of Temples by their feveral Orders- dedicated the TonicJ^ Order to the goddefs funo, as being (tenderer then_* the T>onc^ and more fubftantial then_» the C°^nthian: Confidering no doubf very wifely, that this god- defs was not naturally fo Grave as Vefla-> nor yet fo flender and beautiful! as VenUs •, notwithstanding she carrieth a <i%datrone like Beauty, full of State and Ma- je/ly, for which caufe alfo, I apply this Portion.; of Nine Faces unto her, as mod properly belonging un- to her, being inferiour in Beauty to the proportion-* of Venus , and yer_j tbemoft beautifull amongft the; *5\4atr one-like, wherein <*5\fajejly and (frace oughts to be reprefented. zfAforeover this proportion may be applyed unto Queenes of Middle-age ; or unto any other honejl , fair and grarve women ; and doth mojl properly appertain to our Lady. Of the Proportion of a Woman ofU^Qne Heads. HpHough 1 might defcribo divers other proporti- * ons of Bodies ( albeit" of fmall worth in refpecl: of the principal) yet I purpofe to pretermit thcm_,, 'as well for thein. fmall ufe, as for brevities fake, wherefore; concluding the Principal and mod Re- gulate proportions, I come to the reft, and Firft to that of Nine Heads , which being very flender and comely, as reprefenting the third Degree of "Beauty , may be giveru not only to ^SMinena^^ but alfo to "Diana for her foijtncfs and agility, as alfo to the JsQmphs oftheRivers, and to the Mu/es, though with divers attire, in_; regard of their place. This proportion-. is or Symetry. 23 is from the top of the head to the Chinn, a N inth Part- of the length. The Face from the Root of the hair, to the (Jhinnt may be either a tenth or eleventh Partr , as shall pleafe the Painter. This divided into Three equal Tarts, the fir (I gives the Fore-head y the fecond the J\Q>fe $ the third the Chinn. The "Proportion of a Woman of [even heads. IT was not without good Ground, that the old (free- dans made the goddefs Vefia but Seven heads high; bccaufo this proportion is Qrave and z5A4atrone like, and therefor o was attributed to the Earth, the com- mon Parent^ of all things. Beildes you may give it to any Other, goddefs, which hath any kind of re- femblancej with the Earth, as alfo to the more ftaied and antient fortJ of Women , whereforo it were a greatoverfighttogiveaflenderand delicate propor- tion to the Sibills or other Grave and Sage Trophetefes- as it were likewifo to make a Tropket with fucha pro- portion asbelongeth to young Men. *A Qh'ildof fix Heads is thus measured, dividing the body into fix equal parts, whereof the Head mufl be one. <±A (fh'ildof five Heads is thus meafured, dividing the bod) into five equal parts, "wherofthe H ead mufl be one. (tA Child of Tow Heads is thus meafured, dividing the body into four equal parts, thereof the H ead mufl be one. The %eajbn "why I have not given Descriptions or Rules, upon all the particular defignes upon the Plates, farther then the Side- way, or Triangle, Fore-right or Fore-short- ening, is becaufe I thin\tt unnecejjary , unlefi you could force Tfame Nature to obferve the fame method, with thern^ antient "Rules of Alberta Durera or £ oufine, the grand F 2 reafon 24 The Art of Painting. reafon is becaufe^j every Trint /hemps its dejigne of it fe^ to any one that is Ingenious, observing the due dijlances, and lights. The Definition of Painting. Pointing is an Art which with proportionable^ Lines , and Colours anfwerable to the life , by observing the Terjpeclive Light , dothfo imitate^ the Nature of corporal things, that it not only reprefenteth the thickyep and tenderness thereof upon a Flat, but alfo their aclionr, andgejlures, exprefing moreover di- vers affettions and paf ions of the Mind. For the better unfolding of which Definition.; we mud underftand thaf every JsQttural thing con- fifteth of Matter and Forme ; Whereunto (fenus and Difference^ anfwer inLogic^ whence the Logicians fay> that (fenus declareth the Ejjence of things, and Difference of their Forme and Ejfential Quality 9. Wherefores I think it not amifs, according to this Do&rine, to lay open the above named Definition^, by expound- ing all the Differences whereby the Arr_>of Tainting is di (H ngui shed from all other aArts and Sciences ; the (/mm then in Tainting is Art, which is prooved by twoReafons. The Firft is drawn-* from the Defi- nition of <iArt it felf, which is nothing elfe but a_> furo and certain Rulo of things to be made, the Second from the Natural things themfelves, which are a "Rule and oS\fea/ure to the greater Part of the Arts and Sciences, in the World (infomuch as they are Gods creatures, and confequently indued with all fuch Perfection^ as their Nature is capable of, and therefore may well be a certain^ Rule to Artificial things. Hence The Art of Painting. 25 Hence it appeareth that Tainting is an Art, becaufo it imitateth natural things moft precifely , and is the counterfeiter and (as it were) the very Ape of nature, whofe Quantity , Eminency and Colours , it ever ftriveth to imitate, performing the fame by the help of (geometry > ^Arithmetics TerfyeBive, and Statural Thilofophy , with moft Infallible Demonstrations, but becaufe of Arts fome be Liberal , and fome Mechanical , it shall nof be amifs, to shew amongft which of them Tainting ought-jtobenumbred. Now Tliny callethit plainly a liberal Art, which authority of his maybe proved by reafon, for although the V aimer cannot Pa;mhg u a Z(. attains to his end, but by working both w"*"" with his hand and pencil, yettKereisfb little pains and labour_. beftowed in this Exercife, that there is no Ingenious Man in the World, unto whofe Nature it is not moft agreeable, and infinitely pleafant. For weread of the French King Yrancis, the Firft of that name, that he oftentimes delighted to handle the pencil , by exercijing, drawing and painting; the like_^ whereof is reported of divers others Princes, as well antient as late • amongft whom I may not conceal Charles Emanuel Duke of Savoy, who ( in all other He- roical Venues, fo amongft other Liberal Sciences in this) imitated and moft happily equalled , that greaV King Francis his Cjra?id- father by the Mothers fide, fo that in thefe and the liko Exercifes, nothing is Itafc^ of aSMechanical, but all 3\Q)ble and Ingenious. For to fay the truth; what Princo or Ingenious Man is there, which taketh not delights with his pencil to imitate Cjod in nature, fo far forth as he is able : Farthermore it cannot be denied, but thatr' the (jeo- m&trician alfo worketh with the Hand, by drawing Lines* as 0rdes, Triangles, Quadrangles and men like Figuies $ neither yet did ever any Man_> therefore account-* G Geome* i6 The Art of Painting. geometry a s5\£eckanical ^Jrt, becaufe the Hand-labour therein imployed is fo Height, that itwerc an_> ab- furdity in refpecl: thereof, to reckon it a bafe con- dition. The like reafon is there of painting, the Praclice^ whereof, doth fo little weary a Man, that he which was 3\(oble before, cannot juftly be reputed 'Safe by exercifTng the fame; butifbefides all this, weshall farther confider, that Tainting- is fubordinate to the Verfpeflives, to U^Qttural philosophy, and geometry (all which out of queftiorL_> are Liberal Sciences ) and moreover^ that it hath certain^ Demonftrable conclufions, de- duced from the Firft and immediate Principalis thereof, we muft needs conclude that" it is a. Liberal zArt. JA/cw what k[nd of L iberal Arts it is (to omit all other proofs) may eafi/y appear by the forefaid Definition ; where it is firfl [aid, that it reprefenteth upon a plain, the T hicknefs and ro und- TbtDifftnmt, n efs of jB odily things , not excepting any , either Na- tural or Artificial, 'whereby vpe may gather that it belon^eth to the Painter alfo to represent Pallaces, Temples, and all other things made.; by the hand of the Artificer. Moreover it is faid, that it reprefenteth the Figure upon a Vlainc^ > and hereby it" is diftinguished from Caning ( though not Ejjentially , but onely Acci- dentally (2ls it is faid in xhcVroem) by reafon of thedi- verfity of the matter, wherein both of them repre- fenf 'natural things which imitateth Nature like wife, though it exprefs the perfect roundnefs of the Bodies as they are created of (/od, whereas the V aimer repre- fenteth them upon aFlaf Superficies : Which is one of the chief efl reafons, why Painting bath eyer been preferred before Carving. Becaufe by meer Art upon a Flat, where it findetb only length, and breadth, it reprefenteth to the Sye the The Art of Painting. 27. the Third Dimenfion, which is roundnefs and thick- nefs; and fo maketh theBody to appear upon a Flat; where naturally it is not. Furthermore it is added in the Definition^ : that it tcpzeicntcththe'BodilyaSWotions, which is moil «•&*. true, for in that moft Famous Viffure of the lad judge- ment, done by the Hand of the D'mne Michael Angela, in the Popes Chappel at %ome, who fees not what moti- ons may be exprefTed in Bodies, and in what order they maybe placed; there may you fee our Lady, St. fohn^nd the other, Saints reprefented with great Fear, whileft they beheld Qirift moved with indignation^ againft the wicked,, who feem to fly away and hide themfelves behind his Back, that they might noLi behold ^ angry countenance wholly inflamed with indignation-* : There shall you behold the guilty^ who being aftonished with Fear, and not ablo to indure his glorious prefence, feekdark Dens and deep Caves to hide themfelves in. Cn the one fide, you shall finde the Saints feeming ( in a Sort ) to finish the aJB of the refurre&ion, af- cending up into the Aire, to be placed at" the right hand o£ Cbrift : On the other fide you would think you fawthe Angels coming down from-, Heaven with the Standard of the Crofs : And on the other, car- rying theBleffed5Ww to be placed at the right hand oiC/od. And to conclude there is no corporal aSMotion , whether It mf forwards , of backyards ; on the right hand, or on the left ; upwards } or downwards, which may not be feen expreffed, in this moft atti* ficial and admirable P i&ure, but if we /hail farther confider the pafions and motions of the tZMind, whereof the Definition mafyth mention likpoife, they are alfo to he found in the fame wor\, MM no left Art then admiration to the beholder , efpesidlly in Chrut Q is ifi 28 The Art of Painting.' in whom you may fee Wrath W Indignation^ kindled, that hefeemeth to be altogether incenfed therewith. »*-»* Again-, both in the Mi®*, and damned S) ^^ bang appalled, znd con fu fed, ismoftlive *f ly cxpreffed, an exCGedina dread and horror of the wrathfull /%, and in a Word, many mo- tions as well of the Body , as of the Mind, are to be found in tho Works of this Ttivine Bonaraot of the rare Raphael Vrbine , and of other worthy "Painters both old &nd new, as well of love as hatred, fadnefs as mirth and all other pa/lions of the Mind. All which reprefentations arc; after declared in^ that part- of the Definition, whereit is faid, that- **~ y4i«toi^ with proportionablolines maketh CCc. where we muff Note that- the Painter in his de- scriptions, doth not draw lines at randome, without %ule Proportion, or At, ( as fomo vainly have imagi- ned) fmce the Arrantefi <Bmglers thatare, proceed with fomohttle Method, and although Horace inhisboolc deArte Poetica faith : that "The Poet and the Painter, Lthli\ePatent to invent, <iA S tor y anddifpofe the fame as Jh all him be (I content. Yet that-, is thus to be underitood, that it is law- lujl for him to cxpxck^ Figure, in what adion_, he hit, as in shewing fulim C*far in the Vharfalhn PFarr^ in fome adion, which peradventuro he never did' as letting him in thcFaWard, when he perchance was found in the %em>ard, or reprefenting him encouracre- insnis Souldiersto^W which perchance he never did; this only excepted the fainter is bound to pro- wu mc h!S ^°rks accor^ng to proportion and ** Wbereforo before you begin to Stell, delineate or tnck out the proportion of aMan, you ought to know his The Art of Painting. 29 his true Quantity and Stature for it were a grofs abfurdi- ty to make a Man_> of the length of Eight Faces; which is of Nine; or Ten, befides this, we ought to know what-' proportion the Fore-bead hath with the 3\(ofe; the SSQfe with t\\cz5MCbuth and the Q>^n> the whole Face with the thQec^, and in a Word to learn the true proportions of all things natural and artificial. Now becaufe it feemeth a matter of great" diffi- culty, and almoft impoflible for one Man to attain^ to the full perfections of all this Ifymkdgt^, we may propofe unto us the Example of the mod judicious <lA 'pellet* who when he undertook any fpecial piece of JForh^ wherein he meant to shew the utmoft of his Skilly he ufed to Hang it forth to publique View, hiding himfelf behind, to the end he might-7 hearken what every Mans Judgement" was, concerning the proportion andPForkinan-fhip thereof,and according to each mans cenfureoffuchthings as appertained to their pro* fefiwns. He ftill corrected his w6rks as on the contrary fide, he did confute and reprehend thecenfures of fuch as would take upon them to give their judgements of fuch things as appertained nof to their profefiions (as did the Shoemaker, who not content-' to find Fault with the Sbooeof oneof hisTittures, would needs cenfufO the ©then. Parts ) unto \vhom_> he anfwered, ne Sutor ultra crepidam. Furthermore^ the Tainter ought to ob- L« •»« •*• ih»- O makfr frejumt bt- ferve an Order and z5Method in thole propor- v^^*^- tionablo lines therein, imitating Stature rn her_> proceedings; who firft prefuppofeth Matter being zJ thin g void of Forme, beauty, 'Bound, or Limit, and af- terwards bringeth in the Forme, which is a beautifull and limited thing, in like forf the Tainter taking ab' Taneloi Qotb ("in 'the Surface whereof there & nothing H feit jo The Art of Painting. but a Flat and plains Super- fides , without Beauty dn, L imitation.; of parts ) he trimmetb, primeth, and limiteth it by tracing thereon^ a sZMan, a.Horfe, or a Cullumne, forming and tricking the true proportion^ thereof, and ( in a Word ) Imitating by lines, the Stature of the .thing to be painted in breadth, length, or thicknefs. **■ And becaufo in this place there fallethoui_> a certain^ Precept of zSMicbael <*Jngelo, much for our purpofe, I will not conceal it, leaving the farther in- terpretation and under jlanding thereof, to the judicious Reader. It is reported then that Michael \Angelo upon a timo gave this obfervation to the T aimer oS^fariw deScina^his Schollar, that he should alwayes make a_> T iguvcj Tyramidal 9 Serpent like, and multiplyed by One Two and Three, in which precept ( in my O- pinion-;) the whole zfMyflery of the <*Art confifteth, for the greater! (jrace and Life that zT Mure can have^ is, that it exprefs motion-, which the V aimers call the Spirit of a ViBure. ZAQm there is no Fornix fo fit to exprefs ^Motion, asthat of ^Flameo/Tire, which according to Ariftotle, and the other Philofophers is an Element mojl aclive of all others, because the Forme of the Flame thereof u moft apt for Motion, forithatha Conus or fharp Point vehere- ippith it \eemeth to d'mde the Aire that fit may afcendto his proper Sphere, fo that <i_> Picture having this former "will be mojl heautifull. Now this is to be underftood after., two forts: either that the Conus of the Piramis be placed upwards, and thc'Bafe downwards as in the Fire, or elfe contrary- wife, with the TZafc upwards , and the Qonrn downwards-. IntheFirftitexprelleth the width and largenefs of a P i6ture, about the Leggs and Garments below, shew- ing it (lender above, Piramidal Wife, by discovering one Shoulder, and hiding the other, which is short- ned by the turning of the Body; in the Second it sheweth The Art of Painting. 31 sheweth the Figure biggeftin the upper Parts, by re- preferring either both the Shoulders, or both the Armes; shewing one Legg and hiding the other, or both of them after one fort, as the Skilfull Tainter shall judge fitted for his purpofe, fo that" his meaning is, that it should refemblc; the Forme of the letter S placed right, or elfe turned the wrong way as ^ becaufe then i t hath his 'Beauty: Neither ought he only to ob- fcrve this Forme in the whole Body, but even_> in every Part; fo that in the Leggs, when a ifMufcle is raifed outwards on the one fide,that_j which aniwer- eth dire&ly on the contrary fide, muft be drawn_j in and hid, (as maybe feenein the life ) The lajl part of Michael Angelo his Obfervationwos, thai a Picture ought to be multiplied byOnCj Two, WfThree, and herein confifleth the chiefefl Skill of that Proportions/or the D iameter of the biggefl place bettveenthe K nee and the Foot is double to the leajl, and the large/lpart of the Thigh triple. But to return to the Definition , that part «». remaineth to be expounded, wherein it is fa i d that Vainting reprefenteth things with C°l°urs> like to the Life -y whence it is to be marked that the Artificial painter ought to proceed according to the courfe of J\(ature , who firft prefuppofeth Matter (as the Vhilofopbers hold J unto which it addetha Forme, but becaufe to create the Sub/lances of things proceedeth from_> an infinite power , which is not found in any creature ( as the "Divines teach) the Vaintermuft takefomcthing inftead of z5\4attcr, namely Quantity proportioned? which is' the Matter o £ painting, he re th e n th o Tainter muft Tht MatlCT needs underftand that-; proportioned Quantity , :fPainnn^ and Quantity delineated, areall one, and that the fame is the A^enWSubftance of Tainting, for he muft confi- der, thatalthough he be never fo Skilfull in the ufe of his Qolours, and yet lacketh this Delineation j he is H 2 uflK 32 The Art of Painting, unfurnished of the Principal Matter of his Art, and confequcntly of the fubftantial part_> thereof, nei- ther let any Man-; imagine that hereby I go about to diminish the power and venue of colour, for if all parti- cular Men should differ one from another in Matter alone (wherein out of all doubt all agree) then all Men muft needs be one, andfo that-' moft acceptable variety of l'o many particulars as are now in the world would be wanting ( which variety is caufed by thofo THdhUudnm Seven particularities which the Thilofophers call s.aiuatc particularizing Qualities, ) thatis Seven fubftantial accidents , which caufe the^ particularity and Jingularhy of fubftances, fo if the Tainter should only Tourtrait out a Man in juft Symetry agreeable to Zh(ature-7 certainly this Man would never be fufficiently diftinguished by his mere Quantity : But when unto this proportioned Quan- tity he shall farther add Colour, then he giveth thelaft forme andperfeBion to the Figure : Infomuch, thaf who- foever beholdeth if may be able to fay, this is the Viflure of the Emperour (Joarles the Fift, or o£¥hilip his Sonne, if is the piBure of zzZAdelancholic^ Flcgniatic^, Sanguine, or Cbolcrick^Fclloto, of one in love, or in fear of a bashful! young Man, &c. and to conclude the piclure will attain to fuch perfection, that the party counterfeited may eafily be known thereby : Where- fore I aebife the Painter^ to be very sktlfullin the u[e of Colours, as in that wherein con/i/leth the wholes perfection of his Art. »&%«** And in this point alone is painting diftin- Carving dif- 111 Jt 1 1I • n ** guished rrom_/ all other zArts, and chiefly from ^rwwg-, becaufe inprecife imitation of the life the painter performeth much more then the Carver is able, for the Carvers intent is only to give the felf fame quantity to his Figure which his Statural pattern hath, fo that his fpecial purpofe is to mako the Figure equal to die life; which cannot therefore be faid to be per- fectly The Art of Painting. 33 fe&ly like thereunto, becaufe Phylofyby teachethus that Similitude, is not properly found in Quantity, but in Quality only : now the £o/owr which the Tainted ufeth, giving thereby the Similitude and proper %efem- blame to his counterfeits , is molt truly and properly Qua- lity, and although we ufually call ono thing like to another, when_j it hath the fame Quantity, yet this is an improper fpeech , for if we should fpeak properly^ we should call itEqual and not^ Li{e3 wherefore Si- militude is found only in Quality, and Equality, which the Caryer eonfidereth only in Quantity, but the 'Painter doth notr'only endeavour to give the truej and juft quantity to his figure, by making ir_-> equal to the life 5 as the carver doth , but moreover addeth quality with his colours, giving thereby both quantity and jimilitude> which (t as hath been-; proved ) tho carver cannot do. Now the Painter exprefTeth two things with his colour : Flrft the colour of the thing, whether it be arti- tificial or natural, which he doth with the like colour, as the colour of a blew garment with artificial blew, or the green colour of a Tree with a like green : Secondly he exprefc {'eth the light of the Sun, or any other bright Body apt to lightens or manifeft the colours, and becaufe co~ lour cannot be feen_; without light, being nothing elfe(as the Philosophers teach.) but the extreim^ Super- ficies of a dark untranfparent^Body lightned, I hold it expedient for him that will prove exquifito in the ufe thereof, to be moft diligent in_. fearching ouLj the effeds of light, whenitenlightnethco/o«r, which who fo doth ferioufly conilder, , shall exprefs all thofe effedswithan admirablo^ra^; andalthough iheblervbc equally difperfed through all the Parts of ^garment, fo that there is no more in one part theri^ in another ; Yet notwithstanding when it is illustrated I W 34 The Art of Painting. by any light, it caufeth one kind of brightnefs itU that part where itftrikethmore vehemently, then_j aii^ othe r, in_j that part, where it shineth lefs. Now when the T aimer would imitates this bleat thus lightned, he shall take his artificial Mew colour, counter- feiting therewith the blew of the garment, but whero he would exprefs the light , wherewith tho blew feems clearer, he muft mix fo much white with hisblew, as he findeth light in that part of the garment, where the lights ftriketh with greater^ force, confider- ing afterwards the other part of the garment, where there is not^ fo much light, and shall minglo lefs ivbite with hisblev proportionably, and fo shall he pro- ceed with the likedifcretion_-»inall theother parts: and where the light falleth not_j fo vehemently, but only by reflexion-* there he shall mix fo much sha- dow with his blew, as shall leem fufficient to repre- fent that light, loofing itfelf as it were by degrees, provided alwayes, that where the light is lefs darkled, there he place his Jbadow, In which judicious expreflingof the effects of light together with the colours, Raphael Vrbine, Leonard Fin- cent, <*Antonius de Qoreggio andTitian weromoft admi- rable, handling them with fo great discretion and judge- ment, that their TiBures feemed rather natural, then_> artificial 5 tho reafon whereof the vulgar-. Eye can- nob conceive, notwithstanding thefe excellent zSMa/lers expreffed their chiefeft art therein, con- fidering with themfelves that the light falling up- on the flefb caufed thefe and fuch like effeBs , in_> which kind Titian excelled tho reft, who as well to shew his great S^therein, as to merit commendation, ufed to cozens and deceive Mens Byes, the like did tSMkhael zAngelo who to make^ proof of his Angular infigbt in the ^Anatomy y inclined fomewhat toward the Ex- The Art of Painting jj Extreatrij byraifinguphiscj^/w/c/w a little tbohardj and by this means shewed the eminencics and rifings , in which naturally they were (mall, asinthoBody of (>//?, &c. Again Titian to make known his art in lights and Jhd- dotps, when he would exprefs the lighted /wj of the "Body ufed to add a little too much m>hite } making it^ much lighter then hispattem, and in the obfcure^ partSi Where the light fell by reflexion, a little too much (hadon?* inrefemblancoof the decay of the light in that part of the2Wy, and fo his aw\feemeth to be much raifed , and deceives the fight, for the light which cometh to the Eye,in aTyr amidol f or m^{as shall be shewed in_, the enfuing difcourfe)cometh with a blunter and bigger Awki andfo is feen more evidently, whence arifeth a won- derful! eminency , the efpecial caufe whereof is, be- caufe there is much more (hadew then needeth in that^ part, where the light decay eth moft * fo that the vufudt lines failing, that part cometh to the Eyein an accuter and jbarper angle , and therefore cannot^ be feen fy perfectly , infomuch that that parr" feemeth to fly inwards, and (land farther off. Tim when the Four parts of a Body are much raifed, and the hinder fly Sufficiently inwards, then appeareth a-> yery great heightning , which giveth a Wonderfrll Spirit, and after this fort Titian beguiled th^__j Eyes of fitch as beheld his mofi admirable Tporlq. Of the Vertue of Lighu Ight hath fo great forco in Titlures, that ( in my* ^ judgement) therein confifteth the wholegrace there- of, if it be well under flood, an contrary wife, the dif~ grac^j if it be not perceived, and evident examplo whereof we may fee in zu Body pioponionably drawn/ I 1 whiefe $6 The Art of Painting! which being yet without" his lights , sheweth very beautifully Co far forth as it is wrought , but if after- wards if shall be jhadowed without judgement and arti fo that the fhadowes be confufedly placed where the lights ought to be, and contrarywiie the lights where the Middle of the Jhadows should be-, and the coma* vines and convexities diforderly fuited, without any Imitation^ of fhQiture ii werebetterithad never been either drawn or Hghmedt whereas having lights well dif- pofed, it doth not Only add perfections to the draught but fo fets it off from^ the Flat that it feems to be imboffed. And in this venue and power confifteth the chiefeft excellency of the fainter : Infomuch as this point moftproperly concernethhim_>, by makinghis coun- terfeits feera to be as much raifed, by reafon of the flriking of the lights they are indeed in the Carvers wor^ by reafon of the matter,which("as all Men knowjhath height and depth, the right fide and the left , the fore-part and the hinder, wherefore they fay that the thing which the Carver intendeth to make, is in the zSM'arble, which afterwards becometh good or had, by cutting and forming, but to return to the light, I fay this moreover, that although it be of fuch efficacy, that it diminifheth the grace of the draught, where it wanteth (as is faid ) y e t the Inar- tificialnefs of the draught cannot difgrace it, whence we fee, that if the lights be well and proportionality befto wed throughout a Body, which is [{{proportioned and without aSifufcles, it contenteth the Eye of the beholder fbme- what the more, by moving him to a defire of feeing the aSMufcles and other neceflary p^r/j, in fuch a Body as in the Ti&ures of 'Bernard , Zenale, Frbiliano, viz. the glorious r e fur rc&ion of Chrifl painted by him, over, the (fate in the Cedent of the (Jmw of (jraccj in ^MHane, and The Art of Painting. 3 k and many other Hiftories of his doing as Weil in_^ colours, as in blac^ndi^hite^ in the fame place Wherein may be feen TiBures, made without Mufcles, and other neceflary accomplishments, for the moro gracious representation of €ye*pleafing perfeBion, but yet well placed, and with their light- mod artificially dif- pofed in their places^ infomuch that the^ leem_> to be imbojjed outwards , fuch is the force of thefe lights in which you shall alfo find admirablo perfpeBives and forejhortnings, wholly proceeding from the orderly dif- pofing of the lights, without-1 'which thefe draughts would have proved imperfeB, loofing much of thaP grace, although they were well placed, fo that wo. find many Tainters, whobeing ignorant of tht art of proportions, only by a little practice, in difpoflng their lights in fome tolerable^ fort, have notwithstanding been reputed good tArtift j which commendation^ they defervenot, becaufe they neither have the Art of pcrfpeBcves nor the true representing of any of the lights i Now for an_j Example of the true art of exquifite bellowing of thefe lights, that Teece of Le: Vincent & mongft many others^ roayferve4.is,infteadof all the refl of his well lighned TiBures , which is now to be found in_j St. Franw Q°urch ms5\£ilane, where he hath painted the conception of our Lady \ which ("to omif other excellencies therein J is mod lingular in this point, for the perfection^ o£ligbtss thofe two pieces doncby the hand of ^Antonio Qorreggio are moft admi* rablc , which are yet to be feen in the famo C$ ) with Qa"valier Leoni zAretinoi in one whereof is painted fair Jo, with fupiter upon a Cloud, and in the others Danaenndfupiter descending into her lap in the forme of TLi golden fhomr^ with Cupid and other Loves, having their light fo well difpofed, that I dare boldly fay, 38 The Art of Painting, no other ^Painter is able to match him in colouring and lightning-, which Degrees were fent_jhim out o£ Spain, from his Sonne Tompey a carver. Moreover <£Micbael sJngeh, and %aphael Vrbine, the Fathers and Mailers of painting are reputed mod rare and divine in lights, out of whole Woofer I may truly fay,almoft all the famous T aimers of Italy havo attained tqithe worth <of their fame. 53$ • "No w then-- infomuch as thefe lights, are of io great vertue, we ought to ufe all diligencofor the perfect attaining to the knowledge thereof, by applying them to our draughts, as is shewed, infomuch as the art of proportion, motion and forejh ortning , hath butfmall ufe or commendation-* in a Tainter, without the knowledge of thefe lights, found out by reafon and art, and not taken by bare imitation-; from the imbojfed models, under a_> falfc apprehenfion of the light, without order or di- fiance , as alfo in the lines and fuper^ficies of Bodies : wherefore they prove falfe, and altogether contrary to the rules of art. oJtnd thus much I thought good to nott^j, concerning this poinC purpofing now to begin the treatife of light iifelj, by the afiftance ofhimu who inlightneth the underjland* ing offuch asfubmit themfehes unto him^, 'with a pure z5\4ind wholly prepared for the receiving of fo divine beams. Of the ^(ecefiity of Light. IT appeareth by thar_j which hath been_^ hither- to fpoken, that apeece ot painting drawn-* in propor- tion having his truo motion, and put in colours with- out the lights, is like a Body in the; dar(, of whofe Quantity or Quality a Mancannor'/Wge, fave only by the help of hisunderflanding, that'isby thatinward conceipt he hath of the thing, and not by any outward, infomuch as it is hidden from the external light, which con- The Ait of Painting. j£ concurring with the internal , by means of the Beams proceeding from the-? Eye, makes the diverfity of ' Bodies known-; to the underftanding, after the fame manner, as they receive their light naturally. Wherefore^ I "will handle the lights, Joying nothing- of the shadows, although they be handled together toith them, for the shadows do neceffarily folloip the lights , being caufed hy the decay of the light , taking [o much the more force, by hoto much the more forcibly the light flrihgth upon the "Body, whence arifeth that exceeding great raifing W heightningo/^ na- tural plain, in a "Body receiving the light according to his proper nature. And by this we shall know, how the lights, refleBi* ons, zndnatural rebating of thclights, do vary, according to the diverfity of theBodies, by altering theni^ as shall be faid, wherein alfo we shall fee; the very per- fection of the an • for without this, neither order, forme, proportion^ motion, compofition, or figure -, can attain^ to their perfection, like unto a Body without" [cituation or fpirit, or to counterfeit Starrs without^ the light of the Sun, giving them their brightnefs anfwerablo to their qualities, whereby they may be feen. But" now as touching my propofed matter, I will Firfthandlo the na- ture of light, and afterwards ( by the help of Natural Thilofophy and tho Opticas, being theFirft part of tho perfpeBives) I will fpeak i'Ti_> general of the primary and fecondary lights, then otdireB&n&reflMed lights, afterwards how by«J^f^^w^/Wreafons,diversdiftincl lights may be feen, by reafon^ of the variety of the Bodies, and finally of the qualities of things appertaining there- unto, howitmaybeunderftood in all things, andin the Elements themfelves. : 40 The Art of Painting. Of the 3\(ature of Light THis Wotd Light is diverfly taken : Fir/land principally it_> fignifieth the Image of that~> T>ivine Stature which is the Sonne of (jod, and the brightness thereof , which thoy/^ow/V^f called the Image o^ the dfoim mind. Secondly the comfortable operations of the HolyCjho/l: Thirdly that divine venue, which being diffufed through all the creatures, is in Men their divine grace, and in all other living creatures, that/>ofcw whereby they are preferred and defended, as thaf of the Serapbims ac- cording to T)ionyfim\ Fourthly that intelligence; in the aAngeUy which breedeth that^oj in them, which pafleth our underftanding, yet diverfly received, according to the diverfity of the intelligence ap- prehending it, as zSMarcilius Ficinim upon_> Tlato not- eth: Fifthly in the Heavenly Bodies if caufeth abun- dance of Z//e, (ignifyingan-j effectual propagation, and*/- Jtble brightnefs in the Fire, with a_> certain accidentall power proceeding from the fame : Sixthly if is taken in Men for the Light of their rf0^,underftanding, which illuminateth their "Patient or paffable underitanding; (and in a Word ) for the difcourfeof reafon, and the knowledge of divine things : Lafl of all it fignifyeth a quality proceeding from the Sun or the Fire , which fo difcovereth colours, that they may be feen, and this ( as the Teripateticki fay) is the caufe ol -Formal %eaj on, whereby coloured things are feen, whofe Shapes and Images pafs to the phantafie , and efpecially enlighten the Eyes, in which the Image isformed, which Firft paf ethtothe common fenfe, afterwards to the phantafie, and laft of all to the under (landing, this Light is difperjed and extendedunto all Bodies that are openly propofedunto k, in which colour, and a bemtifull resplendency of thick and The Art of Painting. 41 and dark Bodies is difcovered ("as the Tlatonickj fpeak ) caufed by this light, together with certain beneficient and generative venues. But where the Sun- beams fall not, and are not at all difperfed, there (the beams of tho Eye being reftrained ) remaineth a dar\ colour, which difpleafeth, and evil effecleth the mind, fo that all things according to their capacity, feel the power of the light, which joyning all Creatures to it felf by this lively heat, and piercing through them_, all, giveth to each of them his proper^ Quality and Ver~ tue. Whence thofe who are judicious in this Art, ufe to give lights to all things after one and the felf famo manner; infomuch as we fee, that the Sun rifing above out Horizon, lightneth all things in an inftant, thereafoii whereof is, becaufethe light hath no contrary which might hinder it, with his aBion. Wherefore^ it performeth his operations in the Air, in an inflant. And hereunto appertained! that, which the Thi* lojophers fay concerning the darknefs of the 3\(ight, that ir* is not caufed of any dark or black colour, which coloureth the* Air, bur' only by the abfence of the Sun$ whofe pre[ence_j> and brightnefs equally lightneth our whole Hemisphere, and would in like fbrtr lighten the whole Earth, together with all compound Bodies* if they were tranfparent as the Air is, but being Opakf, thick^&nd corpulent, they receive not the light in his perfect bright* nefs, fave only in that part which is direBly oppofite W the Sun, and therefore in this our Hcmejphere ( becaufe the Sun never pafleth perpendicularly over our Zenith) the Earth can never be fo lightned, but that one fide or 0- ther of it will be Jhadotoed^ which happeneth untd thofe parts, which lye direBly under the equinoBial line '* where the Sun at Noon doth fo lighten the Earthy ana the inhabitants, that it giveth light to the whole circuni^ %$ ' JereMi' 42 The Art of Painting. ference of round Bodies > and there is no Jhadow feetl unto the very Feet, Whence the judicious in thu Arf, forbid ut to give lights in a p icture unto all^Bodies, after one and the jelf fame manner. But befides this confideration-> of the light illumi- nating, and the Earth with all earthly Bodies lightned, there is another more forcible^ reafon drawn from the grounds of the zSAdathematicks, vi;^. from the yifual lines of perfpetlive , together with the Eye, for the better understanding whereof we mud note , that Threes things concurn. to our fight, the vifital fines, the coloured Body, and the faculty of feeing, which is in our Eye , the vijual lines lightned ( which are the proper Matter^ and fubjecT: of the perfpeBives ) come to our Eye in a_> pyramidal Forme , the Bafe of which Tyramis refteth in the ObjecT:, and thecoma or angk^j thereof, cometh to our Sye more blunt and obtuje : And hereby we fee the ObjecT: more plainly and diftinctly ; but if tho Object be afar off, the conm or angl{_> of the Tyramis comes to the Eye fharper and lejfer, and then_; our Sye cannot-; difcerne it fo clearly as otherwife it would. Secondly it is to be noted, that the ObjecT: com- eth nor' to our Eye, but the yijible fpecies otfbapes aro diffufed through the clearnefs of the <t//Vunto the Eye, which fpecies are nothing elfe but certain^ Images, like unto thofe which we fee in->zglafs, when a Man or any thing elfe (landing againft if, is reprefented therein. And if the coloured Body or Object (land neer to this Image, it comes to our Sye in the fame quantity and big- nefi of the angle of the Tyramis : Now becaufe this angle comes to our Sye in an obtufe and blunt form, the Image alfofecms great, and fo is difcerned more diftinctly, but when the coloured O b j eel: fta nds afar off, the Image comes to the Eye in a very fmall and flender angle, and there- The Art of Painting. 4j therefore filleth nof the Bye, but wavereth in fuch fort, that it cannot b^j clearly and diftinBly difcerned. As touching the Third I have no more to fay, but that the faculty of feeing is reduced into Art, being formed by the concurring of the other Two things required before, vi^ the vifual lines, (without which the Sye cannot fee.} and the Image of the coloured Body* which informeth the Sye, by reducing it from_> meer ability intoaB, and informing it moro perfectly with a great-; Image, by performing his operations better, and caufing the thing to befecn moro apparently and diftinBly : whereas with the fmall Image of a thing too fardiftant, the Bye cannot be fo well informed, and therefore it cannot fee the thing perfectly. Fronts which grounds, I draw tbefe Two reafons, toby the felf [amellodji cannot be lightned equally in ^places* TheFirft is becaufethe light doth not" with all his hightnefi illuminato any more then that part, which is direclly oppofltcj to it , being not able to ///«* firate the other parts fo perfectly, by reafon of the Na- turo of the dar\ Terrene, and grofs Body> which fo hindrcth the beams , that they cannot pierce inwards, and perfbrme their effects perfectly. The Second reafon^ is taken from the 3\(aiure of our Bye, for as theFirft part of the Body isfeen and placed ncareft the Bye, comes unto it with a bigger angle$ fo is it alfo feeri-jmore difihiBly, becaufe it is moro lighmed, but the Second part thereof, being farther^ of, comes to the Eye in_» a leffer angle, and being lefs lightned, is not fo plainly feen_> as the Firft, and by this rule, the Third part will be obfcurer, and fo the Fourth proportiotiably untill the Eye can fee no farther. Now if you ask mo what the Painter ought to do, when_-» he would paint Two, Three, or Four Men, ftand- ing one behind another, all of them equally receiving 44 The Art of Painting^ the light , I anfwer alwayes according to the former foottrine, that although they be equally lightned, yet we muft paint the Second which is farther offtrom_> the Eye darker, and the 'Third more then him, and the Fourth mofl of all, &c- untill our Eye can fee no more. The reafonisbecaufe ^e Second [landing farther off, cometh to the Eye "with a lefTer angle , tvherefor^j, he cannot be [een fo evidently as the F irft, the fame reason there is of the Third> &-c< The fame is alfo meant fide-long, wherefore what- foever Tainters have obferved this Doctrine, have be- came excellent, and nothing inferiour to the chief Majlers of this itArt, as Le: Vincent with divers others named be- fore, together with fac\ Tintoretto *5\4arco de Scina^, Frederick ^aro^i of Vrbine, Taulrn (^aliarius o f Verona, Lu- cas (jangiafus, thcLtajfans, and dmbrofe Figinm. 3\(o\i> the tohole DocTrine delivered in this prefent Chapter it ( for the mofl part) taken out of Ariftotle, Alhazen, Vitel- lo, Thomas Aquinas, and (to conclude) out of all the befi Philofophers WDivines, (yehofe Opinions 1 approve of) and thus much may befpokenfor the Opinions of other *ZM[en. Of the Vertue and Efficacy of Motion. IT is generally confeffed of all Men, that all fuch <JMctions in TiBures, as do mod needy refemblo the Life, are exceeding pleafant, and contrary- wife thofe that which do farther!: diffent from-, the fame, are void of all gracious "Beauty, committing the like difcordin Mature, which untuned firings do in an injlrument. Neither do thefe motions thus lively imi- tating ^(ature mTiBures, breed only an Hye-pleafing con- tentment, Of Anions and Geftures. 45 tentment, but do alfo performe the felf famo effetlts > which the natural do, for as he w hich laugheth, moumetb, or is otherwise effected, doth naturally move the behoh ders to the felf fame pafiion, of mirth or forrow, fo a picture artificially exprefling the truo natural motion? , will ( furelyO procure laughter when it laughetk, penfivenefs when it is grieved &c. And that which is more, will caufe the beholder to wonder, w\\zr\itWonderetb todefire ^beautiful young womm to his Wife> when_^ he feeth her painted naked, to h a v e a Fellow feeling w h en_> i t i s of flitted 3 to have an appetite, when^ he feeth it eating of dainties, to fall a /Jeep at the fight of a fweet Jleeping Ticture, to be twoW and )w furious when_> he beholdeth a battel moft lively reprefented, and to be ftirred with difdain and wrath at tho fight of Jhameful and difhonefi actions , All which /w/tfj aro ( in truth ) worthy of no lefs admiration^ then thofe miracles of the antient Mufi~ tians, who with the variety of their melodious harmony i were wonf toftir Men_> up to wrath and indignation, love^ Warr, honourable attempts, and all other affections as they lifted; or thofe ftrange conclufions of the ^Mathe- matical motions , recorded of thofe undoubted wifo Men, who made ftatues to moveoi their own accord 3 as thofe o£T)edalus, which ( as Homer writeth) came to the battel themfelvesj or Vulcanm Tripodes mentioned by oAriflotle, or thofe guilded Semtors which walking up and down_> at the feaft of farbas the Cjymnofophift t ferved at-jtheTA, or thofe antient^ ones of Mercury in JEgypt, which fpake, &c In which kind of artificial motions , Leonard Vincent was very slt^lfull , ( who as his Scholar Signior Fran* cefco *D\delizi the great Limner verifies ) invented a certain^ conceited matter, whereof he ufed to make "Birds that^ would fly into the <J[ir , and madc^? ?u moft artificial Lyon , which being brought^ into M 4 46 Of A6tions and Geftures. a large Hall before Francis the Firfl King of 'France of that name, after he had 2u while walked up and down_> flood dill opening his Ttreaft, which was all full of Lillies and other flowers of divers forts , at which fight th^j Kjn^ and other fpeBators were rapt with fo great admira- tionthat they then eafily believed, that aJrchitas Taren - thim his toooddenT>oDe flew, that the bxa.zcn^'Diomedes , nientio n ed by Qafiodorm, did found a Trumpet, that a^ Serpent of the fame metal, was heard to bifs, that cer- tain^ Birds fung, and that aAlbertus ^Magnus his ^ra^« ii&W fpake to St. Thomas of /%/»*, which he brake, be- caufe he thoughts it the -Devil, whereas indeed if was a meer (^Mathematical invention ( as is moft mani- fefU 'But to return thither where Heft, I am of Opinion that info- much asthefe Motions are fo Potent in affecting our Minds, when they be moft artificially counterfeited, we ought for our bettering in the knowledge thereof, topropofe unto us the example of Leonard Vincent above all others : Ofwhom_» it is reported, that he would never exprefs any motion^ in a Picture, before he had firfl carefully beheld the Life, to the end he might corner as neer the fame, as was poflible : whereunto afterwards joyning Art, his Vi&uresfurpafledtbe Life. This Leonard ( as fome of his Friends, who lived in__, his timo have^ given.; ouO being defireous to mako a Teece wherein he would exprefs certain-* Qhtom laughing (although he never perfected it-j more, then in the Firfl: draught ) he made choice of fomo Qownes for his purpofe , into whofe acquaintance after he had injinuatedh imfelf, he invited them to ft feafl, amongft other of his Friends, and in the dinner, while he entred into a plea/ant vain, uttering fuch variety of merry conceits, that they fell into an exceeding laughter{ though they know not the reafon thereof, Leonard diligently obferved all their (jeftum, together with thole ridictt* lous Of Actions and Gefbres. 47 lousfpeeches which wrought-* this impreffion in theirJ ^Minds, and after they were departed, withdrew himfelf into his £ hamber. And there portraited thern^ fo lively, that they moved no lefs mirth in the beholden, then hisjeftsdid in them at the banquet. They add moreover that he took fpecial delight, to behold the(/eJlureso£ the condemned, as they were led to Execution, to the end, that he might" mark the contracting of their browes, the motions of their Eyes, and their whole Body. In imitation^ whereof, I hold' it expedient for a Tainter, to delight in feeing thofe which fights cuffs, toobfervethe£)tf difrhy murtherers, the courage otwrafilers, the actions of Stage-players, and'thc^ inticing allurements of curtefans , to the *«*/ he be not" to feek many particulars, wherein-, the very Life and Soul o£ painting cenfijleth, wherefore^ I could wijh aff'&Wen care- fully to keep their Brains waking, which whofoever JJjall omit hu invention-j (out of doubt) will pep , ftudying perhaps Ten Tears about the action of one Figure, which in the end mil prove nothing-worth, whence all famous inventors, for the avoid'mo of fitch grofs defeds, have the rather /hewed themfekes fub^ tilo Searchers out of the effects of nature, being moved thereunto by a fpecial delight of often feeing, and continually pradizingthatwhicbtbeji bav<u> preconceived, Jo that who fo kgepeth tkts Order, fh all unawares attain to Juch an habit of practice, in lively exprefiing all A&ions WGefhires, beftfittinghispmpote, thatitwill become an other nature. And whofoever shall diligently confider C*far Se* ftius his admirable worlds > wherein^ all the aclions are mofl naturally appropriated to the SubjeB, will eafily concludo that he trod in Leonards fleps, and for this caufe was he highly efteemed of Raphael Vrbine, unto whom_> they fay hewaswonf ;ey%/ytofay often, that if feem'ed a_, very ftrange thing unto him, that they two bein^ fUch neer Friends, in the Art of Tainting, yet fpared not" M 2 each 48 Of Aftions and Geftures. each other when they offended , a fpeech farely well befeeming honejl men, albeit they lived together in fuch fweet emulation , which humour if it wero to bo found in thefe our T>ayes, the World might be repu- ted right happy, but now malicious envy ( to our great dif advantage ) taketh place inftead thereof, c5\4mifiring M atter to ignorant and abfurd people , infolently to disgrace and carp at other Mens rare pcrfeBions. Of the 3\Qcefsity of tZMotion. THe order of the place reqmteth, that I should con- fequently fpeak of Motion it felf, namely with what Art the Painter ought to give Motions beft fitting his "Pictures , which is nothing elfc but a correfpon- dency to tho nature of the proportion of the forme and matter thereof, and herein confifteth the whole fpirit, and life of the Art, which the Painters call fometimes theory, fometimes the grace, and fometimes the ex- cellency of the Art9 for hereby they exprefsan evident difiinclion between the lifting and the dead, the fierce and the gentle, the ignorant and the learned, the fad and tho merry, and ( in a Word) difcover all the feveral pafiions, and Cfeflures which Mans Body is 3b\e to perform, which here we term by the name of Motions, for the more-P Jignificant exprefling of the Mind by an outward and bo- dily demon fir ation, fo that by this means inward motions and affections may be as well, ( or rather better )fignifiedzs by their speech, which is wrought by the proper operations o£ the Body , performing juft as much as is delivered unto it from_> the reafonable^j Soul, ftirred up either unto^oW or bad, according to their private apprehenfions. Which things, while all good Painters propofe to themfelves, in their Works, they exprefs fuch admi- rable fecrets of JS(ature > as we fee, which being moved by Of Anions and Geftures. 49* by that (lining vertue , which continually lying hid in the hart, is outwardly shewed forth in the Body, by extending her branches through the exteriour z5Ad embers, in fuch fort, thatr' they may alio rece i ve motion, hence fpring ihofe admirably motions in Ticlures , which ap- pear as dfoerfe as the pafiions whence they have theit-r original, are different, of which point fomcwhat shall be' (aid in this enfumgTreatife. Now the perfeB knowledge of this motion, is ("as hath been shewed ) accounted the mod difficult part of the art, and reputed as 2lj divine gift. Infomuch, as here- in alone confifteth tire comparifon between Tainting andToetry, for as it is required in a Toet, that betides the excellency of his toit , he should moreover^ be fur- nished with a certain propenjton and inclination ofW/, /w- citim and moYmg him to wrfify, ("which the antienf cal-; led the fury oi ^Apollo and the eSMufe? ) fa like wife a1 Tainter oughv, together with thofe natural parts which are required at his hands, tobe furnished witha/?*- iural dexterity and inborn/light of exprefkng the principal motions} even from-/ his cradle; otherwise it is a very hard (if not impoffible)^wwr, to obtain to the abfolute^r- feHionof this drt; The truth whereof, experience it felf may teach us: Infomuch as there both have been, and are many ex- cellent T aimers , who for their., extraordinary skill in the art, aremoft highly efteemedof all Men, as being able to make fweet coloured piBures , having their loyns and joynts in all points anfwerable to the rules of propor- tion, understanding ^Anatomy and painfully lightned and Jhadotoed , but becaufe notwithstanding all their care an dinduflry in this behalf, they could never_/ befo happy, as to attain unto this faculty., Theyhavo left their t»orl{s to the view, and hard cenfure of poflerity y only becaufe they exprefTed unfutt able and lame (je flures- N i# 50 Of Anions and Geftures. in their TiBurcs, which they had flolen our" of other Mens inventions : namely, out of theirs who wero naturally indued with that-j grace, and perfwadin^ them- felves that thefe would very well fcrve their turns: they imagined frxzh ABions and (jeflures in their own "Pic- tures, as being ufedbefides the purpofe, for which they were VirrXinvented, could nor" be approved for <?ood, be« caufe they offended in_j divers circumflances , whereforo thofe unfortunate painful Men ( who notwithstanding in_^ fome other^ parts of the art, be fufficiently skilful ) al- though they can_j imitate the ^dllions and Cjeftures of o- ther inventors, yet shall they never be able to make a_> commendable Hiflory , becaufe they be naturally disfur- nifloedof that inborn facility and inclination. Now oru the contrary part, I deny not, but thofe who are furnished with natural invention 3 may wanf_» that patience in_> their wor\, which the others have^., which propriety arifeth from_> the multitude of theirs continual inventions, and ftirring apprehenfions : Info- much, that before they can^ through lyfini/h or compkat any one 1>ody or zSlBion, infinite others arifein_j their fantafie, fo that by reafon ofthegrear^//^ they feel in their invention, they cannot hawcthe patience to finish any thing they take in hand. But the moll abfolute and compleat Tainters ( who are nor fb much inclined by nature-, as perfecled by art} endeavoun, to cboofe out the belt ABions for every purpofe , in reftraining the luxurious fury of nature, by that deliberate difcretion which they have in_> their Idea, by the benefit whereof, they fini/h their TiBures with de- light and contentment, alwayes exprefing in each member, a»> certain hidden refemblance of theprincial motions, where- fore thefe alone carry away the commendation of the^ profepon which is nor' granted to thofe furious mad-caps , byreafon-jof their impatiency, nor yet unto the former over Of Actions and Ceftures. jr over diligent plodders , becaufe they have not the natural biowledg^j of thefe motions , and therefore cannot" ex* prefs thcm_^ in their Doork.s, as thofe natural inventors will do, with Three or Fourfirokes, whereforo they be- come inferiour: lb thao as well the one as the other, mud needs give placo to the inventor, who wifely joyneth the industry of art, with the gift of 'nature. Notwithstanding, I am of Opinion, that" it is po» ffibloto attain unto this fo excellent a faculty, (though perhaps not" with that Jpecial eminency of natural facility, ) as by industrious Jludy in_-» the tyotoledge of thefe motions » and the a*«/<?x whence they proceed. For from hence a^ Man may eafily attain^ to a certain under/landing, which afterwards putting in practice with patience, together with the other points, he may undoubtedly proDe a ju- dicious inventor, who never had any extraordinary^- tural inclination , my meaning is, that_j fuch an inventor, as o-uideth himfelf by under/landing , shall attain^ to better perfeclion then the other, who is naturally in- dued with the dexterity, without induflry and patience:; for example, if a Man shall diligently perufe the whole Hiftory of £>//?, out" of doubt he shall gather tho true Idea and Svtethod, how he oughts to reprefent the motions of £>//?, the aApoftles, the Jews, and all tho reft, who had any part in_; that cruel Tragedy, fo fuffici- ently, that the <£Mind of the beholder shall be no lefs mmd to /?i«j> 'w* and forroiv, at" the yJg^f of the piBures then Men-; are ufually at the reading of the Hi/lory, fo that by this means he shall shew in_^ Judas-, Violent, offenfhe , brutift , buifte, and distempered motions , and in_^ Cbriftbeing full of patience, remits, and gentle, reprefent- incr in_j him, as in a glafs that Jtngular humility and patience, wherewith be reconciled us unto his Father: All which , notwithstanding they may be fufliciently drawnu out of tho reaaing bf the Hiftory, yet for more eafe N £ fak$ $1 Of Actions and Geftures. fakg, they may be taken from tho accidental examples in the living, imitated with great felicity, and afterwards induflriou/ly and artificially exprefled, by cauhng tho abundance of his diligence to appear ; in ftirring tip affeclions of piety and forrow ( as in a pcece^j of tho pa/lion ) or othen, affettions, as the Hi/lory he hath in hand, shall re- quire. 3\Qnv concerning the way and manner how thefe Actions are to be given, according to the dherjhy o/Paffions and Af- fections, which at ^undry times, upon /enteral occafions may move Mens M inds ; / bope^j, in this Treati/eto/loew evident^ examples , although they be fomewhat hard and drawn from-j the fecrets of natural Philofophy , a thing which might feem-, to require a-> Man '/riper Years , then Jo young a Man as my felf, wherefore I mu/t crave pardon for break[no> the bounds o/Modeity, in undertaking the handling thereof, had I not been prompted unto it by the Painters , (it being of fo great ufe and importance ) howbeh , If neither in that which hath been already fpo\en, I have fufficiently laied open this point-', nor hereafter [hall be able to deliver the Method fully, which I promifed , yet mtwithflanding this my pains is not to be contemned , infomuch as it will, (at the leaf, ) pre- pare aneziic, free and Methodical paffage for emery Man to exercife bis Wit, which mu/t needs prove a->mojl fure and ready way ; infomuch as all the mofl Famous Painters have been direBed thereby, whowhen they went about to counterfeit a?iy ftory , Fir ft conceived the general forme thereof, and then gave to each Figure his peculiar Actions, proporti- oning, difpofing, and guiding them by difcretion, ac- Qompamedwith natural felicity. Now amongfl: the worthy T aimers who excelled herein, Raphael Vrbine , was not the lead, who per- formed his IVorV^, with a 'Divineknid of <t%fajefly\ nei- ther wzsTolidore much behind him in his i^/W, whofe "Pictures feemed as it were pafing/urious 7 nor yet Andreas sZMonta* Of Aftions and Ceftures. g n5Montagnea-> whofe vain shewed a very laborious curiofity ; Nor yet Leonard del Vincent, in whofe do'rngi there* was never any errour found in this point : Whereof a- mongft all other of his Tpor^r, that admirable laft fup~ per of Qjriji in %efeB. St. t5\ima de gratia— inzSMdane, maketh moft evident^ proof, in which he hath fo lively exprejfed the pafiions of the <zApojlles minds in theirs countenances , and the reft of their 3Body , that a_> M an may boldly fay, the truth was nothing Juperiour to his reprefentation, and need not bo afraid to reckon it a* mongft the beft worlds of Oyl-painting, ( of which k ind of painting fohn Van Syc\of Maefych^ born in the Year 13 66. was the firft Inventor) far in thofe &fpoftles , you might diflinclly perceives admiration, fear, grief, fufpition, Icnte&c. all which wero fometimes to be feen_^ together in one of them, and Finally in fudas a Treafon-plotting coun- tenance, as it were_; the very true counterfeit of a Traitor, fo that therein he-> hath left & jufficient argument of hisjrare perfeblion, in th^jtrue under/landing of the pafiions of the Mind, mvw/?///WoutwardlyintheBody, which becaufe it is the moft neceffary/wt of painting, Ipropofe (as I fay ) to handle in this prefent Treatife. I may not omit ^Michael <iAngelo in any cafe, whofe sk[ll and painfulnep in_j this point was fo great, that his Tiftures carry with them-> more bard motions, exprefled after an unufual manner, but all of them tending to a_> certain flout boldnejs; And as for Titianhzj hath "worthily purchafed the name of a greater T aimer in this matter ;■ as his Tttlures do fufficiently witnefs ; in_-» each whereof, there (hineth a certain moving yertue , fceming to incite the beholder, unto the imitation thereof, of whom this faying may be well verified, that_> he was beloved of the World, and envied of nature. V inally i (faudentim (though he be not much known) was inferiour unto fete , in giving the apt motions td the O Sairiii 54 Of Aftions and Geftures. Saints & dJngels, w ho was no t~> only a very witty painter, as I have elfewhere shewed , but alfo a mod profound Thilofopher and zfMathematkian , amongft all whole all praife worthy worlds, ( which are zlmoA infinite, efpecnlly in this point of motion ) there divers *5\dyjleries of Chrifls paflions, of his doings , but chiefly a crucifix, called Mount Calvary a tr" th e Sepulchre of Varaflo, w h e re he h ath m a d e admirable Hor[es and Jlrange Angels, nofonly in painting but alfo in_^ plaifiich^, of a kind of earth , wrought-; moft curioufly with his own hand, di tutto relievo, through all the Figures. Befides in the Vault of the Qiappelot St. Mary de gratia inMilane, he hath wrought mo ft natural aAngels, I mean efpecially for their a&ions , there is alfo that? mighty Cube of St. Mary de Sorono full of thrones of Angels, fet out with habits and all ions of all forts, carrying diverfity of moft Jlrange Inflruments in their hands, I may not con- ceal that goodly C^appeK which he mado in his latter time, in the (^hurch of peace in c5\4ilane , whero you shallfindfmall/#/?or/«of out Lady and foachim, shew- ing fuch fuperexcellent motions, that they feem_> much to revive and animate the fpettators. Moreover the /lory of St. %pccho, done by him in_> Vercelli, with drum other Mwfy- in thaf^/Oj although indeed all Lomhardy be adorned with his moft rare »orv|f, whofe common faying concerning this Art of motions, I will not conceal; which was, that all painters delight to (teal other Mens {inventions, but that ho himfelf was in no great danger of being detelled hereafter. Now this great fainter, although in reafon, he might for his discretion, mfdome, and worth be compared with the a- bove named in the Firft Treatife : Yet notwithstand- ing is he omitted by Cjeorge Fafary , in his lives of the Famous T aimers, Carvers, and Architects , an argument-' Cto lay no worfe of him that he intended to eternise only his Of Aftions and Geftures. $j his ow nTufcanes, but I proceed to the unfolding of the original caufes of thefe motions : And Firfl for our better underftanding , I will begin with thofe pafiiom of the mind, whereby the "Body is moved, to the performance of his particular ejffeBs. Of the pafiiom of the Mind, their original and difference. THe pafiiom of the mind, are nothing . elfe but cer- tain motiom, proceeding from-' the apprehenfion of ibme thing, now this apprehenfion is Threefold, fenfitive^ rational, and intelleBual, and from thefe Three, thero ar ife Three pafiiom in the mind, for fometimes we follow fenfitive apprehenfiom , and then_> we confider good and evil, under the shew of that which is profitable or unpro- fitable, pleafant o r offenfive ; a nd thefe are calk d natural of- feBions, fometimes we purfue rational apprehenfiom, con- fidering good and evil in manner of virtue or vice, praife or dflraife, hone/ly or difhonefiy ; and thefe are reafonable^j, affeBions, fometimes we imbrace apprehenfiom intelkBual, regarding good and evil, as true and falfe, and thefe areJ intelkBual apprehenfiom . Now the inferiour pomrs of the mind are of two fortr, either defire or anger, and both of theiere^tf that which feemeth good or bad, diver fly, for the defiring part either confidereth good and. bad abfolutely, and fo if caufeth love and liking, and contrary wife hatred, or elfe it reflects good as abfent, whence arifeth defire or longing, or eifo evihsabfent, buf at hand, and fo it breedethym-, dread ^ &c. or both of them as prefent, and io from the Firft cometh joy and delight, from the^ latter heavinefs and ar/V/, the angry faculty confidereth good and *>//, as it is tajf) or_. hard to be attained unto , or avoided; whenco fpringeth fometimes confidence and hope, fometimes au-^ dacity, fometimes diftrufl, and fo dejferation, &c, fome- O % tiifiiQS $6 Of Actions and Geftures. times it" is moved to revenge, and that is in_j regard of evil pail, as injury or offence received , and fo it breed- cthanger, by that which hath hitherto been_> fpoken ir_> is evident, that there are Eleven^ pa/lions or affec- tions in_j the mind, which are thefe, love> hatred, de fire, fear, joy, farrow, hope, dijj> air, audacity, timeroufnefs and anger, from which there do confequently arife fo many forts of ac- tions in_; the^rf, as there may be affections expreffed in_> Mens "Bodies, wherefore we ought^ carefully to ob- ferve the motions which are outwardly expreffed, in_» fuch fort, as they do manifejlly point to the roots, whence they faring, and difcover the caufes from which they proceed, diftributing them and difpofing them accordingly iiL^the Bodies, or Bhyfiognomies which whofoever shall fail in* shall (queftionkfs*) wholly pervert the Order of things, con- founding the "Beauty o£Hiftories, whether they be Fables f or other Inventions, whichare tobe painted- Hoto the Body or Bhyjtognomy is altered by the Tafsions of the mind, TT is a clear cafe, that themind according to the divers * affeUions ( whereof I fpake before ) by reafon_, of the apprehenfions both fenfible and imaginative ) doth diverfly change arid alter the Body with fenfible alterations, by vary- ing the accidents thereof, and producing fundry qualities in_j the members, fo that in mirth, thejfmts are enlarged, \VL-jfear they are contracted, in bafhfulnejs they fly up to tho Brain, again, in joy the heart is extended by degrees, in_; difrkafure it is drawn in by little and little, as likewife in_j anger and fear, but fudden anger and defire of revenge procureth heat, blu/hing, bitter tafl , and tho/«* of the Belly , fear brings coldnefs , the pa?ning of the heart, tho failing of the voice, and palenefs, heavinefl cauteth foeat- ing, and 2u blewiff palenefs , mercifulnefs breeds a certain heavinefs, which oftentimes hurteth him thatis moved to Of A&ions and Geftures. $f tomercy, which appeares ordinarily in lowers, in whom there is fucha Sympathy, that whafcfoever ond indureth i the othen, like wife /«^re/A the fame j /fc/>/jy caufeth drynefs ind blac\nefs-, defire and /ow, breeds fundry<tf/WT, fometimes ra/, fometimes/^/,?, as we daily fee inlowrij efpecially in their., meetings. Now all the fepafliom when they be exceeding vehe- ment do fometimes bring Death, which happened to Sophocles and Dionyfius the Sicilian Tyrant, when ho re- ceived the News of a defperate YiBory . the like hath befallen dfoers&hers through hemineft and fundry other_> row^j have proceeded from_, the like pajsioms when they aflaulted z5Mens minds, whereof we have «fitor.r examples in /lories, which I mean not" to /land upon as being a_, thing more curious then neceffary to our pwfofc only I w;ll jhttoi of what po^r and efficacy, fierce^* math joyned with a_> magnanimous audacity can do, by the example of (Alexander the Great, who being over-* matched by his Enemies in India, was feento rw^ forth from his 'Body, fire and light, the like whereof we read of the Father o£ Tbeodoricus , who by the like vehement effeB, breathed out^of his heart, as from zhurnino fur- nace, fiery ffar\\es , which flying forth jhon and made a foundinthesdir. Thus therefore we reprckntr all tbefe paf- lions inaftory, together with their convenient and proper Motions, Xeefet forth that great variety -which rwrketb fuch de- lighrWpleafure, that it zllmeth our Minds unto it* with a-sfaeet %ind of compuKion, noothemife then mofl deleBable^j Mufick enchaunteth the Eares of the Hearers^ which (as they write ) is fo forcible that way, that a certain Mufitian boa/led* that by the power of his notes, he caufed^Men to grow fori- ou s, and afterwards come to tbemfehes amn, Of ?8 Of Aftions and Geftures. Of the tSWotions procured by the Seven planets. A Mongft the Seven (jovernours of the World ("which ^*- t5\4erc: Trifmegi/lus callcth'Planets, as Saturn, fupiter, Mars, Sol, Venus , Mercury and Luna) the chief and principal is Saturn, which hath alfo received divers names of antiquity, as Heaven, Skh-bearer, the father of the pods, Tatront^> of time, and from his effeBs here below: wife, intelligent, ingenious , the feed of gratf profundity , the/teor of jfecret contemplation, the imprinter of weighty thoughts in_j Men, a deflroyer and preserver, the SubjeSlor of power and w/^k, thckeeper of hidden things, and the zAuclor of finding and loofing. His influences arc partly good, and partly W, accord- ing to the difpofnion of him thaf receiveth,, them, as weeping, melancholly &c. he caufeth religious aBions, as to to the ^we> look down upon the 69*6, pr^, and fuch like wof/owj of the 2?r&*/2 and /*ke, common^ to thofe which pray, or other au/lere and fatyrical ~E ellows with /&&/ declining, infixed on the earth, wafting himfelf withafurioas/face, and examining his own fieech, with hanging ///tf. Moreover, he caufeth a cow- flexion of colour between blacky and yellow, meager, diflorted, of an_> hard skin, eminent-' veyns , an_> hairy TSody y fmall^, Eye-brows joyned together, athin beard, thicJ[ lips, with looks caft down , an heavy gate, enterfairing as he goeth, bcfides he makes a Man fubtil, witty, a way-lay- er, and murtherer : Now accord ing to this forme of So^k, and thefe motions, you may framo any "Body fubjecl unto Saturn, that is of the temper and complexion anfwer- able to the nature of Saturn, fo thaf by that which hath been faid concerning this Tlanet in particular, as alfo by that^ which shall be fpoken feverally of tho reft, Of Aftions and Geftufes. j$ reft, we may gather one general %ule , as touching the oArt of motions in oun, Ti&urcs, as well in refpec~t of the quality of th^j humour, as of the motions thcmfelves fupiter. The Second "Planet is fupiter, fo named of the La* tines, as you would fay f titans Tater, the Father., of beneficence and liberality, he is other wife called of the; !Po#j-, magnanimous, the thunderer and lightner, inVmcibl^j, altipotent, magnipotent, good naturd , fortunate, fweet, pleafant] the belt tpell^iller, boneft,neat, of a good gate, honourable^ the <*«*W ofmirtb and judgement, rife, true, the reveakr of ^4 the chief judge exceeding all the ?/«/ in goodnefs, the beftoyner of riches and moifdome: the diftofitions and <$£- ffio/w proceeding from_, this TV^ze* are, a wm> and /»- geniomcQuntenance, aclions oi honour, Jhaking of hands, after, tho manner of thofe which entertain grangers , com- mending and jpeaking Men /<»r, with tap and ^«e«, lifting up the head as thole ufe which pray. Concerning the complexion, difeo/ition and feature? of the Body, hemakcsaManof a mixt [anguine* betwixt tohite and red, of a delicate Body, good Jiature, either bald or elfe high-foreheaded , iy>w fomewhat fcfg, ^W «o/Mf andunequal, the cheekteeth fomewhat big, a curled beard, deceitful and fair conditioned: All wThich correfpon^ dencies betwixf the qualities of the mind, and the cori- fiitution of the Body, together with their exterioun, offeclions, if tho T aimer shall with judgement confiderand cbferye, they will breed both delight in him, and efh> mation to his <Ulrt, teaching him_> farthermore the true difference between an honejl man and a varlet, one that.; is merry, and a melancholiy Fellow, a Man of his hands, andacoward, and fb forth, according to all thofe qualities naturally proceeding from fupiter, See. £ 2 j\4aff do Of Addons and Ceftures. z?Mars. The third Timet is Mars, and by the; Toetsisalfa called z5\4 a^ors , the god of warr, bloudy,armipotent, en/ifer, magnanimous , bold, inconcpierable , full ofgenerofity , of invin- cible power , o f impetuous pre fence , unrejiftable > a fubver ter o f the Jlrong and >ra/g/tfy, andadepofer of ^/«g/: he is the Lord o£ heat, burning and /flaw* thcT lanet of bloud, brawls and violence, incenfing, contentions and fco/«/ j^/VAj, and ( in_, a word ) broching all difordered, inconfiderate and ^^ aBions: his Cjeftures MC terrible , cruel, fierce, angry, proud , hafty and violent: he caufeth M en to be of a red complexion, a deep yelloDp hair , round Vifaged i fiery Eyes, a cruel and fierce countenance, by reafon-> or his intemperate k} info- much that-* he is reputed hot and dry, in the higheil de- gree,bearing fw^y over red choSer. Sol. N The Fourth 'Planet is Sol, which hath divers othen, appellations as Thoebm, ^Apollo, Titan, Tean, Horm, Ojiris , iAraienent, Fiery , Golden fiamiger , %adiant, Igni-comus, the Eye of the World, Lucifer, Multifidus , Omnipotent, tho Trmce of Starrs,, the grand Seignior, he is of good 3\Qtture, fortunate, honefl, neat, prudent, intelligent, wife, the govemour, the bejioiver of life upon all Bodies indued with Sou/, ■L'bfcuring the light of tho other Starrs with his ex- ceeding brightness, and yet" imparting unto them all that^ light they have , whence in refpecl: of the night he is called Dyonifius, and of tho day <±Apollo, as you would fay pellens malum, the difte Her of eYtl, whereforo the (^Athenians called him ctM^acuov, &c. He was named Thoebus by reafon^ of his "Beauty, and fttiU becaufe of the violenrte he ingendereth in thoic'Bodies, over which he hath dominion, and So/ for the pyeheminence of his light •, wherefores the rfflyrians named him_^ <tAdad, which fignifyeth alone, the Hebrews Sbemefh', the zS\fotions proceeding from him are coura- gtOHS, Of Adions and Geftures. 6i gious, honourable, majefeical , confederate and Wife- the colour and hew which he giveth is brownifh, betwixt yellow and blacky mixed with red, caudng thole which are fubjed to him to be; of a low feature, yet of a comely per fonage, bald, curled, with yellomfb Eyes, touching the atfe&ions of their mind, they are con federate, prudent, trujly, vain glorious t and magnanimous. Venus. The Fift Vianet is Venus, whofe denominations are like- wTife divers , exprefled by variety of Sphhites ; as chief, mild, fair, bright, white, pleafant, powerful, fruitful, tho <JA4other o£ loye and beauty , the progeny of ages, the Firfl ^Mother otzZMm, she that Firft joyned both Sexes together \n->love, the Queen of all joy, friendly , merciful $ ever, bountiful to Mankind, embracing all things with her vertue, humbling the flrong and lofty, and ex- alting the bafe and ma\, and directing all things; they call her Aphrodite, becaufe she is faid to be born of the froth o$ the Sea, andP hojjjborus, or Lucifer, when_>sheap* pcareth before the Sun in^ the Safe, and Hcjferus when shefolloweththeSzw, her motions are pleafant and mirths ful, beinc* given-Jto^ort/, dalliance, dancing, and embrace '- iws, she makes the countenance amiable, pleafant, and merry, working a kind of whitenefs in_j the Body, by tea- fon_^of her cold and moijl nature (refembling tho water which whenit_> is congealed and frozen, looketh white ) yet^ prettily mixed with red; shecaufethMen^to be prcver of 'Body, fair and round vifged, with blach^rowling Syesi brown hair, of a lovely difpofition, gentle, bountiful, courteous, affable and gracious. z5\£ercury. Mercury is the fixt Vianet, and of the antientr' is eaU led the Sonne of ffupiter, the Herauld and prolocutor of the gods, the CJracians call him fiol&s, which fignifyeth fining, ferpentiger, caducifer, light-foot, eloquent, gainful, Wifet 6i . Of A&ions and Geftures. reasonable, Jlrong, potent as well on^ the good as on the bad part, the notary of: the Sun, fupiters herauld, having com- merce with the fupemal and infernal gods , male with the flw/e, and female with the female, moft fruitful, an Her. maphrodite: Lucian calleth him the Vmpire or the gods, ci- thers Hermes, or the interpreter, and the expounder of the mifleriesof nature-, his motions are inconftant, flipper y, mutable ; /?ro»g, /rw£p, prowp? and rao/y, he caufeth a complexion neither very n^/7e, nor very fc^> along vifage, an /:>/oA forehead, {mallow, not altogether blacky an evenS\Q)fe and fomething /owg, thin hard, long and /lender fingers: the operations which he caufeth in tho minde are nitty , j«M?, 6«j), floarp, wary, and fruitful. Luna. The Seventh and laft P/<w# is Luna, of tho anti- ents called Vhcebe, Diana , Lucina , Vroferpina , i&c^ , Menjlrena , Triformu , 3\(octi Luca , wandring , filent , double homed, fafe, night walking, cornigero-j, Queen of Heaven, the firft of the^ goddejfes, Queen over mens minds, Miftris of all the Elements , she to home the y?^rx have relation, and the Elements are in_» fubjeclion, at whofe beck the lightnings^/'^, and feeds fpring, theMo^r of com, Sifter of Vhatbus, the tranfporterof light, from one pla~ net to another ; imparting her light , to all the other flam, and retraining their divers courfes ; the Lady ofraine and moiflure, the beftower of riches , the 3\Qtrfe of mankinde , the ruler of all /&#«, pitiful, merciful, the preferver of men_> both by $ea and LW, mittigating tho tempefls at Sa* , the fubduer of carnal affedions, Queen of the world, and vanquisher of Hell, whofo Majefty the birds of the aire, the beafls of the fields, the Jerpentes in^» the roc^r, and caves of the ewflk , and the fifhes of the fea doe reverence j finally the^ Enemie to Thieves and "bAprtherers. Her motions are moveable, beneficent, childifl?, fimple, ob- livious, Of Actions and Ceftures. <5j liYious, and curious $ she makes a man_> of a pale comple- xion, intermingled with red of a comely ftaturc, round yifagedznd marked black[(h eyes, beetle brotves , tender and foftflefh, the Qualities oi whole minds aro fatiability, fa- cility, penfwenefi, affeUion of news , no ready gift in__> dii- courfing. And from_> hence fpringeththe whole variety of all the other, motions beildes the above named of the Elements, all which ferve for tokens, and Jignes where- by we may the better attain to the knowledge of the na- tures of people, and their^ affections and pafsions, anfwera- ble to the venue and influence of the Tlanets, which the antient hliathematitians have by long experience obfer- ved, neither did thofe excellent Motijlcs <ull. Maonm, aAbbasTritemius, and^i : Lullius conlidcr thcm_. to a- ny other end and purpofe. WholoeveL therefore t shall be throughly pofleflfed with thefe things, im- printing them well in his mind, and proceeding ac- cording to their direction in his PiBures, may aflurd himfelf that_j hisworks will prove not" only commendable, but even exceeding admirable, expreiTing in_j them fadfiefs by Saturn, by jFupiter contentment, by aSAfars cruelty , by Sol magnanimity, by tt5\4ercury cjuidyiefs of ftirit, by V** nus love and wantonness, and by Luna humanity and tenth* nefs-, exemplifying moreover according to thefe Ob- fervations, thefe and fuch liko effeBs] united toge- ther, in the compounds ; all which the Antient M afters , carefully obferved, (as may appear, by their works) which fufficiently declare, that" they both under- flood thefe my/leriesi and took great/^/w iiu exprefling them, whence it" is moft apparent, that" the knowledge of thefe things, Cannot^ be attained anto* by the mere praBice of Tainting, but" by the earned: fludy $fpkU lofophy, wherewith the Antient" Painters were fuffici- ently furnished ; and henco it is, that Michael Amflti 64 Of A&ions and Ceftures. of late Years, being very skilful in_» thefe matters, gave to the Devils ituhis laft judgement in the Faticane \ nor' only the aB ims and geflures of aAngels and nimbly zndaBive Men, together with other earthly ornaments, but alfo divers other Ioo\s and countenances, mod: fuit- able to their wicked intents, as in his own difcretion he thought' fitted; wThence we find (fharon and the other Devils, to have feveral countenances, thowgh all of them dreadful and malicious , in which point Leonard Vincent was much renowned, and the other Five men* tioned in the Second Chapter of this Treatife , who were the very light and direction of all the other good Tainters yxvhom I therefore pafs over, becaufe they are recorded in the Ihes of the Painters , who were re- puted little inferiour to }Aichael<tAngelo. Hovp all the motions may accidentia befall any man though diver fly. TTAving hitherto difcourfed of the motions arifing ■*■ ■* foom \:hc Elements, the humours and the £a?/!py?iW bo- dies, as alfo how they differ each from other, accor- ding to their feveral operations in men , and their *ari~ om effebls ; it remaineth thar I should now fpeak in particular of certaine principal properties of thefo motions, taking natural examples, ( as my manner is ) and applying them^to the Tlanets , from whence this variety of ejfecls and influences defcends, which particularity of motions i£ itshall beexpreffed, itwill difcoverall forts o£paflions of the mind in each 'Body or Thyfiognomy , but becaufe each man is fubjeS to fome one of the Tlanets, and therefore is more efpecially inclined to fome one affeclion,it will not be ami Is to shew how upon occafion any affeBion whatsoever may beftirred up in a Man of any conditioner cotiftitutiom the maniftflation whereof, rife th wholly from the Five Senfes, as the infiruments whereby the Of Anions and Geftures. 6$ thcobjeBsbe apprehended : as by the Eye w<u Ui nvi fee thai_> which is comely and undecent; by the s"l[a- Ear we hear founds pleafant and unpleajant , as praife and diftraife', by the J\(oftrils we fmell/Wfand [linking, ftrong and Jbarpjav ours , by the ta/?e we di{cern_>/*iw£J /ft^p, unfayoury, thick^, fait, fliptu\, virulent, bitter, fat, ftrong, un* pleafant, and^as aJriftotle faith ) hard and foft : Finally by the feeling, we touch cold and hot, moijl and dry, as alfo/W/?, /igfo, flippery, heavy , ^W, jo^, ^^"» /&«fer and [ucb inequalities, from whence all actions y whereunto any kind of 'Body is fubjeB, are cauf'ed, though more abundantly, and more apparently in fome, then in others, whence we are given to underftand, that_> as thefe qualities are diftincT: between themfclves , and are feverally applyed to the TUnets, lb likewife the ajfeel 'ions proceeding from them do vary, accord- ingly as the fenfes , apprehenftons and paftions , together-, with their objeBs , viz. colours, funds, fmels, tafts and matters do differ. Now although there be butJ one particular /;//?/;£/ in each private Man, which inclineth him to good or evil, whereunto that" Free Cjovemour and ^Arbiter of his affeBions mod naturally learneth, and from whence all his ordinary aBions proceed , notwithstanding there is no impediment why a_j Man may not be affecled dherjly , by any of the extcriouv fenfes (fthe ordinary instruments of all our operations ) by framing in his mind, pafions anfwerablo to the objeB apprehended by his fenfes, and fo caufe fuch like Actions to break forth in him, as be repugnant to his particular inftinB, thzj truth whereof we read \nT>avid Kins of the Hebrews ; p who was lafchionfly affecled , when from_> the top of his Tallace, he beheld Sath/heba, bathing her felf naked; and at the fame inftant was ftirred up unto cruelty m_; commanding VrtM to be flam, although he were naiu- R rally 66 Of Aftions and Geftures. rally both a moft continent and clementTrince. A^ain his Sonne Solomon the Wife, wasfubducd by his fen fe, and bewitched by tho inticings of Concubines and Idolaters, things much abhorrent-' from the Initinct of his nature: And thus in perufing of Hi/lories, we shall find how divers moHvaliant Trinces, have upon occafions proved faint hearted, and been ftained w7ith covetoufnefs , many pittyfulMen been given to cruelty, religious Men to revenge and malice, chad Men to luxury, ftoutr Men to cowardice, &c. obferving moreover the alteration of mirth into for rovp, lamentation into laughter, covetoufnefs into liberality, which I therefore omit-% becaufe we daily fee lively examples of people fucceilively arfe&cd with fundry vices, asrapines, grief, lovz_j>, dijhonefly, theft, murder, hatred, revenge, trechery, tyrany,infolency,&c. and contrary- wife with religion, mercy, loyalty, clemency, liberality, hone- fly, victorious, defire^ of honour, &c as Thieves being ashamed to lay themfelves open-; before compa- ny, £oxl, fear of being difcovered, will make Tufair fhevo of true Men ; and curtefans and light Houf-rvives, ijl, the prefenco of other grave zShfatrons, will bare the countenance of very honefi tvomen, concealing thein, ha~ bitual naughtynefs, for Fear of the difgrace and punijhment , which would otherwifo enfue; and fellones to avoid the danger o$ the halter, will take upon them the habit of honefi and civil Men. Hence then the Tainter may learn how to exprefs nor' only the proper and natural motions , but alfo tho accidental, wherein confifteth no fmall part of the dif- ficulty of the <$Arty namely in reprefenting diverfitks of affections undpafiions in one Body or Face : a_> thing much praclized; by the antient Tainters (though with greaf difficulty ) whoever., endeavoured to leave no part of the Life unexprefled. It is recorded that Euphranor srave fuch 2u touch to the counterfeit of Tarn, that therein Of A6tions and Geftures. therein the beholder might at once collecl, that he was Vmpire of the Three goddejfes, the courier of Helena, and the /layer ofzdchilles , and of Tarafim the Ephefian, thatr" he painted the Idol of the Athenians in fuch forts thathefeemed angry, unjufl, inconftant, implacable, gentle, merciful, &c. again_> we read how 7"^ow.re'prefcnted in Orejies, fury and grief mixed together-, and of ano- ther who refembled in_-> Vlyjjes a diflemblingp^/Vtfo? : as alfo of aJri/lides the Thebane, who(in_-» the Perfon of a wounded Woman giving her child fuckj exprefled pain, and fear fo lively, that it is hard to fay whether sho were more pained with the fenfe of her wound, then a- fraid, leaft her child lacking mi\, should fuck bloud; who alfo is reported to have been-; the Fir ft that be- gan to represent-; thefe perturbations of the zSMind, and was afterward followed of the other T aimers, as a guide herein, as it was once by chance foandupon afmall earthen head of C&ri/Hn his £M/-fow/, mads by Leonard Vincent himfelf; wherein you mighr' evidently per- ceive, the fmplicity and innocency of a (loild, accompa- nyed with under/landing, mfdome , and. Majefly: and al- though it-' were the countenance of but a young and tender Child , y ef it {eemed to shew forth a kind offage anti- quity, much to be admired. B Of divers other neceffary ^Motions* Efides the Motions already declared ar' large, for the better underftanding of fuch other as might^ hereafter ferve for our purpoje, it is to boobferved, that there aro certain others of no fmall importance, which are-> to be referred unto that_j which is mod comely, and agreeable to Mans Body , as well in_-» refpe&of fuch effeBs as proceed from_>the fame? as alfo in_j regard of the times and feafons, together with R 2 tb# 68 Of Aftions and Geflurcs. theconfideration of the objects, offering themfelvesto our [enfe, for the better attaining whereof, we muft in all tho nAtt'tons and Cjejlures-, make choice of' the chiefefl and mod principal , fearching them_> out mofl vidtcorgefr^ri diligently, and deducing them from tho <idUf,ttHUc*?.b. circum/lances, which are found in the part to be reprefentcd, as Leonard Vincent did in the Cartonc_j of St. nAnne , which was afterwards tranfported into France, and is now to be feen in z5\4ilane, with iAure- litis LoVmus zTainter, in the border whereof, there are many draughts, exprefling the great joy and mirth which the Virgin cSMary conceived , when she beheld £o goodly a_j £/)//^as £ brift born , confidering with hen, felf that she was made worthy to be his Mother: and likewife in_j St. Anne, the joy and coitientment which she felt, feeing hen, daughter become the ^Blejfjed Mother of god. Moreover in-» that Piece which is to be feenin_, the Qiappel of the conception in St. Francis Qhurch at z5Afi~ lane, where you shall fee how St. fohn "Baptifi kneel- ing with his Hands together^, boned towards C^r/72; which was an aBion of obedience, and ChildAik^^ reference, a n d i n t h e Virgin , a gejlure of cbearful contemplation, w h i 1 eft she beheld thefe aBions; and in the <tAngel, an aBion of ojingelical 'Beauty , in confederation of the joy which was to betide the world by this myjlery-, in C^ft as yef a child divinity andtvifdome, where the Virgin Mary alfo kneeled by holding St. fohn in her %jght Hand, and ftretching forward htr Left Hand which wasforeshort- ned,and finally the Angel holding £/>r//2in his Left Hand, who fitting by, looked upon St, fohn and 'Bleffedhim-, again, divers other Famous Tamters and lights of the art, have obferved other motions, as contemplation in cafting the Eyes u^ to Heaven, admiring tho Angelical aSMuficI^, and neglecting for a time all Inferiour Mufich^ with the hands, Of Aftions and Gefiures. 8g hands, inflruments, a ild o th e r earthly melodies $ wh i c h motions wereexpreffedinthat^/wgw/dr/wreof St. Cec$ which %apbJP aimed with Four other Saints, which "worsts now to be found in-j'Bo/ognia at St. fohns in the mounti the Agony alfo and forrow of the afflicled, which Anton: Cor- reggio exprefTed moil artificially in his owru City, in Grift praying in_, the (jarden j as like wife iwant , pant- ing, fweating, fleeping, tbreatning, and the motion of tho flaming fire : all which are molt /iw(ji expreflTed by them itLjdivcrsplaces, and now to come to the "Poets, that_» Which y/r/^o fpeaketh of his Orlando, may ferve for a fit example herein. His leogs and bands he /hakgs, and breaths iwithallj whiles from his Face the liquid drops do fall. And in_; anotherpW, of a Man grieyoujly difeafed, fa * mifhed, and out" of heart, in the Perfon of the famo Orlando, when Angelica found hirri^ lying upon the Jhore. '[Rough, grifly- hair d,Eyes (lairing, vifagelvdn, Sun- bur nd and patch, and all deform' din fight i In fine he lookt to make a true description In face likg Death, in hew, likg an ALgy ptian. And that of T>ant defcribing a Shipwrack in a greae Tempeft at Sea, where the Men are faved. And even as they, who panting at a wac(, S cap' d from the Sea, and gotten to the {horej <Turnato the dangerous "water, andloo\ bac\i And thus much for examples, for he thaf would fee clowns all the examples which would ferve for the shew- ing, howinevery effeU we ought to choofe the moft proper motions, without which the Tiilure will be of fmall worth, should grow infinite ; we muft alfo havO S re- jo Of A&ions and Geftures. regard to the feafons, for the Summer caufeth open, and "Wearifom^j atlions , JiibjeB unto [beatings and redness ; the Winter retrained, drawn in, and tremblings the Spring merry, nimble, prompt, and of a good co/oar; the Autumne doubtful \ and moro inclining unto melanchoUy then otherwife, notwithftanding if you be to paint a labouring Man, you muft vvithoufany regard of the feafon( though more of Summer then-; any of the reft ) represent him with raifed limns and (krongmufclesfaetiing and /landing forth, fweating and burning, efpecially in fuch as carry burdens, draw great 'weighs, or ufe vehement leaping, "Walking, jeflino with "weapons, fencing and fuch like exercifesi hftly, fleep cau» feth no motions of vigor or force to be reprefented,but as if the body were without///^; Wherefore we muft take heed, we doe not ( as fbme ufe) give unto thofe which fleep fuch kinds of atlions in their lying, as in probability will not furTer them to fleep, as we fee oft- times in Men lying athwart flones, benches, &c. being re- prefented with their limns fupported 'by their own force, wherein it is evident, that uxchTainters know not how to obferve a "Decorum. Farthermore> there are motions proceeding from the Tafl, &s &2i\\y experience teach us, for foumefs and bitter* nefs caufe the bending of the Eyelids, and other parts > fweet and favoury, a chearful countenance •, the like of good /metis, whereas contrary wife bad [metis mako us draw in_> the ^(ojlrils, look afide, turnu the back^, with wrinkled Eye-lids, Z^/almoftclofed, and mouth drawn in_> ,* of hearing and touching , they alfo caufo di- ftind motions in oiar_> Bodies, as for example, from fharp founds and nolfe, rifeth fudden fear and affrighting, from_> touching any hot thing, quicl^ and fyeedy motions, from touch* ing cold things, refrained and fearful motions, as in_; fuch in tho»/^r touch Ice or Smw. And io I conclude of feeing, for in looking upon things exceeding bright, the Of Actions and Geflures. f\ the/jg^ is offended, and a Manwithdraweth himfelf for fafegard in beholding obfcure things . the Eyes arcjharptied, by drawing near, and as it" were dozing them as Tainters ufe to do, when-> they would look near on su thing, which effeB is caufed by a Ticlure fet" afar off •* sAni here I "will conclude^ thofe fimple Motions which are of mojl Importance, proceeding untothofe which con- y^o/multiplicity. Of the Motions of all forts of Cloth. THe ^Motions of Qotht thatj as the Folds or Tlaits oughts to runne out every way like boughs from the Stemmeznd 'Body of thtTree : and muft be fo mado that one Tlait rife from another, as one hough, orono Jirearn^ oilVater iflueth out_; from another, in fucli wife, that there be no part of the Qoth wherein thero appear nor" fome of thefe motions ; now thefe motions would be moderate, gentle and free, without^ any interrup- tions, more to be admired for their graces and facility y then for affe&ed pains and indujiry , and becaufo all forts of ^7o^ have their wof/owj, as well as Bodies, it" muft needs be that they differ between themfelves, ac- cording to the differences of the clothes themfelves. Wherefore, they muft be more light in_> fine Cloth, as Sarcenet, Linnen, Cyprefl, &c. in which the Tiditf&rtJ [mall, raifedup, trembling, and as if werefweetly^%«g-, fomewnaf puffed up by extending and ^reading them- felves like a Sail, where the motion receiveth moro ftrengthby thetvind, they do fall clofe upon^the bard j%/,asappeareth plainly inwomens garments, in whom you shall fee their Thin clothes ftretched upon_> their bare styi, on thaf {Ide where the wind bloivetb, and bloVHup- on the contrary part, the fame falleth ouf in mantells^ the loofeends or girdles stndgartersy all which motions do1 S % jrioll yi Of Aftions and Geftures. mo ft fitly belong unto the apparel of nimphs and othet, goddeffes, inrefpecfof their lightnefi; grofs and dul Jhadom are found in^ftiff cloths, where the Tlaits arc few and grofs, fo that they are capable but of flow motion, and therefore they fink downwards, and can hardly fall clofe to the bare sl{[n, by reafon of their own grojfenefs, which fuftaineth them, and thefe weirdo chieiiy ap- peare in cloth ofgold, felt, thick^ leather &c: in which the zAir can have littleyora?ornone, wherefore the plaits or foldshavc their motiom accordingly as they arc handled and preffed by the wearer-, as under the arme, and under the knee, by opening and flretching out the /egg and the arme, ever makinggrofs, hard, and flijf folds, with- out- &\\ flighting* or ply ablenefs, in fuch fort, that if a_>Man may lay Finer cloth upon them, they will eafily ^rit «/ without pre/sing down. Temperate motions, which are neither toogrofs, nop too/light, arc fuch as appear in the folds offtufand othen. cloths of Fine wool, which therefore may convenient- ly be moved of the <tAir, and are plyable to su M ans limns , andfo making moll fweet and pleafatit folds, they follow the bare very well, becoming very nimble, and falling plyably about tho loyns. And hence have %a~ phael3 *5\j[ichael ayfngelo, Leonard, (faudentius, <tAlberttis Durcnts, and other Famous a5\i aflers in Drapery , taken the method and way of giving the true motions unto garments, as from_> the moil: perfect pattern for their general ufo in making the mantells of the Saints , Tavi/ions or Tents, which are made with this kind of Drapery, befides thefe, there are alfo other kinds of motions called turn-* ings and cro flings, which are proper unto Damasks, Taf- jataes, Sattins, Cloth of gold &c: in which appear e folds crofting and breaking each other, by the divers Vertue of the Drapery. Whence the Venetians have taken their manner of Dra- Of Actions and Geftures ■ f\ Drapery, who make thein, folds much different from the faid motions of Raphael and the reft, which indeed ought not to be ufed anywhere fave in counterfeits by the life , where it feems they arc not onely tote* ruble, but alfo very requifitej but in my fudge mem they should not ordinarily be ufed in Hijlories, and yet' if occafion_j do require that they should be reprefen- tedin any place, they ought" not to be done wholly, but only fomewhat and refembled with z^pretty touch zndgrace , in fuch fort that they may not favour ot an_, affefted imitation of 'the natural garments, without <rract_j or^ order which is often ufed of many with fmall rea- fon ( as I think: ) there are alfo other motions as of velvet, limber leather, &c, all which differ one from another, but I think thefe may fiifflce, without^ proceeding any farther in the difcourfe hereof; only Jet thej T aimer be careful and induflriom, as well herein asin the-? reft ; Infomuch as in the excellency and perfection thereof dependeth, as well hereon, as on the reft; becaufe thefe motions of garments comefo neer the life, that it is evident, that they are able to make TupiBure feem dtf* pleafmg and ilfa"voured, procuring the [com and laughter o f the beholders, fuch were fome of thofe which were ufed by our Great grandfathers Sonne Two hundred Years fince, which feemed like round Jlicki* or candles hanging down.; , which fome of oul, late toorkrnen of good Note have alfo ufed , making their folds too long, hanging down_j like Canes , without"' any kind of grace. Another^ defeel in the Drapery of old TiBures I find, which is; thatr'they feem to be made like unto Scales in fome fort : which I think, they took from the imitation of the models of Men, cloathed with paper4, which point afterwards attained to high perfeclion, by the great indujlry of 'Bramant, and t/fndreas T Mon^ 74 Of Actions and Cefturcs. cSMontegnia, and was afterwards reformed, and made much more abfoluto by adlbert Timer, and Lucas of Leiden, and Aldigr alters, wnofe Folds for the moft part nere likeg^x confounded in one another. Of the Motions of 'Trees and aU other things that are moved. Aftly the <i5Motions of every thing which is moved, -*-' ought-1 to be exprefled with Judgement, according- ly as they agree with the thing whereunto they are given, fometimes quick^ fometimes y/ew, fometimes moveable, fometimes not : And Firft of all in_j Trees , when they zvcfliakgn with the toind, there fmaller ("and therefore more plyable)£o«gAr, muft berefembled with inch anatfion, that they may more ftrike one againft another, by jeilding and declining from_» the part whence the w/Wbloweth, then the flijfer (and therefore flower) the Body notwithstanding remaining Jlrong and fledfa/l, the boughs growing fromthencej begin a little to bend-, and the others which proceed from them ?u little more, fo tb at in the end they shew the fame agility, mi_, the leaves moft of all; it is true that all Trees have not a_> like motion : For the Willow moyeth, and is fhaken ex- treamly, thcTine-tree not" at all, or very little, and fo forth of the reft according to their natures, but by the way we muft Note, that young and tender Trees of Body, begin Firft to move from the bottom of the Body, Jhaklng their boughs and leaves together. Herbs like wifo whether they bear /caw or fruits, have trembling motions, according to the conditions of the mnde which bloypeth them, and alfo accordingly as they deforced or oppreffed of any thing; as for_> example, an Ear of Corn when a_j "Bird fits feeding upon it, which will not on- ly make it bend, but even weigh it down to the Earth , as well obferved thaLj ComtO Pe^ m (freeccj>of a Tainted Of A6tions and Ceftures. 75 Tainter, whether ic were zArijlides ovPamphilm I do not well remember, who had painted a 'Bird upon an Ear of Corn> without making the ftalkj>end a jot : In like fort the motions of other unfenfible things, as quive- ring of Feathers, offings and plumes, the wreathing of ropes, theknotsof^Wi,flyingof/?r^j-, dufi- &c. muft be exprefled according to the Violence done unto them to the end there may no occafion be given unto the* meanefl, to tax and carp at "Painters fotherwife mod ex. cellent; ) as not long fince fell out, in the work of a goodcvzriw; who in the wrong fide, where he had c~arvedz5\fichael<*J~ngelo, made a blind Beggar, led by a Dogtyed with a firing about his ^(ec\, which feemed to be fo flretched, that it" was as ftiff as zftaff, wi thou t any boding: which gave occafion^ to a tvaggifh Boy to feoff at it, faying, that if the; Dog, had ftraitned the firing fo barde, he had either been ftrangled, or not able to go any farther , which caufed certain^ "Painters which were there to break into an extreame laugh- ter. Many fuch blame worthy motions may bo found in PiHures, which would not fo eafily efcape tho hands of Painters, if in_j every thing they Paint, they did conljder , that it is their owib difgrace be it ne- ver foimall, as the mod diligent Leonard, and Cafar J>- flim did out_) of whofe bands there never came any un- perfect piece ofmr^ for in_, the fmalleft herbs, you shall find their mofl trueProportion, and Statural ^Po- tion. oJlbertus Durerus was no lefs careful in_> this behalf, as may fufficiently appear by his prints and coloured pieces, in which you shall find the legitimate motions, even un- to the (mailed hairs of the beard, as in that" of the Duke of Saxony, which was alfo drawn again by Titianus , and afterwards in the hdn of St. Sebaflians dog, in the print T * of 7<5 Of Anions and Gefturet of the horfer of fenfe and death, and intho great leaves of <lA dam and Eve. Thcmotionsot the iV^- mult be othcrwiie expreiled by reprefenting the divers agitations of the waters , as likewife in rbers, the flashing of the waters upon'Boats, and Ships floating up and down on the waters, through the uncertainty of the /urges and the Ships reliftance. We muft alfo reprefentr* the motions of waters falling down from-/ an %£> place, but efpecially when they fall upon iomccRocl{ or. flows, where you shall fee thcm-j firing up into the <l//V, and fprinkling all about. . i t . Clouds alfo in theo^/r require to have their, motions judtcioufly expreiTed, now gathered together with thcwinds now violently condenfatcd into Hail, Thunder- bolts, Lightning, %ain, and fuch like tZMeteors: Finally you can make nothing, which requireth nor his proper motions, according unto which it ought to bo reprefented, but having hitherto fufficiently ( as I fuppofej) difcourfed of thefe kind of motions, I will here shut up all with the mod hot and vehement motions of the flaming Fire, haftening towards an_> end as that doth naturally, although it be diversly fiirred and blown with the wind, whereby notwithftanding ga- thering more force, it is augmented and increafed. The ff THE Art of Minkure O R LIMNING I Hope that no Ingenuous perfon, will be fo bold td attempt-'thiseyf^? before he can defign, (that is to fay ) further than Copying any Titfure in__j black^and tohite, as Cole, blac/^Cbalf^, blac\Leadot the like. It is neceflary to drab much after good Heads of plaifler of Paris, becaufethe difference is much more^ difficult to draw after around then-; a. flat, and after you have pradHfed much by the Heads of plaifler, you muft en- deavour to */rdip much after the li fe, in fc^ and W?^ before you undertake the Art of Limning. The Colours CO be ufed in Limning are termed thus? \ Carmine, } r%A n> *■ \t j- r t \jMafticot, Indian Lake , ir » ' y^ea<%edLeadi >Yeu<m<r* „ , [Sera, O i/L^^i %.w*r, ,*-, , ;. t \lndian Lake , IE; ,/"" "' I |2tor«i0cwr,j&c.j v > \SapCjreen, 1 (tfe Marine?, ^ \cPinckand<Bice> Lbi^d T>utch cBke> f \GreenBuei yimalt, [Terra Fen. J dndigo. \ey\4umme, e / \Vmbeu I fefS bib. j ^rrjStow.) V As 7% The Art of Limning. As for Vermillion, Ferdigreafe, Orpiment, 8cc. they are too courfe and gritty to ufe in "water colours -, Turnfoile, Litmm bleft, Ityflet, 'Brafil, Logwood, Saffron, are more fit for., "wajbing prints then curious Limning. The^^y and manner of preparing colours, White Lead. To make your whitelead that if shall neither rufl nor floine, both which are no fmall inconveniencies in_* the zAn of Limning > therefore^ before you grind ei- ther of them, lay them in the £«« two or three day es, which will exhale thofe greajy and /*& humours that /?o>/o» andy^rue the te, befides you muft fcrape away th o fuperficies of the vfe'te W, and only ref erve the middle of it, thengrindit with fair water, or rofemarywater, upona Tebble or Torphire, when it is grcWhavein readinefs a chalks/lone w i th furrows i n it, into wh i chfurrom put the co- lour while if iswt, and fo let itdry in^the Sun, and ic will be exceedingly cleanfed thereby, after if is through dry it muft bo "wajhed intyringypater-, as for example, Letonelnftance ferveforall Colours to be wafhedand holw. TAke a Voundoiwhite lead finely ground, put it into il* bafon o£ firing "water, ftirr it a while together, till thcwater be all coloured, then let it ftand, and you will foon_> perceive zgreafyfcum to arife, which/c«w blow off and po wre the coloured "water into a cleans bafon, leaving the grofTerBody at the bottomeof the bafon behind, it being good for nothing but grofleL ufis, let the purer part ftand One home or Two , untill it is quite fetled, then powre off the iater from the colour, and put it in frefhmur, and ftjrr it as before mentioned, then The Art of Limning^ j§ then let it fettlehaif the time that it did at firft, and then powre off the "water into a clean bafon , leaving the courjer part behind^ and when it" is dry put it up into Mpw for your «fe; then let the other water which you powred off, fettle, and then powre off the water from it, and tako the colour when it is dry, and paper it as before, for your ufe: colours thus refined five or hx times over are the purejtj and moft/t for the bed ufe, and when you ufe it fpread a little of it about a (belli withy our finger, and temper itwiihgumwater. Colours to be washed are thefe following. fyd Lead or t^Mene , zSMdfticot, green "Bice, blent "Bice, Smoky Vltomarine, Sdpgreen. • Colours to be ground are thefe. iVhite Lead, Serus, Indian Lakgy Brown Okgr, Yellow Oker, Tinc(, Indigo, Vmber, £«#wj earth, Qoerry flone, I* yory, Lamp blacky Indian red* Of the Natureof Colours in general ti Englifb Ocw; Yellow) This colour lies even in the fbell of it fe 1£ and is of great ufe, efpecially if wellground. Tinch^ixedmtb 'Bice, a good green. Green) The Faireft Tinc^is beft, wellground and leaf* pered with blew Bice, allowing one quantity of Tinc{ to three of blew Bicd -y to deepen this colour in Land- sty on, 'Drapery, mix with it_» alittle Indigo finely ground* Vmber. Brown) This colour is fomewhat^prajfrj to cleanfe \u 8o The Art of Limning, burn it in a Qmciple, afterwards grind it and it will bo good. T Indian %ed. eDarl(fted) Becaufe this colour is very courfe, you may ufe limber , and a littlo lakf tempered, which is as good. Blacky BlackJ Ivory and £w^TF%h arc both to be burnf in zCruciple, andfo ground-, Cherryjlone is good for Drapery, for a blac\Sattin, temper with if a little white, Indian ' Lakgy and Indigo, heighten-* it with slighter mixture, deep* en if with Ivory blacf^ this was Hilliards way. Ivory Blac^. B/^cO Grind Ivor) with a pittance of white Sugar Candy, which will preferve it from cracklingoutofyouryk/. Indian LaV$* Turple) Grind this with a little gumwater, and when it-) is ground fine, before you put it into the (hell, mix a. little polvder of "white Sugar Candy with it, which will pre feme itfrom_» crack[ing, after this temperaturo you may fpread it thinly with your finger about the/hell. Obfervaticm in Grinding. Leave not your colour too moijl, but thick and clammy ; if after your co/wrbe dry in_> your fhell, you rubbing your fingers thereon shall find any to come off, if rnuft be better bound with gum, and if too muchgHw, it will thine and be apt to crackfe off after it is ufed. To D£>ajh Bice. Bleu?) Grind your Bice firft very purely, then filial large The Art oFLimhing. 8r large (hell with cleans water, put the Bice therein and ftirrit, thenletit fettle One ho wer, take ofFthe [cum and powre ofFthe water, then referve the bottom o when it is dry for ufe: To deepen this, u[e Litmus water. How to cboo[e your Tencils. Choofe fuch Tencils as are clear zndfiarp pointed, not d i - viding into parts ; of thefe you muft have in rcadinefs a feveral Tencil, for every feveral colour. To prepare a Tablet to work^on with Miniture for TiBures by the life. Take an ordinary playing £W, polijlo itr^ with a T>ogs Tooth, and make as fmooth as you can chip white fide of it, cieanfing it from_. all /pots and extuberances ,• then choofe of the bed abortive parchment, a Ttece pro- portionable to your Card, which piece with fine and clean fiarchpaji fall: on thecW, temper the /larch beforo yollpttft icon, ixl^ the palme of your hand, that it may be free from Knots 5 let tho card thus pajled&ty , then-j making your grinding- /lone as cleans as may be, lay the cWthereon^ with the parchment fide downwards • then with zTostb turnip) or poii/h the backfidoas hard as you can, Note that the outfido of the sk(n is beft to Lwme upon, and muft therefore be outmolt. The (groundcolour for a Face. Yoiir card thus prepared, you are to lay 2u ground ot primer of flejh colour before you begins your worh^, and thatL->mu(t be tempered according to the complexion of the Face to be drawn; if the complexion be fair y temper white, red lead, and lakg, if an_/ hard [warthy complexion, mingle with your wbheand red a little fine zSfyfo/licot, or X Englijh 82 The Art of Limning. Englifh Ocur, but Note thar your ground ought al- wayes to be fairer then_» the Face you take j fork is a facile matter to darken a light colour, but a difficult to lighten a deep one j for in Limning you mull never heighten, but work them down to their \udcolour. Your ground thus prepared, you mud lay it on the card, ("ordered as before ) with a_> Tencil bigger then ordinary, lay it on as/mootb, even, and free from hairs of your "Pencil, as 'tis pofliblc;, which that you may do) fill your Tencil full of colour, rather thin or toatrifh, then_> thicl^ and grofi, and with two or threo dd&bes of your greats Tencil, lay it on in an inftant, the nim- bler it is laid on, the evener the colour will ly. Note that you oughts to cover rather too much then too little with this prime-, cover fomewhat more of the card with the ground colour, then you shall uCcj for the Face. This done, take a pretty large Toilet of Ivory, and before you begin-; to work, temper certain little heaps of feveral (baacmes for, the Face, which you muft tem- per with y our finger about the Toilet. 'The Order of Shadows for the Face, sh*d,m In all your Shadows , remember to mix fome white, ( exempligratia ) for the red in the Cheeks, Lips, &c. temper Lake, red Lead; and 2u little white, for the blew, zs the Feins, &c, a little Indigo and white-, for blew %ice is never ufed in a Face, for thefaintejl and weakgjl colour or /hades, Lake an&tokite, a 1 i ttle^ Ocur, and a little Indigo, adding thereto if you will a fmall pittance of Pwc^or <sfA^aflicot, for the deeper fiadowes, white Snglifh Ocur, Vmber, for the darkeft andbardeft (hadows, ufe Lak^_j and P/»J^ mixt with t?Mfer : Note that fe^muft not by any means be ukdin-j a Face, for other shadows your own The Art of Limning. 8) ownobfervatidii->muft direct you* for it is impoffi- ble to give a general %ulc_j for the shadows in all Faces, unlefs we could force nature toobferve the fame method in compofmg and modelling them, fo thar* one in every pun. Bilio should refemble the Other. For your Light to draw by a_* Northern is ac- Light counted beft, which if it fall /looping dompn from an high toindotp, isbeft. Place your felf to your T>es\ , that" the aja'a lightmzy ftrike in Jidelong ft oms the left-hand to the right 3 andobierve thar'inall youraw^ it will shew totho belt advantage, when it is tu rned and feen^ by the fame light it was drawn by. Let a Saucer or clean Shell of fair Water be Nec^ar>tti everonyourr/gk hand, wherewith youmay »'«M*i temper yourco/owj- and wash your pencils, together with abrush pencil dry, to cleanfe your toorh^ from du/l-y alfo a sharp penknife, where With to sake away fuch^d^f of hairs as may cafually mix with your colours, or fall into your card; you may alfo conveniently cover your piBufc__, with a piece of 'paper, whereon to try your pen* cils beforeyou begin to work. To begin a Face. Having thefe accommodations, draw the T^0 lines ofporpkile (i. e. the outmoft flroa\ ) of a Face dra"£hr- with /^f and Tito, mingled very faint, by thisydumay conveniently mend the draught ( iffalfe ) with a deeper mixture of the famo colour, the lines being exaclly drawn* an&true proportion-* obferved ("which is the chiefeft thing of concernment ) next" obferve the deeper afid more remarkable fliadonves, and with the fame faint Crimfori X a cohurt 84 The Art of Limning. colour of Ufy and white, give fome flight touches and mark* fomewhat roughly of thefe Jhadonpes , which afterward you'l finish. The Order to he ohferyed in drawing by the life. . The order of Firft you muft only dead colour tho Face, drawing pr/t J J . r fitl»s- as the OyUpainters do, and nof meddler with the reft, and this firft fitting commonly takes uptwo/?o«ri. stoning. The fecond fitting vvill require Four or JFive hours, in thar time you are to go over the Face very curiousjly , obferving what ever may conduce ei- ther to likencfc, or judicious colouring , alio obferving » of the feveral graces, beauties, or deformities, as they ap- pear in nature , orelfe in fmoothnefs of shadowes, or clofe and fweet couching the colours. Thtrdf,tuKg The third fkting commonly takes up two or three hours, and is fpenr" in xlofing what was before lehimperfeB and rough Jout principally in giving to every deep (hadow, the jlrong touches and deepnings as well in the daif^Jhadowes in the Face, as in the Eyes, Eyebrows, Hair and Bars, and thefe touches are ever the laft part of this bufinefs, and are never to be done till all the Hair and Drapery be finisht, thefe touches ( if well done) add ex- ceedingly to the life. Concerning dead colouring. The dead colouring of 2$ ace is to be done the roughejl and boldejl of all 5 having drawn your Yace with lakg_j and tvhite( as before) you muft take to the faid colour a littleredlead, tempering it to the colour of the Cheeks, Lips, &c. but very faintly, becaufe you cannot lighten a deep colour, without hazard of fpoiling the pitlttre. To The Art of Limning, 85 The firft colour to begins the Face with, is the To begln u red of the Cheeky and Lips , fomewhat ftrongly Ltmn- the bottome of the (Inn, if the party be beardfefs ; over under and about"* the Eyes you will perceive a delicate and faint rednefs, and underneath th^jEyes, inclining to purple colour, which in fair and beautiful Faces is ufual, and muft be obferved ; the tip of the 8ar, and the roots of the Harare commonly of the fame colour. All this you muft do after the mannsn, of hatching, with faint and gentle jlroa\s , washing it all along. ln_j short, in your deadcolouring you muft cover your ground with the aforefaid red, and the fubfequent (hadoyps. 3\(ote ) Be nor" too curious in your firfl wording , but^ regard agood bold following of nature, rather then_j fmooth curiofity, the roughnefs of the colour, you may endatr'an- Other fitting. The fecondwrk^ of Limning, The ftcaai The redbeing done, the next is the faint blews about the balls and comers of the Eyes, and the p^di<rf- gray and ble)vijh under the Eyes, the Temples 3&c. which you arealfo tow^from the uppermoft part of the Face almoft all over, buV exceeding facet and faint, byde* gneeSyfweetning andheightning your Jliadom, as the lightfallsi And in going over the Face, be fureto mark out^ the hardjljadotps in_j the dark fide of the Face, under the J\(ofe, Chin, Syebrows, &c. As the light falls , and fomewhat-; flrong touches, inthofe places bring up your work, toge- ther in an equal roundnefs, nof giving perfection-* to to any particular parr" of the Face, but vifiting all the parts curioujly, and in a kind ofrandome, by which means you will better obferve the likenefs , roundness, poflurest colouring, or what ever elfe is requifite to the perfedti- on_jof yourM^. Y Having 8<5 The Art of Limning, Tbe third Having done the fainter or lighter /hades, and procedure, fomewhat^ fmoothed and wrought them_> into tho red, you may go over the hair, difpofing intofuch/wvw, folds on tramels, as may become youL TiSturebeb. You muft at firft only draw them_> with colour as near as you can, fuitabl{_j> to the life, and after wash them lightly af the firft, and then once more perufe youn, v>or^, being careful to fill up the void, empty and bar^j, places , which aro uncovered with colour, and at laft deepen it fomewhar' more (Irongly then before in tho deepefi fhady places, ft ill carefully obferving the life-, thus much for the firft fitting. The Order of Limning in the fecond fitting. The party being fet/«/2in_> his former Seat, you muftmoft ex^S/yobferveand curioufiy delineate with your pencil, thofo feveral varieties of nature, which you did rudelytrace out before, todothisyou muftufe tho fame colour in_Jthe fame places you did before, working, driving and fweetning thefamo colours one into another, to the end thaf nothing be left in your ivork^with a_» hard edge, uneven, or a_> lump together, but alfo (o/wept and driven one into another, with the point of fome- what 2ujharper pencil, then you ufed at the firft as that_» your fhadoiws may lye [oft and fmooth, being dijperfed and gently extended into all, and towards the lighter parts of the Face, like air or a vapoury fmoa\$ but before this you muft carefully obferve all thefhado'ws and colours. ihcgroMhind FortheiJrwWbehind thtuTitture, it is theTinnre. commonly blew or crimfon, fome what like a SattinoiredVehet Curtain : if blew you muft lay it thus> your_> "Bice beingpure and cleare tpasht, temper as much in a shell as will cover a £W, let it be all throughly mot ft and The Art of Limning. 87 and well bound withgum, therewith a fmallpewc//, go about with the fame colour, thtporphfk, that is the utmojl flroke and ambient [uperficies of the TiBure . this done take a greater pencil and therewih wash over fome what careful- ly the whole ground that you mean to cover with a blew, fomewhat thinand mtrish, and then withareafonable big pencil full of colour and flowing, lay Over that place w ith a wick and fubjlantial Body of colour, which before you had only wash over, in the doing of this you muft be very firift, keeping colour moijl that you have laid, not permitting any part to dry til the whole bo cove- red. <tA £ rimfon Cjround. \ If you Would have your (ground (^rimfon 1 ike ^w f°* Sattin , you mud with Indian- Lakg trace out where and in what-) places you will have thefe flrotig and hard lights and refleflions to fall, which isfeen in_» Sattin or Velvet, therc^ lay your lights with a thin and ypaterijh lake, and while it is yet wet with a fironger and </dr^r co/o«r of lake thick^ ground , lay the deepning and Zwrc/ flrongfbadovs, clofe by the other //^; your bed way is to have a-> piece of &#/» before you to imitate. After this lay your linnen with a flat white, For Uethod in and the Drapery like wife flat, then go over »**^*'**" your face again, endeavouring to reduce each rWojp to its *r#e perfection, then_> draw the lines of the Eyelids , exprefling the reddar\y\(oflril, the shady entrance in* to the Eares, the deepnefs of the Eyebrows, and thofe more perfpicuous notes and w^ in the face, with a/#«- c// fomewhat more curious and sharp then before^ you may ^r%« your ground as you fee will be mod advanta* gioustothe fettingout the'P/SwY. Y a Next 88 The Art of Limning. The h*\t Next go over your hair heightning and detpning it as you shall fee by the life, drawing fomc/o<% loofe- ly over the ground, which would otherwife feem «»- plea f ant. u»»tn sh«de. To Shadow in Linnen, uteblacl^, white, a little yellow, and lefs blew, the blacky mud be deepned with Ivory- blac\, w ith which mix a little Lakg, and Indigo, or Lit- mus blew, thus much for the fecond fitting. The manner of finishing at the third fitting. ThirifMhg. 'jhe third will be wholly fpent in giving the flrong touches and obfervations necefTary for the rounding of a face, which you will now better fee to do, the apparel, hair and ground, being already finished. In this fitting curioufly obferve whatever^ may conduce to ft- militude, whichis the chiefeft thing, as Scars, *5Moles, &c. glances of the Eyes, defending and circumfleBions of the zZWouth, never make your deepeft shadows fo deep as they appear in the life. Thus much of the Face and three fittings, ¥ or Ornaments thus. omamctt. Armour filve a) for colouring armour, firft lay Li- quid fiher flat and even, which dryed and burnish with a Tooth, temper the shadows with Siher, Indigo, Litmus, and a little 1/Ww, workthefe Wwr on^the Silver as dirf&ed by the life. coid Armour. For the gold armour, lay go/*/ as you did filver, for the tfiWow, £<%, English Ocur, tempered with a littlegold. p(,ris. To exprefs roundnefs md luflre ol Tearls , youn* ground muft be white and /»d^, your. ;Wctt> blacr\znd Tinck* rn. 2)/^-* The Art of Limning. Sp 'Diamonds are expreft with aground of flat Li - z»«*«*. quidfilver, the deepningisQoerriflone, blacfond Ivory i the deeper the Jhadoyp, the fairer the Diamond. Lay a ground of filver , bumifht to tho %«<?/} w*;«. of the'fy^y, thcn->take Turpentine of 'the ^ and /w<?/4 and temper with ilu very neat a little /Ww« Z^,* then-j taki n g a »eo/Ze, or fb rne fmall Iron injlrument hea t- ed in a CW/e, {lay or </n?p ) a little of the compofition^ upon the fiber, fashioning the flone in a_> round or fquare, or what ^/o» you pleafe, with the />o/«* of your i»/2r« - www, you mud let it lye a day or two to dry, if it bo too long in drying, add to your compofition alittlo powder of clarified z5\fa/iick^; Ihis receipt is not commonly kriolvn. For any green flone, temper your Turpentine e^m*. with Verdigreafe, and alittlo Turmeric\root, firft (crap- ed with Vinegar, then lef it dry, then grind it to fine ponder, and temper it. Mix Turpentine^ with Vltrdmarine , &c s*phir*: Note that_j the £ro«w/ to all mull bo Liquid fiber po~ lijht. zAtrue I^gceipt to make liquid ?old„ Take of fine leaf-gold, the Value of is, 6d, L'i*HgMt grind this gold with a flrong and tbich^gum-water upon a_* reafonable large flone, which you mufl grind very fine, and painfully; as you grind it, (till add more of youc /frwi£ gum-water, and though the £o/</ look never lo blac{ and rfaty 'tis never the worfe, having brought^ it to a competent finenefs, wash itiu^ a great (M as you did "Bice-, &c. Being very clean add to it a littlcj quantity of aSMercury fublimate , with the^ point of your Kjiife, which you muft temper with it, and a very little^wi to bind it in the /bell, and as it fettles, and begins to dry 90 The Ait of Limning. in_j the /heft, shake it together, and removes and fpread the gold about the fides of the jhell, that it may be altogether of one colour and fineness , ufe with fair water, as you do the other colours. Note. So for liquid filver, only obfervof and 'tisafe- cret) that when-; y our fiber either with long keepino- or moijlnefs of 'the Air becomes jlamped and rufly-, you mud to prevent this inconvenieney, before you lay the fiber Cover over the /^ce with a little Juice of f/arlic\, which will preferve it. Of Landskip. Laxdtkjp. jn droving Landslip with water colours ever begin with the %>,andif there be any Sunbeams,do them firftm p^pie ciouds. For the Turple Qouds, only mingle Lake and white. reiiow. T he Sim-beams, Mafiicot and white. Noteu Work your blew Sk^e with fmalt only, or Vltra- marine. »**>. At your firft working dead colour all the p/Vce over, leave nothing uncovered, lay the colour [mooth and ey en. ■Note,, \ybrk the S^z> dowru in the Horizon fainter as you draw near the Earth, except in tempefluous styes, work yourfurtherel^foMwte/wjfo that they should feem_»to be loft in the of/'r. x°'c4. Your firft ground mud be of the colour of the £Vz;?£ and */czr^j yellowijk, brown, green, the next fiicceflively as they loofem their diftance muftzlfo faint and abate in their colours. m*<5- Beware o£ perfection at a diftance. am*. Ever place light againft^r^, and ^r^againft light ( that is ) the only jway to extend the profpcB far off, is by oppofing light to fhadows, yet fo as ever they muft loofe The Art of Limning^ 91 loofe their force and vigor in proportion^ as they re- move from the Eye , and the,; (trongeft jhadow ever neareft hand. dA T)arl{(jreen. For a dark^ green for Trees mingle Verduter, Tinck , and Indigo, the deepeft Jhadom of all ingrmzare mado with fap green and Indigo. <id %are fecret to preserve Qolours. Take'Rofemary water double dijlilled, and with a few drops of it_j, temper your [hell o£ white, and you shall fee it become inllantly perfect ophite, however dead andfaded it was before , beildes this water allayes tho Bubbles in white and umber, which are ufually very troublefome in the grinding them. Some general observations in M'miture. \ . If your colours peel or by reafon of the greaflnefs of your Tarchment will not_>lieori, mix with thema very little Earwax, and t'will help them; 2. Sit not above two yards hom him you draw by. 3. Draw not any parr" in the face of a piBure exactly at the hrft, neither^ finifh zzffyfouth, Eye or 3\(ofe, till the reftofyounaw^comeup., and be wrought toge- ther with it. 4. When you have finished the Face, make the par- ty (land up to draw the Drapery by him. 5 • Let the Tarty you draw be fct in an higher [eat then your felf that draw. Zr2 Tti gi The Art of Limning. To makg Crayons orTa/lils. pajiiis. To inftance one for all, if you were to make aTaftil Tor a. brown complexion, grind on your flow, ferns, red lead, or vermillion, English ocur, and a little pinc^ . to this add a proportionable quantity of plaijler of pans, burnt and finely fifted, mix this with the other colours, and you may roleitup. Note. _Ml ix white Serm with all your other colours , and fome inftead of Serm ufe Tobacco pipe clay. To make white. strut. Take two parts of ordinary cha\, andoneparf ofzjfflttm, grind thofe together^ fine, make them up inn lump, burn them in a Crmtfo and ufe them. To wrf^ #to Lead. wKutMt. Take a (fruciple whereinto put feveral fmal plates of clean Lead, coven* them with white ivme Vinegar* luit the Tot clofe and dig an hol^j, in a dunghill, where let it abide for the /pace oFfixivechj ; Take it it up and fcrape ofTthe fuperfluities of the white Lead, and fb ufe them. To prepare a Card for a Titture. Wet a card all over with a great pencil fo foone as the mater is funck in, Ww7Z> it fmooth on the bacl^fide, ha- vingtemperedfome/W^witha kpifein the palme of your ^Wfpread it over, inftantly lay on a piece of abortive parchment, let it bepreft in a book till it be almoft dry, then fmooth it on the bacf^fide. To pre fierce Colours fresh, grind them yo'iththegallofathQet. To prepare White Excellently. whUt- Take fome Serm which being grofly bruifed and put The Art of Limning. gj put into a fine earthen 2Mm£ put to it a good ^//w) of running water diftilled, wherein wash the Sent* till it be throughly clean and pwrcW, which you shall know by the Tafte of the water, which is drained from thence.. Is made thus, take of Cty/of Turpentine on^> r»*¥t. pound , Sandrakg one pound , Oyl of Spike one pound, mixt the Oyles together, andletall ftand over the fire till the Sandra\e be dilTolved, if the fire should chance to catch hold on this, clap a pewter dijb over it. Concerning Wax-Wor\or Moulding, to ma\^ the Moulds, Tbi UouU Take a <*ood big lump otplaiftcr of Tar is and burnitinac^^tillit^ber^^ let it coo/, then beat if very J#r, andjW/c it through ^Tiffany Sieve; be very cautious that" the »/W come not at it, for that" wi\\bindcritsbardcmngh after it" be tempered keep it wrapt up in_; a clean brown paper, ufe it thus; take any Earthen ol Tenter Feffel, that is shallow, and put tensor twelve (boonfulh of fair water in it, then prepare your /raft, and bind a rag round it like a cord in a wreath long wayes on the: fruit: ther< take fome //»/«/ 0>/<? or ( which is more cleanly,) Oylo£fwet Almonds, with which in_; ^pencilbe- fmear the Z,«w»0», or fwhat others fruit it be) on the one fide, which lay uppermoft,y oar Lemmon thus prepared, take fome of your fifted plai/ler of 'Tarts, and temper itr in the fore-mentioned w^cr to a pretty r£#fyc//, therL» as fpeedily as may be with the help of your pon, caft it on the oyled Lemmon, lay it oil, very tbic{, leaft the fefe/r of the zSMould fpoil thew^, whetL/tis hard- ned( which will be ina^fmalltimej)take away your fag, leaving the linnen (till faft in it's half mouldy which done turn the hardned fide downward, then Oyl the Other, half of the Lemmon together, with the edges of the A a mould i p4 The Art of Limning. mould, which the rag did covet ; then wafh your porringer or vejfel where the Former plaifter was clean and prepared, and caft on more plaifler ofTaris as before, obferve, it" mud not be too thick, when you caft it on> and after^ 'tishardned, you muft put no more w^r to it, for then it will crumble-, when you have done the moulds fo, and m&de znotcb that onemay fall fitly into the other, tyc them~> clofe together, havingbefore well Oyled them, and keep them for ufe. To caft in thefe <£\loulds. To cajt. yj fe t jie tybfaji ^nd pure ft Virgins Hoax. To colour the to ax anfwerable to the things you mould. To colour. -por a y$pj£jl) your ground is Serus, which muft be afterwards painted over with Lake, the top of the 'Rgddijh painted with Ferdigreafe3 all other fuch colours muft be tempered with gum 'water-, gum water is thus made, diftblve a lump of pure gum <tArabac\ aboutr'the bignefs of a Walnut, in two jfioonfnlls o£jair water, herewith tem- per your colours. Note that^ every thing a^fouldable is either all of one, and the fame colour, as a (Lemmon) or jlriped and particoloured with different colours, zszTear, Tear main, t^cc. Now fuch as are of one co/owrmaybe eaflly call all of the fame colour; but fuch as are varicated muft be kept out afterwards by colours tempered withgumwater (as above) you colour your wax by putting into it whileft it is hot and melted in_> a Gally-pot, a little linnen hag of that colour you ufe, provided that the colourbe before bruifed very fine. As to particulars for the Lemmons or iApricocki, take only TwwmV^in_> a bag, for Oranges turmericf^md red Lead well tempered; aJpp/es, Tears , or (} 'rapes, turmerick^ivid a little Ferdigreafe, Wallnuts and Figs, mix turmeric^ and English Ocur, and Vmber all in_> a bag together, Cucum^ers or The Art of Limning. ' 9? or Hartichoak^t ^eefcods or Filbirds, turmeric^, Tterdigreafe €ggs andSerus, all put into feveral baggs and jteept in the Vir^ oinswax, when'tis melting &s before mentioned, fbr Dn- mafon bru ife (Joorak, Indigo and blew flarch in_i a bag toge- ther* for flesh colour, white Lead, and vermilion mixt, &c. T 0 counterfeit ^ochcandid fweet meats. DifTolve the quantity of a walnut of gum Arabach^ %****%; in two jjtoonfulls of clear water, let it be very thick^ then_^ take any piece of broken Venice glafs , the thicker the better, beat it in a morter, fo fmall as you pleaf'c, that it may ferve your occasion, daub oven, fome cab fweet meats, with the fore-mentioned gum water, ftrew this powder on~> them, and t'will with much delight fotisfic th$ expectation, Additional Obfervations ouf of a <£\4anujcript of Mr. Milliards touching Miniture. When you begin to Limn tempen. all your colours fresh with your Finger, in your /hell, or on youipallat, Tearl Ifour Veart muft belaid witha^te mixture, with a_> little fc/d^f a little Indigo and z5Ma/lic(, but" very little in comparifon of tho white, not to the hundrethp^ that dry, give the light of the P^r/ withalittloyfcr, fomewhat more to the light then the fhadowed fide_> , then tako a »te allai'd with ^Mafficot , and under- neath the fhadtmd fide give^t a comparing flroa\, which shews a reflection, then without-' that a fmall fhadovv oiS&tcote uridermoft of aUs But note, your /iW muft be laid round and full. 'The manner how to drawYMith Indian InJ^. To draw with Zwte /Rafter the manner ofwa(hingf or infteadof Indian /»^take>> Lamp-black^or thread burnt, temper &j little of your Indian hik^with fair yyater, ivu A a 2 ab 9 6 The Art of Limning. 2ujheil, or upon your hand, v our outlines being drawrL_» with Cole or blac]\Lead, take an indifferent long /harp pointed pencil, dip thcj point into fairwater, then dip the^> /><?;«:// into tho fadfaff Iw^, and draw all your outlines very faint, ( Note that all tho temperature of Wk/2 Mk mult be */>/» and waterijty, and not too Mkv^ when if is *//>, ta^e a little fr/^>2^ of /?<*/? white bread, and rub out the outlines which you drew with the £<?/*?, (if too blackj then dafb on your fhadom very faintly, and deepen it by decrees, as you think convenient, then finish it with ft ipples, it be- ing mod advantagious to any one that shall pra&ico Limning, beware of taking too muchcolour in your /w;» riA* which you may prevent1' by drawing the pencil through your Lipps; in laying on your shadows, never ' lay them—, to deep, but deepen them down by degrees, for if too deep you can never heighten them again. How to prevent your colours fromfinkiw in. Take 'Roach milium and boy le it in faring water, then-> take a bit ofufemge and dip it into the water, and wet the bacf^/ide of your paper that you intend to draw on, very thin, whileft the water is hot, in thowriigof it be as nimbi o as you can, and this will prevent it from_> fining. 'The manner how to draw with water colours upon Sattin. T akel^ing glajs and fteep it Four and twenty hours in water, then boyl it m^'mof wine untill it be very clammy, which you will perceive by dipping y out fin- ger into it, then aften, your outlines are drawn upon the Sattin, take an indifferent big pencil, and wash it thin over as far as your om//m are, which will prevent your colours froni^fi?iJ{big or flowing. <zA farther 'observation in grinding of colours. Obferve in grinding ultramarine and other colours, that your The Art of Etching. 97 your motion be not too fwifi, but grind it gentle and /Ion, becaufe the Jwiftncfsof the motion, caufeth the flows to heat, by which confequence your colour w ill jtarie or_, foo/efometbingof it's Luftre, efpecially if it be a colour of no great Body as Tinch^and Indigo, &c. obferve, in grinding white, that you grind it not_j too much , leaft it pro ve greafy or oyly, or o f a dirty colour. How to prepare Z)?nber. TakeVmber and grindit very fine, put it into an earth- en pot or gaily pot, of fair water, cover it over and keep itr from dufi, and in fro fty weather, let it freeze uniill it thaws ofitfelf, then power offthe water, and when it isdry put it up in paper for your ufe. And when you temper it in_; your floell, ufe a drop or two of white Onyon water which will preferve it from cradling, The Art of Etching. The (jrounds and %ulcs of Etching. BEfore that" you begin to Etch upon_; copper, it is very neceffary topraclifc the Art of drawing, till you be able if need requiro to draw any head after tho life, or to draw a defign , for if you in=> tend to prSke the iArt of Etching, you will find it very profitable to draw after good prints, which are well */p- fignedy and graved, and when you have praBifed Co long that you are ablo to coppy any print, or drawing very ex- affly-,' then draw after good Heads of plaijler or figures , according to your own fancy , which will learn^ you to fhadow according to sJfrt, if well obferved, there- fore be fure when_» you draw after plaijler , to obferveJ very exaclly to take the true outlines or circumferences , and then_j take notice how the JJoadow falls, then_j (ha- dow it very faint arid [oft, where need requires. The printswhich I recommend unto you as abfolutely the befl to Bb . learn p8 The Art of Etching. learn to Etch or (jraoe after, be the prims of Henry goldsbis and Hermon CMuller, therefore it is very convenient to leaan to hatch with thcTen exactly aften either of the aforefaid fruits of </old[his or zfMuUer, and when you have brought-; it to that perfection ; and can draw very well zherplaijler, you may praftife to draw after the life j but beforoyouto after the life, you mud be very exact and true in your outlines or circumferences. The Instruments -with their particular names yphich are ufed to Etch with all. A C°PPerP^te potifad* a pieco of ground bound up in a_, piece of S7/^ or Taffatae, and prcferved from any </«/2 or greafe ; and about twenty J^eedles of all /%j, the belt are made at Qcafe ; then take the JA(W/^ and fet them_> indifferent deep into fome round fender flicks about a jpanlong, with a JSQedlc&t one of the ends of they?/<% and a pencil at the other, afcrafer, a />fl//#er, and two or^ three ^ood French gravers, wellgrozWand whetted, and a p2LiroiComPalfts> a.eRuler,fomegreen'waxi a Bottle which holdeth foroe half a pound of fmgie aAqua fort is Hop- ed clofe with foftrpax, fome ia>hitz_> Lead, zStift, a band Vice to hold the Plate over the fire , an Oyl fione. The ufe and property of every particular Instrument. The Copper Plate is the only matter to Etch upon j t\\e ground is to lay upon the Copper Plate, when they are both unarmed-, your J\(eedles ar e to batch withall upon the ground, the pencil is to wipe away the bits of ground, which rife when you batch upon the ground with your 3\(jedles, the fcraper is to fcrap^j, out" any thing that is amifs, the Polisher is to make fmooth anyplace that.; is rough, fo that you can mend any place that is ami[s ac- cording to your own Mind 5 thc(jravers are to mend here and there a ^nwJ^ where need requires. Butnote, that" your Cjravers mufl be ground, and tohet very Jharp and fmooth, upon an Oyi/loncj, before you ufe them, your The Art of Etching. 95) youn, Compajjes are of very littlo ufe in_j Etching, ex- cept itr1 be to meafure a dijlance, on Jlnke a £/r«*j the Ruler is ufed to batch all the flraight hatcher or Lines upon the Plate. Thcgreenmaxisukdto make a IV all round about the edges o£ your Plate, to keep the <l4 qua forth from running off from the Plate, the Ac[u a form is the finisher of the work, when you have hatched the de- fign upon the Plate with your Needles. The whiter Led is ufed to [crape upon the bacl^fide of the drawing or pr//tf that" you Etch after, The Stift is ufed to <to through all the outmoft Lines or circumferences of the Print or drawing which you 2s3fc£ after. The Oylftone is to whet" your gravers upon; having thefe things in readinefs, Note that if it be a black Ground that lyes upon the Plate, then you muft take white Lead and rub it" upon the bac^fide of thc/>wtf or drawing which you intend to Etch after, but if it be a white Ground, then you muft take black Lead, ora piece of Charcole and rub on the bac\ of y our print as aforefaid. 'The manner and way to maly the (ground. Take a quarter of a pound of Virgins wax, and half a quarter of a_> pound of Sxpoltum burnt > otzJmberOne Ounce, of Ma/lic{Onc Ounce. Having all thefe materials in__* readinefs, you muft take the ttMaftic^ and the Expcitum^ and beat them very flneinawo^r; this be- in cr done, take a new earthen^ Tot, and put the vast into it, and fet it upon^ the fire, let not the fire be too/^whichifyoudo it will burn the ground-, therefore when they are throughly meked3tzkc it off from the fire, and oourthe^roaw/out into zTot of fair water, and make* itupintoaM?, and preferve it from dufi j and when you will ufe it, take a quantity of it and bind it up in^ a piece ofTafatae ovSil{, and ufe it as hereafter. aJ red (ground. Grind red Lead, very well tempered with Vernijb. Bb a ^ ioo The Art of Etching. J white (ground. T ake of wax one Ounce, 'Rp/in two Ounces, melt them_> together, add thereto a quarter of an Ounce of Venice Serm, finely ground* <tA blacky Cf round. spaitum. <*JJpbakum two parts, Beeswax one part, melt them together, being warm, lay it thinly on_> witha/^w rag. Another (f round. Grind ra/ Lead with Linfeed Oyl ; Note, your ground muit be laid very thin. 7 he manner and way to lay the (jroundupon the Tlate. Takefome £ harcole and kindle them, this being done, take an hand-Dice and fcrevp it faft to ono of the corners of the Plate, as near to the edge as you can, becaufo vou mud lay the ground all over the Plate, thero take the Plate and hold it over the fire, till it be io warm to melt the ground, then take the ground which is bound up and rub it to and fro Hpon the Plate till it be covered all over alike; then take of the Jlijfeft Feathers out of a2)«c% wing that is not ruffled, and f prcad the ground very thin, and fmooth every where alike upon the Plate, but have afpecialcare you beat noV the Plate too hot, leaft you bum the ground; which if itbe, theground will breakup whenyouputonthey/^/ortoandlpoilthe Plate? you may difcover when it is burnt, by its rifing as it were jandy, which if you perceive, youmuft. take a cle an linnen rag, and warming the Plate,wipethegw/Wi/<?<worT,and lay a new as aforefaid. But if you perceive the ground to hefmooth and not fandy, take it off from_> the fire, and when it is cold, take a piece of Link^and hold under., the ground till you have fmoakgd it very blacky but ler_; wotthe flame touch the_j ground, leaft you bum it, this being done, if the Plate be cold hold it^ over the fre again^ till it be juft warm, to let the fmoa\melt into thej ground, that it may not rub off unden. youvhand, then hold The Art of Etching. lot hold it off frotn_^ the fire , with the ground-fide of the Plate downwards fo r to preferv o it from the dufl, other- wife when the ground is warm , dujl will flyc in and fpoil it, therefore you muft hold it with the ground-fide downwards untill the ground is cold. The way to draw the outmojl lines of any Trint or drawing upon ■ the ground of the Tlat^j. Firft take the drawing oi'Trint which you intend to Etch after, and [crape a little w»to lead upon the back^fide of it, then take a feather and rub it oven, every where alike, and^% off that which remains, then_j take the print and lay it upon the Plate on that fide theground is, then fattens the fom comers o£ the print to the Plate with a little [oft wax h thisbeing done, tako the Stifi and draw upon the print all the* outmoft circumferences Midlines exactly, and when you have fo done, takeoff the print from_> the Plate, and all the fame outlines and circumferences which you drew upon_> the print with the Stifi, will be exaBly and unfailably upon theground. Several Obfem>ations in Hatching, Bird obferve exaBly and judicioufly how your principle is fhadowed, * and how clofe the Hatches joyn, and how they are laid, and which way the light falleth ol cometh ; the light muft fall all one way, for i£ the light hll fide way es itL->yom print, you muft hatch the other fide w7hich is far- theft from the light darkefi, and fo place your lights alto- gether on the one fide, and notr" confufedly to have the light come on both fides alike, as ifif flood in the midft of many lights, for neither doth the light withall its bright- nefs illuminate any more then thairpart that is direBly oppofite unto it, then obferve exaBly how clofe all tho Hatches\oyn, and how they are laid, and which way they twifl and Wind, then_> follow them as exaBly as po[- fibly you can, but before that you begin to Hatch or (hadow, you muft draw all the outmojl lines with a i^Qedk C c upon* 102 The Art of Etching, upon the ground, as Artificially as you can • and theh-> you muft fhadow it_> with your Js(eedles of feveral/ortx according to your principle, and when you will make abroad ftroak^ then break offthepowf of a great 3\(eedle and whet if upon an Oyl ftone four fquare untill it comes to 2u point; and if you will hatch fine flroafq , then you muft ufe fine pointed fJ\feedles •, and if middle fi^es , then break off the point of a w/7/<//e ^ f\eedle, and »/>« it as aforefaid, and fo according to all/%*. But fomo z5\4aflers when they make a bold ftroah^ hatch it fine at firft, and fo by degrees make them broader. il\feceffary Obfervations in Etching Lands/qps. Obferve when you Stch Landslips, to make ol hatch that" which isneareft to the Eye darke/l, and fo let ic lofe or decline its fhadows by degrees, and that which is furtheft off muft befaime/l, and fo lofe equally by de- grees ; the fame Obfervation muft bo in making the Skje, foL that which is neareft to the Eye muft be the darkeft/hadowed, but in general as faint and jfoft as pofli- ble, and foalfolet-'it/o/e by degrees as before is men- tioned, and the nearer theSk[e cometh to the ground, the more it muft lofe and be fainter-, but when they as it were meet together the Shje muft quite be loft, and when you have hatched it as exatlly as you can pofiblj with your JS^eedles, according to tho print or drawing, that" you doit after; this being done, compare them exaBly and judicioufly together, and if you find ir like the ori- ginal, take fome green foftwax, and make a "wall round about the edges of the Plate. How to make the Wax wall round about the Tlate, to hgep the <iA([ua fort is from running off from it. Take fome ^rcenfoft wax and temper it till i t-> be warme , then_> draw it into a long fender roul as long as will reach about the-? Plate, then fat it and faften ic about the edges of the Plate, and let it be about half aninchhigh, then take The Art of Etching. 103 take an bid knife and heat it in-> the /re, andy^r the to round about under the P late very clofe, other wife the ^Aqu^fortis will run out, but be lure to fallen the wall as near to the edges of the Plate as you can convenient- lv, then-j pour the ^W»rto upon the Plate, letting it lye till it be deep enough. How to ufe the Aqua-jfortis on the Plate. You muft ufe fingle Aqua—> finis. Take a quantity of Aquafortis and pour it into zglafs and mingle it with u little Finegor to weaken itif it be tooy?rc/i£, or a littlo Aquafortis which hath been ufed before; for in cafe the Aft*-, finis work too ftrong, it will make; the wor( very hard, and fometimes make tho ground to break up; and when-, you have temperedit very well, poure it upon.; the Plate almoft as high as the wax-wall; the deep- er the Aqua fonts lyeth, the harder it will eat, andwhen_> youperceiveit tobzjdeep enough, pouroffthe Jp* fortis from-, the Plate into zglafs, and prefer ve it to «i«^with other asaforefaid,- this being done, take fome fair water and wa/h the Plate, and then_, take off the vox- wall and preferve it for, the fame ufe; again; thenwarme the Plate and takeac/&w linnen rag when il_> is indifferent warme, and rub off the^roWfrom_>the Plate very clean, then take lomeQ>/ and rub over, the Plate to clean it, and if you perceive that" the Aqua for- tif hath not eaten zs deep in fome places, as it should be, then it muft be helped with a grayer. Obfertations by which you may know when it is deep enough. When_^ the Aqua fortis hath lain wpon the Plate a little; more then a quarter of an hour, or kalfuLj hour, there being no certainty in time, becaufe fometimes the Aqua-, fortis will wotk ftronger then at another-,there- fore when you thinkit is deep enough, pour off tho Aquafortis from the Plate, into zglafs, then rvajb the Plate with zlittlc fiirwater, then take a /(«//* ^d fcrape Cc 2- off 104 The Art of Etching, off a little piece of the ground where if is batch* and may be leaft prejudicial to tho Plate, and if you perceive it not to be deep enough,take a little candle tallow andme&it-in n/poon, and while it is warm, take a pencil and cover the plate with it , where you [craped the ground off, then pour the aquafortis upon it again, andletit lye till you guefs it to be deep enough; then poun, the Jqua~> fortis from the Plate as aforefaid, and at any time when you perceive that-; the <lA qua fortis doth not T»or\Jlrong enough, you pour off half the old, and re- fresh it with fbmewflp, for when the oAqua-j fonts hath been_j upon the Plate about half an hour, it will bo much the weaker, becaufe the flrength of iV doth evapo- ntfoaway, and by a little praff/Ve you will como to the certain knowledge when the Aqua fortis hath eaten deep enough. Another "way to kpow when it is deep enough. Take a little piece of a Off&fkte* and Jay a ground upon it as you before mentioned, and make a^ wax tpaU about it, then hatch it with feveral hatches as you think beft, and when you pour the Aquafortis upon the one, pour it upon the other, and when you think they be eaten deep enough , pour the Aqua fortis from-, the little Plate, andm/bit with {omefairwatergLS afore- faid, then take a Kjiife and [crap^j off a little piece of the ground from tho little Plate where it is hatch, and in cafe you percieve it nof deep enough , cover the pUc^j again with fome toarme candle talloto, and then pour the Aqua fortis upon it again till you guefs iL_> be e- nough, then pour the Aquafortis from the little Plate again, and try as before, and if you fee it to be enough, pour^r the Aqua fortis from the great Plate, and wafh if with a little fair "water before you Tvarmit, or_,elfe the zAqua fortis will flain the Plate. The Art of Etching, iof ^A Way to lay a white (ground upon a "Blacl^. Firft you muft under/land that moft grounds are SUck% and when you lay white ground upon&black you muft not fmoa( the fc^with a Lin^ and you muft lay the undermoft ground the thinner, when_* you lay a white^j, ground upon it > and if you would lay 2u white groundup- onsumackj take a quantity of Serice, as much as you think will cover the plate, zndgrindit very fine withgum water, and temper it very thin, then take zpenciimd wafh the plate all over very thin and *w«. T^e way to lay a redCjround upon a blackGround. Take the red Cbalk^zndgrind it-1 very /fwc withgum water ^ then_> take a pr*«y % pencil, and »w$ the />/**£ all over_» with the tedground very thin and [moothi as before men^ tioned. d>/ %eceiptfor aground taken out of a Manufcript 0} Collots. Take a_; quarter of a pound oiVirgins wax, and half a quarter of a pound of the beft ExpohunL^ burnt of Amber* and half a quarter of a pound of z5Maftic\{£ it be warm Weather, becaufe it doth harden the ground and preferve' it from injury, when you lean with your hand hard upon it j if it be cold weather, then take but an_» ounce of 9?Ma(tickj this being obferved, then take an ounce! of 'Rpfin, and an ounce of Shoomakgrs pitch, and half an_> ounce of other pitch, half an ounce of Vemifb ; having all thefe materials in readinefs, take a new earthen pot* and put the Virgins wax into it j and when it is melted* ftir it about, and put in the other materials by degrees as before mentioned* and when they are throughly ming- led and melted, take the pot off from the fire and pourit^ out in a clean pot of fair water > and work, it into a "Ball, and preferve it from dujl zndgreafe, and when you have oe- cafiontomake ufeof it, take a quantity thereof and £/Witup in a piece o£Sil/^, and make ufe of it as be^ fore mentioned. Dd Thi 106 The Ait oi Etching. The Ground of %inebrant ofR'me. Take half an ounce of ExpolturtLj burnt of Amber, one ounce of Fir gins wax, half an ounce of z5A4aJiicl^, then take the tSWafticfond Expoltum, and beat them feverally very fine'm a Mortar; this being done3 take a new earthen pot and fet it upon ^Qoarcole-fre, then pur" the Virgins vvax'mto it zn&melt it, thenshake into it the eSM a/lick and Expoltum->by degrees, ftirring the Wax a- bout till they be throughly mingled, then pour it forth into fair-water and make a Ball of it, and life it as before mentioned, but be fure you do not" heat the plate too hot when-* you lay the ground on it, and lay your blacky ground Very thin, andthe^teprwWuponit, this is the-? only way of\Rincbrant. The way toprejerme any (f round, which is laid upon a Tlate in Fro fly weather. Take the plate zn& wrap it very warm in a wollen cloth , and lay it-? in the warmed place you can convenient, for if the frofl is gotten_^into the^roW, it will break up when you pour the Aquafortis upon it. <sJ[ way topreferve the Tlate from injury of the Aqua-> fort is, where the (ground breaks up. If you perceive the ground to break up in_^ any place, pour off the lAqua-jfortisfnom the plate and wafh it with a little fair water, then take a quantity of C*ttdk tallow and melt it in_^a froon, and while it is warm take a. pencil and cover the Plate which is brokero up with the faid tallow, and fo far as thz_j tallow is fpread, the zJqua fortis will not eat 5 fome make ufe^ of Fernijh inftead of tal- low, and when you have covered the place that is brok- en, pour on_j the Aqua— fort is again, and let it lye upon the plate till youguefi it hath eaten-; enough ; then pour the zAqua jortis frora^ the plate and preferve it, then_> takethcu wax Wall and preferve it alfo, and wash the plate with a little fair Water, then_j rub offyour^ro««^ as The Art of Etching. 107 asaforefaid, and for the places which thzj ground broaf^ up in, it muft be helped with a (fravcr. Therefore it will beneceffary for one that de/irethto learn this Art, to PraB ice graving a little, fo much as to help a froakjphere you thinly convenient. <lA may t» make the Aquafortis ivorkjoft or hard according to nature or art. Firft take (jmdk tallow and melt i t i n lufioon, then with a pencil cover that placo fo far as you will have it to be faint, but note it muft be after the Aqua^fortis hath lain upon your platean indifferent^ while, and fo by degrees you muft ufe the tallow as you would have it faint- er,this is very neceffary when you Stch Landslips, which muft lofe and ftand atadiftance^? by degrees, therefore when you Stch Landslips, obferve to ftop off that place firft which muft be fainteft, andfo by degrees ftopit^ off, and make it lofe equally $ and note the nearer^ you come to the Eye, it muft bo jlrongeft and darkgfl Jhaded, but not on that fide from whence the light cometh for that fide muft be preferved as faint as may be, but according to art. Obfervations in Etching ProfteBive. Proffeclive is a thing thaf is one of the difficulteft cArts thatr' is prac"tifed ; becaufo it is not^ rightly under flood , bur_; by good oAritbmeticJ^ -, otherwifo you can never under/land proffeUive , becaufe you can_; never guefl rightly how much a Pillar or Figure, or the like muft decline t ox lofe at their feveral diftances, ac- cording to aArt and Proportion • Fod when you Etch a_> piece of pm&eBive after a drawing or a print, ob- ferve thefe Rules, beware ofperfeBwn ar_> adiftance, and be fure to fhadorp that which is neareft to the Sye > perfeclejl and ftrongejl, and the farther from_> the Sye, it muft decline in length and breadth, and heighth accordi ng to Dd 2 Art 108 The Art of Etching. Art and Troponion, obfervo alfo to let it lofeand bo fainter by equal degree?. Add ay to (prate any band or letter upon a Copper Tlate. Take fome £barcole and kindle them, then tako a hand-Vice and (crew it to the corner of the plate }a.nd hold it over_- the fire till it be warm, then take a piece of Virgins itax, and rub it all over, the plate untill it is co- vered every where alike; this being done, take a Jliff feather of a 2)«dy toing that is nor" ruffled, and drive it even and fmooth every where alike, and let it coole, then write the hand and letter which you intend to grate upon thcplate, on a piece of paper with ungumdlnkj then take the paper which you have written, and lay that fide which is written downwards next to the wax,and fatten the four corners with a little [oft wax, but be fure to place the writing fo , that the lines may run ftraight, then you mult take a T>ogs Tooth, and rub the paper all over which is fajlned, and not mifs any place; this being done, take off the paper from^ the f/^C-?and you shall fee the very famo Letters which you wrote on the paper hath leff their perfeB imprefiion upon_>theMvzx; then take a Stift and draw allthe Let- ters through the wax upon_>thep/^, and when you have dono that, warm the plate, and takc&linnen rag and rub the wax clean off, and you shall fee all tho Letters drawn-; upon the Copper, then get fome good French (praters and grind them, as they should be^> very (harp towards the points upon-; atfrind-ftone, and after- wards whet them very fmooth and sharp upon a good Oylflone, then (frame the Letters with them. the toay to polifh a Copper Tlate. At firft you buy the Copper rough, then you have if planijhed, if you cannot do it your felf; when if is planished, then you polish it with thefe following Inflm* ments. The The Art of Etching. \og The J\fames of the Inflruments or 'Tooles "which areufid topohfo a (popper "Plate. A "Plain which cuts very well, and of an_j indiffe- rent^ bigne[s, but not broad; fome pieces o f 'pumice- /tones fome pieces o^Sand-jlones, and fome <i5\doukon-flones \ a foff_; blew jlone, and a humijher and [crapers and fomo Qharcok. Theufe of every particular Tool or Inflrumenti Firft faftenyour "Plate with fome fmall J\(ails, to a place that is as high as your middle ; then_j make ufe of the plain to shave all the roughnefi off from_> it and make if very even in all places alike, and if you per- ceive any crack[es or little holes upon that fide which you Jhave, then you mufti« them all clean out, and when you have shaved it even and fmooth with the plain, then take apiece of Sand-flone, zndwet the plate with fomo water, and rub to and fro with the Jlone upon the plate , till you have worn it very fmooth and even every where* alike, bur' be fnreto choofe the fofte/l jlone s, becaufe they make the lead [cratches ; and when you have worn it even and fmooth with this Jlone , wash offthe find f ronl the Plate, and take a piece of "Pumice fton<i_j> and rub to and fro upon the Plate, quite a crofs the grain of the former jlone, becaufe it is of a hard fandy nature , and will therefore leave fame feratches ; therefore the "Pumice Jlone is of a more fofter mdfpungy nature and is alwayes ufed to ware out" the formers [cratches : and when you have worn out all the former [cratches, you Will perceive theplateto be worked into a .finer grain ,thcn Wash the [and very clean off from_> the plate, • then make ufeof the moulton /lone, and ftw7^ with it quite a- crofs the grain of the "Pumice /lone, untill you have mwv* it quite out, withall befure you fupply this and all the other flows with water, when you work with them Upon the plate, and when you have worn out all the E e [cratch*? iio The Art of Etching. [cratches of thcTumice jlone clean out, then for the fourth makeufe of the [oft blew flone, it being of a very [oft grain and fofter then any of the former; then work with that quite acrofs the grain of the Moulton-flone, till the grainis worn out, but if you perceive any [cratches in the plate here or there, rub them over with your_. burnisher till you have work't them out, but in cafe they are very deep, you muft mako ufe of your [craper, and [crape them out , and bumijh them afterwards ; this be- ing done, in the fifth place you mull bumijh it all o- ver ,• lad of all take a charcole which is throughly burnt, and for ape off the %me ; then put it in the fire till it is throughly kindled, then take it out and quench it in_» Chamber Lee j and make ufe of it as of the former, till you have gla[ed the plate -, then wash it very clean with fairwater} and let it dry. The Maimer or Way of<i5\£e%o Tinto. T^Irfl tal^e a very well polijhed Tlate of Copper, andrujfen it all over •*■ with your Engin one way, then crofshover with the Engin a- gain, and if you find occafion, then cro[s it over the third time, untill it be ruff ened all over alike ( that is to Jay) if it were to be_j printed, it would print blacl^all over-, this done, tak^Charcole orblack^Chal\to rub oyer the plate •, and then draw pur dejign with white Chalkupon the plate, then take a [harp Stift and trace out the outlines of the defign y ou drew with the white Chalky , and where^j y ou would have the light ftril^flrongefl,takgaburnifher, and bumijh that part of the plate, where youWouldhave the light Jlrike as clean as it was when it was fir jl poll- /hed-y where you would have the fainter light, you mufl not polifh it fo much, and this way you may make it either fainter or fironger, ac- cording to your fancy. As for the manner or shape of the Engin , they are divers, and if any ingenious perfon have a defire to have any made, the Author will give them farther directions. FINIS. The Artof Miniture or Limning. Of the colours to bcufed in Limning. The way and manner of preparing colours. Of white Lead. Colours to be washed and Hovv. Of Colours to be washed. Of Colours to be ground. Of the Nature of Colours in general Obfervations in grinding. To wash Bice. How to choofe your pencils. To prepare a Tablet to work on. The ground colour for a Face. The Order ofshadowes for the Face. TobeginnaFace. The Order to be obferved in drawing by thelifs A Table of the Contents of this Book. OF the Vertue and Praife of Proportion or Symetry. pa» j-o Of the Neceflity and Definition of Proportion. ♦ Of the Head in f orphile or Side-vvayes. ,- ■ Of the Fore-right Face. 7> Of a Head in Fore-shortning. Ibid. Of the Side- Face without any Meafure. £ Of feveral Obfervations in drawing a Head after the Life. o; Of the Proportion of a Man often Faces. Ia_ Of the Proportion of a Mans Body often Faces. ic„ Of die extravigant Proportion often Heads. Ibid. Of the Proportion of a young Man of nine Heads. I(j; Of the Proportion of a Man of eight Heads. 18. Of the Proportion of a Mans Body of (even Heads. • i^ Of the Proportion of a Woman often Faces. z©. Of the Proportion of a Woman often Heads. Zu Of the Proportion of a Woman of nine Faces. xt. Of the Proportion of a Woman of nine Heads. Ibid. Of the Proportion of a Woman of feven Heads. 2,3. Of the Proportion of Children. Vb\d. The Definition of Painting. ""' x. Of the Vertue of Light. ,. Of the NecefTity of Light. »g^ Of the Nature of Light. ^Qt Of the Vertue and Efficacy of Motion. . j Of the NeceiTity of Motion. <g# Ofthe Pailions of the Minde their Original and difference. cy„ How the Body is altered by the pafhons ofthe Minde. rg. Ofthe Motions procured by the feven Planets. jg, Ofjupiter. j9# OfMars. <j0. Of Sol. Ibid. OfVenuy. $u Of Mercury. foy OfLuna. ^i. How all the Motions may accidently befall any man though dif erfly. £4. Of Divers others NecefTary Motions. 6j. Ofthe Motions of all forts of Cloth or Drapery. 71. Of the Motions of frees and other things that are moved. 74. The Contents Concerning dead Colouring. Ibid* Thefecond work of Limning. 8f. The Order of Limning in rhe fecond fitting. 86. A Crimfon ground. 87. The manner of finishing at the third fitting. 88- Concerning Ornaments. I bid. A Receipt to make Liquid Gold. , 89. OfLandskip. 90. A Dark Green. 91. A rare fecret to prcferve Colours. Ibid. . Some general Oblervations inMiniture . Ibid. To make Crayons or Paftiles. 91. To make white. Ibid. To make whj te Lead. Ibid. To prepare a Card for a Pi&ure. Ibid. To prepare white excellently. Ibid. Concerning Wax work or Moulding. 93. To caft in Moulds. 94. To counterfeit Roch Candid fweetmects. 9j. To counterfeit Pearl. Ibid. T he manner how to draw with Indian Ink. Ibid. How to prevent your Colour from finking 96, The manner how to draw with water colour upon fattin. Ibid. A farther ohfervation in Grinding. Ibid. How to prepare Umber. , 97. The grounds and rules of Etching. Ibid. The Inftruments with their particular names to Etch vvithall. 98. Tne life and property of every particular Inftrumcnt. Ibid. The manner and way to make the ground. 99. A red ground. Ibid. A vvbiteground ipo. A black ground. Ibid. Another ground. Ibid. The manner and way to lay the ground upon the Plate. Ibid. ri he way to draw the out lines of any drawing upon the Plate^ I8I- Several oblervations in Hatching. Ibid. Neceflary oblervations in Etching Landskips. 102. How to lay a wax wall upon a plate. ] bid. HowtouleAqua Fortisonthe plate. 103. Oblervations by which youmay know when it is deep enough. Ibid. Another way to know when it is deep enough. 104. Away to laya white ground upon ablack. ioj. A way to lay a red ground upon a black. Ibid. A receipt for a ground take n out of a Manufcript. Ibid. Thcgroundof Rinebrant ofRine. i0£. '1 he way to prcferve a Ground in Frofty vvcath er. Ibid. A Way to prefcrve the Plate from injury. ]bjtl_ A wayto make Aqua Fortis eat loft or hard. 107, Oblervations in EtchingprolpeiYive. Ibid. A way to grave any hand or letter upon a Copper Plate 108. Thc-way to polish a Copper Plate. Ibid. 'I he'Mamesofthe Inftruments ufed to polish. 10^ The ufc of every particular tool or Inftrument, Ibid. The manner or way of Mczo finto- . no. )C )S ■ ^Sb ^r 2<f 2.5 ; 2.9 .. S-* / Rare 85-5 Folio /<|g&L WE j PAUL GCrfYtfcNTbh LIBRARY W' ' ? TO -&*