as being pleasant that we should therefore thinke the work-men worth our imitation We have as yet considered the Art of Painting in her first beginnings or rather in her swadling clouts and cradle it followeth now that wee should consider in the next Booke the progresse of this same Art and what hath set her on foot ⸪ THE SECOND BOOKE THE ARGUMENT THe naturall pronenesse which is in us of imitating all manner of things created as it hath ever been furthered and advanced by the ready helpe of our Phantasie so are there many other causes which have strangely cherished up this most forward inclination of our all-attempting natures but among such a great number of severall causes as are known to have promoted these Arts of Imitation wee must needs preferre God the onely fountaine of good things above all the rest whose infinite goodnesse was forthwith seconded by the diligent benevolence of loving Parents seeing they could not thinke their children well provided for untill they had found out for them a good and carefull Master the young men therefore being once by the helpe of their trusty Masters admitted to the secrets of art and being afterwards left to work out the rest by their own industry if they meant to depart from the wholsome precepts of their Teachers were kept in awe by the feare of most severe and strict lawes made against the corrupters of art but if they had on the contrary so much good nature as not to forsake the sinceritie of their first institution then did the Emulation of others that took a good course keepe them also in the right way and because the Ancients in a prodigious plainnesse of art did not so much study to have their workes commended for the choice exquisitnesse of costly colours as for the power and force of art it selfe these emulators also could not but be mindfull of that same simplicitie of art their hearts were in the mean time filled with a wonderfull sweetnesse of art delighting it selfe in this same plaine and prosperous way of emulation and gathering strength out of the manifold and every where obvious use of these arts as also out of the Honourable estimation these arts are held in with all men whereupon having once felt the tickling pleasure of the much desired glory they did merrily resolve on a most confident boldnesse of art remembring alwayes and above all things the Care due unto such grave and serious arts expressing likewise this sollicitude of theirs by a praise-worthy Ingenuitie in calling both artificers and idiots to assist them but as the heat of emulation the desire of glory and other causes here alleadged were much holpen by the publike felicity of peaceable and flourishing times so did the private fortune of the Artificers by I know not what hidden means bring them to a good and joyfull end LIB II. CHAP. I. GOD Almightie and Nature have questionlesse been a maine cause of the wonderfull encrease of these Arts of Imitation Certainly sayth Philostratus * In Prooemio Iconum if any man will speake after the manner of Sophists Picture is an invention of the Gods as well for that same painting which the severall seasons of the yeare doe paint the meads withall as for those things that doe appeare in the skie Would not you thinke the Sophists to be quick-witted and wonderfull eloquent men seeing they cleare such a great point in a few words The medowes forsooth garnished with flowers and the heaven distinguished with severall figures made up of starres and clouds are a sufficient proofe of what they say though it be very certaine that the most pleasant tapestries of the fields doe not so much helpe the Art as they doe delight the spectator that the wit of man hath set forth the constellations after the image of living and lifelesse things that the uncertaine shapes of clouds most commonly are likened unto any thing our wandring minde conceiveth The image of Pallas also knowne by the name of Palladium and all other Statues celebrated by antiquitie as if they were fallen downe from heaven are no warrantable argument to referre these Arts to the Gods none but vaine men tell such tales none but fooles entertain them since it is evident that mighty Kings have taken a singular delight in preparing such false miracles to deceive their miserable posterities withall How odiously tedious was the Citie of Ephesus in vaunting her selfe to bee the keeper of the great goddesse Diana and of the Image which fell down from Jupiter * Act. xix 35. and yet was shee for all her crackling and boasting abused by a statue brought from Alexandria for Ptolemaeus the King having sent every where for the most famous carvers to make secretly an accurat image of Diana when it was finished hee prepared a royall banquet for the Artificers the banquetting-house being first undermined wherefore none of them could escape but all were in the midst of that fatall feast swallowed up by the ruine of the place and so the true authors of the noble worke-manship being taken away it was easie enough for the King to make any one beleeve that such a compleat worke was sent down from heaven see Suidas or rather Isidorus Pelusiota * Lib. IV. epist 207. for Suidas hath borrowed this storie from him § 2. Seeing then that both the Sophisticall and Historicall proofes come to nothing it may seem best that we should returne to the first men the which as Censorinus speaketh * De die natali cap. 4. were created out of Prometheus his soft clay for so did Democritus Abderita first of all hold that men are made out of water and slime this is questionlesse our safest way seeing no wise man doth acknowledge any other Prometheus besides that power of Divine Providence expressed by Moses in the history of the creation see Genes II 7. compared with Lactantius divin instit lib. II cap. 11. see also Tertullian de Resurr carnis Fulgentius lib. II. Mythol Basilius Seleuciae episcopus orat II. Gregorius Nyssenus de Hominis opificio cap. 22. whence it is that the same Gregorius in another place * Orat. I. de Beatitudinibus calleth man an earthen statue and Suidas speaking of Adam saith this same was the first statue the image named by God after the which all the Art of carving used by men receiveth her directions so was then Adam the first statue made by God as Lots wife was the second see Genes xix 26. Remember Lots wife saith our Saviour Luke xvii 32. least therefore wee should quickly forget her shee seemeth to have been turned into a durable materiall for Plinie * Nat. hist lib. xxxi cap. 7. vide quoque Solinum cap. 31. doth mention some kind of salt which after the manner of stone quarreys withstandeth iron although the miraculous preservation of that statue doth not seeme to require that wee should conceive any such durablenesse of I know not what materiall
out of the three titles it sheweth the first is that it was L. Lucullus the generall his booty taken from the enemies the second is that Lucullus his sonne a pupill did dedicate it by the decree of the Senate the third is that T. Septimius Sabinus when he was Aedilis curulis restored it to the publike out of a privat possession Plin. xxxiv 8. M. Agrippa though he was a man that might seeme to be more given to rusticitie then to such kinde of delicacies yet did he buy from the inhabitants of Cyzicus two pictures of Ajax and Venus for twelve thousand sesterces Plin. xxxv 4. Tiberius the Emperour was taken very much with Parrhasius his Archigallus and kept this picture valued LX sesterces in his bed-chamber Plin. xxxv 10. It is reported that hundred talents of the tribute enjoyned were abated to the inhabitants of Coos to make them willing to part with the picture of Venus anadyomene Strabo lib. XIV Geogr. Nicomedes the King would have bought Praxiteles his Venus of the Gnidians offering for it to pay all their debts which did amount to a great summe of money but they chose rather to endure any extremitie then to part with such a rare piece of worke neither was it without cause that the Gnidians did shew themselves so resolute seeing Praxiteles made Gnidus renowned by this piece of worke Plinie xxxvi 5. Lysippus made the statue of one rubbing of himselfe which Marcus Agrippa dedicated and set up before the entrance into his bathes Tiberius the Emperour was so much taken with this statue that although in the beginning of his raigne he had his affections in his power he could not long command himselfe in this but tooke it away and set it up in his bed-chamber placing another in the roome of it which the people of Rome took so hainously that in the publike theaters with one voice they often and with much importunitie required it might be restored never ceasing till the Emperour though much against his will caused it to be set up in the former plate againe Plinie xxxiv 8. Our age saw in the chancell of June in the Capitoll a dogge of brasse licking the hinder parts of swine the singular miracle and neere resemblance unto truth of which statue is not onely understood in that it was dedicated there but by a new kinde of suretiship taken for it also for it being valued at so high a rate that no summe of money was thought sufficiently answerable for the losse of it it was resolved by publicke advice that those which undertooke the custodie of it should binde their owne bodies for the performance of their undertakings Plin. xxxiv 7. It is much questioned who were the makers of Olympus Pan Chiron and Achilles which are set up in a place knowne by the name of Septa much the more because fame hath delivered them worthy to be answered with the lives of them that undertook their keeping Plinie xxxvi 5. The example of Clesis made famous by the injurie done to Queene Stratonice is very remarkable for much disdaining the slender entertainment he received from her he painted her in the wanton embracements of a fisher-man the Queene was sayd to be in love withall and leaving this picture exposed to the publike view in the haven of Ephesus he took shipping and escaped away the Queene for the excellency of the Art and rare expression of the persons would not suffer the picture to be removed so bestowing upon the art though in a subject most contumelious and spightfull the honor she had denied to the Artificer Plinie xxxv 11. § 4. It appeareth by all these examples what care great Kings and mightie Common-wealths tooke to cherish the brave spirits of excellent Artificers and there was good cause for it seeing it most of all concerneth those that are vertuous for the upholding of Arts invented to make some difference betweene deserving and undeserving men Whosoever performeth deeds worthy of verses sayth * In praefat libri Tertii de laudib Stiliconis Claudian is also a lover of verses even so must they needs love Statues who know themselves worthy of that honour The Artificers themselves did likewise reape great profit out of this respect the flower of the world gave them neither was it possible they should thinke meanly of themselves seeing they could not but judge their Arts worth so much as they saw them valued at by the matchlesse moderators of earthly things having therefore once drunke in this perswasion they were instantly possessed with the love of a strange magnanimitie Nicias refused to sell his picture called Necyia to King Attalus who offered for it LX talents but being himselfe very rich chose rather to bestow it as a present upon his Country Plinie xxxv 11. Zeuxis first began to make presents of his workes saying that no price could be answerable to their worth so he bestowed Alomena upon the inhabitants of Agrigentum Pan upon Archelaus Plinie xxxv 9. Polygnotus painted at Athens the porch called Poecile freely whereas Mycon did paint a part of it for a reward no wonder then that Polygnotus was of more esteeme and authoritie and the Amphictyones a publike councell of Greece bestowed upon him lodgings rent-free Plinie xxxv 9. It was then discreetly done of these Artificers that they would not lessen the authoritie of their Art seeing many things lose their worth for nothing so much sayth Quintilian * Lib. XII cap. 7. as that they may be prised at a certaine rate § 5. By the consideration of the honour given to these Arts the Artificers themselves were admonished to use them with more respect and being ashamed to confine Arts of so large extent within a narrow compasse they would not employ them in adorning the walls of private houses for the delight of particular land-lords onely nor of such places as could not be defended from the danger of casuall fires Protogenes was contented with a little cottage in his garden In the plaisterings of Apelles his house there was never any picture to be seene no body as yet tooke a pleasure in painting whole walls over all their art was for Cities and the Painter was a publike thing for the benefit of all Countries sayth Plinie xxxv 10. There is extant a most magnificent and worthy oration of M. Agrippa sayth the same Author * Lib. xxxv cap. 4. concerning the publishing of all Pictures and Statues which were better it had been done then that they should be banished and confined to some private country-houses The old Artificers therefore as they would not have their workes smoothered up in some private corners so were they very carefull in publishing them and it proceeded out of this same veneration of the Art that the founders of painting and casting sayth Plinie * In praefatione ardui operis inscribed their accomplished workes and such as can never satisfie our admiration with an uncertaine title saying Apelles faciebat aut
for the first every one sayth Symmachus * Lib. I. Epist 23. may consider the vertues of other men for Phydias his Olympian Jupiter and Myron his heyfer and Polycletus his canephorae have been admired by them that were ignorant in this Art the nature of understanding goeth a great deal further and rare things should not have that same generall approbation they doe deserve if the feeling of good things did not touch them also that are inferiours So sayth the same Author againe in another place * Lib. VIII Epist 22. the fame of great men should want celebritie if shee did not content her selfe also with ordinarie witnesses the words of Dionysius Halicarnassensis are worth noting I have learned sayth he * De Composit nominum in most populous Theaters filled with great multitudes of them that had no skill in Musicke how all have a naturall prouenesse and aptnesse to that same proportionable concent we finde in a melodious harmonie the people crying out upon avery renowned Musician when he did spoile his song by stirring but one string that was not well tuned a most skilfull piper also suffering the same when piping untunably or pressing his mouth carelesly he did seeme to fall into an unpleasant kinde of play for if any one should bid an idiot take the instruments and mend what he blameth in the Artificers he should never be able to doe it seeing that is the worke of skill which all have not where as the other is the worke of passion or feeling and Nature hath denyed that to none As for the second Anacharsis had good cause to wonder as Laërtius reporteth * Lib. I. de Vitis Philos how the Artificers in Greece did strive and such as were no Artificers did judge It is true that he did speake this about their gymnike exercises neverthelesse it hath place also in these Arts of Imitation seeing there is very often in the same something of deeper consideration Mechopanes was liked for a certain kinde of diligenc that none could understand but the Artificers alone sayth Plinie * Lib. xxxv nat hist c. 1. To make up a statue as is fit sayth Epictetus * Arriani Epictetus li. II. cap. 24. whose worke doe you take it to be it is the worke of a statuarie but to looke skilfully upon such a worke doe you thinke it requireth no skill at all certainly it requireth skill also Hermogenes doth urge the same to know how to judge of other mens workes sayth he * Lib. I. de Formis orationum so farre forth as they are neat and accurat or not whether likewise they are an ancient or a modern worke cannot be done without some experience in such matters The younger Plinie sayth also expresly * Lib. I Epist 10. none but an Artificer can judge of a Painter Carver Caster in brasse or worker in clay Observe in the meane time that in these words of Plinie we must understand by the name Artificer not such a workman onely as doth really paint and carve but such a Lover and well-willer of Art as by a rare and well-exercised Imaginative facultie is able to conferre his conceived Images with the Pictures and Statues that come neerest unto Nature and is likewise able to discerne by a cunning and infallible conjecture the severall hands of divers great Masters out of their manner of working To the triall of Picture sayth Tullie * De Optimo genere oratorum there is also use made of them that have some skill in judging though they are altogether ignorant in doing The same Orator sayth againe in another place * De Oratore if I were to speak of a player and did maintaine that he cannot give satisfaction in his gestures without some skill of well-behaving himselfe and dancing there is no need that I my selfe for saying so should be a player but it is enough that I doe shew my selfe a discreet censurer of another mans work Plutarch doth attribute unto the great and good Aratus of Sicyon a learned judgement in Pictures Vindex likewise a most noble Romane is highly commended by Statius Papinius or his rare judgement in all kinde of Art who dareth ever strive with Vindex sayth he * Lib. IV. Sylv. to discerne the old drawings of the Artificers and to restore his Author unto such statues as have no inscription he shall shew you what brasse Myron be laboured with a watchfull diligence what marble got life by the carving-iron of the laborious Praxiteles what ivorie was smoothed by Phydias what statues doe as yet retaine the breathing infused into them by Polycletus his furnaces what line doth a farre off confesse the ancient Apelles for Vindex doth follow this pastime as often as he layeth downe his Lute the love of such things doth call him sometimes a little aside from the habitation of the Muses § 6. There are every where in our age also a great many of noble descent and eminent places who having made an end of their urgent affaires doe after the example of this same Vindex recreate themselves in the contemplation of the divine workes of excellent Artificers not onely weighing and examining by a secret estimation what treasures of delight and contentment there are hidden in them but sometimes also viewing and examining therein every little moment of Art with such infatigable though scrupulous care that â—o is easie to be perceived they do not acknowledg any greater pleasure I doe not count him free that doth not sometimes doe nothing and the true fruit of leisure is not a continuall bending of the minde but a relaxation sayth Tullie * Lib. II. de Oratore yet are the wits worne out by a daily toile about civill affaires most of all repaired by the sweetnesse of such like things sayth Quintilian * Orat. Instit lib. X. cap. 1. Even as men that are used to a daily course of labour when they are hindred from following their worke by reason of tempestuous weather doe passe their time with a ball cockall dice or else devise themselves at their owne leisure some other game so doe they that are excluded from the worke of publike affaires either by the iniquitie of times or else by granting unto themselves some holy-dayes follow altogether the delight of Poësie Geometrie Musicke sometimes also finding out some new studie and play sayth Tullie * Lib. III. de Oratore for as grounds are much the better for the change of sever all feeds sayth the younger Plinie * Lib. VII Epist 9. so are our wits refreshed somtimes with one sometimes with another meditation § 7. That the lively spirits of eminent men are most of all drawn by the sweetnesse of this delight doth deserve no admiration Whatsoever is faire is able also to stirre a stone sayth Epictetus * Arriani Epict lib. III. cap. 23. The beautie of the bodie moveth our eyes by a decent composition of the
painting in box-wood and that this same Art should be received into the first rancke of liberall sciences although it hath ever been so honoured that none but free-borne might exercise the said Art and such afterwards as were at least of an honest condition with a perpetuall prohibition that none of the servile sort of men should be trained up to the knowledge of this Art so was there also in this Art and in the Art of graving never any one famous that was of a slavish condition Galen therefore giveth us a very good and wholsome advice expressing withall the true reason why these Arts are to be rancked with the liberall sciences Wee are to exercise an Art sayth he * In exhortaetione ad perdiscendas artes that may stay with us all our life time and as some Arts are rationall and reverent some on the contrary contemptible and exercised onely by the labour of the bodie so is it alwayes better a man should addict himselfe to the first sort of Arts for the second sort useth to forsake and to disappoint the Artificers when they waxe olde of the first sort are Physick Rhetorick Musicke Geometrie Arithmetick Logick Astronomie Grammar the knowledge of civill lawes Joyne unto these if you will the Arts of Carving and Painting for though their worke doth demand the help of our hands yet doth it not require youthfull strength § 2. Seeing then that Grecian children by an usuall custome of the Country did first of all beginne with the rudiments of these Arts it shall not seeme strange to any one that weigheth the fore-mentioned words of Plinie why Sicyon is called by the same Author * Nat. hist lib. xxxv cap. 5. patria picturae that is the native Country of picture So sayth Strabo * Lib. VIII Geograph likewise that the Arts of Painting and Carving with all such kinde of workmanship were most of all augmented at Corinth and Sicyon Of Corinth sayth Orosius * Lib. V. hist cap. 3. that for the space of many generations it hath been a shop of all Arts and Artists yea a common Mart-towne of Asia and Europe Of Sicyon see Plutarch in the life of Aratus Sidonius Apollinaris * Lib. VI. Epist 12. sayth that Greece was famous for Painters and Carvers And Plinie * In prafatione ardui operis termeth the Grecians pingendi fingendique conditores that is founders of painting and casting Neither could it be otherwise but that the Grecians should carry this praise above other Nations for their lads making in their tender yeares the first triall of their wits about the rudiments of these Arts were kept to the prosperously attempted Arts if they fell to them with a naturall dexteritie and were on the contrary put to other Arts if they did not prove so apt as the nice exactnesse of these Arts seemed to require Lucian * Vide Lucianum in Somnio testifieth of himselfe that his father consulting with his kinsfolkes about the trade he should put his sonne to thought it best to make him a statuarie because he had observed that the boy returning out of the schoole did delight in nothing so much as to make oxen horses and men likewise and that he did it not unhandsomly It is verily a great matter to exercise an Art to the which our naturall inclination leadeth us as before hath been shewed and yet is it of no lesse moment to begin that same selfe-chosen Art betimes This is true in my opinion sayth Tullie * Lib. III. de Oratore that a man is never able to learne any thing thoroughly unles he have been able to learn it quickly Quintilian likewise sayth very well to the purpose if you begin to teach one that is now setled in yeares sayth he * Orat. instit lib. I c. 12. you shall better perceive that such as doe any thing in their owne art excellently are upon good ground sayd to have learned that art from their childhood § 3. So did then the Parents provide betimes unto their children choice Masters which should shew them the true face of Art sayth Quintilian * Dialogo de causis corr eloqu c. 34. and not a vaine image onely Which also as the same Author speaketh * Orat. instit lib. II. c. 2. should take the scholars in hand with a fatherly minde esteeming themselves to succeed in their place that committed the children unto them and having once met with such Masters they tooke no further care but left all to them as the waggoner is you doe set over the horses sayth Libanius * Legatione ad Julianum Imp. so may you hope that the waggon shall goe yet were the Parents wont to take heed that the hope of a more speedy and sudden gaine should not cause them to publish the greene studies of their children before the time of their apprentiship came to an end Corne doth also exspect the times determined for maturitie sayth Q. Curtius * Lib. VI. de Rebus gestis Alexandri cap. 3. and things voide of all sense receive a good temper by a certaine law appointed unto them This warie circumspectnesse being afterwards neglected by Parents made Arbiter breake out into a just complaint and we now a dayes for the like carelesnesse of our times have great cause to renew the same complaint pressing his words as neere as may be Parents deserve to be rebuked sayth he * In Satyrico that will not suffer their children to profit by a severe way of teaching for they doe first frustrate their hopes as well as other things by ambition and afterwards making too much haste to obtaine their desires they doe publish the raw and unperfect endeavours of their children putting them before their full growth to the practice of such an Art as by their owne confession is the greatest of all other Arts. Whereas if they would be content that the endeavours of their children should goe on by degrees that the studious lads should be kept in by a strict course of exercitation that they should prepare their mindes by the precepts of wisedome that they should not sticke now and then with a cruell pencill to deface pleasing lineaments that they should view and consider a great while what may be worthy their imitation if they did not instantly thinke all magnificent whatsoever they see liked by their children this same mightie Art could never want the weight of her majestie Now on the contrary as boys doe but trifle and play in the schooles so are they nothing but laught at when they step forth unto the publike and which is worse then both whatsoever any one being young hath learned amisse he is loathe to confesse it when he groweth older CHAP. III. GOod and vigilant Masters did never deceive the trust reposed in them studying alwayes to answer the expectation of timorous Parents with a most carefull diligence in teaching Plinie noteth two things in Pamphilus out
enjoy the fruit of his Art whereas before whilest he did paint he enjoyed the Art it selfe The youthfull yeares of our children are more beneficiall and profitable but their infancie for all that is a great deale sweeter Plutarch giveth us a lively example of the pleasure a working Artificer enjoyeth as many as love to paint sayth he * Inlibello cui titulus Non pâ—sse suaviter vivi secuÌ„dùm Epicurum are so taken with the goodly shew of their workes in hand that Nicias when he made a picture famous by the name Necya did often aske his servants whether he had dined His mind forsooth fed upon the study of his worke finding greater dainties in that contemplation then in any other banquet whatsoever I have seene Painters doe their worke sayth Libanius * Declamat VI. singing Neither doth it deserve any admiration that they should worke with so much ease seeing the workman is still refreshed and encouraged by the spirit infused into him by an unexpected successe bestirring himselfe as if the things themselves and not the images were a-doing there is every where nothing but life and motion so are also these new upgrowing things entertained with a great deale of favour and sollicitude sayth Quintilian * Lib. X. c. 1. This same favour also together with the conceived hope conducing to the fertilitie of our wit sayth Lucan carm ad Pisonem § 2. As many then as doe wonder at and deride the indefatigable and vehement fervencie great wits doe use about the workes of art have never loved any thing worth studie and care neither have they so much as understood that our better and more divine part if it be not altogether base and degenerate is nourished or rather feasted with honest and delectable labours even from our tender childhood We doe see therefore how little children themselves cannot rest sayth Tullie * Lib. V. de Finibus bon malorum and as they grow more in yeares they love so well to be alwayes in action that they can hardly be beaten from laborious and toilesome playes so doth also this desire of doing alwayes something still encrease with their ages It is then evident that we are borne to doe alwayes something see also Seneca epist 39. § 3. And in good truth what shall we say to this can there be any so great contentment in the possession of a vast and endlesse estate in the enjoying of all kinde of pleasures and delights as to see men of great places and authoritie that live in great abundance and plentie and doe not want the good will of the world assemble themselves together and make a ring about the astonished Artificer who being thus graced by most eminent persons how do all other men upon any occasion accompany him What shew doth he make in publike places what veneration doth he finde in the assemblies of men of good note how sensible is he of the joyes that doe tickle his heart when he seeth the eyes of all men with a silent admiration fixed upon him alone when he perceiveth that his name is one of the first names parents acquaint their children with when he findeth that the unlearned and carelesse multitude hath got his name and telleth it one to another at his going by country people also and strangers having heard of him in the places of their abode as soone as they come to Towne enquire for him first of all desirous to see the face of him they heard so much of any wit almost may be enflamed sayth Ovid * Lib. III. de Ponto Eleg. 4. by the applause and cheerfull favour of the people § 4. But why should I reckon up these ordinarie joyes that lie open also to the eyes of ignorant men seeing there are secret delights of greater moment felt and knowne by none but the Artificer himselfe for when he publisheth an accurat and well be laboured worke the sound and solid joy conceived out of the absolutenesse of the worke hath as well a certaine weight and durable constancie as the work it selfe when he bringeth on the contrary a sudden and halfe polished worke to the view of the world the anguish and perplexitie of his timorous minde doth commend the good successe the more unto him so that he doth most heartily embrace the pleasure of his fortunate boldnesse And how is it possible I pray you that such an Artificer should not thinke himselfe a most happie man which upon a just affiance of his vertues knoweth himselfe to be lifted up above the reach of envie where he standeth secure of his fame enjoying in this life as if he were now alreadie consecrated unto eternitie the veneration that is like to follow him after his death it is a most comfortable thing to have a fore-feeling of what we hope to attaine unto sayth the younger Plinie * Lib. IV. ep 15. so sayth also Latinus Pacatus the flitting pleasure of sudden successes sayth he * Panegyr Theodosio Aug. dicto as it taketh us so doth it leave us it is a longer felicitie when we are secure of what we expect neither have some great Masters in old times dedicated their best workes at Delphis in the temple of Apollo with any other intent but that they should in their life time preoccupie a lively feeling of an everlasting name Those that have hung up unto the Gods great donaries sayth Libanius * In Antiochico passe the rest of their time with a great deale of pleasantnesse as having now in their daily conversation some fine thing of their owne to relate yea if they had many other things to say that might make them famous yet would they goe by all the rest and boast most confidently that they doe not feare to be buried in oblivion seeing their worke remaineth in the finest place under the Sunne neither doth this confidence deceive them for whosoever doth shew the study of his minde in places of great resort procureth unto himselfe an everlasting glorie such is in my opinion the case of those Painters who have consecrated the wisdome of their hands at Delphis CHAP. VIII AS then the sweetnesse they felt in a happie expressing of that ancient simplicitie made them still to advance these Arts with an undefatigable studie so was likewise the manifold and every where obvious use of these Arts a great cause of their augmentation seeing men love alwayes to take the greatest paines about such Arts and Sciences as are in greatest request the provocations of vices have also augmented the Art it hath been pleasing to engrave wanton lusts upon the cups and to drinke in ribauldrie abominations sayth Plinie * In prooemio libri xxxiii Daedalus made a woodden Cowe to accomplish the shamefull desire of Pasiphaë withall see Higynus * Fabuia 40. But we are resolved to insist onely upon more honest causes and certainly all mankinde hath beene very much wronged by them that would goe and fetch
after this manner Having laid a statue made after the likenesse of a dead man in the darknesse of an obscure corner he brought in his friends one by one shewing them with a great deale of horrour and feare the man whom he pretended to have been murthered by himselfe craving also silence and help but when every one drew backe fearing to meddle with so dangerous a matter Callias alone readily and faithfully undertooke the societie of the danger his friend would put him to and hence was it that Alcibiades afterwards made most use of Callias as of a most trustie inward friend see Polyaenus lib. I. Stratagem There is good cause also why among the manifold use of Statues the woodden horses Vegetius speaketh of should be mentioned here not the fresh-water souldiers onely sayth he * Lib. I. de Re militari cap. 18. but the stipendiarie also were strictly enjoyned to practise the vaulting art which custome although now with some dissimulation is come downe to this present age Woodden horses were put under the roofe when it was winter in the open field when it was sommer and young men were compelled to get upon them first unarmed till they were used to it and afterwards in their full armour yea they went about it so carefully that they did get up and downe indifferently at the right or left side holding also drawne swords or long speares in their hands no wonder then that they should doe it in the tumult of a battell so readily who did practise it in the quietnesse of peace so studiously The Persians did not onely use their horses to the tingling sound of glattering armour and to the hoarse humming noise of an armed multitude but they threw also at the feet of their gallopping horses the images of dead men stuffed with chaffe least they should lose the use of their horses if in the heat of the fight they should start aside afrighted at those that lie slaine upon the ground see Aelianus de Animalib lib. XVI cap. 25. The Macedonian King Perseus preparing himselfe against the Romanes was informed that both Libya and their late victory over Antiochus had furnished them with elephants least therefore such a huge beast should fright the horses at the first sight he gave order that some cunning workmen should make woodden images resembling elephants in shape and colour that likewise a man should get upon this woodden frame and sound the trumpet thorough his snout in imitation of their lowd and dreadfull braying the horses therefore having often seene the sight and heard the noise were taught by this means to contemne the Elephants Polyaenus lib. IV. Stratag But among so many severall uses of Statues the inaugurated Statues may not be forgotten which being set up by skilfull enchaunters in some unaccessible chauncell of the temple or else secretly digged in the ground were thought to appease the wrath of the Gods and to protect the Country from hostile invasions see Photius in Excerptis ex hist Olympiodori Such a one seemeth that same Talus to have been mentioned by Apollonius Rhodius * Lib. IV. Argonant ◠1638. and many other Authors Asius the Philosopher also made an image of Pallas by a certaine observation of Astronomicall influences tying the destinies of Troy to the preservation or losse of that Palladium see Tzetzes in Lycophronis Cassandram But of this God willing shall wee speake more at large in our Catalogue of Artificers If any one in the mean time desire to know something more concerning the inaugurated statues which now adays by them that are curious of such things are called Talisman let him reade the sixth Chapter of Gafarellus his Curiosities unheard § 5. What an endlesse labour it would be to reckon up the severall sorts of statues and Images made both for use and ornament not to alledge many authors may bee knowne out of Cassiodorus alone The Tuscanes are sayd to haue first found out statues in Italy saith hee * Variarum lib. VII 15. and Posteritie having embraced this invention of theirs hath very neer filled up the city with a number of people equall unto them that were begotten by Nature As therefore it might seeme a most temerarie unadvisednesse if I should undertake to mention all that ancient authors relate of the workes of statuary and picture so is it more agreeable with our meane wit and otherwise employed industry to promise but a little more than we have sayd alreadie not mentioning the majestical ornaments of Churches of market places and publique galleries seeing it is better to say nothing at all of them than to lessen their deserved admiration by a dry and homely expression Insisting therefore onely upon some other examples of the usefulnesse of these arts it may not seeme amisse to thinke that many of the ancients perchance have studied to fill publique and privat places with all kinde of rare pictures and statues for the same reason for which the Lacedemonians otherwise a blunt and course people made much of them For being a warrelike Nation and knowing well-shaped proper bodies to be most fit for war they were also most desirous to beget handsome children representing unto their great bellied wives the images of Apollo and Bacchus the fairest among the gods as also the pictures of Castor and Pollux Nireus Narcissus Hiacynthus young men of perfect beauty Appianus in his first booke of Hunting describeth this custom of theirs adding withall That such as bred horse-colts and pigeons did most commonly use some such like meanes to have their horse-colts and Pigeons speckled and painted after their own phantasie The practise of the Patriarch Jacob agreeth very well with this See Genes xxx and B. Hieronymus his Questions upon Genesis The shapes of bodies brought forth saith Pliny * Lib. VII Nat. hist cap. 12. are reputed to be sutable to the mindes of the Parents in which many casuall things beare a great sway things seene heard remembred phantasies also running in the mind at the very instant of conception a thought likewise running in the mind of either of both the Parents is conceived either to giue the whole shape to the child or els to mix it Whence it is that more differences are in man than in any other creature whatsoever seeing the nimblenesse of his thoughts the swiftnesse of his minde and the varietie of his wit do imprint in him images of many and seueral fashions whereas all other creatures have unmoveable minds and in their owne kinde alike Heliodorus groundeth the whole argument of his Aethiopicall history upon such an accident as is to be seen in his fourth and tenth booke Saint Austen * Retractat Lib. II. cap. 62. likewise relateth out of Soranus That a certaine deformed King of Cyprus was wont to set before his wife when hee meant to know her a most faire picture hoping to effect by this meanes that she should bring him forth faire children Galen also in his treatise de
doth become them Caduceus Servius his words are worth nothing The rods of ambassadors or heralds were not without cause tyed about with two serpents sayth he * Ad versum 138. Octavi Aeneid seeing they are sent to dispose two hostile armies to a mutuall reconciliation by making them forget the ranckour of their inveterate malice and to become one even as two venemous serpents notwithstanding the deadly poison which is in them couple themselves most lovingly together Some interpret it otherwise the ambassadors rod sayth another * Scholiastes in lib. I. Thucydidis is a straight stick with two snakes winding themselves from two contrary sides one about another and holding their heads opposite one against another the messengers of peace use to carry such a rod and it is held unlawfull to hurt them whether soever they goe the straight sticke signifieth the force of an ingenuously free speech the image of the snakes at either side signifieth the contrary parties for so doth an upright and resolute speech goe thorough both the armies see also Polybius lib. III hist and Suidas Fulgentius giveth us a peculiar reason why such a rod was most commonly attributed unto Mercurie a rod tyed about with serpents sayth he * Lib. I. Mythol is attributed unto Mercurie because he giveth the Merchants sometimes an extraordinarie huge power which is signified by the scepter sometimes a sore hurt which is insinuated by the serpents Canes aurei atque argentei Alcinous his palace had at both sides of the entance golden and silver dogges that seemed to keepe the watch there see Homer Odyss H vers 91. Charila a childish image mentioned by Plutarch in Quaestionibus Grecis § 12. Cicadae aureae the Athenians did anciently weare golden grasse-hoppers in the curled lockes of their haire sayth Thueidides lib. I. hist and the old Scholiast observeth there that they did so because the grasse-hopper is a musicall creature or else because they would seeme to be Autochtones boasting themselves not to be brought into that countrie from any other place but that the place of their abode was also the place of their breeding even as grasse-hoppers come of the earth The Ionians also as being but a colonie of the Athenians kept this custome a good while see Thucid. in the sayd place The inhabitants of Samos did the like see Asius his verses alledged by Athenaeus lib. xii Deipnosoph Citeria this was the name of a fine and pratling image carried about in the pompe of great solemnities to make folkes laugh see Festus Pompeius Cubicula salutatoria the chambers where they did waite which after the old Romane fashion would salute great noble-men in the morning were filled with all manner of images see Plinie lib. xv nat hist cap. 11. Suetonius * In Augusto cap. 7. seemeth to call these images Cubiculares imagines see Casaubonus his observations upon these words Currus-Dariiregis King Darius his chariot was adorned on both sides with images wrought of silver and gold the yoke as it was distinguished with precious stones so did it support two golden images a cubite high whereof the one offered to fight with the other there was also between these an Eagle that did stretch forth her wings consecrated see Q. Curtius lib. iii cap. 3. Delphines some artificiall drinking-vessels made after the manner of a dolphin were called delphines and so sayth Plinie * Lib. xxxiii cap. 11. that C. Gracchus had delphines that cost him five thousand sestertios a pound Vitruvius * Lib. X Architect c. 12 doth mention brasen dolphines among the parcels that make up water-workes Ships of warre carried also engins of iron made after the similitude of dolphins see Thucydides lib. vii hist and his Scholiast Dracones militares Militarie banners made after the likenesse of dragons are mentioned by S. Austin the standards and militarie dragons sayth he * Lib. II de doctr Christ cap. 2. insinuate unto us the Generalls will by the means of our eyes See also Nazianzene orat 3. As for the ensignes used in warre severall Nations had severall sorts of them yea one and the same Nation did often alter banners the Boeotians made the image of Sphinx their standard as it is reported by Lactant. upon Stat. Papinius * Ad versum 252 libri septimi Thebaidos The Indian troupes of horsemen carry upon long speares golden and silver heads of gaping dragons with a thinne silke streamer doubled and cut in length after the shape of a dragons body so that the winde entring at the mouth filleth the silke and maketh it stirre and winde and hisse as living and raging dragons use to doe see Suidas where he speaketh of the Indians So doth the same Suidas also attribute such ensignes unto the Scythians The ancient Romanes have had severall ensignes at severall times as namely the image of a hogge the image of Minotaurus of an eagle of dragons of the hogge see Festus Pompeius in Porci effigies and Plinie lib. x. nat hist cap. 4. The Minotaurus is mentioned by Vegetius it hath ever been esteemed a most safe thing in warre sayth he * Lib. III. de Re milit cap. 6. that none should know what is to be done and therefore have the ancients used the image of Minotaurus for an ensigne of their legions to signifie that the counsell of a Generall must be kept secret even as this Minotaurus was privily shut up in the most inward and reti ed parts of the labyrinth see also Festus Pompeius in Minotaurus Of the eagles see Dio Cassius lib. X L. of the dragons see Ammianus Marcellinus lib. XVI hist where he doth describe the triumphant pompe of Constantius the Emperour entring into the Citie see also Claudianus lib. II. in Rufinum vers 365. and in his Panegyrike de III. Consulatu Honorii vers 138. Epitrapezii dii great feasts and banquets were in olde time solemnized by placing the image of one or other God upon the table not onely to put their guests in minde that the religion of the boord by reason of this same Epitrapezian God was to be respected and reverenced but also that all should as well feed their minde and eyes with this most pleasing spectacle as their body with exquisit dainties avoiding importunate and troublesome talke by drawing some good discourses from thence to-season the meat withall Arnobius pointeth at this same custome when he sayth * Lib. II. adversus gentes you doe consecrate your tables by setting salt-sellers and images of Gods upon the boord Wee have also an excellent example of this old custome in Statius Papinius where he doth relate how he was feasted by the most noble Vindex and seeing all his house filled with rare monuments of antiquitie was taken with nothing so much as with a little Hercules standing upon the table Among so many things sayth Statius * Lib. IV. Sylv. Hercules the Genius and protector of the pure table possessed my heart with
Polycletus Apelles or Polycletus made it to make the world thinke that the Art was but begun and left unperfect that the Artificer likewise by this means might looke for pardon even as if he should have mended all unlesse he had been intercepted by an untimely death So was it then a custome full of modesty and it did shew in them a wonderfull veneration of these Arts that they would have posteritie looke upon all their workes as if they were their last workes and that the fatall houre had taken them away before they could make a full end It is reported that there have beene but three pictures which were absolutely inscribed Apelles fecit Apelles hath made it whereby it did appeare that the author would have the Art above all things secured and for this reason were all such workes subject to a great deale of envie That now they sped well with that tender care they had of the credit of these Arts is manifest out of the following words of Plinie It is a very rare and most memorable thing sayth he * Lib. xxxv cap. 11. that the last workes of Artificers and their unperfect pictures have been in greater admiration then the perfect as namely Aristides his Iris Nicomachus his Tyndarides Timomachus his Medea Apelles his Venus seeing there are in such kinde of Pictures to be seene the remaining lineaments and the very thoughts of the Artificers so doth our griefe also commend the worke unto us whilest we cannot but love and desire the hands which perished in the midst of such a worke But here must we needs note by the way that when the ancient Artificers are sayd to have been spurred on by the hope of glory it is meant of the true and solid glory and not of a false and momentany shadow of the same Many that mountebank-like onely brag of their Art mistake themselves herein very much for whilest they doe by a preposterous ambition make haste to attaine to the much desired glory and praise they doe thinke themselves very well if they can but make their pictures faire to the eye of unskilfull spectators setting forth as in a shop whatsoever may trimme and garnish their worke it is their owne credit they seeke and not the credit of the Art But Art on the other side doth laugh them to scorn that are so contumelious against her sayth Quintilian lib. X cap. 7. And whilest they would faine bring to passe that the unskilfull should thinke them skilfull the skilfull doe in the meane time find them to be altogether unskilfull to please the vulgar sort of people onely sayth Plutarch * De Educ lib. is to displease the wiser sort but of this care proceeding out of a venerable respect of Art shall wee speake at large by and by in the eleventh Chapter § 6. This generous love of an everlasting renowne continued in the Artificers as long as these Arts were had in esteeme by Kings and Nations but after that the love of money began to thrust this veneration of Art out of the hearts of men Artificers also grew thinner and thinner till none at length were left this was the observation of Arbiter a good while since I did aske sayth he * In Satyrico a most skilfull man concerning the different ages and times of diverse pictures as also concerning some other arguments obscure unto me examining withall the causes of our present sloathfulnes by the which so many brave Arts are utterly lost and how it came to passe that the art of painting among such a number of decayed Arts had not retained so much as the least shadow of her ancient beautie His answer was that the love of money made this change For in old time when naked vertue was yet in esteem sayd he all kinde of ingenuous arts did flourish and the greatest strife amongst men was that nothing might be long hid what might be for the profit of posteritie To speake then something of Statuaries povertie hath undone Lysippus whilest he did hang about the lineaments of one statue and Myron who did in a manner enclose the soules of men and wilde beasts in brasse could finde no heire But we now lying deepely plunged in drunkennesse and lechery dare not so much as try any arts and taking upon us to be accusers rather than followers of antiquity we teach and learne nothing else but vices Doe not wonder therefore that picture is lost seeing all the gods and men think a lumpe of gold better than all that Apelles and Phydias a couple of doting Grecians have made See also Theocr. Idyl xvi Plin. in prooemio lib. xiv Dionys Longinus de sublimi Orat § ultimâ § 7. When such great and eminent men therefore as should have been the supporters of art grew slacke esteeming their chiefest felicitie to consist in the possession of gold and silver those arts also which from their greatest good were called Liberall became servile For the Artificers finding but small comfort in the exercise of their owne arts did most readily and heartily embrace the most offensive solace of luxurious pastime studying only how to supply the expences of luxury by avarice and so quenching the small remnant of generous thoughts by these two most pestilent and pernitious vices it could not then be otherwise but that both Arts and artificers should mis-carry and go to wracke Of luxury sayth Seneca the Rhetorician * In prooem lib. I. controvers There is nothing so deadly to the wit of man as luxurie Of Avarice sayth Epictetus * Arriani Epict li. iv c. 4. The desire of riches maketh men base minded See Horace in his Art of Poësie Gold and silver was in old time mixed with brasse sayth Pliny * Li. xxxiv Nat. hist c. 4. and yet was the art more costly than the materiall Now on the contrary it is uncertaine whether the art or the materiall bee worse And which is very strange though the value of rare workes is infinitely encreased yet is the authoritie of the art quite gone seeing all is now done for gaine what was wont to be done for glory Marke here onely by the way that these words of Pliny doe not disallow of all gaine neither can there be any juster kinde of gaine than out of the honest industry of a laborious Art principally if the sayd Art take up so much of a mans time that hee cannot thinke of any other way to gain by Pliny his meaning is That the ancient artificers did first and most of all aime at glory knowing that they should have gaine enough having once obtained the credit of a good workman These two things may therfore very wel stand together That an artificer should chiefely intend the glory of his name and yet in the second place looke after some reasonable gaine seeing an honest desire of gain free from the basenesse of a minde that gapeth for nothing but money doth greatly encrease our endeavors in all
first lines for scorning to give way to them that are more skilfull they betray their owne foolishnesse by the securitie of a wrongfully usurped authoritie The ancients were quite of another minde they followed another way Painters and such as make statues yea Poëts also sayth Tullie * Lib. I de Off. will have their worke considered of the multitude to the end it might he mended in what they see reprehended by many they search therefore most diligently by themselves and with others what faults there are committed in the worke The younger Plinie urgeth the same upon another occasion nothing can satisfie my care sayth he * Lib. VII Epist 17. I thinke still how great a matter it is to publish any thing neither can I perswade my selfe otherwise but that we are to peruse often and with many what wee wish might please all men and alwayes § 2. Besides those there is another sort of men who though they doe not out of a presumptuous arrogance reject this Ingenuous care of mending their workes yet doe they decline it out of a timorous bashfulnesse they want courage and constancy to provoke to exspect the judgement of the world A naughtie shame sayth Horace * Lib. I epist 16. doth conceale the unhealed soares of fooles neither is it without reason that the Poët brandeth them that doe so with the name of fooles seeing every vice is nurtured and quickened by hiding of it sayth Virgil * Lib. III. Georg. As many therefore as by smoothering of their imperfections will not encrease their faults and shame both at once must first studie to finde out and to amend of themselves what is amisse which if they despire to doe let them remember at least that there is exceeding great wisdome in a confessed ignorance as Minutius Felix speaketh * In Octavis and that ordinarily according to M. Porcius Cato his saying * Apud Livium li. xxxiv ab v. c. Such as are ashamed without cause shall not be ashamed when there is cause But of this same preposterous shame something is sayd alreadie cap. x § 2. of this second Booke § 3. All of us naturally are too much in love with our owne workes and selfe-love maketh that seeme gorgeous unto us wherein we our selves be Actors I know not how every man maketh very much of his owne doings So it is you love your owne and I love mine sayth Tullie lib. v. Tusc quaest Wee looke upon domesticke things after a familiar manner sayth Seneca * De Tranquanimi cap. 1. and favour doth then most of all hinder our judgement neither may you thinke otherwise but that wee are sooner overthrowne by our owne flattery then by the flattery of others This was understood by those that were to dedicate the statues of Amazons in the temple of Diana at Ephesus for when they were to dedicate them there they resolved to choose that piece of worke that should be accounted the best by the judgement of all the chiefe workmen there which appeared to them to be that that every one commended to be the best next his owne Plin. xxxiv 8. Seeing then it is naturall to all men to be too much in love with what is their owne there is great cause why wee should shake off this importunate presumption that will not give us leave to looke impartially upon our owne workes The ancient Artificers therefore that have been and are as yet most famous did relie more upon the judgement of other Artists then upon their owne liking So doth Synesius * Epist primâ report that Lysippus made use of Apelles and Apelles likewise made use of Lysippus Praxiteles also being asked which of his marble-workes he did like best answered Those that Nicias hath put his hand to see Plinie xxxv 11. § 4. Nether did they content themselves with Artificers alone but they did moreover desire a confluxe of envious and favourable spectators yea of all sorts of men suffering their workes indifferently to be censured by them all see the younger Plinie lib. VII epist 17. It is reported sayth Lucian * Pro Imaginib that Phidias when he made Jupiter for the Eleans and shewed it the first time stood behinde the doore listening what was commended and discommended in his worke one found fault with the grossenesse of the nose another with the length of the face a third had something else to say and when all the spectators were gone he retired himselfe againe to mend the worke according to what was liked by the greater part for he did not thinke the advice of such a multitude to be a small matter esteeming that so many saw many things better then he alone though he could not but remember himselfe to be Phidias Observe here in the meane while that when they gave unto abject and contemptible men such power over their workes it was not because they hoped to learne something by them that might advance the perfection of Art seeing it is a most idle thing sayth Tullie * Lib. V. Tuscul quaest vide quoque Aelianum lib. ii var. hist cap. 1 6. to exspect great matters from an assembly of those whom we contemne one by one as handy-crafts-men and barbarians Polycletus as we reade in Aelian tooke a fine course to make vulgar wittes understand themselves shewing unto them by a lively example that they were more likely to spoile then to helpe the Art if an Artificer should follow their judgement in all things see Aelianus var. hist lib. xiv cap. 8. The Artificers therefore did not admit their directions generally in every thing but they followed their motions onely in such things as did belong to their profession When Apelles had made any workes sayth Plinie * Lib. xxxv cap. 10. he exposeth them in a place where all that passed by might see them hiding himselfe in the meane time behinde the picture to hearken what faults were noted in his worke preferring the common people a most diligent Judge before his owne judgement and he is reported to have mended his worke upon the censure of a Shoo-maker who blamed the Artificer for having made fewer latchets in the inside of one of the pantoffles then of the other The Shoo-maker finding the worke the next day mended according to his advertisement grew proud and began to find fault with the legge also Whereupon Apelles could not containe himselfe any longer but looking forth from behinde the picture bid the Shoo-maker not meddle beyond the pantoffle which saying of his became afterwards a Proverbe CHAP. XIII THe publike felicitie of times must needs be put in among the causes of the advancement of these Arts seeing it cannot be conceived how the heat of Emulation the desire of glory the diligent care and a great many more of the causes alledged could doe any good without this Felicitie of times neither doe wee hold that the blissefulnesse of the ancient times did principally consist
is needfull that an Artificer should first open the doore of fame unto himselfe before he may looke for any preferment We doe not judge of Statuaries sayth Socrates * Apud Xenophontem lib. III Apomnem making a conjecture of them by their owne words but we beleeve that he shall make the rest well who formerly hath shewed his skill in some other workes of that nature Corn. Celsus urgeth the same No body will have his Picture drawne sayth he * In Epistolà ad C. Julium Callistum but by an Artificer that is approoved of by good experiments § 2. In those Artificers that were commended for an equall force of Art there did very often appeare an unequall power of Fortune as Vitruvius prooveth by many instances Though Artificers sayth he * In praefatione libri Tertii make promise and vaunt of their skill if they have not store of money if they be not known by the ancient renowne of their shoppes if they want popular favour and eloquence the industry of their studies cannot gaine them so much authoritie as to make them be beleeved to know what they professe to know Wee finde this most of all in ancient Statuaries and Painters seeing the memory of none of them could be durable but of such as were graced by commendation and shewed some outward markes of dignitie This was the case of Myron Polycletus Phydias Lysippus and of others that gained a noble fame by means of their Art seeing they got this credit by working for Kings great Cities and noble Citizens Others on the contrarie which had no lesse industrie wit and subtiltie got no name at all because they wrought for ignoble and meane Citizens and it was rather want of Fortune then want of skill that did suppresse and obscure their fame such were Hellas Atheniensis Chiron Corinthius Myagrus Phocaeus Pharax Ephesius Bedas Byzantius and many more Some Painters also wanted Fortune as Aristomenes Thasius Polycles Atramitenus Nicomachus and others in whom there wanted neither industrie studie nor cunning but their owne povertie and their bad fortune that made them yeeld unto their competitors in a partially censured concertation did hinder their dignitie Plinie reporteth * Lib. xxxiv cap. 8. that Telephanes Phocaeus was lesse knowne by reason of the obscuritie of his ignoble dwelling place The same Author doth also witnesse elsewhere * Lib. xxxvi cap. 5. that such excellent workes of Scopas as might have made any other place famous were hardly knowne at Rome seeing a multitude of artificiall things did drowne there the glory of his workes The fame of diverse Artificers is somewhat obscure sayth Plinie againe * Lib. xxxvi cap. 5. and the great number of so many rare workmen doth very often hinder the renown of the most excellent workes of some seeing one alone cannot engrosse all the glorie and so many cannot be named all at once § 3. Seeing then that many Artificers were not so much unlike one unto another in their Art as in their Fortune it may seeme that there was a certaine kinde of ill-conceived opinion which did keepe downe some excellent Artificers and that others on the contrary got credit and authoritie by reason of a loving and favourable opinion The vulgar sort of men sayth Tullie * Pro Roscio comoedo doth most commonly judge many things according to a fore-conceived opinion not according to truth see also Aelianus var. hist lib. I cap. 24. The works of Zeuxis Polycletus and Phidias were much holpen by the fore-conceived opinion of the great skill these Artificers had see Maximus Tyrius Dissertat xxxix The selfe-same passion of our sense sayth Plutarch * Sympos probl lib. v quaest 1. doth not alike moove our minde when it is not accompanied with an opinion that the worke is well and studiously performed See Plutarch himselfe in the sayd place where among many other things belonging to this present discourse he bringeth in a merry tale of Parmeno his pigge THE THIRD BOOKE THE ARGUMENT HAving considered alreadie how Phantasie did help and stirre up our first desire of imitating all manner of things and how many other causes did mightily cherish and advance the sayd eagernesse of our forward natures it followeth that wee should last of all propound how this same inclination rightly inflamed and ordered did attain to the height of a perfect and accomplished Art The ancients observed in Picture these five principall points Invention or Historicall argument Proportion or Symmetrie Colour and therein Light and Shadow as also Brightnesse and Darknesse Motion or Life and therein Action and Passion Disposition or an Oeconomicall placing and ordering of the whole worke The foure first were carefully observed in all sorts of Pictures whether they did consist of one figure or of many Disposition alone was observed in Pictures that had many figures seeing a piece wherein there doe meete many and severall figures shall be nothing else but a kinde of mingle-mangle or a darksome and dead confusion of disagreeing things unlesse they receive light and life by a convenient and orderly disposition Yet did not the ancients think that the perfection of Art consisted in a meete observing of these five points except the whole worke did breath forth a certaine kinde of Grace proceeding out of a decent comelinesse of every point by itself and out of a mutuall accord of all five Wherefore wee could not but enter a little into the consideration of this same Grace the rather because without a full understanding of this Grace it is impossible that any man should examine the true force and value of these most fertile Arts aright LIB III. CHAP. I. INvention doth justly challenge the first and principall place seeing no man though he hath all his colours at hand sayth Seneca * Epist 71. can make a similitude unlesse he be resolved what to paint And whatsoever an Artificer worketh must according to the opinion of Zeno be dyed with the dye of sense Quintil. IV 2. The picture of compleat harnesse sayth Socrates * Apud Stobaeum Serm. de Adulatione though it be delightfull yet is it altogether unprofitable Ausonius speaketh to the same purpose a painted fogge sayth he * Epist 17. delighteth us no longer then it is seene Except it be such a painted mist as is described by the same Ausonius in another place * Edyllio 6. where the Painter doth represent the dimme shade of hellish blacknesse by a painted mist and designeth in it how the ancient Ladies torment the crucified Cupid in hell for having dishonoured them in the times of the Worthies An Artificer therefore must propound unto himselfe what he meaneth to imitate the which in such an infinite variety of things cannot be hard to a man that hath a ready Phantasie yea wee have good cause to feare that he shall rather loose himselfe not knowing what to choose among so many most worthy things The
how to apply them seasonably and how to shadow the work conveniently Which canot be performed unles there be prepared a good boord or else a fit linnen cloath for his worke Of what wood the boords used by the antient painters were made is set downe in Pliny lib. xvi Nat. hist cap. 39. about the beginning of that chapter Theophrast likewise hist plant lib. 3. cap. 10. and lib. v. cap. 8. reckoneth up what sorts of wood did serve them for that use But as they made alwaies choice of the wood they knew most proper for their work so doth Joannes Grammaticus likewise teach us That an artificer is to make good choice of the cloath he meaneth to paint on A writer purposing to write well sayth hee * In Aristot lib. II. nat auscult doth sometimes come short of his intent if he meeteth with sinking and blotting paper or else with bad inke This is also a Painters case when the colours or the cloath hepainteth on are unfit for his worke § 4. After that there are good colours and a fit boord or cloath prepared for the worke it followeth that an artificer as the occasion shall require observe these foure things Light Shadow Obscuritie Brightnesse as Plutarch joyneth them all foure very fitly together Painters cause lightsome and bright things seeme more light some and bright sayth he * de Discrim adulator Amici when they doe place shadie and darkesome things neer them This practise of theirs is a great helpe for the eye Our eye delighteth most in the brightest colour saith Maximus Tyrius * Dissertat xxxv yet shal this pleasure be lessened very much if you doe not put some brown colour neer it Yea it doth helpe the beauty of the picture The most contrary colours agree very well about the composition of an excellent beauty sayth Philostratus * Icon. li. II. in Centaur For this reason also is a blacke picture made upon a white ground saith Joannes Grammaticus * In li. I. Meteor Arist as a white or golden picture on the contrary is made upon a blacke ground It is ever so that contrary things are more apparant being placed neer their contraries whereas it is hard to discerne things like placed among things of the same likenesse Even as if you did paint white upon a white and black upon a blacke ground Whence it is that such as weare blacke cloathes cannot so well be discerned in the night time as others that weare white cloathes Those likewise who doe weare white cloaths in the day time but especially in a cleare Sun-shine cannot be knowne so distinctly § 5. Light is altogether requisite in picture seeing there can bee no shadow without it Tertullian * Advers Hermog therefore maketh it an assured marke of a poore and blockish painter to colour the shadow altogether without any light At the first before the Art was raised to that height we do now admire in the Antients there were none but single coloured pictures called Monochromata till the art at length distinguishing her selfe sayth Pliny * Lib. xxxv cap. 5. found out Light and Shadow the difference of colours by a mutuall course setting forth each others light somenesse § 6. Shadow and Light hold so close together that the one cannot subsist without the other Light is most of all commended in a picture by the shadow sayth the younger Pliny * Lib. iii. epist 13. Hence it is also That those who painted with single colours made alwayes some things rise and some fall els they could never have given unto every member his proper lines sayth Quintilian lib. 11. Orat. instit cap. 3. Artificers therfore use alwayes to adde unto their workes some shadowes and deepnings that those things which are inlightned in their pictures might seeme to sticke out the more and to meet the eyes of the beholder Let upon the same superficiall bredth of any flat boord two parallell lines be drawn saith Dionys Longinus * De sublini orat § 15. with the colours of shadow and Light yet shall the ardent flagrancie of light soonest of all meet with our eyes and seeme a great deale neerer Nicias the Athenian did most accurately observe Light and Shadows taking alwaies special care that his pictures should bear outwards from the boord Pliny xxxv 11. Zeuxis Polygnotus and Euphranor studied very much to have their pictures commended for shadowing and breathing as also for rising and falling Philostr lib. II de vita Apollonii cap. 9. Apelles painted Alexander as he held lightning in his hand his fingers seeme to beare outwards and the lightening seemeth to stand off from the boord Pliny xxxv 10. Philostratus observeth the same in the picture of an ivory Venus The goddesse will not seeme to be painted sayth he * Icon. li. II. she sticketh out so much as to make one thinke that it were an easie matter to take hold of her Pausias was the first who found out a picture which many afterwards imitated none could attaine unto First when he would shew the length of an Oxe he painted him standing full opposite against us sayth Pliny * Lib. xxxv cap. 11. and not sidelong making his length neverthelesse to bee sufficiently understood Afterwards where all others do heighten the parts which are to rise with white tempering the colour with some mixture of black he made the whole Oxe of a blacke colour and gave the shadow a body out of it self shewing by a most wonderfull Art risings in smoothnesse and continuitie in abruptnesse As this was questionlesse an excellent piece of rare workmanship so are we for all that to observe here that an artificer sheweth his greatest skill in the picture of fitting figures Those that doe sit saith Philostratus * Icon li. II. in Palaest have many shadowes and it doth bewray singular great wisedome in the Painter that hee made the maid sitting The same Author expresseth this very same point more at large in another place It is easie to hit the shadowes of them that lie downe sayth he * Ibid. in Antlante or stand upright and it requireth small wisdome to do it accurately But the shadowes of Atlas go beyond all art for the shadows of him that stoopeth after this manner though they fall one into another yet do they not darken any of these things that should rise but cause some light about the hollownesse of his belly § 7. Obscuritie or darkenesse seemeth to be nothing else but the duskishnes of a deeper shadow even as Brightnesse may bee sayd to bee nothing else but an intention of light For if you do put white and blacke upon the same superficiall breadth sayth Jo. Grammaticus * In Lib. I. Meteor Aristot the white shall alwayes seeme to be neerer and the blacke further off The painters therefore knowing this when they will make any thing seeme hollow as a Well a Cisterne a Ditch a cave or any such