Actions Subject to sweating and Redness Autumn Doubtfull and something Inclining to Melancholly Winter Restrain'd drawn in and Trembling Yet notwithstanding the Season a Labouring Man must be exprest with rays'd Limbs Swelling and standing forth sweating c. especially in those who carry Burthens or use vehement Leaping Fencing or other violent Exercises Farther observe that in Sleep the Body must be without any Motions of Vigour and in such a Posture as we may not suppose the uneasiness of it may prevent their Rest We must take Notice too of Motions proceeding from Tasts and Smels Sowerness and Bitterness cause the bending of the Eye-lids wrincling the Forehead drawing down the corners of the Mouth c. Sweet ann Savoury Things cause a Pleasing and Chearfull Countenance as likewise Oderiferous Smells Bad Smells make us draw in the Nostrels look aside turn the Back with wrincled Eye-lids Eyes almost closed and Muoth drawn in And Lastly by Hearing and Touching there are divers Motions caus'd in our Bodys Sharp Shrill Sounds raise sudden Fear and Affright Grating Sounds cause Jarring of the Teeth and Shivering Touching hot Things Speedy and Quick Motions from Touching Cold as Ice and Snow Restrained and Fearefull Motions CAP. XIX The Natural Reasons of the Divers Impressions made on the Body Ocasion'd by the Passions of the Minde JOY causeth a Cheerfullness and Vigour of the Eyes Singing and Dancing c. sometimes Tears all these are the Effects of Dilation and coming forth of the Spirits into the outward Parts As for Tears they are the Effects of Compression of the Moisture of the Brain upon Dilation of the Spirits Joy hath sometimes caused sudden Death by the spreading of the Spirits so much that they could not Retire again Shame causeth Blushing which is the Resort of the Blood to the Face which in the Passion of Shame is the Part that Laboureth most Grief and Pain cause divers Impressions viz. Distorting of the Face which is caus'd by a Contention first to Bear and Resist and then to Expell which maketh the Parts first to knit and afterwards to open Grinding of the Teeth is likewise caus'd by gathering of the Spirits together to Resist which makes the Teeth set hard one against the other Sighing is caus'd by drawing in a greater quantity of Breath to Refresh the heart that Laboureth Screaming and Roaring out are caus'd by an Appetite of Expulsion for when the Spirits cannot expel the Thing that hurteth in their Strife to do by motion of Consent they expel the Voice Anger Causeth Trembling Sweating Foaming at the Mouth Stamping bending the Fist Paleness and going and coming of the Colour which last is caus'd by the Burning of the Spirits about the Heart calling in more Spirits from the outward Parts to refresh them But in some there is no Paleness but Redness which is by sending forth of the Spirits in an Appetite of Revenge Trembling in Anger is when it is Joyn'd with Fear caus'd by a calling in of the Spirits Swelling is caus'd both by a Dilation of the Spirits by over-heating and by a Liquefaction or Boiling of the Humours thereon Stamping and Bending of the Fist by an Imagination of the Act of Revenge Foaming at the Mouth is from the same Cause with Swelling and is an Ebullition Wonder causeth an Immoveable Posture of the Body by fixing the Minde upon one Object of Cogitation whereby it doth not Transcur and Spatiate as usuall for the Spirits fly not as in Fear but only settle less apt to move Lifting up the Eyes and Hands is a kinde of Appeal to the Deity the Author of strange Wonders Lust causeth a Priapism and Flagrancy in the Eyes the Reason is because the sight and the Touch are the onely Things desir'd in Lust therefore the Spirits fly to those Parts which are most Affected Fear causeth Paleness Trembling standing up of the Hair starting stretching c. The Blood running inward to succour the Heart as before causeth Paleness Trembling from the Flight of the Spirits inwards leaves the outward parts destitute of sufficient to sustain them The shutting of the Pores of the skin causeth the Erection of the Hair Starting an Apprehension of a thing feard in that kind a Motion of shrinking likewise an Inquisition in the beginning what the Matter should be and in that kind it is a Motion of Erection for starting is an Erection of the Spirits to attend Stretching is an Appetite of Expelling what suddenly striketh the Spirits Laughing causeth a Dilatation of the Mouth and Lips a continuall Expulsion of Breath with a loud Noise which makes the Interjection of Laughing sometimes the Eyes running with water shaking of the sides The causes of these impressions are from the Dilatation of the Spirits And the more the more sudden the Object of Laughter is Yet this can scarcely be term'd a Passion but hath his source from the Intellect for there ever precedeth a Conceit of something Ridiculous and is only proper to Man Finally the Spirits in all Passions resort most to the Parts which Labour most or are most Affected in Fear and Anger to the Heart in shame to the Face in Lust to the Venerious Parts c. CAP. XX. Of Light LIght hath so great Force in Painting that the Gracefull Part consists much therein for if the Lights are well dispos'd there will be a Beauty in the Picture although not a Perfection notwithstanding the Draught be not Extraordinary for it is through the Vertue of that that the Figures are brought off from the Flat The Force hereof may be seen in the Resurection of our Saviour as hath been observ'd in the Covent of the Church of Grace in Millain by Bernard Zenale Triviliano where though the Muscles and other Necessary Complements for a perfect piece of Work are not seen yet it gives a great satisfaction by the strength and orderly Disposal of the Lights The Power of it is likewise such that it gives admirable Foreshortnings and Perspectives neither can Form Motion Proportion Composition Order or Figure have Perfection without it like a Body without Situation or Spirit The Paripateticks say this is the Cause or Formal Reason whereby colour'd Things are seen whose Images pass to the Fancy especially inlightning the Eyes in which the Image is Formed passing first to the Common Sence then to the Fancy and Lastly to the Understanding We are to observe three Things concur to our Slight the Visual Lines the Colour'd Body and the Faculty of Seeing which is in our Eye The Visual Lines Lightned which are the proper matter and subject of the Perspectives come to our Eye in a Pyramidal Form the Basis of which Pyramis resteth in the Object and the Conus or Angle thereof cometh to the Eye more Blunt and Obtuse and hereby we see the Object more plainly and distinctly but if the Object be far of the Angle of the Pyramis comes to the Eye more Sharp which renders the Object the less Discernable It is likewise
to be noted that the Object cometh not to the Eye but the Visible Spirits are diffused through the Clearness of the Air to the Eye which Spirits are certain Images like those in a Looking glass when any thing is Represented therein If the Colour'd Body or Object stand near to this Image it comes to our Eye in the same quantity and bigness of the Angle of the Pyramis now because this Angle comes to our Eye in an Obtuse Forme the Image also seems great and so is discern'd the more distinctly but when the Colour'd Object stands afar off the Image comes to the Eye in a small and slender Angle and therefore filleth not the Eye but Wavereth in such sort that it cannot be clearly and distinctly discern'd And lastly the Faculty of Seeing is reduc'd into Act by the concurring of the other two viz. the Uisual Lines and the Colour'd Body which reformeth the Eye by reducing it from meer Ability into Act. From which Grounds for these two Reasons the self same Body cannot be equally Lightned in all Places First because Light with all its Brightness doth not Illuminate more then that part directly opposite to it not having Power to Illustrate the other Parts so perfectly from the nature of the dark Terrene and Gross Body which hindereth the Beams from Piercing Inwardly to perform their Effects so perfectly The second Reason is from the Nature of the Eye what is nearest coming with a Bigger Angle is more distinctly seen what at distance by a less and is more Imperfect so proportionably of a third and Fourth till the Eye can discern no farther Light is twofold Primary and Secondary the Primary is that which falleth on that part of the Colour'd Body which is opposite to the Body giving Light touching it with direct Beams a Light Body is that which hath Light within it self as the Sun Fire c. now that Light which ariseth from this Primary Light is the Secondary Light Light is divided into divers other important Branches drawn from the Physiologicall part of the Perspective whose cheif end is to seek out the Principles Causes and Elements of all visible Things together with their Species and Essential differences but ever in General it is divided into three parts according to the divers Considerations of Seeing The Secondary Light is likewise of three sorts the Direct Reflected and Refracted The first Primary Light is that which falleth upon and is receiv'd in that Part of a Colour'd Body which is opposite to the Body giving Light which running upon the Bodys toucheth them sweetly with a certain Natural Order not possessing them in any of the Extreams as other Lights do and must be observ'd in Historys suppos'd in the open Air. The Second Primary Light is that which is caus'd by the Apparitions of Angels or Glory as about our Saviour in his Nativity his Transfiguration his Resurrection c. and it must be observ'd in all parts according to their distance on every side The third Primary Light is from Fire Torches Lamps Candles c. but must be less Refulgient then the last In this we must observe whither it be by Day or Night the Matter Burning c. Where there be several Lights there must be care taken how they are placed that by their Opposition they take not away all Occasion of Shaddowing which will diminish their Beauty through the want of force and strength likewise that they cast not double Shaddows and confound each other The Secondary Light is that which is caus'd not by Direct Beams but Reflected though Direct from the Primary Light which is the first Species of the second Division of Light and is brighter according to the Thickness of the Body it meeteth with but strikes only on the Superficies direct opposite to it The Reflected Light is that which ariseth from the ending of the Direct it Lightneth all the Bodys on which it fals cheifly the hinder parts of such Bodys as are Lightned before by the Direct Beams The Refracted Light is that which the Philosophers say is ingendred by the Direct Light as it fals on Christals Armour Water and such shining Things as are apt to Ingender the same and is nothing but the breaking of the Direct Light upon these Bodys which it causeth round about in every place as may be seen in clear water towards the bottom as likewise on the Superficies next the Eye CAP. XXI The Effects of Light THE Light falling on the Flesh of Young Women and Children causeth a Pleasant Tender Shaddow without much Reflection but when on old hard and stiff Flesh it remaineth more Harsh the shaddows being harder but falling on Plaistick Figures though round like Flesh it maketh certain unpleasant and too apparent Reflections not suffering the Thing to appear round like Flesh confounding one Member with another and the more the more White the Body is From the not due consideration hereof several Painters have run into Errors by Painting after Antique Statues and Plaisticks observing the Light as it falls there whence their Flesh appeared Unnaturall In Drapery it must be observ'd that those Folds which come nearest to the Bones as the Joynts of the Fingers the Shoulders the Knees and other Eminences must be more strongly Touch'd then the other Parts and by that means the Flesh will appear the more soft and sweet On Diamonds and other Pretious Stones the Light falls more quick and strong according to the Condensation of their Bodys next upon polisht Mettals as Silver Armour c. in Armour must be Reflections of all things about it but dimmer then the Armour Receives from the Primary Light otherwise it will shew Ignorance in the Perspectives So likewise in other Polisht Mettals c. Light is strongest upon the Body which hath most Correspondency with it as Red Sanguine and well colourd Complections which on the balls of their Cheeks top of their Noses c. have a stronger Luster and sharper shining then those of Pale and Wan Complections for there the Light finding no Correspondency is Dilated with a more remiss brightness Black yeildeth no sharp quickness except in respect to the Perfection of Matter as in black silk in comparison of Wollen Cloth In Yellow the Light causeth a clear brightness having Affinity with it especially in those which are freest from Paleness The Light in Green hath a Mediocrity and rather Comforteth then Quickneth the Visual Faculty In White it is too much Continued by reason of the Clearness which hath Correspondency unto Black whence it receiveth its shaddows We will now shew how Light Ingendereth its Effects in Bodys according to the Eminency or Depression Restraining or Dilating of their Superficies from whence ariseth the Harshness or Sweetness In Infancy the Light on the Superficies is Dilated and not sharp by reason there is no other impression wrought in the beholder then a certain Dilating of a Fat and simple Matter without sharpness and very little shaddow In
Childhood the Lights begin to appear more sharp by reason of the contracting of the superficies but with a kinde of Variableness answerable to the Gestures which proceed from the Spirit beginning to distinguish between Good and Evill In Youth the Superficies being Protracted and Restrained makes the Body seemly yet soft and tender neither Fat nor Lean in this Age second Light breeds wonderfull sweetness Delightfull to the Eye being dipriv'd of spreading of the Lights and with great Decency gives sweet and Firm Shaddows In Manhood the Lights run with greater Force having the greatest Perfection as ever they will have not too unpleasant nor too Sweet but much Delightful accompanied with a firm Stoutness and in some Parts something more Feirce In Constant Age the Body is more compacted and settled the Lights more sharp and full of Force In Old Age the Lights appear Heavy and full of Majesty and Gravity and so contrary wise the Shaddows by reason the Superficies is depriv'd of that Quality of Increasing and Vigour yet not Crude and Hallow without Order but in a middle Temper In Dotage the Superficies is sharply Elevated and making Acute Angles and declining Lines cause the Lights running upon them to appear Sharp being Encountred with very deep Shaddows the Eyes wholly shaddowed with the Eye-brows the mouth with the Nose the Cheeks with their Balls the Forehead with Pulses and so through all other Parts as the Concavities of the Bones without Flesh by the most Apparent parts of the Bones In Infancy we must therefore express Simplicity in Childhood a sharp Simplicity in Youth Amiableness in Manhood a Graver Beauty in Constant Age Lustiness and Courage Gravity Majesty and Consideration in Old Age. We must likewise observe that in the Design there be one Principal Light which must sall most strongly on that part nearest to the Light and as the Superficies is shortned according to the Distance from the Light so the Body looseth as much of its Colour as it lacketh of the Light and so the Colour faileth by Degrees untill the superficies decay together with the Light CAP. XXII Farther Precepts about Light IT is a General Rule that the Lights must be given to Bodyes according to the place through which they pass and this must be order'd so that the Light do ever Touch more suddenly on the middle Line supposing that part of the Body which may be seen at one view to be devided by five Lines into four Spaces equall in Power The Painter must suppose one of these four spaces to be lost and the three other to appear imagining that these three Spaces which are seen be divided in four Lines equal in a perspective Semi-circle making the chief Light to strike more strongly on the second Line and in the second space Heightned which is consequently to be plac'd in the third Line he shall put as much shaddow as he seeth and by this means the Figure shall be wonderfully Rays'd and more then if the Ligbt were plac'd side-long in the first Line or in the middle on the space between the second and the third because that makes too much shaddow and this too much Light But in Ceilings the Light is taken from the Window so that it cannot be avoided but that the Light will sometimes be receiv'd in the first Line according to the aspect of Lively Bodys either side-long from above or from below as the Body is tutn'd to the Light In the plain Superficies this Rule must be always observ'd that the Light given to Bodys must never be Perpendicular over their Heads for it will breed this inconvenience that the upper parts will always shaddow the lower as the Eye-brows half the Cheek the Hair all the Face c. except where the Principal of the Picture is in a Scene of Glory above then the Figures on the Earth may have a Light Perpendicular from the Glory above as in a Picture of Rubens of St. Roche where the Sudplicants below receive such Light That part of the Body is counted next the Light which from the first Pointed extendeth it self farther out on that side then the rest especially if it be from on high therefore that Light being the Quicker causeth the Superficies to receive the Light more strongly viz. that Superficies which is next to us and that which looketh upwards both which receive it so much the more strongly by how much the higher they are because they are nearer the Apointed Light and this is the Original Ground of all other Lights which are orderly dispos'd through all Bodys giving them their Heightning aceordingly to the Direction of that only Light Situations and Climates must also be observ'd they who Inhabit the Temperate Zone the Light casteth their shaddows towards the North who Inhabit the Hot Zone having a right Spheare and the Aequinoctial for their Zenith their shaddows are under their Feet at noon because they have the Sun Perpendicular to their Body but they who dwell under the Poles have their shaddow carryed round about them like a Wheel Nevertheless we must generally consider the best Effects of Nature immitating them by proposing unto us their Examples And so must we doe on the Surfaces of High-wayes taking the Light from the East in imitation of the Sun which in that part where it beginneth to rise casteth the shaddows of Bodys towards the West and to other parts according to his Aspects We will now lay down a few Precepts necessary to be observ'd and so conclude this Discourse of Chiaro Scuro In Light we must consider the Sun in his Luster as Rising Meridionall Setting and according to the Vapours he meets in the Air. Clear Air likewise through which the Light is spread and is something blewish and Cloudy Air which is Darker but leaves more easiness for Objects to be discerned in their true Colours the Eye not being dazled with too great a Brightness We must Consider Lights as Principall falling Perpendicular without Interruption on any Surface or Extremity Glancing by sliding Diagonally on Elevated Bodys And Secondary for things at distance according to the Thickness of Vapours which Intervene and offer many incidental opportunitys for giving the more Beauty to the stronger Lights as likewise loosen the Lighted parts by the opposition of the deep Teints If the Design be in the open Air the Light is extended and diffus'd on the Objects with the greater Tenderness If in Inclosed Places it is more consin'd the Lightnings more strong and Quick The Chief Light must be on the Principall Figure of the Group and must be extended without the Interruption of little shaddows that the Relievo may stand more boldly out All Shaddow must have a Sympathy with the Lights in their Colour as likewise the Reflections with the Bodys Reflecting Arteficial Lights if very bright give a quick Heightning and dark and deeply shortned Shaddows Lastly it must be carefully observ'd that betwixt all Lights and Shaddows there must be such
Breaks and Distances conformable to their Perspective after a just and exact Scituation according to the diminution of Distance whither plac'd high or low In all Histores we must have regard to the Climate and the time in their Habits taking care we Dress not Antique Figures in Modern Habits nor one Country in the Dress of another We must adjust the Drapery so on Figures that they may appear real Vestments and therefore we must cloath the Lay-man before we put it in the Action we design The Folds must be dispos'd in such manner that they may make the great parts in which the Nudity may appear Free the little Folds being plac'd about the Joynts and taking great care that upon the Relief and Surface of Members we do not strain or hurt them but that the motions may seem disingag'd We must also raise up the stuff letting it fall lightly that the Air sustaining the Folds may make them fall more neat and soft We must take care to distinguish Draperys Taffatys and thin Silks must be full of Breaks and Flickerings Sattens more Quick Lights the Folds lying more soft and round but Velvet the quickest the deeps very dark with Reflections on the outward parts of the Folds Large Figures must be dress'd with Folds large and free more to be regarded for their Grace and Facility then for their affected Pains and Industry Hair must be touch'd in large Historys with a full and free Pencel not nicely workt up to follow the Nature for that will be all lost by the distance and appear Flat We may neglect the Nicity of the story for the Advantage of the Picture as putting any former Hero in better Grace and Posture if in a great Action then perhaps History hath transmitted to us In Dead Bodys we must avoid all that appears Noysome and Unpleasant to the Eyes ever observing to take the best of Nature so in the miracles of Curing Diseases we may take the what is Acute in pain omitting what is Loathsome to the Eye We must shun all Sharpness in the Contorsions as likewise all Flatness in the Body of the Piece In Lights by Night the Artificiall must govern the Naturall but by Day the Naturall govern the Artificiall If the Action be in Uninhabited places you have liberty to represent the Extravagant Effects of Nature but in a well dispos'd Irregularity if in Inhabited places you have Liberty for Ruins c. at a distance but not near Hand If the Buildings be Rustick you may dispose them to the best advantage of the Figures and according to the Idea of the Subject if Regular we must have respect to the several Orders of Architecture But Regular or Irregular we must observe their Geometricall and Perpendicular according to the Rules of Geometry and Perspective In all Mountains Rocks Buildings Trees c. we must Proportion their bigness to the Plane where they are plac'd and hold it for a Maxim to make the Ground-plot great enough for the freedom of the Figures and the meeting of all the fine Effects We must take care to adjust the Land skip to the Figures not only to its Manner but also to the Colouring part that it may ly quiet and put the Figures forwards Finally we must observe that the whole work be of one Peice all Free and nothing Forc'd or Restrain'd a judicious observation in the Perspective Actions suiting the Character whither Noble or Rustick the Sex whither Masculine and Strong or Tender soft and Easy the Age whither Grave Vigorous or Childish that there be a Principall Eye in the Picture to which all the rest have reference That there be a Harmony of Colouring throughout the work that in the Drapery the Lesser folds descend naturally without Crossings and Confusion from the greater that the Figures bare exact Proportion and the Fore shortnings be brought to the severest Test of the Judgment But wheras in History the Figures have dependency on each other a Figure by the Life one Figure usually making the Picture be only agreeable to it self We must Consider by divers Tryals what Position of Body Action and Light best becoms the Person and when any thing seems forc'd or affected we must Endeavour to divert them by Discours c. For a Round and full Uisage take a three Quarter-Face for a Thin and Long more Foreright For a soft Languishing Look the Face something Inclining For a Sprightly more upright looking over the Shoulders c. Let Children be playing with Lambs Birds little Dogs Catching water from Fountaines and with the like Childish Actions Lads and Young Uirgins Shooting Hunting in Sheepherds and Sheepherdesses Dresses c. and so suitable in all Ages and Drest to their Quility but for all Habits dress up a Lay-man and Paint from the Nature Nor must you only suit the Age and Quality but also the Complexion a brisk Sanguine beares the Strongest a Sallow weaker colour'd Drapery And where you Paint much Drapery carry backward and in the Shaddow what you can that you may not hurt the Eye of the Picture Put Scars and Defects as much as may be in the Shaddow not only taking the best but Helping Nature where it may be done without Hurting the Intent of the Picture If you have several Figures put them in manner of a Group with Half three quarter and Foreright Faces not all looking on you as if they were suppris'd Landskip must bare a Harmony in Colouring with the Figures putting them forward Shunning the affected Finishing of Trees Flowers c. which shew more of Labour then Art Be as quick as may be without Injury to the work in a Face Catching the briskest Air before it sinks by the Persons growing Uneasy and lastly give all that are by Liberty of their Opinions in the Likeness for thence sometimes you may Correct your work Thus have I giving the most Necessary Directions and Instructions throughout the whole Mistery of Painting These with a diligent Study in the Theory and a Carefull management in the Practise will Effect an Entertainment Suitable to the most Noble Genius FINIS By Reason some through the prejudice of Education and yet of good Ingenious Parts may find some difficulty in Terms of Art and other Words in this Book I thought fit for their Benefit to subjoyn the Explanation of them ATtitudes Actions or Postures Aenigmatical full of Riddles Accumulate to heap up Allective Alluring Altercation Wrangling Amfractuous Broken Anatomatize to cut up Analogical Proportionable Anoptica Looking up Apex the Top of any thing Bacchanalization the Drunken Feasts of Bacchus Beatitudes Blessings Catoptica Looking downwards Chiaro Scuro Placing of Lights Concretion Joyning togather Convex Round Cosmographicall writing of the world Contours Out-Lines Contrast strengthening togather Dulcisonant Sweet sounding Diaphanous Transparent Diaphonus Jarring Dilatory Tedious Diapente a Fifth in Musick Diapason an Eight in Musick Diatesseron a Fourth Dilation an Enlarging Diagonally From Corner to Corner Expansion a laying open Exornation an Adorning Exitial Distructive Entity Being Eleimosinary Charitable Efflux a Flowing out Ebullition a Boyling up Epileptici given to the Falling Sicknes Empaste to lay well in Elevation a Lifting up Group a Knot of Figures togather Homiomaere a Likeness in Parts Hydrographical writing of the Ocean c. Hypothesis the Argument of a discourse Hatching striking strokes as in Graving Idea the Form of any thing Ineffable Unspeakable Intersection cutting off Ichnography ground Plot. Monopolist one that Ingrosseth all of a sort or Kind Monochroma one Colour Matempsychosis passing of soules from one body to another Occult Hidden Oeconomists Governours Osteology Discoursing of the Bones Optica Sight foreright Proditorious betraying Prototypon the first Pattern Paripateticks Followers of Aristotle Physiological discoursing of Natural Causes Protracted Prolonged Protuberant Swelling up Physical Natural Profile Represeutation of Heights Depths c. Ratiocination Reasoning Relievo An Emboss'd Figure Refracted broken open Speculative Contemplative Superficies the Surface of any thing Symmetrical Proportionable Sesquialter so much and half as much more Suprabipartient more then divided in two Sesquioctava an eighth part above the whole Sciographica Plat-Form or Draught Scheme a Form Tone a Tune or Harmony Teints Tincktures touches of Colours Vertigious Giddy Zenith the point directly over our heads