Ther. ad Pis alledgeth such another example But seeing this contemplation doth more properly belong to Hippocrates his schollers it is time forus to leave it to mention other uses that haue bin made of these Arts. § 6. Apelles being carried by tempest into Aegypt during the reign of that Ptolome that could neuer abide him in Alexanders Court was brought into danger of his life but for the help of this Art For comming to supper to the King deceived by one suborned by some spightfull enemy who had invited him disguised in the habit of those to whom that office belonged the King was much insenced against him and calling for all those officers to know who had done it Apelles not seeing the man amongst the companie took vp a cole from the hearth and drew his picture upon the walso lively that vpon the first draught the king knew the man Pliny xxxv 10. Julius Caesars Image expressed in waxe and hideous to looke on for the three and twenty wide gaping wounds he had received did mightily stir up the Romans to revenge his death Appianus Lib. II de Bello civili The Emperor Antoninus to accustome the people by little and little to that effoeminate habit of the Phoenicians he himselfe did so much like sent his picture before him to Rome and therby brought to passe that the Romans did heartily congratulate him at his comming it being no new thing to see their Soveraigne in such attyre Herodian lib. V. Hist Some Kings did cause a picture to be drawn after their own fancie sending it abroad in the world if by chance any one maid comming somwhat neer the conceived beauty might be esteemed worthy of such a match See Claudianus de Honorii Mariae nuptiis Neither did these Arts serue onely in Love-Embassages but sometimes also most peremptorie Embassages of peace and warre haue beene performed by the meanes of these Arts. Q. Fabius a General of the Romans sent a letter to the Carthaginians in which was written that the people of Rome had sent thē a little white rod used by messengers of peace and a Pike to the end they should chuse either of these signes of peace or war think that alone to be sent which they should make choice of The Carthaginians answered That they would chuse neither of both seeing it was in the power of those that brought them to leave which they themselves would and what was left the same should bee unto them as chosen Marcus Varro reporteth That there was not sent a rod of peace and a Pike but two small Tyles with such a rod ingraven in the one and a pike in the other See Agellius noct Attic. lib. x. cap. 27. Eubata Cyrenaeus to maintaine the faith of Wedlock disappointed that famous Strumpet Laïs in her lust by carrying the picture of Laïs along with him to Cyrena in stead of the woman her selfe wherefore his wife also at his returne erected him a statue See Aelian lib. x. Var. hist ca. 2. We do love the images of our Beloved saith Dionysius the Antiochian Sophist * Epist I. when wee cannot see them present with us See also Aeneas the Sophist Epist 12. Ovid. lib. 11. de Ponto Eleg. 8. And Heroïdum Epistolâ xiii vers 151. The younger Pliny doth expresse the same I haue loved the most compleat young man as fervently saith he * Lib. II. Epist 7. as now I do require him impatiently So will it be unto me a most acceptable thing to see sometimes this same image of his and to looke backe upon it to stand now and then neere it and to go by it For if the images we haue in our privat houses of them that are dead doe very much asswage our griefe how much more shall those images bring that to passe which in a place of great resort do not only shew their shape and countenance but their honor and glory also Yea the first beginnings of these Arts seem to haue proceeded out of a desire of prolonging the memory of the deceased or else of them whose absence would be most grievous unto us without such a remembrance See what Fulgentius * Lib. I. Myth l. § unde idolum dicatur reporteth of the Aegyptian Syrophanes A Corinthian Maid also taught by Love ventured to put her unskilfull hand to the first beginnings of art drawing lines about the shadow of her Lover that was to go a great journey Whereupon as it is the custome of men to prosecute small beginnings with a stedfast study her father Dibutades a Potter by his trade cut out the space comprised within the lines and filling it with clay he made a pattern and hardned it in the fire profering to Greece the first rudiments of picture Statuary § 7. So was it then a praise-worthy custome observed among the Ancients That they did shew themselves forward to consecrate the memories of such men as had deserved well of the world and because they could not endure that vehement longing they had after the vertues of the deceased Worthies they did at once seeke to remedy their sorrow and to stirre up other noble spirits to the love of vertue See Lactant. cap. 15. de Falsa Religione Every one thinketh that honor bestowed upon himselfe saith Symmachus * Lib. IX Epist 102. which he findeth deservedly to be conferred upon others And againe in another place * Lib. I. Epist 37. When worthy men receive the fruit of their doings all they that follow their stepeps are likewise filled with hope The Emperour Tiberius restored many cities of Asia that were throwne downe in his time by a fearefull earthquake The Asiatique Cities therefore studying to be thankfull erected a Colosse unto Tiberius upon the Roman market at the backe side of the Temple of Venus adding likewise the statues of euery one of the Cities repaired Phlegon cap. 13. de Rebus mirabilibus The Athenians have erected unto Aesope a most goodly statue saith Phaedrus * Sub finem libri secundi fabularum and have set a contemptible slave upon an everlasting Base that all might understand how the way of Honour lieth open to every one and that glory likewise doth not so much follow the condition of our birth as the vertues of our life Berosus did excell in Astrologie wherefore the Athenians for his divine prognostications erected him a Statue with a golden tongue set up in their publique Schools See Pliny Nat. hist lib. vii cap. 37. Josephus that famous writer of the Jewish antiquities beeing brought to Rome among other Captives offered unto the Emperors Vespasian and Titus seven bookes he had written about the taking of Jerusalem Which books being carefully put up in the publique Library there was moreover a statue erected him for the fame of that Worke of his See Suidas The noble Captain Chabrias was the first that taught the Athenians how to breake the furious assault of a forward Enemy by holding
Polycletus and Apelles many other Artificers and famous men have studied to illustrate these Arts and Artificiall workes by their writings and disputations not to name therefore Callistratus his description of statues the Images of the old and young Philostratus the xxxiv and xxxv bookes of Plinie and other authors extant I shall reckon up only such authors whose records of Art and Artificiall things are lost and gone Adaeus Mitylenaeus his bookes of Statuaries are quoted by Athenaeus lib. xiii Deipnosoph cap. 8. Alcetas hath written of the donaries or gifts offered unto Apollo in his Delphik temple Athenaeus lib. xiii cap. 6. Alexis the Poët made a Comoedie intituled Picture and the argument of that Poëme seemeth to agree with the argument of the writers here named if wee may make conjecture of the whole Poëme by the place alledged out of it in Athenaeus his Deipnosophists lib. xiii cap. 8. wee may judge the same of Pherecrates his Painters quoted by the same Athenaeus lib. ix cap. 11. as also of Diphilus his Painters mentioned by the same author lib. vi cap. 4. Alexandrides his Painters are quoted in Pollux his onomast lib. x cap. 14. Nonius Marcellus bringeth forth many places out of Pomponius his Painters Anastmenes hath written of the auncient Pictures See Fulgentius Placiades lib III. Mytholog in Actaeone Antigonus the statuarie made bookes of his Art saith Plinie lib. xxxiv cap. 8. and there seemeth also to have been another Antigonus whom the same Plinie lib. xxxv cap. 10. reporteth to have written a treatise of Picture Aristodemus Carius hath perticularly set down the endevours of all them that have advanced the Art of Painting reckoning up also what Kings and Republikes have been well affected towards the said Arts see Philostratus in prooemio Iconum Artemon his book of Painters is quoted by Harpocration where he speaketh of Polignotus Callixenus hath written a Catalogue of Painters and Statuaries and Photius telleth us that the twelth booke of Sopater his choice histories was collected out of Callixenus his worke Christodorus his description of the Statues that were at Constantinople in a publike place named Zeuxippus is mentioned by Suidas Democritus Ephesius hath described the Temple of Diana of Ephesus see Laërt lib. ix in Democritus and Athenaeus lib. xii cap. 5. Duris of the Art of Painting is quoted by Laërt lib. I in Thales Eupherion his Comedie intituled Graver of cups is alleaged by Theocritus his scholast Euphranor Isthmius a most famous Painter hath written of Symmetrie and colours see Plinie lib. xxxv cap. 11. Hegesander Delphicus his commentarie of Images and Statues is quoted by Athenaeus lib. v cap. 13. Hippias Elëus a famous Sophist disputed about Picture and Statuarie see Philost lib. I de vitis Sophistarum Hypsicrates hath written of Picture Laërt lib. vii in Chrysippus Jamblichus his worke of Statues hath beene confuted by Joannes Philoponus Photius speaketh of them both Juba the King of Mauritania of whom see what Plinie saith nat hist lib. v cap. 1. hath written of Painters and the eighth book of that same worke of his is quoted by Harpocration in Parrhasius the said King wrote also of the Art of painting as wee learne out of the same Harpacration in Polygnotus Photius likewise in the choice histories of Sopater quoteth Juba his second booke of the Art of painting Malchus Byzantius hath written about the firing of the publike librarie at Constantinople and about the Statues that were in a place knowne by the name of Augustaeum See Suidas Melanthius a very renowned Painter hath written about the Art of Painting See Laërt lib. iv in Polemon Menaechmus the Statuarie hath written about his owne Art saith Plinie lib. xxxiv cap. 8. Athenaeus also lib. ii cap. 24. and lib. xiv cap. 4. quoteth Menaechmus his treatise of Artificers Menetor of Donaries is mentioned by Athenaeus lib. XIII cap. 7. Menodotus Samius hath written of the things consecrated in the temple of Juno at Samos see Athenaeus lib. xiv cap. 20. Pamphilus hath written of the Art of painting and of Famous Painters See Suidas Polemon hath written a treatise of Painters to Antigonus quoted by Athenaeus lib. xi cap. 6. Polemon of Pictures is mentioned by Laërtius lib vii in Chrysippo hee hath also written five bookes of the Donaries offered in the Castle at Athens see Strabo lib. ix Geogr. as likewise another treatise of the Pictures that were at Athens in the porch of the temple of Minerva see Harpocration furthermore hath he written a treatise of the Pictures that were at Sicyon see Athenaeus lib. xiii cap. 2. and this Polemon doth seem to be the same that is so often mentioned by Clemens Alexandrinus in Protrept and by Laërtius lib. ii in Aristippus Porphyrius hath written of Statues and Stobaeus doth quote somthing out of him cap. xxv Eclogarum physicarum but it is thought that this Porphyrius is the same with Malchus named above Prasiteles hath written five volumes of the noble works that were in the whole world Plin. lib. xxxvi cap. 5. Protogenes the Painter left two bookes of the Art of painting and of Figures see Suidas Theophanes of the Art of painting is mentioned by Laert in Aristippus Xenocrates the Statuarie made bookes of his Art saith Plinie lib. xxxiv cap. 8. and againe lib. xxxv cap. 10. Antigonus and Xenocrates saith hee have written of Picture CHAP. IV. WEE have seene how God and Nature by their example stirre our inclinations to these Arts of imitation how likewise carefull Parents cherishing that pronenesse perceived in some of their children put them betimes to good and trustie Masters but seeing many forward wittes were wont after a sufficient time of apprentiship to shake off that respect they did owe unto their masters there was also by wise and provident antiquitie a very good course taken to with-hold such presumptuous perverters of discipline from this unadvised temeritie by the feare of most severe and strict lawes made against the corrupters of Artes and Sciences neither was there only such care taken about needfull Sciences but also about the Artes that were more for recreation then necessary use As it cannot be denied that the Artes of tilling the ground and building of houses are most usefull for our poore and needy life so doe wee find that the true knowledg and sincere practise of these Arts hath been upholden by most severe lawes Agellius teacheth us concerning husbandrie that the Romanes were very carefull to maintain it if any one by slothfulnesse saith hee * Lib. IV. noct Attic. cap. 12. suffered his ground to grow foul and full of weeds never plowing nor weeding it if any one likewise did neglect his vine or tree he was punishable and obnoxious unto the censures of such controllers or masters of discipline as at Rome were called Censores who did disfranchise such a carelesse man putting him from his freedome as for Architecture it was likewise upholden by the rigour of Law in the Noble and great
signifieth that the waters come forth out of two mountaines as also that the plough-men of the next villages were wont to sacrifice upon that stone The bound-stone when it hath an horses hoofe engraved signifieth a race-marke and sendeth us to a fountaine Vide auctores vett de Limitib agrorum Tritones aerei Antiently on the tops of their highest towers they set Tritons made of brasse as now thinne plates of Latten or Copper framed in the shape of a Cocke and placed on the tops of steeples doe shew the winds Some were pleased to confine the windes within the number of foure saith Vitruvius * Lib. 1. ca. 6 from the Sun-rising in the Aequinoctial the East from the mid-day the South from the Sun-setting in the Aequinoctiall the West from the North the North winde But those that have made more diligent search have delivered them to be eight Andronicus Cyrrhestes most especially who for example and proofe thereof raised at Athens a Tower of marble eight square and he made in each flat side of the same the image of each wind directly opposit to the point from whence it blew and on the top of the said marble tower hee made a short Pike and set thereon a Triton of brasse with the right hand holding forth a three toothed rod so framed that it was carried about by the winde and ever stood directly against the blast and held out the rod pointing at the wind that blew over the Image of the same There are therefore placed betweene the East and South at the Sunne rising in the winter season the South-East winde betweene the South and West at the sunne setting in the Winter season the South-West winde betweene the West and North the North-West wind between the North and East the North-East wind Vellus aureum That honourable badge of the golden fleece first instituted by Philip Duke of Burgondie second of that name is wont with much earnestnesse to bee desired and sought by the noblest Peers of a most flourishing kingdome even as long since the Flowre of Greece with Jason their leader underwent great labours and dangers in hope to possesse that Fleece although as it evidently appeareth this later fleece cast or graven by Goldsmiths art is far different from the former which that daring Youth caried away from Colchos for that golden fleece is thought to have been nothing else but a booke written in parchment teaching how by the helpe of Chymicall art gold is to bee made See Suidas in severall places Eustathius also ad vers 689 Dionysii de situ orbis where Charax a most antient Author of this opinion is alledged It seemeth therefore that the Antients not without reason derived the descent of Aeët as from the Sunne the onely nourisher and fountaine of mettal-breeding heate Diogenes also in Stobaeus * Serm. de Assiduitate witnesseth Medea to have been not a sorceresse but a woman of knowne wisedome who with laborious exercises hardned soft and effoeminate men and as it were with boiling restored them to the vigor of their former youth Palaephatus addeth That she had singular skill in colouring of hair and that by a certaine decoction found out by her she was wont to cure the infirmities of many by the benefit of this hot bath See Palaephatus de Fabulosis narrationibus Vertumnus was a god that did turne himselfe into all shapes See Propertius lib. iv Eleg. 2. His statues were erected in many severall places of the city of Rome and almost in every municipall towne of Italy his countenance was made uncertaine and he turned himselfe into the shape of divers gods according to the diversitie of the habit that was put upon him See Acron in Horat. lib. II. Sat. 7. Veritatis simulachrum The Aegyptian priests had the image of Truth cut in a pretious stone hanging about their neck See Aelian lib. xiv var. hist cap. 34. and Diodorus Siculus lib. I. Compare these places with the sacred history But observe here in the meane time that Aelian and Diodorus in stead of what we have translated an Image of Truth use a word signifying a statue of Truth So doth Pliny likewise speake after the same manner when hee saith * Lib. xxxiii nat hist ca. 3. Men also begin to carry Harpocrates and the statues of other Aegyptian gods on their fingers Seeing then it could not be that statues should hang about their neckes and that they should weare statues on their fingers wee do perceive by this confusion of names that there was but small difference made between the art of graving and statuary and we may upon this occasion very well digresse a little to the consideration of such things as were engraven § 12. Things engraven were of severall sorts Baltheus caelatus an engraved Belt Ovid. IX Metam vers 189. Capuli militum The hilts of souldiers swords are engraved with silver ivory beeing set light by sayth Pliny lib. xxxiii cap. 12. Theseus escaped present death by his engraved ivorv hilt See Ovid lib. vii Metam vers 423. Pausanias his sword famous for the waggon with foure horses it had engraved in the hilt was fatall unto Philip the King of Macedonia See Aelian lib. III var. hist cap. 45. and Valer Max. lib. I cap. 8 ex ext 9. Carrucae Carts engraved See Pliny lib. xxxiii cap. 11. Crystalla Some Crystall hath a flaw in it like unto a breach which is hid by the artificers when they do engrave something upon the Crystall See Pliny lib. XXXVII Cap. 2. Cunae segmentatae a cradle inlayd with wood of severall colours graved and carved in diuers shapes Juvenal Satyrâ vi vers 89. Esseda Britanna an engraved chariot used by the ancient Brittons in their wars Propert. lib. II Eleg. 1. Figulina vasa caelata earthen vessels with some engravings upon it See Martial lib. iv Epigr. 46. Cotys the king being by nature cholericke and very much given to chastise them severely that did commit some offences in their ordinary kinde of service when a stranger brought unto him thinne and brittle earthen vessels but neatly wrought with some carved and turned works he rewarded the stranger and brake all the vesiels Lest said he I should in an angry fume punish them too severely that might breake them unawares See Plutarch Apopht Regum Imperatorum Galeae caelatae brasen head-pieces engraved with Corinthian worke are mentioned by Tully lib. iv in Verrem So doth Juvenal also speake of an engraved helmet Satyrâ xi vers 103. Hydriae caelatae great water-pots engraved with Corinthian worke are mentioned by Tully lib. iv in Verrem Lesbium was a kinde of engraved vessel invented by the Lesbians See Festus Pomp. Panis caelaturae the engravings of bread See Pliny lib. xix cap. 4. Scuta caelata engraved shields It was an ordinary thing in the times of the Trojan war sayth Pliny * Lib. xxxi nat hist ca. 3. that the shields should containe images The originall of
maner of Arts. It is knowne well enough sayth Cassiodorus * Variar 7. 15. that the studies of Arts are to be nourished and maintained with reasonable rewards Theophylactus Simocatus expresseth the same more copiously The hunger and thirst of gold in mankinde saith he * Epist 10. is very profitable for thereby our life is furnished with good arts cities are inhabited and mutuall contracts are performed with a great deale of ease To be briefe the inhabited world should be deprived of all decencie of order if for the intercourse of gold men stood not in need of one the other A mariner would not put to sea a traveller would not undertake a journey husbandmen would not be troubled with the keeping of plow-oxen the soveraignty of Royall scepters should want respect the subjects could not be honoured with dignities and revenues it should not be in the power of a General to lead an Army And if you will learne a great secret Gold is put in trust with the reines of vertue and vice the appetite of our soule is tried by it seeing it may very well be compared with the Celtick River in that it yeeldeth an unfallible proofe of counterfeit vertue CHAP. X. UPon the enjoying of glory followeth a confident boldnesse of art The Art hath been incredibly advanced sayth Pliny * Lib. xxxiv cap. 7. by successe first and afterward by boldnesse Understand here by Successe nothing else but that same veneration Art enjoyed as long as Kings and Nations made much of it Afterwards by boldnesse saith hee to insinuate unto us that this successe made the artificers more prompt and ready to venture upon greater matters The huge Colosses of the Antients may serve here for an example and Pliny in the sayd place bringeth in some of them for a testimony of their most confident boldnesse Zeuxis hath bin above all the rest admired for this boldnesse seeing hee did first enter into the gates opened by Apollodorus saith Pliny * Lib. xxxiiii cap. 7. and brought the pencill after it durst now doe something to a great glory Of the boldnesse of this excellent Artificer see Lucian in his little treatise intituled Zeuxis Dinocrates hath also given us a notable example of confidence which God willing shall be related in our Catalogue It was then very well avouched by Melanthius the Painter in his books written of the Art of painting that it is not amisse there should be perceived some kinde of selfe-liking hardnesse in the works of excellent Artificers See Laërt lib. iv in Polemone There is a Theseus done by Euphranor of whom he sayd that Parrhasius his Theseus was fed with roses but that his Theseus was fed with flesh See Pliny lib. xxxv cap. 11. So did then the Antients boldly follow the motions of their stirred spirit where as we on the contrary as if now all were perfect dare not bring forth any thing sayth Quintilian * Li. viii Orat Instit cap. 6. yea we suffer also many things invented by the Antients to decay § 2. Much then doth that excellencie of spirit availe that will not suffer it selfe to be daunted by the authoritie of them that are like to censure our worke For as the contrarie vice of a temerarie and arrogant confidence is verie much to be detested so is it not possible that art study yea advancement it selfe should helpe any thing without a discreet and constant confidence even as an unwarlike coward shall not be much the better though you furnïsh him with all manner of exquisit armor We are therefore above all things to avoid this preposterous shamefastnesse which is nothing else but a certaine kinde of feare sayth Quintilian * Li. xii orat Instit ca. 5. drawing backe our minde from those things that are to be done whereupon followeth most commonly confusion and loathing of what we have already begun so that no body doubteth to referre that passion among the number of vices that maketh us ashamed of doing well I am almost loth to say it because it may be mistaken that shame fastnesse is a vice but a lovely one yea such a one as doth most easily ingender vertues shee doth in the mean time great hurt causing all that is good in our wits and studies for want of publishing to be consumed by the rust of too much secrecie Howsoeuer confidence is the best way to amend this shamefastnesse and though a man bee nevr so shamefaced yet may he support himselfe by the helpe of a good conscience if he be but privy unto himselfe that hee wanteth no art Although a forward boldnesse be all in all yet may not the Artificer be so secure as not to understand the danger provided that it bee an understanding of the worke and no feare he may be moved with it though hee must not yeeld and fall downe under it For how great danger is there in this worke wherein wee are very often deceived by a shew of goodnesse Whosoever doth affect smooth things saith Horace * De Arte Poet. wanteth sinewes and spirit for the most part Hee that professeth great things is very often puffed up He that wil bee too secure and standeth alwayes in feare of a storme useth to creepe along the shore The very shunning of vice when it wanteth art leadeth us unto vice We are also lead into errour by the great multitude of them that judge amisse seeing unskilfull artificers doe alwayes in their opinion paint with more force And it is ever seene that the unlearned do beleeve those things to be of greater force which want art even as they use to think it a matter of greater strength to breake up than to open to teare asunder than to unty to draw than to leade They doe most frequently judge also that there is more greatnes in rude things than in such things as are polished yea that there is more copiousnesse in things wildely scattered than in things well and orderly digested As many then as are best experienced in thse arts doe most of all feare the difficultie of the work the severall events of the Art the doubtfull and uncertaine expectation of men It is not safe to do any thing foolishly before the face of the world when wee begin to try the hope of a durable name neither is it a small matter to undergoe the censure of the whole world so doth an invited guest also expect a great deale better entertainement than one that commeth of his own motion suddenly upon us Such as are provoked judge more nicely neither will they be satisfied with meere allurements and a kind of pleasing noveltie where they do look for the true force of Art It falleth out very often also that we spy the vices sooner in the workes of others than their vertues and whatsoever doth justly offend the spectator useth also to extinguish the glory of praise-worthy things in these arts chiefely which are not so much for necessarie use as
freenesse of it by an unseasonable and over curious nicenesse of studying the decent comelinesse of the work is instantly gone and lost Whatsoever doth not become the matter cannot please sayth Quintilian * Orat. instit lib. I c. 11. Every thing therefore which filleth the nature of the matter well enough sayth the same Author elsewhere * Orat. instit lib. XI cap. 1. loseth the grace it hath unlesse it be tempered with a certaine kinde of moderation and a man may sooner feele the observation of this point in his own privat judgement than learne it by precepts What is sufficient and how much the present argument may receive cannot be prescribed by measure and weight seeing it is here as it is with meats the one filleth us more than another Hence it is that many upon whom Nature hath somewhat niggardly bestowed her best gifts make good shift to use them soberly and wisely so at least that they might not mis-become them sayth Tully * Lib. I de Oratore for this is most of all to be avoided and it is not easie to give precepts of this one thing Roscius sayth often in my hearing that to become is the principal point of art and this is the only thing which cannot be procured by Art It is true that art cannot procure this yet doth it ever proceed flow out of the force of a hidden and warily concealed art seeing Nothing can be effected without art and decencie doth alwayes accompany Art Do we not see how those darts fly most handsomly which are hurled out most cunningly Such archers likewise as have the surest hand use withall to loose their arrowes in a more comely manner sayth Quintilian * Orat. instit lib. IX cap. 4. It remaineth then that we hold this grace to be the worke of a wisely dissembled art But if any man wil needs beleeve that such a high perfection is the fruit of a fertile and forward nature the same must for all that grant us that in this nature it self there shall be some kind of art as the same Quintilian speaketh * Ibidem For these two I mean Nature and Art are so close coupled together that the one may not be separated from the other if we doe intend to save the comelinesse of the worke and whosoever meaneth to expresse the nature of this mightie and most characteristicall vertue the same must call it with Dionysius Halicarnassensis * In Lysia either a certaine felicitie of Nature or a worke of labour and Art or else a habit and facultie arising out of the mixture of them both even as Dionysius Longinus * De sublimi orat § 32. maintaineth that the perfection consisteth in a mutuall coherence of these two see the fourth Chapter of our First booke where wee doe speake something more of Nature and Art concurring to the constitution accomplishment of the Art § 3. It is then most evident what a hard taske they undertake which go about to recommend their memories to the following age by one or other absolute piece of workmanship seeing that this gracefull comelinesse is not sufficient to the worke unlesse there doe moreover appeare in it some succesfull effects of a bold and confident Facilitie After that Plinie as it is quoted in the first section of this present chapter hath related how Apelles did challenge unto himselfe the chiefest praise in this point of Grace above all other Artificers he goeth further on to something else Apelles did also take on him another praise sayth he when he did admire Protogenes his worke done with excessive paines and too much care for he said that Protogenes in all other things was equall with him or rather better then he thought himselfe to be but that Protogenes in one thing was farre inferior to him because he knew not when to hold his hand insinuating by this memorable precept that too much diligence is oftentimes hurtfull Plutarch doth likewise make a distinction betweene the fore-mentioned Grace and this same bold Facilitie the verses of Antimachus sayth he * In Timoleonte and the pictures of Dionysius who both were Colophonians having vehemencie and intension seeme to be forcibly expressed and too much belaboured but Nicomachus his pictures and Homer his verses have this also besides all the other efficacie and grace which is in them that you would thinke them made out of hand with much ease Soth doth then this excellent perfection of Grace waxe more gracefull when it is accompanied with an unconstrained Facilitie proceeding out of the unstayed motions which use to stirre and to impell the free spirit of a most resolute Artificer whereas an unresolved and timorous lingerer doth on the contrary deface and utterly overthrow all the hope of Grace Wee are to consider in every thing How farre forth it is to be followed sayth Tullie * In Oratore for although every thing ought to consist within its owne measure what is too much useth for all that to offend us more than what is too little Apelles therefore was wont to say that those Painters mistake themselves in this point who know not what is enough Apollodorus the clay-worker being most diligent in his art had such an ill opinion of himselfe that he did oftentimes breake finished images not being able to satisfie his desire of Art he was therefore surnamed Apollodorus the mad Plinie xxxiv 8. Callimachus was ever wont to finde fault with his works and knew no end of diligence he was therefore called Cacozitechnus leaving us a memorable example of moderating our care He made the dancing Lacedaemonian women a most accomplished worke sayth Plinie in the same place but that diligence defaceth in it the whole Grace of the workmanship Picture therefore must follow a bold and carelesse way of art or it must at least make a shew of carelesnesse in many things Philostratus propoundeth unto us a lively example of this same secure and unlaboured Facilitie when he describeth the picture of many little Cupids wantonly hunting a hare and carelesly tumbling on heaps for the eagernesse of their sportfull chace the Cupids doe laugh and fall downe sayth he * Iconum lib. I in Amoribus one on his side another on his face some on their backes and all of them in postures shewing how they missed their prey It cannot be conceived otherwise but that the Grace of this picture was infinitly graced with the confused falls of the lascivious and pampered little ones as they were negligently represented in the worke by such another seeming error of a temerary and confidently carelesse Art § 4. A heavie and difficult diligence doth then marre and quite kill the grace of the worke whereas a light and nimble Facilitie of working addeth life to the worke and it concerneth an Artificer very much that he should resolve to do with ease whatsoever he doth see our second book cap. XI § 7 where we
such Images as after a ripe debate were found to admit an explication consenting with Nature the same Author hath pressed this very point in another place with a great deal more earnestnesse Let the Picture bee an image saith hee * Lib. VII cap. 5. of a thing that is or at least can bee of a man namely of a house of a shippe and such like things out of whose limited shapes our Imitation propoundeth it selfe an example the auncients therefore were wont to adorne such parlours as were for the spring and harvest time such porches also and long entries as were for Summer with all kinde of Pictures drawne out of the certaine truth of things naturall But those examples taken by the Ancients out of true things are now by reason of our corrupt manners utterly disliked seeing in our plaisterings there are rather monsters painted then any certaine images of limited things and yet doe not men when they see such false things rebuke them but they doe much more take delight in them neither doe they marke whether any such thing can be or not the weaknesse of their judgement hath so darkened their wits that they cannot examine what the authoritie and reason of decencie demandeth for such Pictures are not to be liked as doe not resemble the truth and if they are made neat and fine by Art yet must wee not instantly approve of them unlesse wee doe finde in them some certaine kinde of arguments free from all offence Now as the Artificer may not abuse the libertie of his Imaginations by turning it unto a licentious boldnesse of fancying things abhorring from Nature so must also a right lover of Art preferre a plaine and honest worke agreeing with Nature before any other phantastically capricious devices Plutarch hath very well observed this There are many at Rome sayth he * De Curiositate which doe nothing at all care for good Pictures and Statues but a man may finde them alwayes upon the monster-market where they stand and stare upon such maimed creatures as want either legges or armes as have three eyes or heads of Ostriches and if there be any other hideous detestable deformitie but although at the first they seeme very much to be taken with such kind of spectacles yet will they soone have their fill on them yea they will loath them if you bring them often before their eyes § 13. It is then a very grosse errour to deeme with the vulgar sort that Painters as well as Poets have an unlimited libertie of devising for if we doe but marke what Horace telleth us in the first entrance of his booke written about the Poeticall Art wee shall confesse that neither Poets nor Painters may take such a libertie as to stuffe up their workes with all kind of frivolous and lying conceits Lactantius also hath observed this point very well men doe not know sayth he * Divin instit lib. I. cap. 11. which be the measures of poeticall licence and how farre we may give way to our fancies seeing a true Poets part doth consist chiefly in this that by some crooked and wandering kinde of conceit he doe decently turne the deeds of Gods and men into a fabulous tale for to devise the whole related matter is the worke of an idle braine and it becometh alyar better then a Poet. The mention we made here of Poets and Painters seemeth now to lead us to consider a little wherein they do chiefly agree the more because it is sufficiently known that the Imaginative qualitie of the which we have handled is alike necessary to them both Thus doe we then in the next Chapter goe about this point once for all admonishing that under the name of Painters all such Artificers are comprised as doe any manner of way practise any of the other Arts of that nature CHAP. IV. ALL Arts sayth Tullie * Pro Archia poeta that doe belong to humanitie have a common band and are ally'd one to another as by a kind of parentage Tertullian speaketh to the same effect when he sayth * De Idololatriâ there is no Art but shee is the mother of another Art or at least of a nigh kindred seeing then that the connexion of the worke in hand enticeth us to prove the truth of these sayings by a mutuall relation there is between Poesie and Picture it followeth also that wee should propound some properties of them both out of which it might be perceived that they are very neere of the selfe same nature Both doe follow a secret instinct of Nature for we do daily see that not Poets onely but Painters also are possessed with the love of those Arts not so much by a fore-determined advise as by a blind fit of a most violent and irresistible fury As for Poets there is a God in us sayth Ovid * Circa initium libri Sexti Fastorum by whose tossing of us we are enflamed this same forwardnesse hath in it selfe the seeds of a sacred minde As for Painters Nicophanes had a most forward mind sayth Plinie * Lib. xxxv nat hist cap. 10. and there are but a few that may be compared with him in this The same Author speaking of Protogenes sayth againe in the same place the forwardnes of his mind and a certain inclination or pronenesse to the Art have carried Protogenes to these things And it is very aptly put in here that a certaine forward pronenesse to the Art made Protogenes so excellent an Artificer seeing they do alwayes with the greatest ease and best successe exercise an Art who out of a free desire give themselves so readily to it that they cannot so much as give an account of this same most forward desire The Peripatetike Philosophers seeme to have understood this perfectly when they doe maintaine that no body can doe any thing neatly and finely unlesse he hath a very good minde to it sayth Tullie * Lib. IV. Tuscul quaest It is required therefore that all such as would willingly attaine to these Arts doe find in themselves some swift motions of their wits and minds both quicke to invent and copious to expresse what is found neither may we thinke that the first beginnings of these Arts proceed from Art seeing it is a gift of Nature that any man findeth this same aptnesse in himselfe and our case standeth well enough if Art can help such tender seeds to a full growth for that Art should infuse them into us is altogether unpossible Out of this observation there doth arise a question propounded and answered by Horace it hath been very much questioned sayth he * De Arte poeticâ whether Nature or Art doth accomplish a Poeme I cannot see what helpe there is in study without a rich veine or else in a rude wit so doth one of these two alwayes require the others helpe and they doe both very lovingly conspire Quintilian doth both propound and answer the same