had never been either drawn or lightned whereas having lights well disposed it doth not only add perfection to the draught but so sets it off from the Flat that it seems to be imbossed And in this vertue and power consisteth the chiefest excellency of the Painter Insomuch as this point most properly concerneth him by making his counterfeits seem to be as much raised by reason of the striking of the light as they are indeed in the Carvers work by reason of the matter which as all Men know hath height and depth the right side and the left the fore-part and the hinder wherefore they say that the thing which the Carver intendeth to make is in the Marble which afterwards becometh good or bad by cutting and forming but to return to the light I say this moreover that although it be of such efficacy that it diminisheth the grace of the draught where it wanteth as is said yet the Inartificialness of the draught cannot disgrace it whence we see that if the lights be well and proportionably bestowed throughout a Body which is ill proportioned and without Muscles it contenteth the Eye of the beholder somewhat the more by moving him to a desire of seeing the Muscles and other necessary parts in such a Body as in the Pictures of Bernard Zenale Friviliano viz. the glorious resurrection of Christ painted by him over the Gate in the Covent of the Church of Grace in Milane and many other Histories of his doing as well in colours as in black and white in the same place Wherein may be seen Pictures made without Muscles and other necessary accomplishments for the more gracious representation of Eye-pleasing perfection but yet well placed and with their lights most artificially disposed in their places insomuch that they seem to be imbossed outwards such is the force of these lights in which you shall also find admirable perspectives and foreshortnings wholly proceeding from the orderly disposing of the lights without which these draughts would have proved imperfect loosing much of that grace although they were well placed so that we find many Painters who being ignorant of the art of proportions only by a little practice in disposing their lights in some tolerable sort have notwithstanding been reputed good Artists which commendation they deserve not because they neither have the Art of perspectives nor the true representing of any of the lights Now for an Example of the true art of exquisite bestowing of these lights that Peece of Le Vincent amongst many others may serve us instead of all the rest of his well lightned Pictures which is now to be found in St. Francis Church in Milane where he hath painted the conception of our Lady which to omit other excellencies therein is most singular in this point for the perfection of lights those two peeces done by the hand of Antonio Correggio are most admirable which are yet to be seen in the same City with Cavalier Leon Aretino in one whereof is painted fair Jo with Jupiter upon a Cloud and in the other Danae and Jupiter descending into her lap in the forme of a golden shower with Cupid and other Loves having their lights so well disposed that I dare boldly say no other Painter is able to match him in colouring and lightning which Degrees were sent him out of Spain from his Sonne Pompey a carver Moreover Michael Angelo and Raphael Vrbine the Fathers and Masters of painting are reputed most rare and divine in lights out of whose Schooles I may truly say almost all the famous Painters of Italy have attained to the worth of their fame Now then insomuch as these lights are of so great vertue we ought to use all diligence for the perfect attaining to the knowledge thereof by applying them to our draughts as is shewed insomuch as the art of proportion motion and foresh ortning hath but small use or commendation in a Painter without the knowledge of these lights found out by reason and art and not taken by bare imitation from the imbossed models under a false apprehension of the light without order or distance as also in the lines and super-ficies of Bodies wherefore they prove false and altogether contrary to the rules of art And thus much I thought good to note concerning this point purposing now to begin the treatise of light it self by the assistance of him who inlightneth the understanding of such as submit themselves unto him with a pure Mind wholly prepared for the receiving of so divine beams Of the Necessity of Light IT appeareth by that which hath been hitherto spoken that a peece of painting drawn in proportion having his true motion and put in colours without the lights is like a Body in the dark of whose Quantity or Quality a Man cannot judge save only by the help of his understanding that is by that inward conceipt he hath of the thing and not by any outward insomuch as it is hidden from the external light which concurring with the internal by means of the Beams proceeding from the Eye makes the diversity of Bodies known to the understanding after the same manner as they receive their light naturally Wherefore I will handle the lights saying nothing of the shadows although they be handled together with them for the shadows do necessarily follow the lights being caused by the decay of the light taking so much the more force by how much the more forcibly the light striketh upon the Body whence ariseth that exceeding great raising and heightning of a natural plain in a Body receiving the light according to his proper nature And by this we shall know how the lights reflections and natural rebating of the lights do vary according to the diversity of the Bodies by altering them as shall be said wherein also we shall see the very perfection of the art for without this neither order forme proportion motion composition or figure can attain to their perfection like unto a Body without scituation or spirit or to counterfeit Starrs without the light of the Sun giving them their brightness answerable to their qualities whereby they may be seen But now as touching my proposed matter I will First handle the nature of light and afterwards by the help of Natural Philosophy and the Opticks being the First part of the perspectives I will speak in general of the primary and secondary lights then of direct and reflected lights afterwards how by Mathematical reasons divers distinct lights may be seen by reason of the variety of the Bodies and finally of the qualities of things appertaining thereunto how it may be understood in all things and in the Elements themselves Of the Nature of Light THis Word Light is diversly taken First and principally it signifieth the Image of that Divine Nature which is the Sonne of God and the brightness thereof which the Platonicks called the Image of the divine mind Secondly the comfortable operation of the Holy Ghost Thirdly that divine vertue which
Art of Painting is distinguished from all other Arts and Sciences the Genus then in Painting is Art which is prooved by two Reasons The First is drawn from the Definition of Art it self which is nothing else but a sure and certain Rule of things to be made the Second from the Natural things themselves which are a Rule and Measure to the greater Part of the Arts and Sciences in the World insomuch as they are Gods creatures and consequently indued with all such Perfection as their Nature is capable of and therefore may well be a certain Rule to Artificial things Hence it appeareth that Painting is an Art because it imitateth natural things most precisely and is the counterfeiter and as it were the very Ape of nature whose Quantity Eminency and Colours it ever striveth to imitate performing the same by the help of Geometry Arithmetick Perspective and Natural Philosophy with most Infallible Demonstrations but because of Arts some be Liberal and some Mechanical it shall not be amiss to shew amongst which of them Painting ought to be numbred Now Pliny calleth it plainly a liberal Art which authority of his may be proved by reason for although the Painter cannot Painting is a Liberal Art attain to his end but by working both with his hand and pencil yet there is so little pains and labour bestowed in this Exercise that there is no Ingenious Man in the World unto whose Nature it is not most agreeable and infinitely pleasant For we read of the French King Francis the First of that name that he oftentimes delighted to handle the pencil by exercising drawing and painting the like whereof is reported of divers other Princes as well antient as late amongst whom I may not conceal Charles Emanuel Duke of Savoy who in all other Heroical Vertues so amongst other Liberal Sciences in this imitated and most happily equalled that great King Francis his Grand-father by the Mothers side so that in these and the like Exercises nothing is Base or Mechanical but all Noble and Ingenious For to say the truth what Prince or Ingenious Man is there which taketh not delight with his pencil to imitate God in nature so far forth as he is able Farthermore it cannot be denied but that the Geometrician also worketh with the Hand by drawing Lines as Circles Triangles Quadrangles and such like Figures neither yet did ever any Man therefore account Geometry a Mechanical Art because the Hand-labour therein imployed is so sleight that it were an absurdity in respect thereof to reckon it a base condition The like reason is there of painting the Practice whereof doth so little weary a Man that he which was Noble before cannot justly be reputed Base by exercising the same but if besides all this we shall farther consider that Painting is subordinate to the Perspectives to Natural philosophy and Geometry all which out of question are Liberal Sciences and moreover that it hath certain Demonstrable conclusions deduced from the First and immediate Principalls thereof we must needs conclude that it is a Liberal Art Now what kind of Liberal Arts it is to omit all other proofs may easily appear by the foresaid Definition where it is first said that it representeth upon a plain the Thickness and roundness of Bodily thing not excepting any either Natural The Differences or Artificial whereby we may gather that it belongeth to the Painter also to represent Pallaces Temples and all other things made by the hand of the Artificer Moreover it is said that it representeth the Figure upon a Plaine and hereby it is distinguished from Carving though not Essentially but onely Accidentally as it is said in the Proem by reason of the diversity of the matter wherein both of them represent natural things which imitateth Nature likewise though it express the perfect roundness of the Bodies as they are created of God whereas the Painter representeth them upon a Flat Superficies Which is one of the chiefest reasons why Painting hath ever been preferred before Carving Because by meer Art upon a Flat where it findeth only length and breadth it representeth to the Eye the Third Dimension which is roundness and thickness and so maketh the Body to appear upon a Flat where naturally it is not Furthermore it is added in the Definition that it representeth the Bodily Motions which is most Motion true for in that most Famous Picture of the last judgement done by the Hand of the Divine Michael Angelo in the Popes Chappel at Rome who sees not what motions may be expressed in Bodies and in what order they may be placed there may you see our Lady St. John and the other Saints represented with great Fear whilest they beheld Christ moved with indignation against the wicked who seem to fly away and hide themselves behind his Back that they might not behold his angry countenance wholly inflamed with indignation There shall you behold the guilty who being astonished with Fear and not able to indure his glorious presence seek dark Dens and deep Caves to hide themselves in On the one side you shall finde the Saints seeming in a Sort to finish the Act of the resurrection ascending up into the Aire to be placed at the right hand of Christ On the other side you would think you saw the Angels coming down from Heaven with the Standard of the Cross And on the other carrying the Blessed Soules to be placed at the right hand of God And to conclude there is no corporal Motion whether it be forwards or backwards on the right hand or on the left upwards or downwards which may not be seen expressed in this most artificial and admirable Picture but if we shall farther consider the passions and motions of the Mind whereof the Definition maketh mention likewise they are also to be found in the same work with no less Art then admiration to the beholder especially in Christ in whom you may see Wrath and Indignation so kindled that he seemeth to be altogether incensed therewith Again both in the Saints and damned In the Saints a reverent in the damned a desperate fear Soules being appalled and confused is most lively expressed an exceeding dread and horror of the wrathfull Judge and in a Word many motions as well of the Body as of the Mind are to be found in the Works of this Divine Bonaraot of the rare Raphael Vrbine and of other worthy Painters both old and new as well of love as hatred sadness as mirth and all other passions of the Mind All which representations are after declared in that part of the Definition where it is said that Painting with proportionable lines maketh Proportion c. where we must Note that the Painter in his descriptions doth not draw lines at randome without Rule Proportion or Art as some vainly have imagined since the Arrantest Bunglers that are proceed with some little Method and although Horace in his book de Arte Poetica
receiving the light I answer alwayes according to the former Doctrine that although they be equally lightned yet we must paint the Second which is farther off from the Eye darker and the Third more then him and the Fourth most of all c. untill our Eye can see no more The reason is because the Second standing farther off cometh to the Eye with a lesser angle wherefore he cannot be seen so evidently as the First the same reason there is of the Third c. The same is also meant side-long wherefore whatsoever Painters have observed this Doctrine have became excellent and nothing inferiour to the chief Masters of this Art as Le Vincent with divers others named before together with Jac Tintoretto Marco de Scina Frederick Barozzi of Vrbine Paulus Caliarius of Verona Lucas Gangiasus the Bassans and Ambrose Figinus Now the whole Doctrine delivered in this present Chapter is for the most part taken out of Aristotle Alhazen Vitello Thomas Aquinas and to conclude out of all the best Philosophers and Divines whose Opinions I approve of and thus much may be spoken for the Opinions of other Men. Of the Vertue and Efficacy of Motion IT is generally confessed of all Men that all such Motions in Pictures as do most neerly resemble the Life are exceeding pleasant and contrarywise those that which do farthest dissent from the same are void of all gracious Beauty committing the like discord in Nature which untuned strings do in an instrument Neither do these motions thus lively imitating Nature in Pictures breed only an Eye-pleasing contentment but do also performe the self same effects which the natural do for as he which laugheth mourneth or is otherwise effected doth naturally move the beholders to the self same passion of mirth or sorrow so a picture artificially expressing the true natural motions will surely procure laughter when it laugheth pensiveness when it is grieved c. And that which is more will cause the beholder to wonder when it wondereth to desire a beautiful young woman to his Wife when he seeth her painted naked to have a Fellow feeling when it is afflicted to have an appetite when he seeth it eating of dainties to fall a sleep at the sight of a sweet sleeping Picture to be moved and wax furious when he beholdeth a battel most lively represented and to be stirred with disdain and wrath at the sight of shameful and dishonest actions All which points are in truth worthy of no less admiration then those miracles of the antient Musitians who with the variety of their melodious harmony were wont to stir Men up to wrath and indignation love warr honourable attempts and all other affections as they listed or those strange conclusions of the Mathematical motions recorded of those undoubted wise Men who made statues to move of their own accord as those of Dedalus which as Homer writeth came to the battel themselves or Vulcanus Tripodes mentioned by Aristotle or those guilded Servitors which walking up and down at the feast of Jarbas the Gymnosophist served at the Table or those antient ones of Mercury in Aegypt which spake c. In which kind of artificial motions Leonard Vincent was very skilfull who as his Scholar Signior Francesco Melizi the great Limner verifies invented a certain conceited matter whereof he used to make Birds that would fly into the Air and made a most artificial Lyon which being brought into a large Hall before Francis the First King of France of that name after he had a while walked up and down stood still opening his Breast which was all full of Lillies and other flowers of divers sorts at which sight the King and other spectators were rapt with so great admiration that they then easily believed that Architas Tarentinus his woodden Dove flew that the brazen Diomedes mentioned by Cassiodorus did sound a Trumpet that a Serpent of the same metal was heard to hiss that certain Birds sung and that Albertus Magnus his brazen Head spake to St. Thomas of Aquine which he brake because he thought it the Devil whereas indeed it was a meer Mathematical invention as is most manifest But to return thither where I left I am of Opinion that insomuch as these Motions are so Potent in affecting our Minds when they be most artificially counterfeited we ought for our bettering in the knowledge thereof to propose unto us the example of Leonard Vincent above all others Of whom it is reported that he would never express any motion in a Picture before he had first carefully beheld the Life to the end he might come as neer the same as was possible whereunto afterwards joyning Art his Pictures surpassed the Life This Leonard as some of his Friends who lived in his time have given out being desireous to make a Peece wherein he would express certain Clowns laughing although he never perfected it more then in the First draught he made choice of some Clownes for his purpose into whose acquaintance after he had insinuated himself he invited them to a feast amongst other of his Friends and in the dinner while he entred into a pleasant vain uttering such variety of merry conceits that they fell into an exceeding laughter though they know not the reason thereof Leonard diligently observed all their Gestures together with those ridiculous speeches which wrought this impression in their Minds and after they were departed withdrew himself into his Chamber And there portraited them so lively that they moved no less mirth in the beholders then his jests did in them at the banquet They add moreover that he took special delight to behold the Gestures of the condemned as they were led to Execution to the end that he might mark the contracting of their browes the motions of their Eyes and their whole Body In imitation whereof I hold it expedient for a Painter to delight in seeing those which fight at cuffs to observe the Eyes of privy murtherers the courage of wrastlers the actions of Stage-players and the inticing allurements of curtesans to the end he be not to seek many particulars wherein the very Life and Soul of painting consisteth wherefore I could wish all Men carefully to keep their Brains waking which whosoever shall omit his invention out of doubt will sleep studying perhaps Ten Years about the action of one Figure which in the end will prove nothing worth whence all famous inventors for the avoiding of such gross defects have the rather shewed themselves subtile Searchers out of the effects of nature being moved thereunto by a special delight of often seeing and continually practizing that which they have preconceived so that who so keepeth this Order shall unawares attain to such an habit of practice in lively expressing all Actions and Gestures best sitting his purpose that it will become an other nature And whosoever shall diligently consider Caesar Sestius his admirable works wherein all the actions are most naturally appropriated to the Subject will easily
conclude that he trod in Leonards steps and for this cause was he highly esteemed of Raphael Vrbine unto whom they say he was wont jestingly to say often that it seemed a very strange thing unto him that they two being such neer Friends in the Art of Painting yet spared not each other when they offended a speech surely well be seeming honest men albeit they lived together in such sweet emulation which humour if it were to be found in these our Dayes the World might be reputed right happy but now malicious envy to our great disadvantage taketh place instead thereof Ministring Matter to ignorant and absurd people insolently to disgrace and carp at other Mens rare perfections Of the Necessity of Motion THe order of the place requireth that I should consequently speak of Motion it self namely with what Art the Painter ought to give Motions best fitting his Pictures which is nothing else but a correspondency to the nature of the proportion of the forme and matter thereof and herein consisteth the whole spirit and life of the Art which the Painters call sometimes the fury sometimes the grace and sometimes the excellency of the Art for hereby they express an evident distinction between the living and the dead the fierce and the gentle the ignorant and the learned the sad and the merry and in a Word discover all the several passions and Gestures which Mans Body is able to perform which here we term by the name of Motions for the more significant expressing of the Mind by an outward and bodily demonstration so that by this means inward motions and affections may be as well or rather better signified as by their speech which is wrought by the proper operations of the Body performing just as much as is delivered unto it from the reasonable Soul stirred up either unto good or bad according to their private apprehensions Which things while all good Painters propose to themselves in their works they express such admirable secrets of Nature as we see which being moved by that stirring vertue which continually lying hid in the hart is outwardly shewed forth in the Body by extending her branches through the exteriour Members in such sort that they may also receive motion hence spring those admirable motions in Pictures which appear as diverse as the passions whence they have their original are different of which point somewhat shall be said in this ensuing Treatise Now the perfect knowledge of this motion is as hath been shewed accounted the most difficult part of the art and reputed as a divine gift Insomuch as herein alone consisteth the comparison between Painting and Poetry for as it is required in a Poet that besides the excellency of his wit he should moreover be furnished with a certain propension and inclination of will inciting and moving him to versify which the antient called the fury of Apollo and the Muses so likewise a Painter ought together with those natural parts which are required at his hands to be furnished with a natural dexterity and inborn slight of expressing the principal motions even from his cradle otherwise it is a very hard if not impossible matter to obtain to the absolute perfection of this Art The truth whereof experience it self may teach us Insomuch as there both have been and are many excellent Painters who for their extraordinary skill in the art are most highly esteemed of all Men as being able to make sweet coloured pictures having their loyns and joynts in all points answerable to the rules of proportion understanding Anatomy and painfully lightned and shadowed but because notwithstanding all their care and industry in this behalf they could never be so happy as to attain unto this faculty They have left their works to the view and hard censure of posterity only because they expressed unsuitable and lame Gestures in their Pictures which they had stolen out of other Mens inventions namely out of theirs who were naturally indued with that grace and perswading themselves that these would very well serve their turns they imagined such Actions and Gestures in their own Pictures as being used besides the purpose for which they were First invented could not be approved for good because they offended in divers circumstances wherefore those unfortunate painful Men who notwithstanding in some other parts of the art be sufficiently skilful although they can imitate the Actions and Gestures of other inventors yet shall they never be able to make a commendable History because they be naturally disfurnished of that inborn facility and inclination Now on the contrary part I deny not but those who are furnished with natural invention may want that patience in their work which the others have which propriety ariseth from the multitude of their continual inventions and stirring apprehensions Insomuch that before they can throughly finish or compleat any one Body or Action infinite others arise in their fantasie so that by reason of the great delight they feel in their invention they cannot have the patience to finish any thing they take in hand But the most absolute and compleat Painters who are not so much inclined by nature as perfected by art endeavour to choose out the best Actions for every purpose in restraining the luxurious fury of nature by that deliberate discretion which they have in their Idea by the benefit whereof they finish their Pictures with delight and contentment alwayes expressing in each member a certain hidden resemblance of the princial motions wherefore these alone carry away the commendation of the profession which is not granted to those furious mad-caps by reason of their impatiency nor yet unto the former over diligent plodders because they have not the natural knowledge of these motions and therefore cannot express them in their works as those natural inventors will do with Three or Four strokes wherefore they become inferiour so that as well the one as the other must needs give place to the inventor who wisely joyneth the industry of art with the gift of nature Notwithstanding I am of Opinion that it is possible to attain unto this so excellent a faculty though perhaps not with that special eminency of natural facility as by industrious study in the knowledge of these motions and the causes whence they proceed For from hence a Man may easily attain to a certain understanding which afterwards putting in practice with patience together with the other points he may undoubtedly prove a judicious inventor who never had any extraordinary natural inclination my meaning is that such an inventor as guideth himself by understanding shall attain to better perfection then the other who is naturally indued with the dexterity without industry and patience for example if a Man shall diligently peruse the whole History of Christ out of doubt he shall gather the true Idea and Method how he ought to represent the motions of Christ the Apostles the Jews and all the rest who had any part in that cruel Tragedy so
sufficiently that the Mind of the beholder shall be no less moved to pitty tears and sorrow at the sight of the picture then Men are usually at the reading of the History so that by this means he shall shew in Judas violent offensive brutish buisie and distempered motions and in Christ being full of patience remiss and gentle representing in him as in a glass that singular humility and patience wherewith he reconciled us unto his Father All which notwithstanding they may be sufficiently drawn out of the reading of the History yet for more ease sake they may be taken from the accidental examples in the living imitated with great felicity and afterwards industriously and artificially expressed by causing the abundance of his diligence to appear in stirring up affections of piety and sorrow as in a peece of the passion or other affections as the History he hath in hand shall require Now concerning the way and manner how these Actions are to be given according to the diversity of Passions and Affections which at sundry times upon several occasions may move Mens Minds I hope in this Treatise to shew evident examples although they be somewhat hard and drawn from the secrets of natural Philosophy a thing which might seem to require a Man of riper Years then so young a Man as my self wherefore I must crave pardon for breaking the bounds of Modesty in undertaking the handling thereof had I not been prompted unto it by the Painters it being of so great use and importance howbeit If neither in that which hath been already spoken I have sufficiently laied open this point nor hereafter shall be able to deliver the Method fully which I promised yet notwithstanding this my pains is not to be contemned insomuch as it will at the least prepare an easie free and Methodical passage for every Man to exercise his Wit which must needs prove a most sure and ready way insomuch as all the most Famous Painters have been directed thereby who when they went about to counterfeit any story First conceived the general forme thereof and then gave to each Figure his peculiar Actions proportioning disposing and guiding them by discretion accompanied with natural felicity Now amongst the worthy Painters who excelled herein Raphael Vrbine was not the least who performed his Works with a Divine kind of Majesty neither was Polidore much behind him in his kind whose Pictures seemed as it were passing furious nor yet Andreas Montagnea whose vain shewed a very laborious curiosity Nor yet Leonard del Vincent in whose doings there was never any errour found in this point Whereof amongst all other of his works that admirable last supper of Christ in Refect St. Mariae de gratia in Milane maketh most evident proof in which he hath so lively expressed the passions of the Apostles minds in their countenances and the rest of their Body that a Man may boldly say the truth was nothing superiour to his representation and need not be afraid to reckon it amongst the best works of Oyl-painting of which kind of painting John Van Eyck of Maesyck born in the Year 1366. was the first Inventor for in those Apostles you might distinctly perceive admiration fear grief suspition love c. all which were sometimes to be seen together in one of them and Finally in Judas a Treason-plotting countenance as it were the very true counterfeit of a Traitor so that therein he hath left a sufficient argument of his rare perfection in the true understanding of the passions of the Mind exemplified outwardly in the Body which because it is the most necessary part of painting I propose as I say to handle in this present Treatise I may not omit Michael Angelo in any case whose skill and painfulness in this point was so great that his Pictures carry with them more hard motions expressed after an unusual manner but all of them tending to a certain stout boldness And as for Titian he hath worthily purchased the name of a greater Painter in this matter as his Pictures do sufficiently witness in each whereof there shineth a certain moving vertue seeming to incite the beholder unto the imitation thereof of whom this saying may be well verified that he was beloved of the World and envied of nature Finally Gaudentius though he be not much known was inferiour unto few in giving the apt motions to the Saints Angels who was not only a very witty painter as I have elsewhere shewed but also a most profound Philosopher and Mathematician amongst all whose all praise worthy works which are almost infinite especially in this point of motion there divers Mysteries of Christs passions of his doings but chiefly a crucifix called Mount Calvary at the Sepulchre of Varasto where he hath made admirable Horses and strange Angels not only in painting but also in plaistick of a kind of earth wrought most curiously with his own hand di tutto relievo through all the Figures Besides in the Vault of the Chappel of St. Mary de gratia in Milane he hath wrought most natural Angels I mean especially for their actions there is also that mighty Cube of St. Mary de Sorono full of thrones of Angels set out with habits and actions of all sorts carrying diversity of most strange Instruments in their hands I may not conceal that goodly Chappel which he made in his latter time in the Church of peace in Milane where you shall find small Histories of our Lady and Joachim shewing such superexcellent motions that they seem much to revive and animate the spectators Moreover the story of St. Roccho done by him in Vercelli with divers other works in that City although indeed all Lombardy be adorned with his most rare works whose common saying concerning this Art of motions I will not conceal which was that all painters delight to steal other Mens inventions but that he himself was in no great danger of being detected hereafter Now this great painter although in reason he might for his discretion wisdome and worth be compared with the above named in the First Treatise Yet notwithstanding is he omitted by George Vasary in his lives of the Famous Painters Carvers and Architects an argument to say no worse of him that he intended to eternize only his own Tuscanes but I proceed to the unfolding of the original causes of these motions And First for our better understanding I will begin with those passions of the mind whereby the Body is moved to the performance of his particular effects Of the passions of the Mind their original and difference THe passions of the mind are nothing else but certain motions proceeding from the apprehension of some thing now this apprehension is Threefold sensitive rational and intellectual and from these Three there arise Three passions in the mind for sometimes we follow sensitive apprehensions and then we consider good and evil under the shew of that which is profitable or unprofitable pleasant or offensive and
these are called natural affections sometimes we pursue rational apprehensions considering good and evil in manner of virtue or vice praise or dispraise honesty or dishonesty and these are reasonable affections sometimes we imbrace apprehensions intellectual regarding good and evil as true and false and these are intellectual apprehensions Now the inferiour powers of the mind are of two sorts either desire or anger and both of these respect that which seemeth good or bad diversly for the desiring part either considereth good and bad absolutely and so it causeth love and liking and contrarywise hatred or else it respects good as absent whence ariseth desire or longing or else evil as absent but at hand and so it breedeth fear dread c. or both of them as present and so from the First cometh joy and delight from the latter heaviness and grief the angry faculty considereth good and evil as it is easy or hard to be attained unto or avoided whence springeth sometimes confidence and hope sometimes audacity sometimes distrust and so desperation c. sometimes it is moved to revenge and that is in regard of evil past as injury or offence received and so it breedeth anger by that which hath hitherto been spoken it is evident that there are Eleven passions or affections in the mind which are these love hatred desire fear joy sorrow hope dispair audacity timerousness and anger from which there do consequently arise so many sorts of actions in the art as there may be affections expressed in Mens Bodies wherefore we ought carefully to observe the motions which are outwardly expressed in such sort as they do manifestly point to the roots whence they spring and discover the causes from which they proceed distributing them and disposing them accordingly in the Bodies or Physiognomies which whosoever shall fail in shall questionless wholly pervert the Order of things confounding the Beauty of Histories whether they be Fables or other Inventions which are to be painted How the Body or Physiognomy is altered by the Passions of the mind IT is a clear case that the mind according to the divers affections whereof I spake before by reason of the apprehensions both sensible and imaginative doth diversly change and alter the Body with sensible alterations by varying the accidents thereof and producing sundry qualities in the members so that in mirth the spirits are enlarged in fear they are contracted in bashfulness they fly up to the Brain again in joy the heart is extended by degrees in displeasure it is drawn in by little and little as likewise in anger and fear but sudden anger and desire of revenge procureth heat blushing bitter tast and the flux of the Belly fear brings coldness the panting of the heart the failing of the voice and paleness heaviness causeth sweating and a blewish paleness mercifulness breeds a certain heaviness which oftentimes hurteth him that is moved to mercy which appeares ordinarily in lovers in whom there is such a Sympathy that whatsoever one indureth the other likewise suffereth the same Anxiety causeth dryness and blackness desire and love breeds sundry colours sometimes red sometimes pale as we daily see in lovers especially in their meetings Now all these passions when they be exceeding vehement do sometimes bring Death which happened to Sophocles and Dionysius the Sicilian Tyrant when he received the News of a desperate victory the like hath befallen drivers others through heaviness and sundry other mishaps have proceeded from the like passions when they assaulted Mens minds whereof we have divers examples in stories which I mean not to stand upon as being a thing more curious then necessary to our purpose only I will shew of what power and efficacy fierce wrath joyned with a magnanimous audacity can do by the example of Alexander the Great who being overmatched by his Enemies in India was seen to reak forth from his Body fire and light the like whereof we read of the Father of Theodoricus who by the like vehement effect breathed out of his heart as from a burning furnace fiery sparkles which flying forth shon and made a sound in the Air. Thus therefore we represent all these passions in a story together with their convenient and proper Motions we set forth that great variety which worketh such delight and pleasure that it allureth our Minds unto it with a sweet kind of compulsion no otherwise then most delectable Musick enchaunteth the Eares of the Hearers which as they write is so forcible that way that a certain Musitian boasted that by the power of his notes he caused Men to grow furious and afterwards come to themselves again Of the Motions procured by the Seven planets AMongst the Seven Governours of the World which Merc Trismegistus calleth Planets as Saturn Jupiter Mars Sol Venus Mercury and Luna the chief and principal is Saturn which hath also received divers names of antiquity as Heaven Sith-bearer the father of the gods Patrone of time and from his effects here below wise intelligent ingenious the seed of great profundity the Auctor of secret contemplation the imprinter of weighty thoughts in Men a destroyer and preserver the Subjector of power and might the keeper of hidden things and the Auctor of finding and loosing His influences are partly good and partly bad according to the disposition of him that receiveth them as weeping melancholly c. he causeth religious actions as to bow the knee look down upon the earth pray and such like motions of the Breast and Face common to those which pray or other austere and satyrical Fellows with Head declining Eyes fixed on the earth wasting himself with a furious silence and examining his own speech with hanging lips Moreover he causeth a complexion of colour between black and yellow meager distorted of an hard skin eminent veyns an hairy Body small Eyes Eye-brows joyned together a thin beard thick lips with looks cast down an heavy gate enterfairing as he goeth besides he makes a Man subtil witty a way-layer and murtherer Now according to this forme of Body and these motions you may frame any Body subject unto Saturn that is of the temper and complexion answerable to the nature of Saturn so that by that which hath been said concerning this Planet in particular as also by that which shall be spoken severally of the rest we may gather one general Rule as touching the Art of motions in our Pictures as well in respect of the quality of the humour as of the motions themselves c. Jupiter The Second Planet is Jupiter so named of the Latines as you would say Juvans Pater the Father of beneficence and liberality he is otherwise called of the Poets magnanimous the thunderer and lightner invincible altipotent magnipotent good natur'd fortunate sweet pleasant the best well-willer honest neat of a good gate honourable the author of mirth and judgement wise true the revealer of truth the chief judge exceeding all the Planets in goodness the bestower
of riches and wisdome the dispositions and affections proceeding from this Planet are a merry and ingenious countenance actions of honour shaking of hands after the manner of those which entertain strangers commending and speaking Men fair with cap and knee lifting up the head as those use which pray Concerning the complexion disposition and feature of the Body he makes a Man of a mixt sanguine betwixt white and red of a delicate Body good stature either bald or else high-foreheaded Eyes somewhat big short nostrels and unequal the cheek-teeth somewhat big a curled beard deceitful and fair conditioned All which correspondencies betwixt the qualities of the mind and the constitution of the Body together with their exteriour affections if the Painter shall with judgement consider and observe they will breed both delight in him and estimation to his Art teaching him farthermore the true difference between an honest man and a varlet one that is merry and a melancholly Fellow a Man of his hands and a coward and so forth according to all those qualities naturally proceeding from Jupiter c. Mars The third Planet is Mars and by the Poets is also called Mavors the god of warr bloudy armipotent ensifer magnanimous bold inconquerable full of generosity of invincible power of impetuous presence unresistable a subverter of the strong and mighty and a deposer of Kings he is the Lord of heat burning and power the Planet of bloud brawls and violence incensing contentions and bold spirits and in a word broching all disordered inconsiderate and heady actions his Gestures are terrible cruel fierce angry proud hasty and violent he causeth Men to be of a red complexion a deep yellow hair round visaged fiery Eyes a cruel and fierce countenance by reason of his intemperate heat insomuch that he is reputed hot and dry in the highest degree bearing sway over red choller Sol. The Fourth Planet is Sol which hath divers other appellations as Phoebus Apollo Titan Pean Horus Osiris Arcitenent Fiery Golden flamiger Radiant Igni-comus the Eye of the World Lucifer Multifidus Omnipotent the Prince of Starrs the grand Seignior he is of good Nature fortunate honest neat prudent intelligent wise the governour the bestower of life upon all Bodies indued with Soul obscuring the light of the other Starrs with his exceeding brightness and yet imparting unto them all that light they have whence in respect of the night he is called Dyonisius and of the day Apollo as you would say pellens malum the dispeller of evil wherefore the Athenians called him 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 c. He was named Phoebus by reason of his Beauty and Vulcan because of the violent heat he ingendereth in those Bodies over which he hath dominion and Sol for the preheminence of his light wherefore the Assyrians named him Adad which signifyeth alone the Hebrews Shemesh the Motions proceeding from him are couragious honourable majestical considerate and wise the colour and hew which he giveth is brownish betwixt yellow and black mixed with red causing those which are subject to him to be of a low stature yet of a comely personage bald curled with yellowish Eyes touching the affections of their mind they are considerate prudent trusty vain glorious and magnanimous Venus The Fift Planet is Venus whose denominations are likewise divers expressed by variety of Epithites as chief mild fair bright white pleasant powerful fruitful the Mother of love and beauty the progeny of ages the First Mother of Man she that First joyned both Sexes together in love the Queen of all joy friendly merciful ever bountiful to Mankind embracing all things with her vertue humbling the strong and lofty and exalting the base and weak and directing all things they call her Aphrodite because she is said to be born of the froth of the Sea and Phosphorus or Lucifer when she appeareth before the Sun in the East and Hesperus when she followeth the Sun her motions are pleasant and mirthful being given to sports dalliance dancing and embraceings she makes the countenance amiable pleasant and merry working a kind of whiteness in the Body by reason of her cold and moist nature resembling the water which when it is congealed and frozen looketh white yet prettily mixed with red she causeth Men to be proper of Body fair and round visaged with black rowling Eyes brown hair of a lovely disposition gentle bountiful courteous affable and gracious Mercury Mercury is the sixt Planet and of the antient is called the Sonne of Jupiter the Herauld and prolocutor of the gods the Graecians call him 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which signifyeth shining serpentiger caducifer light-foot eloquent gainful wise reasonable strong potent as well on the good as on the bad part the notary of the Sun Jupiters herauld having commerce with the supernal and infernal gods male with the male and female with the female most fruitful an Hermaphrodite Lucian calleth him the Vmpire of the gods others Hermes or the interpreter and the expounder of the misteries of nature his motions are inconstant slippery mutable strong lively prompt and ready he causeth a complexion neither very white nor very black a long visage an high forehead small Eyes not altogether black an even Nose and something long thin beard long and slender fingers the operations which he causeth in the minde are witty subtile busy sharp wary and fruitful Luna The Seventh and last Planet is Luna of the antients called Phoebe Diana Lucina Proserpina Hecate Menstrena Triformis Nocti Luca wandring silent double horned safe night walking cornigera Queen of Heaven the first of the goddesses Queen over mens minds Mistris of all the Elements she to home the stars have relation and the Elements are in subjection at whose beck the lightnings shine and seeds spring the Mother of corn Sister of Phoebus the transporter of light from one planet to another imparting her light to all the other starrs and restraining their divers courses the Lady of raine and moisture the bestower of riches the Nurse of mankinde the ruler of all states pittiful merciful the preserver of men both by Sea and Land mittigating the tempests at Sea the subduer of carnal affections Queen of the world and vanquisher of Hell whose Majesty the birds of the aire the beasts of the fields the serpentes in the rocks and caves of the earth and the fishes of the sea doe reverence finally the Enemie to Thieves and Murtherers Her motions are moveable beneficent childish simple oblivious and curious she makes a man of a pale complexion intermingled with red of a comely stature round visaged and marked blackish eyes beetle browes tender and soft flesh the Qualities of whose minds are satiability facility pensiveness affection of news no ready gift in discoursing And from hence springeth the whole variety of all the other motions besides the above named of the Elements all which serve for tokens and signes whereby we may the better attain to the knowledge of the natures
caused by a Picture set afar off And here I will conclude those simple Motions which are of most Importance proceeding unto those which consist of multiplicity Of the Motions of all sorts of Cloth THe Motions of Cloth that as the Folds or Plaits ought to runne out every way like boughs from the Stemme and Body of the Tree and must be so made that one Plait rise from another as one bough or one stream of Water issueth out from another in such wise that there be no part of the Cloth wherein there appear not some of these motions now these motions would be moderate gentle and free without any interruptions more to be admired for their grace and facility then for affected pains and industry and because all sorts of Cloth have their motions as well as Bodies it must needs be that they differ between themselves according to the differences of the clothes themselves Wherefore they must be more light in fine Cloth as Sarcenet Linnen Cypress c. in which the Plaits are small raised up trembling and as it were sweetly waving somewhat puffed up by extending and spreading themselves like a Sail where the motion receiveth more strength by the wind they do fall close upon the bare skin as appeareth plainly in womens garments in whom you shall see their Thin clothes stretched upon their bare skin on that side where the wind bloweth and blown upon the contrary part the same falleth out in mantells the loose ends of girdles and garters all which motions do most fitly belong unto the apparel of nimphs and other goddesses in respect of their lightness gross and dul shadows are found in stiff cloths where the Plaits are few and gross so that they are capable but of slow motion and therefore they sink downwards and can hardly fall close to the bare skin by reason of their own grosseness which sustaineth them and these motions do chiefly appeare in cloth of gold felt thick leather c in which the Air can have little force or none wherefore the plaits or folds have their motion accordingly as they are handled and pressed by the wearer as under the arme and under the knee by opening and stretching out the legg and the arme ever making gross hard and stiff folds without all slightings or plyableness in such sort that if a Man may lay Finer cloth upon them they will easily bear it up without pressing down Temperate motions which are neither too gross nor too slight are such as appear in the folds of stuff and other cloths of Fine wool which therefore may conveniently be moved of the Air and are plyable to a Mans limns and so making most sweet and pleasant folds they follow the bare very well becoming very nimble and falling plyably about the loyns And hence have Raphael Michael Angelo Leonard Gaudentius Albertus Durerus and other Famous Masters in Drapery taken the method and way of giving the true motions unto garments as from the most perfect pattern for their general use in making the mantells of the Saints Pavilions or Tents which are made with this kind of Drapery besides these there are also other kinds of motions called turnings and crossings which are proper unto Damasks Taffataes Sattins Cloth of gold c in which appeare folds crossing and breaking each other by the divers Vertue of the Drapery Whence the Venetians have taken their manner of Drapery who make their folds much different from the said motions of Raphael and the rest which indeed ought not to be used any where save in counterfeits by the life where it seems they are not onely tolerable but also very requisite but in my Judgement they should not ordinarily be used in Histories and yet if occasion do require that they should be represented in any place they ought not to be done wholly but only somewhat and resembled with a pretty touch and grace in such sort that they may not savour of an affected imitation of the natural garments without grace or order which is often used of many with small reason as I think there are also other motions as of velvet limber leather c all which differ one from another but I think these may suffice without proceeding any farther in the discourse hereof only let the Painter be careful and industrious as well herein as in the rest Insomuch as in the excellency and perfection thereof dependeth as well hereon as on the rest because these motions of garments come so neer the life that it is evident that they are able to make a picture seem displeasing and ilfavoured procuring the scorn and laughter of the beholders such were some of those which were used by our Great Grandfathers Sonne Two hundred Years since which seemed like round sticks or candles hanging down which some of our late workmen of good Note have also used making their folds too long hanging down like Canes without any kind of grace Another defect in the Drapery of old Pictures I find which is that they seem to be made like unto Scales in some sort which I think they took from the imitation of the models of Men cloathed with paper which point afterwards attained to high perfection by the great industry of Bramant and Andreas Montegnia and was afterwards reformed and made much more absolute by Albert Durer and Lucas of Leiden and Aldigravers whose Folds for the most part nere like guts confounded in one another Of the Motions of Trees and all other things that are moved LAstly the Motions of every thing which is moved ought to be expressed with Judgement accordingly as they agree with the thing whereunto they are given sometimes quick sometimes slow sometimes moveable sometimes not And First of all in Trees when they are shaken with the wind there smaller and therefore more plyable boughs must be resembled with such an action that they may more strike one against another by yeilding and declining from the part whence the wind bloweth then the stiffer and therefore slower the Body notwithstanding remaining strong and stedfast the boughs growing from thence begin a little to bend and the others which proceed from them a little more so that in the end they shew the same agility in the leaves most of all it is true that all Trees have not a like motion For the Willow moveth and is shaken extreamly the Pine-tree not at all or very little and so forth of the rest according to their natures but by the way we must Note that young and tender Trees of Body begin First to move from the bottom of the Body shaking their boughs and leaves together Herbs likewise whether they bear flowers or fruits have trembling motions according to the conditions of the winde which bloweth them and also accordingly as they are forced or oppressed of any thing as for example an Ear of Corn when a Bird sits feeding upon it which will not only make it bend but even weigh it down to the
plate then take a sharp Stift and trace out the outlines of the design you drew with the white Chalk and where you would have the light strike strongest take a burnisher and burnish that part of the plate where you would have the light strike as clean as it was when it was first polished where you would have the fainter light you must not polish it so much and this way you may make it either fainter or stronger according to your fancy As for the manner or shape of the Engin they are divers and if any ingenious person have a desire to have any made the Author will give them farther directions FINIS A Table of the Contents of this Book OF the Vertue and Praise of Proportion or Symetry Pag. 1. Of the Necessity and Definition of Proportion 3. Of the Head in Porphile or Side-vvayes 5. Of the Fore-right Face 7. Of a Head in Fore-shortning Ibid. Of the Side-Face vvithout any Measure 8. Of several Observations in drawing a Head after the Life 9. Of the Proportion of a Man of ten Faces 10. Of the Proportion of a Mans Body of ten Faces 15. Of the extravigant Proportion of ten Heads Ibid. Of the Proportion of a young Man of nine Heads 16. Of the Proportion of a Man of eight Heads 18. Of the Proportion of a Mans Body of seven Heads 19. Of the Proportion of a Woman of ten Faces 20. Of the Proportion of a Woman of ten Heads 21. Of the Proportion of a Woman of nine Faces 22. Of the Proportion of a Woman of nine Heads Ibid. Of the Proportion of a Woman of seven Heads 23. Of the Proportion of Children Ibid. The Definition of Painting 24. Of the Vertue of Light 35. Of the Necessity of Light 38. Of the Nature of Light 40. Of the Vertue and Efficacy of Motion 44. Of the Necessity of Motion 48. Of the Passions of the Minde their Original and difference 55. How the Body is altered by the passions of the Minde 56. Of the Motions procured by the seven Planets 58. Of Jupiter 59. Of Mars 60. Of Sol. Ibid. Of Venus 61. Of Mercury Ibid. Of Luna 62. How all the Motions may accidently befall any man though diversly 64. Of Divers others Necessary Motions 67. Of the Motions of all sorts of Cloth or Drapery 71. Of the Motions of Trees and other things that are moved 74. The Art of Miniture or Limning 77. Of the colours to be used in Limning Ibid. The way and manner of preparing colours 78. Of vvhite Lead Ibid. Colours to be vvashed and Hovv Ibid. Of Colours to be vvashed 79. Of Colours to be ground Ibid. Of the Nature of Colours in general Ibid. Observations in grinding 80. To vvash Bice Ibid. Hovv to choose your pencils 81. To prepare a Tablet to vvork on Ibid. The ground colour for a Face Ibid. The Order of shadovves for the Face 82. To beginn a Face 83. The Order to be observed in dravving by the life 84. Concerning dead Colouring Ibid. The second vvork of Limning 85. The Order of Limning in the second sitting 86. A Crimson ground 87. The manner of finishing at the third sitting 88. Concerning Ornaments Ibid. A Receipt to make Liquid Gold 89. Of Landskip 90. A Dark Green 91. A rare secret to preserve Colours Ibid. Some general Observations in Miniture Ibid. To make Crayons or Pastiles 92. To make vvhite Ibid. To make vvhite Lead Ibid. To prepare a Card for a Picture Ibid. To prepare vvhite excellently Ibid. Concerning Wax vvork or Moulding 93. To cast in Moulds 94. To counterfeit Roch Candid svveetmeets 95. To counterfeit Pearl Ibid. The manner hovv to dravv vvith Indian Ink. Ibid. Hovv to prevent your Colour from sinking 96. The manner hovv to dravv vvith vvater colour upon sattin Ibid. A farther observation in Grinding Ibid. Hovv to prepare Umber 97. The grounds and rules of Etching Ibid. The Instruments vvith their particular names to Etch vvithall 98. The use and property of every particular Instrument Ibid. The manner and vvay to make the ground 99. A red ground Ibid. A vvhite ground 100. A black ground Ibid. Another ground Ibid. The manner and vvay to lay the ground upon the Plate Ibid. The vvay to dravv the out lines of any dravving upon the Plate 101. Several observations in Hatching Ibid. Necessary observations in Etching Landskips 102. Hovv to lay a vvax vvall upon a plate Ibid. Hovv to use Aqua Fortis on the plate 103. Observations by vvhich you may knovv vvhen it is deep enough Ibid. Another vvay to knovv vvhen it is deep enough 104. A vvay to lay a vvhite ground upon a black 105. A vvay to lay a red ground upon a black Ibid. A receipt for a ground taken out of a Manuscript Ibid. The ground of Rinebrant of Rine 106. The vvay to preserve a Ground in Frosty vveather Ibid. A vvay to preserve the Plate from injury Ibid. A vvay to make Aqua Fortis eat soft or hard 107. Observations in Etching prospective Ibid. A vvay to grave any hand or letter upon a Copper Plate 108. The vvay to polish a Copper Plate Ibid. The Names of the Instruments used to polish 109. The use of every particular tool or Instrument Ibid. The manner or vvay of Mezo Tinto 110. The Pitkteer Shope From the Ould Bayly Industrious Man his Tallent To Maintaine Plots Strives Vp Early Late but All in vaine The Moon the World the Heavens so oft Doth Varie No Wonder Man doth Many times Miscarrie R Gaywood secit A.T. 1664 Are to be sold by Arthur Tooker Stationer at the Globe in the Strand ouer against Salisbury hous