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
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
Souls who despising the Insipid and Imperfect Joys swallowed down with Greediness by the Inconsiderate Herd of Mankind adapt themselves for those Immortal Pleasures But Painting not onely Allures and Delights with the Charming Numbers and Noble Information of Poetry with the sweet Unisons and Ravishing Harmony of Musick but likewise brings from their several Orbes the Great Monopolists of these Sciences for us to Converse with and by every artfull stroak adds to the Erection of her own Monument to the Delight and Instruction of the present and future Ages thus he who is not Felicify'd with the Fruition of these Three Beatitudes enjoys the Perfection of them all in this one Charming Mistress They whose Minds are Fortunate through these Exornations with what contempt may they look on those Muddy and Fulsome Pleasures which most of Mankinde Grovel in and are known to be Pleasures onely by the Name not onely being Narrow Forc'd and Feign'd but Proditorious and Exitial instead of being Benificiall to Humane Existence When in the Heat of Bacchanalization the Virtigious Brain formes to it self strange Chymera's which never were nor can be one Notion Crouding on another till the Noble seat of the Intellects becomes an entire Chaos and he the Ridicule or Pity of the more thinking how Fond and Vain is he how Derogatory to the Noble Character he bears and his pretensions to the Image of the Deity whilst his Purchace is a few dizzy confus'd Pleasures at the Expence and Ruine of Mind and Body Nor more Rational is he who expects an Elizium of Compleat Happiness in his Mistresses Armes since it is generally experienc'd that the Phantastick Pleasure of the Attempt is more then that of the Fruition which at best is but Fleeting and Momentary whilst the Enjoyments of the Mind are Fixt and Permanent Those attended with Remorse Danger and Disappointment These with Tranquility security and Certainty besides how Inglorious is it for Man to Prostrate his Affections and most studyed Herangues to one Incapable of Return perhaps a Mercenary Gilt the Product of a Dunghil who will sell at Cheaper Rates or Lavish those Pleasures on a Lusty Groom which his Master Purchases with vast Sums and humble Acknowledgements selling his Prerogative and Health for a smile and a Disease So far from Real Felicity are all Sensual Pleasures that in them we are but weaker Rivals to Brutes who injoy all their Sensualitys with better Appetites and quicker Rellish free from Remorse and Scandal And although all Humane Happyness is Lodg'd in the Soul yet even their we must be Cautious in our Choice of Affections and Passions or we may be as miserable deceiv'd as if we gave the Reines to Sensuality How far does he Deviate who expects this Blessed State in Honour and Greatness since Ambition onely begets Ambition Changing alone the Matter of their Miseries without seeking an End of them and as Seneca says those Acquisitions which dazel the Eyes of the Vulgar are Atchived with Labour and guarded with Pain nor will this Sisiphus's stone ever Rest till at the Bottom of the Valley where the Master is crush'd to Peices thereby How miserable the Covetous wretch is is too Obvious to require Refutation so far is Gold from giving Happiness that Apicius although he had the Remain of 250000 Crowns in his Coffers yet he Poyson'd himself for Fear of Starving nor could Midas be satisfy'd till the waters of Pactolus Condens'd to a Golden Mine in his Belly Allthough this spacious Theater affords dayly Numerous sceens of the wretched Mistakes of Mankinde yet still the Generallity of them give themselves wholly to the Dictates of Sence and when they feel the sad Effects they Fancy is some Destined Distemper or if they have thought enough to consider the Cause they Endeavour to drive it away by the Repetition of the same and so pass on till a painfull Old-Age if Attainable steales on them and then when their Appetites fail they have leisure to cast a Melancholly Aspect on their Prestine Folly seeing their Lamp ready to go out like a Foolish Tale that is told without one Act of Remark or Benefit to themselves or the rest of Mankinde and finding no Reason for their Continuation to Old Age except to be punish'd for the Follys of their Youth Whilst he who spends his Time in the Noble study of Philosophy the Forementioned Sciences or the like Ingenuous Beneficial and Innocent Pleasures sees Cause enough to Laugh at their Youth and pity their Age And finds to his great Comfort the Munificence of the Deity sufficient if Man but makes the Happy Choice to give him Felicity in both Worlds Since then as we have shown the Noblest Injoyment ariseth from the Choicest Idea's of the Mind Especially when they tend not onely to the Delighting but also to the Improving of Mankinde we thought it might be no unacceptable service to Anatomatize the Art of Painting from whence such Variety of Pleasures and Benefits may be reap'd CAP. I. The Definition and Qualities of Painting PAinting is an Art which by Draught of Lines and Colours doth not only Express the Forms of all things on the superficies of the Earth according to Socrates 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 with the Actions of all Animals but likewise the Passions of Intellectual Beings It is the Noblest of all Arts since it immediately Copys after the Miraculous hand of the Almighty nor only imitates Created Beings but the Creation it self for out of a Chaos of Colours which by chance mixture would perish in their mutual Imbraces and of themselves are Glaring or Foul and thence unpleasing to the Eye as ill sounds are Diaphonous to the Ears the Artfull Hand by a Sympathy in Mixture and the Harmonious Unisons of Proportion not only Formes a Beautifull Body but likewise gives the Expressions of the Soul It is the most Expressive of all Arts and of more General Information then Printing for it speaks at once to all Nations and Languages and they who are strangers to Letters may read the story in it felf therefore the Egyptians Couch'd their wisest Morals in Hieroglyphicks and Emblems and the Universality of the Knowing part of Mankinde Improv'd thereby It hath more Force of Perswasion then Eloquence for the Idea of any thing is more Subtilly and Entirely Conveyed to the Understanding by the Eye then by the Ear Objects being more Allective to this Sence then the other and having this Advantage that the Visual Rayes at once Comprise the whole Story whereas Relation is Dilatory and thence more Burthensome to the Memory What use the Ancients made of this Art for the Exciting Vertue may be seen in these amongst Numberless Examples The Romans Painted Fortitude in the Example of Horatius Cocles defending the Bridge call'd Sublitius against a great Troop of Tuscanes and Marcus Marcellus who by cutting of the Head of Britomarte a French Captain Discomfitted the Enemies whole Army For Love to their Country Mar. Curtius who cast himself
a mistake in the Hypothesis for the cause of all Idolatry is either Error or Ignorance and not through the Object of the Worship for were the Object the Cause we should Impeach the Wise Creator for his best of Gifts the Sun because the Pagans Worship it and Esteem Onions and Garlick unlawfull food because Ador'd by the Aegyptians As for the Pictures of Saints in Forreign Countrys we must imagine them set up in Commemoration of those Saints as seeing the Picture of my Friend makes me immediately Think of him and I have more Charity then to think any in this inlightned Age so profoundly Ignorant as to expect Succour from the Cloth and Colours as to the Worship of the Saints themselves nothing belongs to this Treatise and we have Learned Divines enough to discuss the Controversy Some have Objected it hath been the Cause of much Leudness and Debauchery by the many wanton Pictures have been continually Expos'd as likewise Prints every where Obvious to Youth and may the more affect them the more they Love the Art I answer the Substances are as frequent and obvious in every street as the Shadows and the Art of Painting is no more to be censur'd on a Lewd Design then a Chast Beautifull Virgin on the Account of a Beautifull Leud Wench Others have thought it Unhealthfull because Sedentary but it is not so Sedentary as some imagine for not alone they may but must walk often from the Picture to Observe the Sympathy of the Dsign and Harmonious Union of Colours and I have Known few afflicted with any thing but the Gout which I suppose is more the Effects of Bacchanalizing then the Painting of Bacchanals Their Objection who despise it as a Daubing Exercise is not worth notice since it is only a Slovens Argument for they who are otherwise cleanly may be so in this and more then in some Gentle Diversion the Colours being to be bought ready prepar'd to the Pallat nor of more notice is their Idle Objection who say 't is only a Fancy and that there is no Intrinsick value in it if what already hath been sayd of the Benefits thence arising will not satisfy I shall desist a farther Answer till I hear an Ingenuous Man make the Objection for as yet I have not heard any CAP. VII The Great Masters of this Art and whereof their Work may be seen I Shall mention but one Piece of each Noted Master to direct the Traveller where he may see of that Hand for to sum up all the Principal Works in Italy would swell up this Treatise to too great a Bulk Of Michael Angelo the Resurrection in the Popes Chappel at Rome Of Raphiel Urben St. Celia in the Church of St. John on the mount in the City of Bolognia Of Giovanni Lanfranco several pieces in the Chappel of Tesoro in the City of Naples Of Dominichino several Saints in the said Chappel Of Guercin da Cento the Assumption of St. Maria in the City of Lucca Of Old Palma St. Anthony in the Church of St. Piero Samaldi in Lucca Of Guido Rheno Cain and Abel in the Closer of Sig. Manfredo Septale Of Timoret our Saviours Last Supper in the Domo of Lucca Of Pordenon the Crucifiction in the City of Cremona Of Titian our Saviour Crowning with Thornes at the Dominicans in Milan Of Giulo Romano the Crucifiction in St. Andrews in the City of Mantua Of Leonardo da Vinci a St. John in the Pallace of Fontana Of Paini K. Phillip the 4th in the Closet of Sig. Manfredo Septale Of Pietro Flandro a curious Country Prospect in the said Closet Of Radolpho K. Priams Pallace in Flames in the said Closet Of Carolo a Sole a Noble Landskip in the said Closet Of Carolo Battavo a Battle in the forementioned Closet Of Pietro Florentino two Noble Landskips in the sayd Closet Of Firoli 3 Heads Homer St. Jerome and Moses in the said Closet Of Hercules Procacini St. John in the said Closet Of Camillo Procacini the Blessed Virgin and our Saviour in the said Closet Of Barocci a Dead Christ in the Domo of the City of Milan Of Paris Bordone an Alter-Piece of St. Girolamo in the sayd Domo Of Ludovico Carache an Alter-Piece in the Church of the Capuchins in Sassuobi Of Hannable Carache St. Francis in a Trance in the City of Parma Of Augustine Carache Duke Alexander Farnest in the said City Of Paulo Veronese the Transfiguration of our Saviour in the City of Padua Of Parmeggianino a Lucuetia in the Chamber of the Amoretti in the City of Parma Of Correggio divers Squares in the Duke of Modena's Gallery Of Giacomo Bassano two Squares in the said Gallery Of Giorgone a curious Head in the said Gallery Of Lanfrance a Chappel Painted in the City of Piacenza Of 〈◊〉 Ferratese a Lucretia in the Chamber of the Amoretti in the City of Parma Of Frederico Zucccharo a Madona in the Chamber of Sivetty in the sayd City Of Pietro da Cortino several Historys in the Pallace of the Great Duke of Florence Of Fra Bartolomeo 3 Pictures in St. Marks Church in the City of Florence Of Caravagio a St. Anthony in a Chamber of the City of Parma Of Tadeo Zuccharo a Psyche in the Pallace of Fontana Of Civoli the Lady of Piety in the Church of St. Croce in the City of Bolognia Of Polidoro the Front of a House in the Mount Cittorio in Rome Of Barnardino Luini the Blessed Virgin Crown'd with Glory Of Leo Aretini the Blessed Virgin with our Saviour St. Elizabeth and St. John Of Melchiore Gherordino two Pictures of St. Jerome and St. Lucia Of Andrea del serto a Christ carrying the Cross Of Daniel Chrispi the Picture of Manfredo himself Of Vermilji St. Jerome Accompani'd with an Angelical Minst rel Of Sardini a Lucretia Of Leone Aretini a Lucretia Of Cerani St. Francis with a Parrot Of Bronsino the Picture of Manfredo Septale Of Soliano a Madona this and the aforemention'd in the Closet of Sig. Manfredo Septale Of Camassei the Creation of Angels in the Pallace of Babarini at Rome Of Raphiel Bergo the Baptism of Fattor Bono in the Vatican at Rome Of Mutiano the Presentation of the Blessed Virgin at the Temple at the Church of Jesus at Rome Of Daniel da Voltera the Assumption of the Blessed Virgin at the Church of Madouna del Populo at Rome Of Chivoli St. Peter curing the Lame at St. Peters at Rome Of Possine the Miracle of Erasmus in St. Peters at Rome Of Aurelius Lovinus a Centurion and Crucifix at Lugano Of Bernard Zenale the Chappel of St. Peter and St. Paul in St. Francis Church in Millain Of Bramentino a Christ taken down from the Cross in St. Pietro Gressato Of Daniel Riccarelli a Christ from the Cross in the Friars Church at Rome Of Episander Laocoon with his Son in the Belveder at Rome Of Caesar Sestius Birds very fine at Viscount Prospero's at Mtllain Of Bernard Buttione of Chapple of St Ambrose in
Mediums as may take of all Hardness and so Arteficially wrought in as may not soul either with the other and so take away the Beauty and strength of the Picture CAP. XXIII Of Perspective PRospective being a Species of Geometry is a Science treating of Visible Lines and may be divided into three parts Optica Sciographica and Specularia Optica of two kindes either Physiological or Grammical The Physiological part scearcheth the Vniversal Principles Causes and Elements of the appearences of things which may be considered three several ways as Vision is Direct Reflected or Refracted as when things are seen in Water Glasses c. The Grammical is the Art of Delineation and is more Necessary to Painting then the other It considereth Sight either True or False and is of three sorts Anoptica Optica and Catoptica Anoptica is the Art of Delineating Objects elevated above the Horizon Optica designs those extended Foreright level with Horizon and Catoptica those beneath the Horizon which appear as if they came nearer the Eye below Another Species is call'd Sciogrophica It handleth the Causes Principles Elements and Properties of Shaddows giving the Reason of the Variety of the Apparitions of the Shapes and Images of Things according as they are elevated either above direct against or beneath far of or near the Eyes and as by the Laws of Grammica are distributed the Out lines of the Superficies as they ought to be according to their distance and Situation so this part considereth the Shaddows of Bodys according as their Superficies are Protuberant or Depress'd The last Species is Specularia and considereth the Reflections and Refractions of Beams giving Directions for making Glasses either Plane Convex Concave Pyramidal Angular Inverting Erecting c. which I shall wave as not being so Pertinent to this Art The Eye is the Foundation of Perspective because thence the Natural and the Rational Sight is Formed Natuaral wherein the shapes of Things seen do come to it simply by the Beams of light Rational wherein there is farther Consider'd the Reason and Effect of the Sight even where the Eye cannot be otherwise plac'd then by supposition as at an infinite distance c. The Eye is call'd by some Italian Authours the Term because by it all Things in a Picture are Limited and any Thing made without the disposition of this Term cannot be true as not being dispos'd for the Sight nor order'd according to the Visuall Beames coming to the Eye from the whole It is call'd also the Center because all the Lines of the Base and Circumference of the Object do meet in it as in a Circle all Lines run from the Circumference to the Center It may be consider'd also as the Apex of a Pyramide because all the space between the Object and the Lines or Beams which pass along and are extended from the extremitys of the Object to the Eye end therein as in the Point of a Pyramide and the Eye together with the Intellect ought to judge of the true Forms of things to the end it may be able to Imitate them perfectly In Distance we must observe that the Object come not too near to the Eye nor yet be too far of for then the Air between will take away too much of the Colour and Beauty In too Obtuse and short Distances Things seem to decline and run too much backwards in a preposterous manner so Things too far of making Acute and sharpe Angles in the Eye give no grace to the work it is reckon'd a proper Distance for the Beholder to stand from the Object three times the Length thereof Next we will consider the Object which is the Thing that standeth before our Eyes the first Figure to be observ'd is cal'd the Natural and must be exprest in the first and principal part of the Picture so that whatever you place inwards towards the Eye of the work must be diminish'd according as the Lines and Beames shall extend themselves Now we will consider the three sorts of Sight and first Anoptica which is the Real and Upper Line by help whereof we consider all the parts of the Object above the Horizon and therby bringeth them to the Intersection or Line of Shortning whence according to the situation of the Body the hinder parts are made to run downwards and the nearest parts to rise upwards and from hence the Declinings and Arisings the Shortnings and Increasings of the parts of the Body are caused This Line hath his Original from the Center or the beginning of the Distance which is the Eye so it returns to the same through the midst of the Beams which couple all the Extreem Limits of the perfect Body Optica is the second Real Sight and Direct Line and is that which is nearest the Object so that the upper parts of the Object belong to the foremention'd Line and the lower to Catoptica this is that therefore which principally touches all parts of the Object both above and below and therefore it is call'd the Direct Line For the Beams parting themselves strongly at the Eye and falling on the nearest parts of the Object end there causing the upper and lower parts to be shortned and diminish'd and the Eminences to hide the Concavities and the larger parts to cover the narrower making the Object to encrease and diminish according to their respective distances from the Perpendicular in the due observance whereof consisterh the chief Difficulty as well as Beauty of the Art Catoptica is the third sort of Sight whose beams touch all the lower parts of the Object conducting them to the Point of Intersection so that when the Object is below the Eye the farthest parts seem to rise and the nearest to decline downwards CAP. XXIV Farther Observations in Perspective BEsides these Real Sights there be severl Deceitfull Sights as upper Perpendicular middle and lowermost the upper Perpendicular Considereth the Reasons how the Intersections are carry'd to the place appointed for the Shortning which were ordain'd in the Perpendicular by reason of the upper Parts and it representeth to us Figures in a little space from below Perpendicularly on the top of a Vault perfectly expressing as well the lower as the upper parts But those which stand out in length are for the most part so shortned that the Figures seem broader then they are long The Oblique Deceitfull Sight causeth us to see the Oblique Shortnings in their places viz. such as may be made in the Vaults of Chappels nor in the Squares but in the Semicircles and such like places as the Tiburij or the Truine whence notwithstanding the declining of the Vault where they are painted the Figures may be seen to stand upright as on their Legs as if their were no Vault at all So that the arch'd appearance of a Vault causeth no interruption in the draught In such sort that a Chappel may seem truly to be open to Heaven or in other pretty Inventions as is usual in such places
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