is the biggest and shortest the Fore Finger next then the Middle Finger which is the Longest then the Ring-Finger the last is the Little Finger which is the smallest Cheiromaneers give other Names as the Thumb Venus the Fore-Finger Jupiter the Middle Finger Saturn the Ring Finger Sol and the Little Finger Mercury the Brawn in the Palm of the Hand the Hill of Luna the Triangle in the midst of the Palm the Hill of Mars The Fingers whose Joynts are as it were equal in Number according to their bigness namely three upon each except upon the Thumb which hath but two The hinder part of the Arme reacheth from the Shoulder to the Elbow where the second part of the Arme begins reaching to the Wrist-Joynt the Back of the Hand reacheth from the wrist to the first Joynt of the Fingers and is call'd Pecten The spaces between the Joynts are call'd Internodi which are two upon each except the Thumb which hath but one in the space between the last Joynt and the top of the Finger is the Nayl whose bowing where it toucheth the skin is call'd Corona the whole Hand beginneth at the wrist and reacheth to the extremity of the Fingers The Leg consists of these parts first the Thigh which beginneth at the Trunk of the Body and reacheth to the Knee The Hallow of the Thigh is the inner part below the Privitys the Knee beginneth at the Round Bone at the end of the Thigh and reacheth to the beginning of the Shin-bone which reacheth down clean through the Leg to the Instep beginning at the end of the Shin-bone and reacheth to the beginning of the Toes and is call'd Pecten or the upper part of the Foot The Ancle is that Bone which buncheth out on each side between the Instep and the beginning of the Heel The Small of the Leg is the space between the end of the two Calves above and the Ancle Instep and Heel below the Pit of the Foot is the Hallow under the Hill or highest bunch of the Foot towards the Sole The Toes have Joynts as the Fingers though shorter and Nayles in like manner but otherwise call'd as the First Second Third Fourth and Fifth the hinder part of the Leg beginneth under the Buttock and is call'd the Thigh and endeth at the hinder part of the Knee call'd the Ham or Bending The Calves of the Legs begin under the Ham and are two upon each Leg the Outward which endeth somewhat high and the Inward which reacheth nearer to the small of the Leg and diminisheth by degrees to the part a little above the Ancle The Heel is the part of the Foot which riseth out backwards reaching from the end of the Leg to the Sole which beginneth at the end of the Heel and reacheth to the top of the Toes containing likewise the spaces between the Joynts underneath orderly CAP. XII Rules of Proportion SOme of the Italians were wont to divide the length of the Body from the top of the Head to the Sole of the Foot into thirty equall Parts or Degrees dividing each Degree into ten Minut's in all three hundred which is apt to confound any young Disciple nor can such minute parts be measur'd but by Osteology Therefore we will only which is sufficient divide the Face into three equall parts and each part into four less Subdivisions Ten Faces we count to a Tall Graceful Body is measur'd thus the first from the top of the Head to the Root of the Nostrels the second thence to the Throat pit the third thence to the Pit of the Stomack the fourth thence to the Navil the fifth thence to the Piramidal Muscles thence to the Knee two and a half and to the sole of the Foot two and a half more The first part from the Top of the Head and Nose answer to the space betwixt that and the Chin in a Triple Proportion which maketh a Diapente and a Diapason That between the Chin and the Throat-pit answereth to that between the Nose and the Chin in a double Proportion which makes a Diapason whereunto the Head answers in the same Proportion the three Faces between the Throat-pit and the Piramidal muscles answer to the second between them and the Knee in a Sesquialter Proportion whence ariseth a Diapente but with the Leg they are Unisons for it hath the same Proportion with the Thigh The Extent of the Arms hath the same Length beginning from the end of the long Finger to the Joynt of the wrists one Face from thence to the bending of the Arm one Face and a third part thence to the Joyning on the Shoulders one and a third part from the Shoulders to the hole in the Neck one and a third part all which make five Faces and the like to the extremity of the other Arme make in all ten Faces The Italians Measure thus from the extremity of the middle Finger to the wrist of the Hand one Face thence to the Elbow one and a half so much to the Clavicola or Joynt of the shoulders and one to the Throat-Pit So that the Hands alone are Unisons with that between the Shoulder Joynt and the Throat-pit and the space between the Shoulders and the Elbow with that between the Elbow and the wrist so that these answer to each other in a Sesquialter Proportion cal'd a Diapente A Face is as much as the distance between the Nipples and so much more from each of them to the Throat-pit making an Equaliter Triangle The Compass of the Head from the Eye-Brows to the Neck behinde is double to the length of the whole Head The Compass of the waste is a Triple Sesquialter to the Diameter thereof and is Unison with the Trunk of the Body which is three Faces The Circumference of the Body under the Arm-pits and the space between them and the wrists answer in a Double Proportion and is Unison with any half of the Body They who by the Head mean the length of the whole Head must make but Eight Heads in all as thus the Head one thence to the Bottom of the Breast one one from thence to the Navil from thence to the Antipendiums one thence to the middle of the Thigh one to the lower part of the Knee one more thence to the small of the Leg one and from thence to the bottom of the Foot one more in all Eight And thus the Breadth when the Arms are extended from the Extremity of the middle Finger to the wrist thence to the bending of the Arm one thence to the bottom of the shoulder one over to the other shoulder two more and to the end of the middle Finger three more as before The breadth of a Figure without motion seen Frontwise is thus measur'd the breadth of the Shoulders cross'd at the Dellord Muscle to the joyning on the Arms two Faces about the Haunches where the Oblique extern Muscles are one Face two third parts and three Subdivisions the Thighs at the
biggest place one Face The Knee one third part three Subdivisions and an half the Leg at the biggest is two third parts and one subdivission the extremity of the Ancles one third part one subdivision and an half the Feet one third part and a half and half a subdivision their length one Face one third part and one Subdivision CAP. XIII Unisons in Proportion THE Measures which are Unisons are these the space between the Chin and the Throat-pit is as much as the Diameter of the Neck The Circumference of the Neck is as much as from the Throat-pit to the Navel the Diameter of the wast answers to the Distance between the Knob of the Throat and the top of the Head and this is the length of the Foot The space between the Eye-lids and the Nostrels is all one with that between the Chin and the Throat-bone from the Nose to the Chin is as much as from the Throat-bone to the Throat-pit The space from the Hollow of the eye below and from the Eye-brow to the Center of the Eye is the same with the Prominency of the Nostrels and so much it is between the Nostrels and the upper Lip so that these three spaces are equall The distance between the top of the Nail of the Fore-finger and the last Joynt thereof and from thence to the wrist are equall the space between the Nail the middle Finger and the last Joynt thereof and from thence to the Wrist are all one The greater Joynt of the Fore-finger is the height of the Fore-head and the space between that Joynt and the top of the Nail is equall to the Nose beginning at the bottom of the most eminent Arch above the Eyes where the Fore-head and Nose are divided The two first Joynts of the middle Finger are equall to the space between the Nose and the Chin The first Joynt whereon the Nail grows is the distance between the Nose and the Mouth so that the second Joynt answereth unto the first in a Sesquialter Proportion as also doth the space between the Mouth and the Chin whence ariseth the Concord Diapente The bigger Joynt of the Thumb gives the wideness of the Mouth the space betwixt the top of the Chin and the dint under the lower Lip answereth to the lesser Joynt of the Thumb and is as much as from the Nose to the same dint wherefore from the greater Joynt there is a Sesquialter Proportion and a Concord Diatesseron The last Joynt of each Finger is double to the length of the Nail and maketh a Diapason From the midst between the Eye-Brows to the outward Corner of the Eye is as much as from thence to the Ear. The heighth of the Forehead the length of the Nose and the width of the Mouth are Unisons The breadth of the hand and the Foot are all one The length of the Foot in respect of the breadth makes a double Suprabi partient a Diapason and a Diatesseron The breadth of the Foot to its heighth at the Instep makes a Sesquialter and a Diatesseron The breadth of the Hand is double to the heighth The arches of the Eye-Brows are equal to the arch of the upper Lip at the division of the Mouth the breadth of the Nose and the Eye is all one and either of them half the length of the Nose The Navil is the midst betwixt the Nose and the Knee From the top of the Shoulder to the Elbow and from thence to the Hand is a Diatessaron The space between the lower end of the Ear and the Joynt of the shoulder is half as much as the breadth of the Breast at the Shoulders which makes a double Sesquialter The whole breadth of the Body to the space between the top of the Head and the Throat-bone makes a Quadruple Proportion whence ariseth a Diapason the same Proportion hath the Cubite or lower part of the Arm from the Elbow to the top of the Middle Finger with the Breadth of the Body by the Arms spread abroad The breadth of the Flanks is double to the Thigh or a Diapason The Length of a Man is the same with the breadth The breadth of the Back at the Arm pits of the Hipps at the Buttocks and of the Legs at the Knees in respect of the soles of the Feet make a Triple sesquialter the like is from the space of the Head to the Brest-pit The Diameter of the Head at the Fore-head to the depth thereof that is between the Eyes and the Nappe of the Head is a Sesquioctava whence ariseth a Tone The Circumference of the Fore-head at the Temples Quadruple to its height or a Diapason The height of the Face and the space between the Chin and the Throat-bone makes a Triple Proportion or a Diapason and a Diapente And thus might we finde in the Hand all other Proportions of the smallest parts CAP. XIV Proportions of a Woman Child and other Observations THe Proportions of Man and Woman differ in their height a Woman hath a longer neck the parts of the Brest and the lower parts of the Belly by nere a half part which makes the space from the Brest to the Navel less by one Part and the Thigh about a third part shorter as to Womans breadth her Brests and her Shoulders are narrower her Haunches larger her Thighs at the place of their Articulation so too her Arms and Legs are thicker her Feet streighter And Women being more Fat and Fleshy their Muscles are the less seen therefore their Contours are more even and smooth A young Maid hath a little Head long Neck low Shoulders a slender Body pretty big Haunches Legs and Thighs long and little Feet Young Men their Neck thicker then Womans Brest and Shoulders larger Haunches and Belly narrower their Legs and Thighs Slenderer and their Feet bigger Young Men about sixteen or seventeen in their length have their Proportion as Men of forty but differ in breadth At twelve or thirteen mine Faces to its height being equally divided the breadth about the Shoulders two Faces about the Haunches one Face one third part and a half For Four years of Age the height six Faces and one third part from the top of the Head to the bottom of the Belly three Faces and one third part and from thence to the Sole of the Feet three Faces the breadth about the Shoulders one Face and two third parts and about the Haunches one Face and one third part For three years of Age we count five Faces from the top of the Head to the Soles of the Feet From the top of the Head to the bottom of the Belly three thence to the Feet two its breadth about the Shoulders is one length of the Face and one eighth part and in the place of the Hips one Face Yet not withstanding these certain Rules of Proportion take these observations in Common Country-Fellows as they are People of a duller Wit they must have more Heavy and Rough Proportion
The Head big and the Neck short the Stomach little the Shoulders high the Knees and Thighs thick and the Feet large For more Grave and Noble Storys the Figure must be well shap'd the Joynts well knit little and compact the Haunches high a small Hand and a Nervous Neck not very fat or fleshy Thighs Muscly the principall Muscles rais'd up and knit together at their Head and Axis Shoulders large and high the Body elevated the Belly little with smooth Legs and slender Feet In Great Heroick Historys the Figures may be much bigger then the Life only observing exact Proportion but remember as before that if they stand high as such always should the upper parts must be made larger according as the Distance Diminishes Farther observe that there is a difference in the Contours in some Parts as the Body changes as the Arm when bent is bigger then when streight so likewise of the Feet Knees c. In Measuring of Figures of the Relievo great care must be taken of the Parts Jutting or swelling out or you 'l make great Faults The Contours of Old Folks must be more stiff and the Joynts sharp in young People more easy the Joynts Rounder Great care must likewise be taken to observe the greater grace of Proportion in the Principal Figure in a Picture which is cheifly design'd to take the Eye keeping your minde most fixt on that lest you spend your Conceit on the other Figures and so the Design wants the Beauty expected as hath besell great Masters Euphranor being to draw the twelve Gods in Athens began with Neptune which he had finish'd so exquisitely both for Proportion and Colour that after designing to make Jupiter with fat greater Perfection he had spent his Conceit so on Neptune that he could not Finish Jupiter or any of the rest of the Gods The like besell to Leon Uincent who being to Paint our Saviour at his Last Supper in the Refectory of St. Maria de Gratia in Millain and having finish'd the other Apostles he represented the two James's with such Perfection of Grace and Majesty that Endeavouring afterwards to express our Saviour with a more Sacred and Divine Countenance he was not able to accomplish it wherefore advising with Bernard Zenale he us'd these words to comfort him O Leonard none but God himself could correct this Error for thou nor no Man living can bestow more Beauties then in these two James's CAP. XV. Of Action and Passion THe Passions of the Minde are certain Motions proceeding from the Apprehension of Something and are either Sensitive Rationall or Intellectual Sensitive is when we consider Good and Evil as Profitable or Unprofitable Pleasant or Offensive Rational when we Confider good and Evil as Virtue or Vice Prayse or Disprayse and Intellectual when we regard them as True or False The Inferiour Pow'rs of the Mind may be consider'd under these two Heads Desire and Anger The Desiring part considereth Good and Bad absolutely and thence causeth Liking or Hatred or otherwise Respects Good as Absent whence raiseth Desire Or Evil as Absent whence is bred Fear Dread c. or both as Present and thence Procedeth Joy or Grief The Angry Faculty considereth Good and Evil as it may with ease be Attain'd or Auoided and from thence arise Considence and Hope sometimes it moves to Revenge and sometimes excites Audacity and sometimes causeth Distrust and then Desperation By divers Passions also is the Temperature of the Body alter'd in Mirth the Spirits are inlarged in Fear contracted Love breeds sundry Colours somtimes Red somtimes Pale Anxiety Causeth Draught and Blackness Mercifullness produceth a certain Heaviness and sometimes Injures the Person so Affected Fear brings Coldness Paleness Fainting of the Voice the Panting of the Heart c. Heaviness causeth Sweating and Paleness In Bashfullness the Spirits fly to the Brain in Joy the Heart is extended by Degrees in Displeasure it is drawn in Gradually Bodys are likewise affected with Passions according to their several Constitutions and Complections Those of a Sanguine Complection are for the most part Gentle Merry Modest Gracious Generous Affable and are given to Love Pleasure Desire Hope c. which are the Passions of Delight and a Quiet Minde The Flegmatick are addicted to Mercifullness Simplicity Humility Timidity their Bodys usually induc'd to incline downwards and their Limbs to dilate and of a Heavy motion and apt to swag whereas the Sanguine are more Upright and Move more Firm. The Cholerick are Usually Bold Feirce Boisterous Violent Arrogant and Humerous they are addicted to Anger and Hatred their Limbs move upwards apt to turn start shake c. their Parts inlarg'd with Heat the Flesh inflam'd with Redness but more especially their Eyes The Melancholly are Slow Sluggish Restrain'd in their Actions and Unweildie given to Disquietness Stubborness Anxiety Sadness Horrour Despair c. their Limbs apt to hang and decline as if benumb'd with Cold. The Artist is therefore diligently to observe that he is not only to show the Passion by Contraction Dilation c. of Features but likewise to adapt a Complexion sutable to the Character the Figure is to bare in the Design whither a Soldier a Lover a Penitent c. as for Example A Martialist should have a Meager Body with large rays'd and hard Limbs Great Bones well Knit with Joynts the Complexion Swarthy with an adust Red large Eyes Yellowish like a Flame of Fire wide Nostrels a wide Mouth thick and purplelish Lips small Ears a square Chin White Teeth a darkish Hair but tending to a fiery Red with stiff and Curl'd Locks a Violent strong Voice and Shrill in some Robust Posture or Exercise Thus he that can express the Propertys of one Complection may easily conceive of the Rest since all Natural Things have a Correspondency in Method Form Proportion Nature aad Motion which Philosophically understood bring a Certain knowledg of all Passion and Action to be imagin'd in Bodys For most Certain it is that those Passions of the Minde whence these Externall Actions flow discover themselves more or less as the Bodys have Affinity with any of the four Complections arising from the four Elements Yet Ptolomie the Hebrews Aegyptians Arabians likewise Albertus Magnus with some late Philosophers affirm that our Passions Affections proceed from a Natural Instinct and Inclination of the Superiour Bodys the Planets but Sapiens Dominabiter Astris CAP. XVI Precepts for the Expressing of Action and Passion ANger the Motions of the Body must be strong and quick all the parts stir'd the Eye wild and Sparkling the Nostrels open the Point of the Eye-brows fixt towards the Nose the Corners of the Mouth a little open and Foaming the Muscles pust up the Veins swell'd the Hair standing up The Subjects for such Expression may be Moses when he broke the Tables of the Law Tydaeus who Dying bit the Head of Menalippus Alexander when he slew Callisthenes the Roman Sylla Valentinian Hungar c. Cruelty with
immoderate Laughter the Eyes pretty open and Brisk the Limbs moving moderate and Gracefully the Forehead smooth and all the Actions betokening peace of Minde Lunacy must be exprest with torn Hair squint Eyes or Distorted swelling Lips strangely Bending Fowl Nostrels Teeth befoam'd and appearing more in one place then another shaking their Heads moving their whole Body their Arms Hands and Legs Trampling as seeming in continual danger of Falling their Eyes Gastly Staring their Countenance Pale Wan or of a black and blew Colour there be other sorts call'd by Hipocrates Epileptici of which there be three kinds some with their Bodys upright Streatch out their Legs others inclining so forcibly forewards that their Faces touch their Knees and the last bending themselves so violently backwards that their Heads touch their Heels Patience hath Acts of Humility voyd of Offence and Defence which may best be illustrated in the Passion of our Saviour Rusticity hath Slovenly Heavy Slow Clownish and Unreverent Actions leaning the Arm or Leg on whomever is next Rediculing in their uncouth Manner any that appear Neat Gentele c. Wisdome hath stayd Grave and sober Actions a Cheerful severity in the Countenance stroking the Beard with one Hand which seems a little disorder'd in token of Contemplation Folly is full of Vain Actions absurd Dancing provoking the Company to Laugh by Apish Gestures of the Body and Hands turning of the Arm Head and Body in a fond Absurd Manner Grinning with other foolish Gestures of Mouth and Eyes ever Crossing the actions of Reason and Understanding Death hath divers Actions according to the manner of it if suddenly Slain the Eyes must turn up hiding half the Black and Gape but otherwise if by the effects of long Pain The Painter must distingiush between a Violent Death and when it comes by a Lingring Pining Disease for then the Limbs must be Meagre sharp and Lean likewise they must be Hanging Limber without the least Appearance of strength to Support the Body the Nerves being Relaxed But all uncomelyness and Noysomeness must be avoided still Observing to take the best of Nature or at least to correct the Worst Wondring is Exprest by Pointing with the Finger throwing abroad the Arms thrusting out the Belly biting the Lips the Eye-brows arch-wise bent and fixt on the Object sometimes still Attentive and immoveable Simplicity hath Fair Pure and Free Actions free from Malice Merry Bashfull and proper to be exprest in Young Virgins Metcy hath Pittyfull and Compassionate Actions Weeping bowing down the Head turning the Neck reaching the Hand and spreading the Arms. Inconstancy hath various and uncertain Actions seldom keeping their Arms Legs Feet or Head in one Posture Weeping Laughing c. Humility is of two kindes the better appears in Gentle Mild and Courteous Actions the other in Base Actions as when Nero carry'd some of the Earth of Isthmus on his Shoulders Sardanapalus when he sate Spinning in his Pallace c. Dread is Exprest by Paleness and Trembling Fainting and hard drawing of the breath looking over the shoulder in Flight cold Sweats c. Modesty keepeth a Mediocrity betwixt too Fearful too Pleasant Gestures their Actions Temperate Moderate Discreet Mannerly and Attentive Theft opens Mens Eyes their Hands at Liberty Musing looking from the company as fearing they should read them in their Looks often changing Colour and sometimes causing Terrible Insolent Feirce Actions Deceit is full of kinde Usages and Jests but of Wary Wise and Malicious Actions their Eyes Sweet stedfast but sharp upon all advantages Mallice hath Actions of Fraud and Falsehood looking steddily on other Mens Eyes thence to pry into their Secret Affections to obtain thence what may serve their Purpose Craftiness hath Malicious Wary Forecasting and Witty Gestures they are Mild and Gentle in all Things full of Meditation and Art Adventuring hath Bold Feirce and Couragious Actions and makes Men Free Loose and Vigilent void of Fear and Sloath. Rage is a Passion between Anger and Fury it makes Men Grin Foam at the Mouth Grind their Teeth throwing away what ever is in their Hands c. Justice as the Platonicks hold is a Masculine Vertue and hath Manly Magnanimous moderate and Considerate Actions inclining rather to Severity then Pleasure Devotion hath Actions of Kneeling lifting up the Hands to Heav'n to plair the Fingers in each other toward the Chin with an Inclining Countenance sometimes spreading the Arms abroad with the Head hanging down and sometimes Groveling on the Earth with the Face downwards Audacity hath Rash Presumptious Arrogant and stubborn Actions desiring to be fear'd of all Men not Regarding others scorning all with a fearfull Countenance and Gestures full of Threatning and Insolency and may be exprest by Nimrod Founder of the Babylonian Tow'r and in Goliah slain by David CAP. XVIII The Last Precepts for the Expressing of Action and Passion IN Expression we must Regard the Sex Man must appear more Resolute and Vigorous his Actions more Free Firm and Bold but Womans Actions more Tender Easy and Modest We must likewise Regard the Age whose different Times and Degrees carry them to different Actions as well by the Agitations of the Minde as the Motions of the Body We must also take Notice of the Condition if they be Men of great Extent and Honour their Actions must be Reserv'd and Grave but if Plebeians more Rude and Disorderly Bodys Deify'd must be Retrench'd of all those Corruptible Things which serve only for the Preservation of Humane Life as the Veins Nerves Arterys and taking onely what serve for Beauty and Form We must likewise observe to give to Man Actions of Understanding to Children Actions which only Express the Motions of their Passions to Brutes purely the Motions of Sence Consider also that Man hath his Eyes and Ears which are the Organs of the Soul situated in one streight Line Brutes have one point low on the side towards the Nose the other drawing towards the Ear their Natural Sence conducting it self from the smell to the Hearing and from thence to the Heart Man can move his Eye-brows sometimes the Arch elevated and sometimes the point drawing towards the Nose but Brutes never move their Eye-brows their Points being allways inclin'd dounwards Man likewise moves the Apple of the Eye every way Brutes cannot lift them upwards There are also two Facultys in the sensitive soul to be Observ'd the Concupiscible and the Irascible likewise two Exteriour Motions which express them and depend either on the Brain which draws towards it all the Passions which proceed from thence or the Heart which draws downwards all the Externall signs that depend on it Nor is it sufficient that we observe Action and Passion in their own Natures in the Complection and Constitution in the Age Sex and Condition but we must likewise observe the Season of the Year in which we express them The Spring Merry Nimble Prompt and of a good Colour The Summer causeth Open and Wearisome
Passion and Motion as before but more Furious and Violent in Eager Importunate and Bitter Actions The Subjects Zenaeheribs Sons who slew their Father before the Alter Abimeleck who slew his Seventy Brethren Mithridates who on the Receipt of a Letter caus'd 80000 Romans to be slain likewise Archelaus Phalaris Medea Scyron Dionysius Crion Cyrus Herod Procrustes Mezentius Tamberlain the Tartorian Attyla Barbarossa but more especially in the Jews towards our Saviour where may be Express'd the Spurning Buffetting their Disdain Scorn Contempt the outrages of their Cords Crowning with Thorns their Deriding Spitting Whipping Pointing his Carrying the Cross Peircing his Hands Side and Feet Drinking of Gall Opening his Side with a Spear the Repulse of the Blessed Mary and to make the Cruelty the more Horrid and Detestable to observe his Sacred Sufferance Gracious and Pittying Looks and Divine Patience Sadness their Motions Heavy Pensive and Sorrowfull the Head Carelesly hanging aside the Forehead wrincled the Eyes half shut the Mouth a little open the Corners downwards the Nostrels swel'd the under Lip pouting and drawn back The Subjects Adam and Eve upon their Fall Agar with Child thrust out by Abraham Peter after his Denyal c. Envy causeth a Man to draw back his Limbs pluck in and in a manner shadow his Eye-lids wry his Mouth grinde his Teeth biting his Finger turning himself with a Passionate Look as prying into other Mens Affairs The Subjects Cain seeing his Brothers Sacrifice more acceptable then his Culianus who seeing his Rival in Honour prefer'd caus'd the Bridge to be broak as they were passing over though with certain Ruine to himself likewise the Divels countenance when he Tempted Eve Covetousness hath Restrain'd and Catching Actions drawing in the Hands and Arms Pensive Clitching the Thumb between the Fingers c. The Subjects Crassus Polymnestor when he Murder'd Priams Son for his Treasure Tantalus at the Banquet of the Gods who serv'd up his own Son Pelops in stead of Meat Midas Aglaurus c. Love causeth a Dilation in all Parts of the Face the Forehead smooth and even the Eye-brows to rise in the middle the Eyes half open and Smiling the Apple of the Eye Spark and Moist the Cheeks full the Nostrels a little open the Corners of the Mouth turning a little upwards the Lips red and the whole Air of the Face Smiling the Complection pretty Ruddy the Head inclining towards the Object The Subjects are Infinite Pain maketh the Patient to draw in the Eye-brows strain the Lips shew the Teeth throwing the Arms abroad sometimes drawing the Body together turning and shutting the Eyes it causeth Tears Shakings Burnings Sweats sometimes to stretch the Veins to Roar out and beat themselves c. The Subjects Prometheus fed on by the Vulture St. Sebastian when shot to Death St. Stephen Ston'd St. Peter Crucify'd with his Heels upwards St. Lawrence burnt on a Gridiron St. Bartholemew with innumerable more Examples of those who have suffer'd under Cruel Tyrants Despair hath Actions betokening a Privation of Hope it causeth to tare the Hair Garments and Flesh sometimes a fixt and resolute Look with a stern Brow c. the Subjects Saul Cleopatria Queen Dido Cato Uticensis Mithridates Nero Judas Architophel Thisbe Lucretia c. Fury sheweth Actions of Folly and Distraction with Vehemency in all their Affections by Gaping wrying their Mouths seeming to Cry out bewail Howl Lament Tearing their Limbs and Garments The Subjects Athamas killing his Son and putting away his Wife Heliodorus in his Aethiope History mentioning this Fury in fair Cariclia partly for the Absence of her Theagenes and partly for the Marriage of Cnemon and Nausiclia brings her in like a Fury throwing her self on her Bed tearing her Hair and Flesh and Crying come let us Sacrifice to the Divel likewise in Althaea kindling the firebrand of her Son Maleager c. CAP. XVII Farther Precepts for the Expressing of Action and Passion IThought to have subjoyn'd Subjects for each Remarkable Passion but finding it would swell the Treatise too large I shall of the rest only shew the manner of Expressing them for Subjects the Artist may furnish himself out of Homer Virgil Ovid and the rest of the Poets Disdain maketh a Man shake the Head open his Mouth with a scornfull smile stare eagerly opening his Hand and wresting it about lift up his Nose as if he smelt something amiss Injury must have Calumnious Offensive and Reproachfull Actions with an insulting Violence Threatning Scorning and looking Feircely Vanity produceth Light Aiery and Frivolous Actions yet a kinde of Contentment easily given to Laughter and Mockery Foolish Insolent Absurd and Vain yet Affected with all they do themselves Pride in the better Sence hath a Lofty Great and Gracefull Carriage the Motions Noble and Principal Aspiring at great Things full of Resolution and Confidence and thence usually happy in Performance but Pride in the worst sence is Imperious Arrogant and Insolent causing the Limbs to swell carrying the Head aloft but without Steadiness or Gravity shewing scorn and contempt to others advice Obstinacy hath Stubborn Hasty Hard Immutable and Implacable Actions Suffering the extremity of Pain rather then Obedience Roughness exerciseth Hard Cruel Rough and Stubborn Actions void of Love Pitty Mildness Civility or Generosity it makes a Man draw in the Eye-lids draw his Mouth aside when he speaketh look disguisedly over the Shoulder move slowly without any Decorum Perverse Obstinate Harsh Cruel c. Bounty hath Chearfull Pleasant and Gracefull Actions with Arms open the Elbow on the Flank the Hands held up with Palms forwards the Body and Head Inclining turning his Face to whom he talketh though never so Mean without the least shew of disdain his Arms Legs Body not mov'd with the least violence but all Expressing an Affable Temper Magnanimity which is a greatness of Minde must have ready bold and stout Actions accompanyed with State and Majesty the Countenance Magnificent and vigilant causing Love Fear and Reverence in the Beholder his Head dispos'd to Worthy and Heroical Actions Free from base and servile Gestures Farther you may Learn in the Lives of Alexander the Great Pompey Hannibal Charles Loraine Julius Caesar Matheus Viconte and James Trivultius Discretion being properly a Modesty in Things should have sweet stayed and wise Actions capable of discerning between Good and Evil True and False Moderate in their temper severe against the Insolent but Gentle to Just and Reasonable Men. Wantoness should be Express'd with Wanton Looks the Eyes sparkling the whole Face smiling Dimples in the Cheeks Kissing Imbracing Forcing Striving the most Allective Parts Naked as Breasts Legs one Arm Tips of their Tongues seen but cover'd about the middle with Lawn to Inflame the desire of beholding the more for the Antients exprest Venus not quite Naked as some Remains may be yet seen in Delos and Paphus Quietness hath actions full of Joy and Mirth free and easy without violence or Perturbation the Countenance smiling without
but this part being difficult to be conceiv'd you may see it better express'd in those works in the Chappal of Zenales doing in Millain another in Parma of Antonio Correggio c. By the third Deceitfull Sight above all the Figures placed above the Eye are shown by their Lower Parts more or less according as they stand higher upon the Wall at the Horizon wherefore the hinder parts run inwards and the foremost fly upwards whence you shall see wonderfull great spaces stretching forth of Arms Shortning of Legs c. and in these Figures you cannot see the upper parts except they bend forwards The fourth deceitfull middle Sight is that which giveth a Body in such sort that in the hinder parts the lower Superficies seemes to run upwards and the upper to run downwards wherefore our Eye must strike directly on some part of the Body as about the middle this is the least Shortning as can be and yet considereth all those difficultys as the others do The fifth deceitfull sight below is that by which all the Pictures that are seen from above placed more or less below the Horizon are made which also teacheth the Reasons why they are so made it causeth their rising up on high the running down of the hinder parts and the Increasing of their fore-parts and below it makes that appear which on high seems contrarywise to be uppermost In the rest it followeth the others and is to be understood after the same manner though the Effects be divers The Sixth Deceitfull Sight is deep or inward and represents to us on plains the Bodys stretcht out upon the Earth in Perspective with the Head one way and the Feet another seeming to run into the wall by performing in this place the like Effect against the Eye which a Figure doth being wrought in a Vault Perpendicularly above the Eye according to the first sight and this is to be understood of such which standing on the lower ground cannot be seen from above but only directly or below as such who looking directly downwards can only see Peoples Heads We will now conclude with some Reasons why of Nescessity Distance must diminish the Object The Air doth not carry the Species which it taketh from the Images afar of to the Eye in the same Individual Quantity but carryeth them lesser and weaker The first part of the Air which is next the Image represents the Species lesser to the next and so that to a third c. till the Image come to the Eye which coming according to the Positions of the Mathematicians between two Lines not Parallel must then of Necessity meet so concluding in the Point of the Intersection which is in the Eye For should the Species of a Body be Represented in every part of the Air in the same Vigour and Quantity it must follow that a Finite Thing have an Infinite Power to excite Vision for supposing the Air to be Infinite and without Impediment these Species must be equally seen in every part of the Air and so a limited Body would have an Infinite Power And did the Form of things at a distance come to the Eye in the same Quantity as when near the Multiplicity of Species crouding on the Sight would Confound it therefore since it is of Necessity that the Figure must loose by Distance take this for a General Rule that how much the whole Figure looseth the same contraction is to be observed throughout the whole Image Yet although in Things at Distance we must go by the Rationall Proportion in Perspective and in things near by the Natural yet we must not so observe the Natural but regard must be had to the Grace of the Picture For the Power of Painting not only extends it self to the Imitation of Nature but sometimes to the Correcting of it rendring Things more pleasing to the Eye then they are of themselves CAP. XXV Precepts about Draught DRaught is a Physical Line or Lineal Demonstration and hath always some Dimentions if it be never so slender and serves to represent Bodys according to their Forms Aspects and Scituation Limiting and Determining the surface of an Object and Marking out the Several Parts which are contain'd therein For no Superficies can Exist without being Terminated by Lines Streight Circular or Mixt. The Extent of Draught is Immense for it is not only concern'd in all the Visible Things in Nature but in all Things which the Fancy or Imagination can form any Idea of that can be compris'd under the Figure of Body nay so vast is its extent that it adventures to Dive into the very Soul and express its Thoughts for though Colour is accessary to Expression yet nothing can be Terminated without Lines They that would arrive to the Perfection in the Practick must dilligently observe these following Rules First he must draw by the Hand Circles Ovals c. then the several Features of the Face by themselves as Eyes Nose c. then the several Members as Hands Feet Arms Legs c. Observing in the Hands and Feet to draw the upper Lines first then the lower afterwards to divide them into Fingers and Toes In the Trunk of the Body first to draw the Contours of each side then to place in the Muscles When a Facility is gained in the Features and Members to begin with a Face where first draw the Eyes then the Nose Mouth Eye-browes Chin and next the Contours of the Trunk on each side then Thighs Legs Feet observing the going down with Each side not drawing to the Bottom one side first then adding the Arms and Hands and afterwards all the Muscles and the other Remarks of the Body and Members as Nails Hair c. But before he attempts a Body he must take a Face in all Aspects as Half Three-quarter and foreright then looking Upwards Downwards and Inclining then all Fore-shortned Faces When he attempts a whole Body he must begin with a Body standing Frontwise observing which Foot the stress of the Body rests on and draw it Perpendicular under the Head Then he must proceed to Bodys in several Postures as sitting Kneeling Running Fencing c. as he will find in divers Prints And lastly proceed to all Foreshortned Bodys which are the most difficult in which he must diligently study the Perspective He must first draw with Sallow Coal finely sharpned till by diverss Essayes and wipings-out he comes to the Truth And although it is usual to finish either by washing with Indian Ink or French red Chalk yet I think the best is with hatching with a Pen which although it be more tedious obliges him to that Care in the Truth of the Small Stroaks that it insenciblely brings his Hand to exact Draught but he must take Care when he hath Hatch'd one way to let it dry ere he proceeds for fear of Blotting but they who draw with a Pen must propose to themselves much Time and Patience He must take care to Coppy after good Originals