rather opus Laboris quam Ingenii As you grind it adde more Gum-water and though the Gold look never so dirty and black esteem it not the lesse worth and having wrought it to a competent finenesse take it off from the stone putting in more Gum-water wash it as cleane as you were told before and in the same manner as you did your Bise Smalt c. Being very clean adde to it a little Mercury sublimate on the poynt of a Knife with which you must temper with it a very little Gum to bind it in the shell and as it settles and begins to dry in the shell shake it together remove and spread the Gold about the sides thereof that it may be altogether one Colour and finenesse which when it is dry and fair as it will be if you carefully wash it clean Use it with fair water as you do your other Colours and this way you shall find your Gold fairer and more in quantity then you can buy for much more money To make Liquid-Silver THe same course take with Silver which you must use in the same manner Only with this observation that seeing the Silver either with long keeping or the moysture of ayre will become starved and rusty you must prevent this Inconvenience before you lay your Silver by covering over the place with a little juice of Garlicke It will keep it very faire and bright this secret I had from Mr. Hiliard Thus have I done with my first Division The second Division by Landskip The Tablet TAke some Vellome shave it upon a thinne frame fastning it with Starch Paste or Glue and pasting it upon a board which manner of making for Landskip or History is altogether used in Italy I mean thin Parchment with any Pastboard for your Tablet large or less size you intend for your Picture Green of all Colours is most delightfull to the Eye Not in all the Art of Painting such variety of Colour more pleasing then is the Prospect of a well-wrought Landskip espetially when your ingenious Industry hath already rendred you a Master of Art and contemplation If you draw a Prospect from the Life Take your Station upon the rize of ground or top of an Hill where you shall have a large Horizon And skore your Tablet into three divisions downwards from the top to the bottome set your face directly opposite to the midst of your Horizon and keeping your body fixed Observe what is comprehended directly before your eyes and draw that into forme upon your Tablet in the middle-Division Then turning your Head only not your body to the right hand draw likewise what is presented to your sight adjoyning it to your former Draught and frame it into the same And so also removing your sight to the left hand take that observation which will make a compleate PROSPECT And as all things appear in Distance and Truth Proportion and Colour so be carefull to express them Most Countrieâ— Southward Spaine and Italy afford wonderfull strange objects in Landskip Hills Dales Rocks Mountains Caâ—aracts Ruines Aquaeducts and alwayes a fair skie to discover far off which are rarely done there to the Life You cannot miss of many examples every where though less pleasing but in Holland none at all So then the Dutch in composing a Piece of Prospect of their own Fancie and Invention for want of the Life most grosly erre in Proportion Distance and Colour Now for the want of the Life and Nature if you will adventure on your fancie Go to work this way I cannot prescribe how to order your light in a piece of Landskip by the Life for according to the place as you look North or Southward East or West-ward as the time of the day and the Sun's declination so must you order your shadows as they appear But in all working of Painting by Fancie let your light descend from your left to your right hand So will it appear upon the work from the right to the left the more gracefull But when you paint a face to the life you must observe the parties face which differs some more perfect either to the right or left In making it First beginne with a large skie or Element and if there be any shining or reflection of the Sunne in which only the Dutch are neat and curious then you must be carefull by no meanes to mixe Red-lead or Mene in the purple of the skie or Clouds but only with Lake and White the Yellow and Whitish beams of the Sunne must be wrought with Masticoate and White which as soon as you have done lay by that Pensil For you must not mingle the blew Colours of the Clouds with any Pensil that hath touched Masticoate it will make the skie Greenish and discoloured Make up the blewish skie and Clouds with Smalt and not with Bise for it is too green and blew and nothing so proper for the purpose At the first working dead all your Piece over full and flowing with Colours suitable to the Aire and green Meadows and Trees or Ground not laying them on heaps but somewhat smooth Be not curious in your firsâ—dead-Colours do it slightly and hastily Leave a large skie which work-down in the Horizon faint and fair as you draw neer the Earth let the remote and far off Mountains appeare sweet and misty undiscoverable and almost indistinguishable mixing into the Clowds as it were lost in the Ayre Your next ground-Colour downwards must increase in bigness of proportions as neerer the sight and must be somewhat blewish as Sea-green and as you draw neerer the first ground let them decline sometimes into a Reddish otherwise into a Popinjay-green Your last ground Colour must be neerest the Colour of Earth a dark-yellow brown green easier to be done with the Pensil then described by the Pen The same Colour or neere the same must be your first Trees and alwayes as they come down neerest in distance they must increase towards their Naturall Colour in largeness and perfection somewhat suiting the Earth By any means let passengers people by the ways encrease neerer hand and be made bigger in their forme and Colour and evermore let every thing from left to the right hand in a Line be of the same equall bigness You might have seen Passengers in some Landskip who should be imagined four or five miles in distance from the Eye to be expressed neerer and as at hand which is a grosse errour The Trees must be made with great judgment the leaves flowing or filling one with the other some sticking forward others lost in shadows Let not your Landskip of land rise high and lift it self into the top of your Piece as hath been noted in the Prints of Albert Durar otherwise in his way an excellent Master rather let them lye low and under the eye which is most gracefull and more Naturall with a full skie The most generall and absolute
Dutch-cruelty upon our English at Amboyna in the East Indies described it into Picture after that it had been most eloquently urged by Sr. Dudly Digs and imprinted to incense the Passions by sight thereof which truly I remember well appeared to me so monstrous as I then wished it to be burnt And so belike it seemed prudentiall to those in power who soon defac'd it lest had it come forth in common might have incited us then to a nationall quarrell and revenge though we have not wanted other just provocations since to make them our enemies However at the time before it wrought this strange effect upon the widow of one of the Martyrs who upon former relations prosecuted her complaint but when she saw the Picture lively describing her Husband's horrid execution she sunck down in a dead swound Wee read of Kings and Nations that have valued Painters so have they sought their Paintings for their weight in Gold for 100 Talents for 6000. testers 12000. testers Nay some Pieces were preserved with so much safety that their Keepers lives have been responsable for their security An example of that nature we had in Abraham van-Dort Supervisor of the late King CHARLES his Repository of Rarities with especiall command and care of one most excellent piece of Miniture which therefore he lodged more secure then safe so farre out of the way as not to be found by himself when it was missing to his own memory at the KINGS demand till after his death the Executors brought it home This chance fitted the story which was of the lost Sheep found The designe of the Limner A shepheard bearing upon his shoulder a strai'd sheep to the fold The Doctrine Christ reclaimes the sinner But miserable it was to the poor man who at the first for fear of his Masters Van Dorts displeasure or perhaps his own love to the excellency of that Art in sad regret went home and hanged himself Severall Pieces have been presented to Citties Common-wealths Nations and Kingdomes as overvaluable for any private person Our late King CHARLES had many most rare Originalls Collections both of Painting and Sculpture He being the most of fame for his incouragement and Patronage of Arts and Honour His love to this Art begat three Knight-Painters Rubens Vandick and Gerbier the last had little of Art or merit a common Pen man who Pensil'd the Dialogue in the Dutch Church LONDON his first rise of preferment The Vse and Ornament of Pictures TO give a Picture its value in respect of the use We may consider that God hath created the whole universe for Man the Microcosm whereof is contracted into each Mans Mansion House or Home wherein he enjoyes the usus-fructus of himself and leaves it so to his Son as an Inheritage of strength Profit Pleasure The great Oeconomistes of all Ages and so other men from noble examples have indevoured to magnifie their own Memories with Princely Pallaces of structure and afterwards to adorne them distinct and gracefully with Pictures within and Sculpture without And both these witty Arts have contended for Supremacie whether Imagery imbossed which pretends as indeed it is to ordinary Capacities more naturall and so easier to be apprehended whose excellency is only in the soft Sculpt of the Chizell as if it were Painted Or the other Painting being the more rare by enforceing shadows upon a Flat as if Carved and yet the shadows themselves not grossely apparant Certainly this latter must be the more excellent Artifice by forcing this to seem so upon a Flat which Nature makes rising and hollow and indeed the truth is wonderfully concluded by one A. B. He is a blind man yet by feeling the form and lineaments of Nature in the Life doth mould by the hand in Clay rare figures exceeding like in shape which is impossible to be don by him in Painting But of this more hereafter when we come to working in Colours A Picture in truth must stand off Naturall as if it were Carved gracefull and pleasant at the first blush or sight thereof which are the excellencies of ancient Painters of whose Originalls many even pretenders to this Art are deceived with Copies Of Originall Pieces and of Copies GEnerally in Originalls the Colours become often vaded and in many much changed the Piece in time grown crusty and often peeles by ill usage Yet you shall find the Lightnings bold strong and high the shadowes deep and gracefull Their Copies if well counterfeit the workeman must alter the manner of his Colours by a mixt tempering otherwayes then the Modern Naturall way of Painting admits To do this well he may be lesse excellent in the Precepts of Painting and yet in this way of working out Master a better Artizan I knew but one that herein La Croix who out-went all and copied many of the Kings Originalls from severall rarities in this kind It is said that Laniere in Paris by a cunning way of tempering his Colours with Chimney Soote the Painting becoms duskish and seems ancient which done he roules up and thereby it crackls and so mistaken for an old Principall it being well copied from a good hand To judge of them with facility Originalls have a Natural force of Grace Rising Copies seem to have only an imperfect and borrowed comlinesse and if you stay to judge of them though they seem so to the sight of Imitation yet it proceeds not out of a Naturall Genius in the Workeman An Imitator does never come neer the first Author unless by excellent modern Masters own working a similitude ever more comes short of that truth which is in the Things themselves The Copier being forced to accommodate himself to another mans intent Authority gives Pictures repute by age which no Art can well imitate Garish Colours in new Pieces take the eye at first But in old Pictures we are delighted with their decayings horridnesse of the Colours Old PICTURES in a wonderfull simplicity of Colours draw their chief Commendations from a more accurate and gracefull designe New Pieces on the contrary being but carelessely designed stand most of all on their garish Colours and some affectation of Light and shadows strained with over-daring It is the opinion of many Masters of this Art concerning Ancient Originalls that the ayre by time and age works so much upon the Colours that the Oilynesse thereof being vaded the Colour becomes more fleshy more Naturall than at the first So they say of Tytians and of Jurgiones being his Master In Copies you shall not find such freeness of the hand and Pensill It will discover it self to skilfull observators not to be Naturall but forced Painters express the difference they judge of old pieces and their decayes from what they were at the first by viewing them through their fingers as through a Lettice or Vale by a secret Mystery in that Art Like as to a good
fancie bon-esprite quick wit and ingenuity which adds and enables the elaborate part pick me out one equall to Madam Caris a Brabanne Judgment and Art mixed together in her rare pieces of Limning since they came into England And in Oyl Colours we have a virtuous example in that worthy Artist Mrs. Carlile and of others Mr. Beale Mrs. Brooman and to Mrs. Weimes And to give honour to this Art of Painting many worthy Gentlemen ingenious in their private delight are become Juditious practitioners herein Namely Sr John Holland Mr. Guies Mr. Parker Mr. Sprignall and others I need not name the rest their works will better their worths and estimations in this and other excellent sciences of Art and Learning Quaere Haines and Thorne Of Abilities in Painters HIstory informs us that in Warre all Arts dissolve into that action but when the Roman Sword had bounded the Empire then the peacefull endevours of cunning Artizans out-went former excellencie of the Graecian instructions from whom these derived their Learning And yet of all Arts this of Painting is least beholden to the Gramaticall Pen for any knowledge of the Theory by their deficiency in the Practicall and so not doubly qualified in both Pen and Pensil Rule and Example the perfection becomes less communicable to posterity being rarely conjoyned in one a Learned Painter This observation leads me into an ingenuous Confession of my self to be neither but as a Lover of Arts I am an intruder upon either The Liberty of these latter loose times prevailing over my former imployments heretofore of somewhat more concernment have now resolved me into the harmlesse simplicity of doing any thing that may be aequè bonum to divert me even my thoughts from Malignity You may desire many Abilities of an Artist in his Piece but the Italians observe each single prayse to deserve merit in any one Master Some are noted for one of these viz. Diligence and Proportion â—ith a free hand Fancie and conceiving of Passions Invention Grace Of all these we shall discourse hereafter But in a word there may not be wanting these two First to be well drawn or as Artizans term it well designed and herein without exceptions let there be truth and Grace Secondly well Coloured with Force and Affection Well Designed FOr the first there must be truth in every part and Proportion of the figure just and Naturall with the Life Some artizans strain Limbs into extream Albert Durar Golties Spranger did so in that which was and Michael Angelo in that which should be and thereby in truth loose the gracefulness But then if an Artizan adventure on a Fiction it will appeare lesse pleasing unless it be done boldly not only to exceed the worke but also the possibility of Nature as in Centaurs Satyrs Sirenes Flying-Horses And therefore I say Pictur a fit ejus et quod est et quod non pote st esse Which are easily figured by those that dare adventure with Judgment And so the beauty of such a fiction may consist in Exorbitance and the fancie of the Painter to be without Limitation And yet the Philosophers have writ of wonderfull intermixed shapes that have been seen of severall kinds in one Creature Earthly as Satyrs Centaurs Flying-Horses Waterish Fishes Flying Sea-Horses Tritons the Male Nereïdes the female Thâ—odore Gaza caught one of these Nereïdes in Grece and in Zeland was another taught to spinne so sayes Alexander of Alexanâ—â—ia and some others that have seen Monsters Chimeraes Hippotames and others such which Heraulds undertake to bestow upon Gentlemans Buryings Beyond the actuall works of Nature a Painter may describe but not to exceed the conceived possibilities of Nature in the same Culture St. Austin affirmes that in Utica a Town in Affrica he saw the Jaw-bone of a man as great and weighty as of 100. men of that age The descriptions of men in great actions were the constant designes of Poets to afford theâ— large and ample Limbs The Statuaries of Roman Gods and men of fame were so imitated and being well drawn that is Proportionate to Disproportion in Picture are excellent Ornaments for though I confess a Painters profession may be the imitation of Nature yet to exceed her kind shews his own store and provision of fancie without borrowing of her example and does well in Picture if not ill done by the Painter Since it discovers no suspition of ignorance in him having his liberty allowed that what he could not master he might have left undone The Naturall figures indeed shew property and decencie to delight common Judgement and the forced figures may be the sign of the Novelty in expression and pleasing the Excitation of the mind for Novelty causeth admiration and admiration enforces curiosity the delightfull appetite of the mind And certainely from an Artizan's excellencies proceed those extravagant varieties or admirable Novelties which are not the issues of an idle brain or to be found within the compass of a narrow conception but please the Eyes like new straines of Musick to the Eares when common ayres become insipid Grace is the bold and free disposing of the hand in the whole draught of the designe You have the pattern to the Life in an unaffected freedome La mode or Bon mene of fashion in Man or Woman which sets out or supplyes beauty the French have devised that phrase to commend a Madam whose behaviour mends Natures defects and thereby the Courtisie of Court allows her not unhandsome Well Coloured SEcondly for well Colouring you may observe that in all darkness there is deepness but then the sight must be sweetly deceived by degrees in breaking the Colours by insensible passage from higher Colours to more dimme better expressed in the sight of the Rain-bow where severall Colours intermixt with soft and gentle distinction as if two Colours were blended together Force is the rounding and rising of the work in truth of Nature as the Limbs require it without sharpnesse in out lines or flatnesse within the body of the Piece and both these are visible errors Affection is to express Passion in the figure Gladnesse Grief Fear Anger with motion and gesture of any Action And this is a ticklish skill of the hand for Passions of contrary Nature with a touch of the Pensil alter the Countenance from Mirth to Mourning as a coincident extream We have done with our Picture of Choyc not to trouble you with more or other Notes of perfection for the present untill afterward that we treat of Working Indeed Perfections of these kinds are so various and mysterious that chief Masters themselves in the right censure of their worke have undergon severall characters of defect Grecians the first Painters WE have it rendred from an old Author that the first of Antiquity that drew Proportions were Grecians as aforesaid in Black and white who have begotten others that in time became Masters in Painting also And afterwards
many added to this Art The first inventing the due disposition of Lights in the draught and evermore with ampler Limbs then the Life Homer set out so his gods 〈◊〉 goddesses with large formes and features as aforesaid Then they came to limit Proportions exactly as Law-makers whom others followed as decrees About the time of Philip Painting began to flourish and so to the successors of Alexander for we have severall of those antient Artizans set out to us for their excellencies in sundry of those Abilities which we have named as Pictegenes in Diligence Pamphilus Melanchius in Proportion Antiphylus in Facility Theon in Fantasie and Passions Apelles in Invention and Grace Euphranor a rare Artizan as in Generall so in Painting How to dispose of Pictures and Paintings ANd now supposing that you have purchased the most costly Pieces we must next consider how to dispose them properly with Conveniencie and Grace for the adornment of your House We shall not doubt the Question whether Painting becomes out-sides of walls of the House In imitation of the Germain Caecill Viscount Wimbleton sometime generall of the English in the Dutch Warrs seems to intend the beautifying pleasant Scite and gracefull Edifice at Wimbleton with large and ample figures without doors in Fresco and Stoke parke in Northampton they are done by claine And Carew House at Parsons Green large and bold but almost decayed though but lately done Some Towns are done so amongst the Germains but then not with glaring Colours that were to please common judgments I have observed other Pieces in England not many for indeed the worke is soon lost upon a moist Wall which in our Clime necessarily follows That excellent Painting of the two Kings Henry the seaventh and eighth with their Queens done upon the Wall in the Privy Chamber of the late KING at White-Hall in Oyle only by the rare hand of Holben hath been preserved with continuall warmth within doors and benefit of fire even till now But withall I observe the Wall prim'd with a very thick Compost of Playster and some other mixture fixed to preserve the worke Therefore I admit of no Colouring upon Walls If any Draughâ—â—â—â—en let them be Black and White or of one Colour hightnâ—◠〈◊〉 Figures of Life Men and Women Or otherwise Nakeds as large as the place will afford If without Personages I wish it of Counterfeits or imitations of Marbles Aquae-ducts Arches Columns Ruines Cataracts in large proportions bold and high and to be well done for fear of Lamenesse which is soon discerned Of Grotesco AS for Grotesco or as we say Antique-worke It takes my fancy though in forms of different Natures or Sexes Sirenes Centaures and such like as the outward walls of White-Hall observes this kind as running-trale worke and not ill mastered But when all is done now a dayes it looks like an Ale-house Citizen painting being too common and usually else-vvhere were very ill wrought Excellent prints of this kind were lost at Sea of Steven de Labella And if Poets devise these double Natur'd-Creatures why not the Painters who can do what the other but bespeake But in true Judgment I would confine Grotesco only to Borders and Freezes then it may become the Wall within or without doores Here a Print of Grotesco should have been inserted Of Fresco THere is a Painting upon Walls called Fresco It was the ancient Graecians Noble way of Painting and since much used by the Romans Plutarch tells us That Aratus the great Commander under Ptolemie of Aegypt being curious to satisfie his Soveraign's delight in Pictures presented him with such Rarities as his Victories made him Master of or that he could purchase at any price and in a Complement to the Emperour's affection that way spared the sacking of a wealthy Citty meerly for the Excellency of Fresco-Painting upon the Wall and out side of Houses lest the unruly Souldier by Fire or otherwayes should ruine the raritie There have been PAINTINGS of this worke in severall Towns of GERMANY rarely done but now ruined by Warre At Rome there are three Chambers in the Popes Pallace of Frescoe done by Raphael Urbin and Julio Romano his disciple who finished his Master's vvorke and are yet called Raphaells designes Other places done by Andrea dél sexto and Michael Angelo and some other Artists At Fountain-bleau in France is most excellent worke of this kind they are the continued Travails of Ulysses in 60. Pieces done by Bollameo Martin Rouse a Florentine and others But more of this hereafter when we shew the manner and order of this worke in the second Book To place the Pictures within Doors LEt us therefore contrive our Pictures within doors spare your purse and pains not to Clutter the Room with too many Pieces unlesse in Galleries and Repositories as rarityes of severall Artizans intermingled otherwise it becomes only a Painters-Shop for choyce of sale Place your best Pieces to be seen with single lights Thorough Lights on both sides or double windows at each end are Enemies to the view of Painting for then the shadows fall not naturall being alwayes made to answer one Light Observe in their placing as you may see how the Painter stood in his working the light of the windows to fall upon the right side of the worke from whence their Shadows alwayes fall backward The Italian's evermore stand low beneath their high windows so then the shadows in his figures have that respect as a descending light best for mens faces and shews them lively and generally low Lights to large Pieces do prejudice Paintings Then bestow them orderly and in their Qualities properly and fitly for Ornaments lest your cost and discretion be cast away at once In the entrance of your house or Porch with some Rustique figures or things rurall The Hall with Paintings of Neat-heards Pesants Shep-heards Milke-maides attending Cattle in proper degrees some other also of Kitchenry severall sorts of Foul and Fish sitted for the Cooking Pictures becomes the sides of your Staire-case when the grace of a Painting invites your guest to breathe and stop at the ease-pace and to delight him with some Ruine or Building which may at a view as he passes up be observed And a Piece over-head to cover the Sieling at the top-landing to be fore-shortned in figures looking downward out of the Clouds with Garlands or Cornu-Copia's to bid wellcome The Great Chamber with Landskips Huntings Fishing Fowling or History of Notable actions The Dyning-Roome with the most eminent a King and Queen if possibly to be purchased at any rate I mean their Pictures rarely done the want whereof in former times were supplyed onely with the Court-Arms of their Majesties few good subjects then but conceived it expedient to express their Love and Loyalty by some such Embleme or note of remembrance But then in reverence to their Persons forbear to place any other Pictures of
of Spanish Leather with sharp Corners so oft until your practice comes like your Pattern Then gently draw Orbicular the out side line of the Head from the Brow where you began to the Crown and so backwards down to the Neck compassing it to the Throat and Chin vvhere you left all which becomes Ovall Then guesse at the Eye-browes marke out the place of the Eyes between them draw down the Nose and Nostrills score out the Line and length of the Mouth and Lipps lastly the Eare and the Haire falling upon the Face wipe it out all with a feather leaving the Lines discernable only by which you may discover the errors and amend them Then draw it all again as before overlooking each part untill it becomes reasonable then perfect the Eyes Nose Lips Eares Hair go on boldly adventure a stroke or Line down from the Chin for the Throate the Back-stroake alike from the Eare to the Neck and Shoulder and so proceed to the Breast or further down as your Print is in length which commonly is not deep for a Head Looke over this worke be not discouraged though deformed wipe it out as before and by the Errors amend it so oft till it become reasonable handsome Let this draught remain in your Book begin another of the same and so a third or more perfecting each with courage and confidence for 2 or three severall dayes practice that you may find delight in your proficiencie When you can Master a single head of severall postures as side-face three gutters and full looking upward downward fore-shortned Then adventure on a whole figure at length Man VVoman or Child Then some Skeletons forward back and side and after all cloathed with Garments Lastly shadow each one of those severally as a true Copy from the Principall drawing over the Lines of the Charcoale and then over that with a Ravens quill pen for to remain in your book and hatch it I had prepared Prints for all these directions but they are lost at Sea Black Chalke Pensils draws handsomely without the Cole upon Blew-paper and shadowed neatly being heightned with VVhite-lead Pastils you may practice upon severall coloured papers as the ground and shadow and heighten it with other Colour Pastils as your fancy affects By Copies of Prints first drawings of good masters by Paintings or by Sculptures of round and then by Observation of nature in the Life learn to understand before you shall perfectly draw them the reason and cause of true shadows of Bodies as they appear heightned outward or deepned in their Concave or hollow Which are caused by neernesse as farther distance from the light and therefore those Prints which duely observe them express much judgment and the true Spirit of a Picture Drapery-garments of severall Stuffs coorse or fine Silke VVollen or Linnen have their different and naturall folds So as in the Lines of greater or softer shadows well done by an Artist you may though in black and white easily discerne the meaning of the draught to be of such a Stuffe or Cloathing In shadowing with hatches or small strokes as in your print use the pen of a Ravens-quill and be sure not to cross any stroake before the former be dry lest they runne into each other After some practice with the Pen which follows the use of the Cole proceed to shadow with black and white Chalks in stroakes or sweetning as in Painting For your better directions herein get some Designes or draughts done in Chalke Red-oaker dry Colours Croyons or Pastills for your patterns The best Prints for true proportion take Raphael of other Old Artizans well graven Coltius a Hollander of Harlem varies his postures very much large and bold hatches but curious and true in all his shadows Michael Angelo his Pieces are not common a famous Italian Hans Holben a perfect Master his bold hand appeares in severall Ornaments of Painting at VVhitehall Chappell and Palace at Greenwich Hampton Court but mostly defaced by the injurie of time He was imployed by King Henry the Eighth against the entertainment of the Emperour Charles the 5th his Prints are not common Shadan VVierin Spranga Michaell-Jans of Delph Raphael and John Sadler and other Masters sans Number Now though we name these as other Artizans for draughts and to be met with in Prints you must know that they were Painters and for the most part wrought their Pieces first by designe and draught with blacke and white Chalkes in little and so in Oyl-Colours to the Life or History from which other Masters Gravers in Copper or Etching with Strong-water have preserved them in Prints for more publick use and eternall memory of the first Authors either after their first Draughts or Paintings So shall you have two or three or more severall Names oft-times set to the Print the Designer the Painter the Graver and sometime the Printer Our excellent Artists in Graving are Father Lambert Hollar Vaughan Trevethen Gay-wood Crosse By this time and Practice you expect that I should put you into Painting the usuall longing desire of the Practitioner but forbear by any means untill you be excellent in Copying of draughts according to the foresaid Rules nay untill you can boldly and truly adventure upon your own fancie and designe a Pattern for others And believe it for truth hasty Colouring undoes the Painter He shall never be excellent that is not ready in his own Draughts Nor be able to paint and be esteemed till he understand a Picture as it should be made And therefore give me leave to read a Lecture of the powers of a Painter Of the powers of a Painter and Painting PHilosophers divide the universe which is their subject into three Regions Caelestiall Aeriall Terrestriall So the POETS who imitate humain Life in measured lines have lodged themselves in three Regions of Mankind Court Citty and Country So the PAINTERS whose Art is to imitate Nature performe it in three severall Qualities Design Proportion and Colour And these into three sorts of Painting Prospective or Landskip Historicall and Life Prospective a wonderfull freedome and liberty to draw even what you list so various is Nature in that Historicall respects due Proportions and figures Life only the Colour In each of these you must have dependency upon all the other but necessarily on each in particular The powers of a Painter is expressed by Imitation of Naturall things whereof the most excellent are ever the most difficult easie to paint deformity In your Imitations of Art or Copying observe to hit the virtues of the Piece and to refuse the vices for all Masters have somewhat of them both For Paintings may be puft-up but not stately starved in Colour not delicate rash not Confident Negligent not Plain Severall men severall excellencies Some in Grace Boldness Diligence Subtility Magnificence c. as aforesaid In all do not imitate outward Ornaments but
express inward force Yet in some Pieces I have found these vertues not pleasing and even vices themselves gracefull but then it hath been by a Master that boldly did it to shew that he was able to make his conceite a pattern as before said Generally follow best Masters lest an indifferent choyce bring you to an evill habite Proficiencie of Painting is purchased not altogether by Imitation the common drole-way of ordinary Painters if you neglect the amendment by your own generous fancie Estautem proprie Imago rerum animo insidentium For he that only follows another's steps must needs be the last in the race Lazy Painters study not the brain Nature can do much with Doctrine but not Doctrine without Nature Nature is of greater Moment Every Artificer hath a peculiar Grace in his own worke agreeing to his Nature though many of the other sort owe most to Doctrine The force of Imitation of Nature is in the Fancie which worketh with the more Wisdome It being an imaginative faculty or Wit and is set on worke to imagine what we have seen or at least made up with some other Sense being the Print or foot steps of Sense It is the treasury of the mind The darkness of night awakes our Speculations of the day when sleep failes the Mind does then digest the conceived things into Order that so the whole invention wants nothing but the hand of the Artificer to effect the worke and without Art to do Imagination is uselesse Fancie supplyes Imitation's weakness the property and Office whereof is to retain those images and figures which the Common Sense receives First from the exterior sense and then transmits it to the judgment from thence to the fancie and there looked up and covered in the memory and we may alter and move with the re-presentation of things although it have them not present which the common Sense cannot have unlesse present Herein appears the marvailous force of Imagination A man sleeps his Senses are at rest yet his Imagination is at worke and offers things to him as if present and awake Imagination moves the passion and affections of the Soul and can provoke the body to change the Accidents as to make a man sick or well sorrow joy sear We may paint a conceived or intelligible thing Perfect by the Idea of Fancie but by Imitation we may faile of Perfection Hence it was that the Antients intending to excell in the forms and figures of their Jupiters would not imitate or take a pattern generated but rather by a conceived description of Him out of Homer or other Poets There is in the form and shape of things a certain perfection and excellencie unto whose conceived figures such things by Imitation are referred that cannot be seen To amend fancie we must lodge up such rarities as are administred to sight to encrease the meditation of fancie as in your dayly view of forms and shadows made by lights and darknesses such as in the Clouds neer summer Sun-setting which soon alter change and vanish and cannot remain for Copying but must be lodged in the fancie so that it is no difficulty to study this Art walking by day or night In your bed waking or sleeping or what drâ—ams and fancie possesses your sleep You have Lessons in all and Paintings there are of either In a draught of designe the Artist must fancie every circumstance of his matter in hand as usually Rubens would with his Arms a cross fit muâ—ing upon his work for some time and in an instant in the livelinesse of spirit with a nimble hand would force out his over-charged brain into description as not to be contained in the Compass of ordinary practice but by a violent driving on of the passion The Commotions of the mind are not to be cooled by slow performance discreet diligence brings forth Excellence Care and Exercise are the chiefest precepts of Art But diligence is not to stagger and stay at unnecessary Experiments and therefore I have observed in excellent Pieces a willing neglect which hath added singular grace unto it Be not so over-curious that the grace of your worke be abated by the over-diligence as never to tell when you have done well therein you will be maximus tuî Calumniator your owne worst detractor Not to dwell upon every line nor to alter what is well It wants true judgment and makes it worse and so to love every thing we do whilst a doing though too much Not being able in the exercise of designing to overtake the quicknesse of fancie we must therefore unbend the intention of our thoughts breathing and reviewing what is done by which we make a handsome connexion of things To adde or detract to allay those things which swell too much to raise things that sinck to ty things that flow to digest or compose what is without order to restrain what is superfluous require double paines to lay it by for a time and as it were to give it new birth festina lente Admit of censure What others justly reprehend amend Apelles did so great wisdome in a confessed ignorance and be content with every ones opinion for you shall lye open unto two exceptions the Incompetent and the corrupt witnesse the first if not a Painter the second if no Poet But if your Piece deserve it a man of knowledge should say in general termes That you have chosen a good Argument Story or History That the Parts are excellently disposed The Maintenance of the severall characters of the Persons properly The dignity and vigour of the expression in Forme and Colour A good Spirit boldly done c. And so it may seem to have in it performed all the parts of various experience cleer judgment ready memory swift and well govern'd fancie and this being enough for truth and the weight and credit of a singular testimony But if your understanding be call'd to councell you may please both parties and speake like a stranger in this or the like manner viz. Of a Picture I Know nother Person for the Life Yet I like the Picture of this Lady A lively Spirit and good Grace Well wrought Round and Neatly painted The Lady becomes a Limner's Art He takes the lesse pains when Nature makes her so to his hand Comely Tall If she designed her own posture it was done with discretion Bon-Mene adds to Nature and yet to yield her the due a Handsome Lady A beautious blushing Browne Her haire proper to the complexion neatly put into Curles and folds I believe she did direct her own Dresse and so saves the labour of his fancie for if I mistake not the Lady wants no will nor judgement to set her self forward The face made up of excellent parts A quick Eye and full amends the defect in the Colour and yet the circled brows gracefully big and black Her Nose not over-Romane with Nostrils fair enough A sull mouth the
somewhat sad A Cherry lip and full which does invite you Her neck something too long and therefore the rope of pearl does well to help nature which cannot promise plumpnesse Take her together she 's better for a brave Wife than a compleat Mistress her mantle rich for Winter-covering A deep Ruby velvet lin'd with Aurora sarsnet with excellent true shadows well folded â—ackt up backwards with an equall pair of Collets pure Ovall Emralds large and fair well set between four Pearles quarterly round and great Over all a tippit of Sables rich and deep Certainly the great Tartar sent it a present to salute her It sets off the colour of her skinne Pine Lilly wâ—ite smooth as unspotted Marble if it were proper or possibly comparative in any degree to pattern lively flesh to be like a stone Her linnen not seen at all unless her smock-sleeves cuffed with a Neat-new-fashion-Flanders lace rich and deep Her Arms and hands well formed by nature and may not be ill done by the Artizan Altogether framed equally to an eeven feature No parts strain'd to make her other than she should be A handsome Piece well worth the Painter's fame that hath not left his fellow Maria Ruten Vxor D. Antoni van Dyck Eq W Faithorne excud A Picture of the Husband and his Wife IT is a painting of figures inseparably two and so made up into one Picture nor needs there any more addition themselves are grace sufficient to fill up a story The designe sets it out as after Mid-Noon Summer when heat hath influence on hearty affections A new Bed-Bridall went out a walking led by the way into a well-grown Wood where under the branched boughes of an ample Oak they two sat billing and after all in the close of the Even the Married Man starts up and looketh wishly on Her His Aspect cheerfull a silent testimony of a cleer Soul and an eeven Conscience at peace with it self His Countenance not more nor less than Manly His Constitution Sanguine complexion ruddie His hair of good grace and proper colour a darkned brown fitted for length and curling eye-brows more sad full ey'd and quick The Nose somewhat rising not Roman His youthfull chin but thin for Nature was in doubt whether a Beard were better or without I might read a Lecture of his out-side Limbs but better what 's within His looks not unlovely shew him Manlymild a tender heart full of Noble pitty Of a Spirit too brave to offer injuries to any and so much a Christian as to pardon them from an other rather willing to suffer than to disturbe the temper of his well-composed mind into a degree of Anger His Apparrell of Silke and like civility it self the Colour Black His Mantle-Cloake cast on his Arme He looketh long upon her and having twined his hand in hers He seemâ— to speak unto Her But She sat still for having found his Eye-balls fierce anâ— fixed on her and hers the like on him and they thus imprisoned both of them blusht and she looks backe he would have done so too had not her modesty began first Had you but seen her thus upon the suddain you would have said she did so as not to undoe him with over-looking Her beauty was of brown Her hair of Aburn-black and though she sits down her dimension shew'd her Symmetry of personagetall not thin Her years beneath his yet at such a desired distance as made eithers age equally matchlesse Her beauty in this blush caused her to look the more lovely A full eye and piercing the circled brows gracefully big and black Her forehead high her cheeks so well complexion'd as never till non she could indure or need they Painting some-what long visage in true measure of the Life yet the Painter did his part by artificiall shadows and roundings that you could not easily distinguish it to be any defect of Nature Her hair curled in wreaths and folds as if she had a mind to enchant the Man into those fetters and hold him there Her ear came under all round and small such as men say belong to witty Women the tippe rather graced a Pearl than that It In form it was most like a Pear no doubt there was a paire the other though unseen but of such Value that a single one might be sent a Present to a Princesse the pattern sampled a Rope of them so round that they were enobled into her Neck-lace Her dress her own direction surpassing the Painters design so then she might teach him that Art for ever after Her Knots of choyce Riband sap-green and silver fancied into witty fashions twining her hair like mazes made up into round Rouls that lodged in the Crown and center of her Head behind Her Head was well set on as Artists use to say supported by a round necke down behind to her rising shoulder full and plump and meeting before with a fair breast well proportion'd interlaced with Riveret-azur-veines See see the swelling paps like ripe Pome waters well grown and fit for her Husband 's gathering The ruddy nipples two if seen would seem Rasbery fountaines in true Center to their Globy-Orbs Her brawny Arms of good flesh and pure colour A hand well drawn holding a sprig of Gesmine the other shadowed in his Her body well fed not fat sitted onely for his delight Her Apparrell right Mode I dare say therein she learns of none being her self a sample to all Her Drapery well fashioned of Aurora Silke Her Skarfe of Azure skye opened with the wind to let in Aire or to uncover her beautious breasts toher Husbands beholding In a word She appeares a Lady of a high Fancie and an equall Wit both of them made up by a commanding Judgment The Grove was deepned dark which set out all like a Sun-setting so seem'd the skie in the view of a farr fetched Horison When loe a distance off you might discern her pretty Dogge Sable came running in Love to his Mistresse's looks made him hasten his diligence seeming to consent to her desire as being now time to returne home Certainly the Painter was well paid for his paines or well pleased to see them while they sat to his elaborate work A comely Piece rather with dignity of presence than beauty of aspect The Artist rather busie not to erre from his pattern than in labour to produce greater excellencie than their own deserving And thus in summe it must be valued an Ornament to the Dyning-Roome being besides well known to be the Art of Sowst's handy-worke and he a Master of sufficiencie A Promontory of Land like a Mans head A Promontory which bears it self into the Sea and makes a Cape of Land formed by Nature in fashion of a Mans Head The face as it were lying upwards Necke and Shoulders fixed like to St. JOHN's Head in a Platter of bloud The Grove of Trees rising thick and round shagging themselves in shew downwards like curled locks The Brow-part forceth outwards with Hills leaving
mind and intent for we may draw in white-lines the Symmetry of a Black More and to be like him there may be beauty and force in a proportionable designe naked and undisguised Lineaments After design and proportion we come to Colouring Of Colouring COrruption composition or mixing of Colours we call Painting which is to express shadows in Colours thereby to resemble what we do desire to imitate by a moderate confusion or tempering discordant Colours as white black red blew green c. To mixe them accurately To shadow conveniently To apply them seasonably Observe herein Light and Shadows Obscurity and Brightnesse Contrary things are more apparant being placed neer their Contraries Light and Shadows forward set out any Painting outwards as if you might take hold of any part Obscurity or Darknesse is the duskishness of a deeper shadow as brightness is the Intension of Light white appears sooner or neerer to the Eye and the black seems farther off any thing that should seem hollow as in a Well or Cave must be coloured blackish more deep more black On the contrary to lighten or rise forward with white Tonus or brightnesse as it is of necessary use so of excellent ornament in a Picture it is that which is above light sparkling as in the glory of Angels twinckling of precious stones Armory Gold and silver vessells Flame Gold a burning glittering Lustre the variety of these Ornaments must be expressed excellently but avoid satiety not cloy your Picture with it Harmoge in Colours is an unperceivable way of Art stealing to pass from one Colour to another as in the sea and skie meeting in one thin misty Horizontall stroake both are lost and confounded in sight water and ayre become one in their meeting The Rainbow's sundry Colours seeming one mixture not distinct and consisting of one Colour shews excellent but considered of severalls becomes a wonder So also in Art to paint the line or meeting of a Centaur in his two Natures which must seem to unite and joyn insensibly as not to distinguish where they meet deceiveing the Eye with a stealth of change a pleasant confusion of differing Colours It is hard to be expressed and difficult to be done the very excellencie of an Artist when the extream or utmost lines the unrestrained extent of the figure lightly and smoothly coosin the Eye as if something were behind the figure more to be then the Eye sees when the Lineaments that do circumscribe or include the figure are so thin as to vanish by little and little the highest subtility of a piece like spirits and souls painted You may call it a Geometricall Line which is without breadth Observe the parting of the Sun-shadow upon the Wall the line parting the light and that is thus In Painting of a Man consider his dignity stout and uncorrupt in effeminate smoothness the Limbs moderately swelling-grac'd with true and lively Colour of pure and wholesome bloud Bloud and strength makes it goodly fair the black exquisite black pure white with the flower of redness intermixt Ivory died in Purple As for the beauty of a Woman possibly so rare and pure not to be imitated with Colour of Painting Her naturall gracefulnesse not yielding unto an Art which does but counterfeit No hand in truth knows the temper for such a countenance Confound Lillies with Roses and what reflection the Ayre takes of them that 's her complexion N. B. T. Never to be well done but by an Ingenious Excellent Artizan and a faithfull admirer of his beautious Mistress Of Action and Passion THe next observation is out of which Life and Motion doth result It shews no Action or Passion in a Piece barely upright looking forward the Armes hanging down the feet close together and so seems unmoveable and stift In lineall Pieces there may be a deceitfull similitude of Life and Motion and statues may seem to live and breathe but coloured Pictures shew a lively force in the severall effects and properties of Life and spirâ—t To be well acquainted with Nature Manner guize and behaviour as to paint a Man angry or sad joyfull earnest or idâ—â—iall passions to be proper to the figure for every commotion of the mind alters the countenance into severall passions of fear hope love joy so does a touch of the Pensill from mirth to mourning The head cast down seemeth humbleness cast back Arogancie or scorn hanging on the Neck languishing stiff and sturdy morosity of the mind Indeed the severall postures of the head describe the Numbers of passions the countenance as many the Eyes the like So excellent must the Art be to counterfeit Nature In a word each severall member or part of the body either of themselves or in reference of some other part expresses the passions of the mind as you may easily observe in the Life The Arms abroad the Hands expansed the Fingers spread all motions of the parts of the body assist whilst we speak but the hands seem to speak themselves in severall actions and postures The Poets in their descriptions of their gods and great men do rarely express the passions of their minds and I would have an Artizan to observe so much in each Picture of the Life which indeed they only aim at but do not take the pains to express this being effected more by the Master's thoughtfulness then by diligence and labour Study therefore to your self that affectation in your thoughts which you intend to express So shall your indeavours be assisted by a vertue which the Greeks called Energia effectuall operation evidence or perspicuity wonderfully studied by them I have seen a piece of Tytian's A Child in the Mothers Lap playing with a Bird so round and pleasing it seem'd a doubt whether a Sculpture or Painting whether Nature or Art made it the mother smiles and speaks to the child starts and answers Another of Palma's a speaking Piece indeed The young Damsell brought for Old Davids Bedfellow all the company in Passion and Action some in admiration of her beauty others in examining her features which so please the good Old Man that in some Extasie of passion he imbraces her which her humility admits yet with a silenâ— modesty aâ— best became her only to be dumb and to suffer Another the Picture of an Infant in a Surprised Câ—tty creeps to the Mothers breast grâ—velling on the ground amongst other Captives and dying of a wound seeming to have only so much sense as fâ—aring lest the Child finding no Milke should suck her Bloud and so be â—â—oakt she striâ—es with death to prevent the Infant so distruction In anâ—ient Excellent Pieces you may at a view underâ—ake to read the mind of the Artizan in his intent of the Story We are gone through all but the last Of the disposition of the Parts A Picture of many figures must needs express some Historicall part in
done the ground may stand as it were a great deale distant from the face behind the Picture and the face seeme to stand forward off from the ground by darkning both the ground above from the light-â—ide of the Picture and below on the dark-side of the Picture Then go over the haire lightning and deepning it by the Life and gently drawing the lines of those locks of haire upper most and behind over the ground which else would seem hard and unpleasant Now when you have done this sitting and the Person gone and weary as usually they are and yet your work be rough as indeed it will be as yet impossible to bring so curious work to absolute perfection you must spend somegood time by your self in polishing working your Piece to perfection filling up the empty places and sweetning the shadows that as yet may lie uneeven hard and unpleasant Then go on in your linnen dressings and apparrell to make out the severall folds and deepning as you shall find in the Life for in perfecting the worke lay the linnen apparrell jewells pearles and what else is to be imitated in the same fold and forme as you have drawn it in your first drought and then finish it by the life as you shall see the shadows and light fall lightning the lines with the purest white a little yellow and less blew The black must be deepned with Ivory-black and if you worke in heighthning and light reflections you must mingle with the ordinary black a little Lake or Indico or rather bileing in stead of Indico you will find the black to render a curious and admirable reflection like to well dryed satten especially if your light be strong and hard The matter whereof if you please to see imitably exprest you will find it aboundantly in severall rare pieces done by that incomparable Master Hans Holbin who in all his differing and various manner of Painting either in Oyle Distemper or Limning was so generall an Artist as never to follow any man nor any one able to imitate him Third Sitting THe third sitting will be only spent in giving the strong touches necessary for rounding the face which now will appear better for observation the apparrell hair and ground being already finished In this sitting therefore observe what ever may conduce to the likeness and resemblance which above all is the principal aime viz. skin-molds smiling or glanceing of the eye descending or contracting the mouth narrowing the eyes with smiling to which purpose find occasion of discoursâ— or cause the party to be in action or to regard you witâ— a Joviall merry and discoursive aspect Wherein you must be ready and apprehensive to steal observations and to express them with a quick bold and constant hand ever remembring not to make the deeper shadows too darke and obscure as happily you may think they appear in the Life which in Painting as deep as the Life is no good Rule to follow and in Limning is a note of very necessary consequence conclude your face with these observations that the eye gives the life the nose the favour the mouth the likeness If there happen any Armour or Gold-work to observe this Rule First lay Liquid Silver flat and eeven dried and burnisht with a small Weesels-tooth handsomely fitted into a Pensill-stick then temper the shadow of Armour with Silver Indico Liâ—mus and a little Umber work your shadows upon and over according to the Life the heighthnings are to be left bearing the bright burnish Then deepning the depth of the shadow the thinnest part thereof with some store of Silver which must be sweetly wrought into Silver and laid all flat as before As for the Gold you may lay your ground flat with English Oker tempered with liquid Gold Yet there is a stone in the Gall of an Oxe called the Gall-stone which being ground and mixt with Gold is good for all Gold works and gives an excellent lustre in the shadowing When the deepest darkest places are to be mixed with black your lightning must be purest and finest liquid Gold The manner of working whereof was taught by Old Hiliard thus If in your work there be any carving or Imbâ—ssing and that in the light part it must be sparing and you must very finely expresse it by raising in the high and round places a little pile or heape of this Gall-stone or English Oker by taking your Pensill full of Colour and resting the point in one and the same place til your heighth or touch be raised above your other worke That done cover over your raised worke with Gold and you will see it exceeding fair and bright The like you must do with Silver To expresse the roundnesse and lustre of Pearl do it with a little Pinck Diamonds are exprest flat with liquid Silver laid round and high the deepning must be Cherry-stone black and the deepest Ivory-black the Silver dryed and burnisht is for heighthning the strong and darker the shadowes are the fairer the DIAMOND which if you could set off as I could wish would equall that in the Grand-Sultans Cap. The secret of Rubies is of maine consequence vix à visu temperanda It is delivered in the same Hieroglyphical Cabalisticall Character Having therefore laid the ground of silver burnisht the bignesse of the Rubie take gheereaguar of the best and purest wagron mixt then take a needle or small pointed Instrument heated in a Candle lay a drop or a little of this composition upon the burnisht Silver as aforesaid fashioning the stone round or square or other forme with the poynt of your Instrument Let it lye a day or two to drye and it will be very fair and transplendent it being long a drying And to the other composition a little powder of Tunie For an Emrauld or Green-stone temper your gheereaguar with verdigreece and a little turmerick root first scraped with vinegar then let it dry then grind it to fine powder and so temper it with gheereaguar as you did for the Rubie For a Saphire and all kind of blew stones the same Gheereaguar tempered with Ultra-marine is excellent especially if your Colour be faiâ—e For an Amethist the same Gheereaguar mixed with Waycoriant and way wick and so the other colours as you please to mixe them though I conceive I have already told you the fairest Thus having inriched you with a Mine of Precious stones and pearles with Gold to inset them I will conclude this first part of Picture by the Life with the manner of making liquid Gold To make Liquid-Gold most Excellent TAke of the fine lease-Gold about the quantity of halfe a Crown or rather of the cutting of the same to the like quantity at the Gold-beaters grind this with a thicke and strong Gum-water upon a reasonable large stone very fine and painfully you cannot make it fine enough being
sight 1. Variety of Objects 2. In spiritual operation 3. In Light the Noblest Quality 4 In infallibility Eyes their exlency and effects In the descrption of a Landskip By an English Gentleman The Mountain Vesuvius burning Simile Prospect of the Vale River Bridge And Orchards People flye from the Fire And from the mixt Villages Hills a farr off The left hand Prospect of the Vallye Foot of the Hill Horison Travalers A Curtezan Courted The Tale put into a Picture Description of a storm at Sea Storm beginâ— with wind and waves Lowers the Sayle â—orridnesse Ships Instruments useless In sundry ships severall distresses Sheets rent and Tackling tare Boy blown away Mariners miseries Spectators frighted Passengers in a long-boate cast away upon Sands And They are drowned The Wrack described Goods thrown over-board Ship sincks The lading flotes and men upon them And men drowned Wrack on shore Only one man saves himself Harmony of Poetry and Painting Painting before Poetry by Hieroglyphicks Graecians the first Painters Paintinghighly valued Excellency and Effects by massacre at Amboyna Pictures valued at a mighty Price Van Dorts death by losse of a Picture Mr. Gibson the Marquisate Picture Three Knight-Painters Use of Paintings Ornaments to Houses Whether Sculpture or Painting be supream Decided by a Blind Man 1. The first Grace of a Picture A Cut hereof To distinguish Principall from Copies Mr. Croix Of Laniere How to judge of them By distinction Of Old and New Pictures In History Antient Italians and their successors Dutch Masters French Masters Designs Life Landskipâ— Flowers Prospective Sea Pieces Beasts Neat heards English Modern Masters Limning in Water Colours War destroyes all Arts Abilities of Painters Confined Of Factions The Painter's freedom Difference of Naturall and seigned Figures And with Grace Well Coloured 1. With Force what it is 2. And Affection what The first ordering of Painting by Grecians Their Names and Qualities How to dispose of Pictures Not upon out-side of Houses Grotesco work what it is Of Fresco what it is Whole Towns of this worke Three Chambers in Rome And in France â—o dispose Pictures within doors How for light Orderly for grace In the Hall Staire-Case Great Chamber Dyning-Roome Drawing-Chambers Bed-Chamber Banquetting-Rooms Galleries Tarraces â— Note Five sorts of Paintings Drawing and Designing their excellent use The Cuts of these all lost â—â— Sea The practice of Drawing and Designing How to draw by Copyes Of severall members oâ— the body Head and shoulders Nakeds Skeletons Pensils Drapery what Of hatching The best Prints Shadan and others Most Pictures are Copied by Gravings With severall Names to them Not to Paintere you can Draw well In reference to Philosophy and Poetry And Painting Into three sorts Of Imitation In severall graces and abilities Of Fancie Surpassing Imitation Fancy in sleep It changes passions and affections Mr. May To encrease fancie And order it in a Picture Not to dwell upon dâ—signing To correct what is amisse And to submit to Censure being wisely judged Five Principa parts in a Picture Invention Proportion Of true beauty Naturall or conceived By the Idea His brave and unpattern'd and unparallel'd Piece of Artimeâ—ia Likenesse not to be compared To Symmetry And therefore Naked Bodies hard to Paint Designing Lines what A Cut Colouring what With Light and shadows Tonus what A Brightness Harmogia what As the Rainbow in Colours Of Spirits and Souls Painted â—â— A Geometricall Line Colouring of a Man And beauty of a Woman Action and Passion How to be expressed And to be improved In severall postures of the Head Hands and Arms Energia what By example of Titian ' Pieces And of Palma's Piece And of another Of Disposition In order to perfection Soon discovered But altogether excellens By examplâ— in brief Conclude a rare Picture Parergia what With pretty adornments gracefull And to conclude it a wonder Dedicate to the gods Painter's faults Conclusion of all Sets you forward to the Second Book Colours not usefull Ceruse White-Lead Note How to grind it Upon what stone To use it Gum-atrabick Note a generall rule Colours to be washt and ground To be washt only Why to be washt But five perfect Colours India-Lake To â—ixe all Colours Oker Pinke Blew and yellow makes green Umber Brown of Spaine Terra-Colen Cherry-stone and Ivory black Ivory Red-Lead to be washed How to use it Pensils how to choose them To make Pensils Some onely for Gold Tablet for the Life The Prime for severall Complexions Faire Brown How to lay on the ground To prepare Colours upon your shell Of Whites Reds Blews Grisatrie Your Light And sitting First lines Manner of Limning To the Life First â—itting Second Third Dead-Colour Note Particular directions of the Picture Blew-Colour-working Eyes Haire Note Second sitting Observation The Ground-Colour behind Curtaine of Blew How to lay it Remarkable Crimson Satten ground Over-view and add to the face And Haire The Dressings Blackish reflections Third sitting Likenesse Resemblance Countenance Marks Moles Note Remarkable Armour to Colour Silver Gold Colour â—all-stone of an Oxe The manner of working liquid Gold Or Silver Pearle Diamonds Rubies Emrauld or Green-stone Saphire Amethist Liquid Gold to make it Liquid Silver to make it Silver larnish Tablet for Landskip Landskip after the Life the way to draw it To make a Landskip Dead Colour Next ground And neereâ— Note Trees Note Paul Brell's observations Light against dark et â— contrario Heightning the touches of the Trees Cataracts and falls of water-Rockâ— Second working History of rare pieces by Salmiato By Graetians By Albert Dâ—rar Don Clavio Error in the Italians Isaack Oliver The difference in Painting History and Picture Variety of Colours in the Life Bloomart and Spranger Liberty affected in Colouring By Raphael Vrbine And Bassano Ruben and Cornelius of Harlem Angelo Four severall wayes of Colonring 1. Of Infantâ— 2. Virgins and fair-Women 3. Men naked 4. Aged bodies Severall persons of one age and sex in one Tablet Colours of their Apparel Drapery two waies Blew Drapery Isaac Oliver Lightning with Gold upon all Colours by Albert Durar Observations in Limning The Sitting Proportion Light and Posture Pastills for Croyons To make them Lapis Loculi Lapis Lazarilli To make Ultramarine 1. With Powders 2. Paâ—tills 3. Colour'd paper Croyons of Holben a rare Book Ordinary working in Croyon Brown Complexion Plaister of Paris For Crimson Greens And Other Colours White-Lead To counterfeit Spanish White Frescoe Painting upon Walls Without any Mineral colours What Brushes White-Lead Emrauld Ruby Saphire Crimson-velvet Pearl Note Black Murray or Amethyst 2. Fair Red or Ruby 3. Blew or Saphire 4. Green or Emrauld 5. Yellow or Topas To make Ultra-Marine To make a Varnish An excellent Water A Landskip To clean old Pictures Light bad for the eyes Colours good and bad for sight
Rule in Landskip was observed by that excellent Master at Rome Paul Brell whose delightfull works many of them extant in Prints are set out by Raphael and John Sadler Besides many Paintings of his own hand both in Frescoe and Oyle in the Pallace of Cardinal Montaltre by St. Maria Mahgior Bentoglia in Mount Gaballo and in the Church of St. Cecillia His observation iâ— onely this That an Artist must be sure to make all his shadows fall one way that is to place light against dark and dark against light His meaning is that to oppose Light to shadows is only to remove and extend the Prospect and to make it shew far off yet so as ever they must lose their force of vigour as they remove from the eye and if strongest alwaies neerest at hand and as they fall on the first ground Besides all this second working you are to touch up the Trees boughs and branches of them putting all the dark shadows first and raising the lighter leaves above the darker by mixing some Masticoate with the dark green which you may make with Bise Pinke and Indico The uppermost of all you are last of all to express by lightly touching the exteriour edges and brimes of some of the former leaves with a little green Masticoate and white If deeper darkest shadows you may well set off with sap-green and Indico Only remember that both in the leaves and trees Rivers and far distant Mountains you must affect to express certain reall Morrice-dello as Paul Brell calls it or soft delicateness which is the very next remarkable in the worke There is great Art in making Cataracts and terrible falls of waters such as you see at Bruolli neer Rome and fearfull Rocks Wherein Montpert of Antwerp is excellent no Pieces pass his hand without them They are rather made with sleight of hand and a little dramme of discretion with judgment then by study and diligence A good full ground must be first laid neer the Colour then with stronger in the dark places and slâ—ight and easie heighning in the light ever observing those dis-proportions Cracks and ruptures of various over-wannie colours the manner whereof you see abundantly exprest by most mens Pensils almost in every Landskip I should have proceeded in a formall discourse of the second manner of working according to the second sitting after the Life But I spare your troub le referring you to those observations heretofore directed for curiosity in this work is not so much required as in a Picture The greatest cunning herein is to cosen your own eyes which yet you cannot do without their consent in assisting by an apt accommodation of rarity of Colours in their due places In such manner that many times in a Tablet of a span long a man's Imagination may be carried quite out of the Country Seas and Citties by a sure Piece of his own making See Streeter's most exact and rare Landskips in Oyl The Third Division of History YOu shall rarely see History in Limning to be done in any largeness Only four books there are in a Master Book of Paulo quinto in the Vatican Library reasonably well done by one Salmiato a Florentine In the same place there is a very antient Greek Martyrologie sometime belonging to the Emperour Basilius about a thousand years since Wherein were Limned upon Parchment 463 good large Histories out of the Martyrdome of Antient holy people in the primitive Church and these pieces were done by severall Gretians dwelling at Constantinople Other Books exceedingly wel limm'd in that Library done by Albert Durar Another done by Don Clavio very neat and curious and al these upon Parchment only the fleshy Colour wrought in with the poynt of a Pensill without any Primere or ground at all Which certainly â—is an error or rather Heresie in the Italian who wil by no meanes admit of Limning with a ground But that which iâ—Instar omnium is an History of the Buriall of a Gretian Monarch done upon a large Tablet of sine abortive Parchment polished on a smooth and well seasoned board of Pear-tree It was in the hands of Mr. Endymion Porter begun by that in comparable Master Isaack Olyver almost to the end but it had finishing from his Sonne It was a piece of the greatest beauty and perfection for so much as I think all Europe or the World can produce And I believe if Carlovan Mandras in his Dutch History of the famous Painters had seen this Picture his book might have encreased to a Tome with this worthy description The difference in Painting of Pictures and History are infinite though the Colours be the same and to particularise but in part what may be said of this subject would be endlesse The most remarkable difference certainely is in the variety of Colours which according to their several Complexions Sex and Ages may be represented and many times according to the humour judgment and affection of the Workman And we see ordinarily the practice of the best and most famous Painters those that follow the Life doe tye themselves straightly and precisely to what they see in their patternes the designes and drawings of Bloomart and Spranger Yet in the Invention they assume unto themselves liberty or rather licence in their racking and strained proportions so others in their Colouring as that many times extravagancies and impossibilities if not ridiculous do appear Hence comes it that the rare Raphael Urbine affecting a delicate pleasing liberty in Colouring of his Naâ—ea's is so pittifully imitated by some of the Dutch Masters And so the Dutch pester their work with greenish blâ—â— and purple Colour in their Naâ—eâ—s as would rather serve for a reasonable Landskip and set out the flesh as if bastinado'd into black and blew The Naturall Basano an old and excellent Master yet so affected to Pots and Dripping-pannes to blew cotes and Doggs that his History of the Deluge sometimes in the Gallery at St. Jame's by Whiteâ—all seemes to be rather a disordered and confused Kichin then Noah's floud So Ruben in his affected Colouring sometimes in the privy Gallery at Whitehall and Cornelius of Harlem in his loose untrussed figures like old and beaten Gladiatry seem exceedigly to abuse that gentle and modest licence which alwayes graced the worke of that admirable Italian Michael Angelo that therefore it is not safe to go beyond the Life rather then so much to exceed the patterne by the Chimeraes of their own brain and fancy and yet what I have touched before concerning him also is accounted a fault Four severall sorts of Colouring INdeed and briefly there are four severall kinds of Colouring to be observed in History Of young Infants of faire virgins of young women of old women in every of these severally It is in the power of a judicious Artist to vary and change their manner of