Chapter XII: Part 12

Among all the beautiful and delightful arts, that of painting has always found the most lovers; the number of them almost including all mankind. Of whom great multitudes are daily found, who value themselves on the knowledge of it: either because they keep company with painters, or that they have seen good pieces; or, lastly, because their gusto is naturally good. Which notwithstanding, that knowledge of theirs (if we may so call it) is so very superficial, and so ill grounded, that it is impossible for them to describe in what consists the beauty of those works, which they admire; or the faults, which are in the greatest part of those which they condemn. And truly it is not hard to find, that this proceeds from no other cause, than that they are not furnished with rules by which to judge; nor have any solid foundations, which are as so many lights set up to clear their understanding, and lead them to an entire and certain knowledge. I think it superfluous to prove, that this is necessary to the knowledge of painting. It is sufficient, that painting be acknowledged for an art; for that being granted, it follows, without dispute, that no arts are without their precepts. I shall satisfy myself with telling you, that this little treatise will furnish you with infallible rules of judging truly; since they are not only founded upon right reason, but upon the best pieces of the best masters, which our author hath carefully examined, during the space of more than thirty years; and on which he has made all the reflections which are necessary, to render this treatise worthy of posterity; which, though little in bulk, yet contains most judicious remarks; and suffers nothing to escape, that is essential to the subject which it handles. If you will please to read it with attention, you will find it capable of giving the most nice and delicate sort of knowledge, not only to the lovers, but even to the professors of that art.

It would be too long to tell you the particular advantages, which it has above all the books that have appeared before it, in this kind; you need only read it, and that will convince you of this truth. All that I will allow myself to say, is only this, that there is not a word in it which carries not its weight; whereas in all others, there are two considerable faults, which lie open to the sight, viz. that saying too much, they always say too little. I assure myself, that the reader will own it is a work of general profit: to the lovers of painting, for their instruction how to judge knowingly, from the reason of the thing; and to the painters themselves, by removing their difficulties, that they may work with pleasure; because they may be in some manner certain, that their productions are good. It is to be used like spirits, and precious liquors: the less you drink of it at a time, it is with the greater pleasure. Read it often, and but little at once, that you may digest it better; and dwell particularly on those passages which you find marked with an asterism *. For the observations which follow such a note, will give you a clearer light on the matter which is there treated. You will find them by the numbers which are on the side of the translation, from five to five verses, by searching for the like number in the remarks which are at the end of it, and which are distinguished from each other by this note †. You will find in the latter pages of this book, the judgment of the author on those painters, who have acquired the greatest reputation in the world; amongst whom, he was not willing to comprehend those who are now living. They are undoubtedly his, as being found among his papers, written in his own hand.

As for the prose translation, which you will find on the other side of the Latin poem, I must inform you on what occasion, and in what manner, it was performed. The love which I had for painting, and the pleasure which I found in the exercise of that noble art, at my leisure hours, gave me the desire of being acquainted with the late Monsieur du Fresnoy, who was generally reputed to have a thorough knowledge of it. Our acquaintance at length proceeded to that degree of intimacy, that he entrusted me with his poem, which he believed me capable both of understanding, and translating; and accordingly desired me to undertake it. The truth is, we had conversed so often on that subject, and he had communicated his thoughts of it so fully to me, that I had not the least remaining difficulty concerning it. I undertook therefore to translate it, and employed myself in it with pleasure, care, and assiduity; after which, I put it into his hands, and he altered in it what he pleased; till at last, it was wholly to his mind. And then he gave his consent that it should be published; but his death preventing that design, I thought it a wrong to his memory, to deprive mankind any longer of this translation, which I may safely affirm to be done according to the true sense of the author, and to his liking: since he himself has given great testimonies of his approbation to many of his friends. And they, who are acquainted with him, know his humour to be such, that he would never constrain himself so far, as to commend what he did not really approve. I thought myself obliged to say thus much, in vindication of the faithfulness of my work, to those who understand not the Latin; for as to those who are conversant in both the tongues, I leave them to make their own judgment of it.

The remarks which I have added to his work, are also wholly conformable to his opinions; and I am certain that he would not have disapproved them. I have endeavoured in them to explain some of the most obscure passages, and those which are most necessary to be understood: and I have done this according to the manner wherein he used to express himself, in many conversations which we had together. I have confined them also to the narrowest compass I was able, that I might not tire the patience of the reader, and that they might be read by all persons. But if it happens, that they are not to the taste of some readers, (as doubtless it will so fall out,) I leave them entirely to their own discretion; and shall not be displeased that another hand should succeed better. I shall only beg this favour from them, that in reading what I have written, they will bring no particular gusto along with them, or any prevention of mind; and that whatsoever judgment they make, it may be purely their own, whether it be in my favour, or in my condemnation.

DE ARTE GRAPHICA LIBER.

_Ut pictura poesis erit; similisque poesi_
_Sit pictura; refert par œmula quæque sororem,_
_Alternantque vices et nomina; muta poesis_
_Dicitur hæc, pictura loquens solet illa vocari._

_Quod fuit auditu gratum cecinere poetæ;_ {5.}
_Quod pulchrum aspectu pictores pingere curant:_
_Quæque poetarum numeris indigna fuêre,_
_Non eadem pictorum operam studiumq. merentur:_
_Ambæ quippe sacros ad religionis honores_
_Sydereos superant ignes, aulamque tonantis_ {10.}
_Ingressæ divûm aspectu, alloquioque fruuntur;_
_Oraque magna deûm, et dicta observata reportant,_
_Cœlestemque suorum operum mortalibus ignem._

_Inde per hunc orbem studiis coeuntibus errant,_
_Carpentes quæ digna sui, revolutaque lustrant_ {15.}
_Tempora, quærendis consortibus argumentis._

_Denique quæcunq. in cœlo, terraque, marique_
_Longius in tempus durare, ut pulchra, merentur,_
_Nobilitate sua, claroque insignia casu_
_Dives et ampla manet pictores atque poetas_ {20.}
_Materies; inde alta sonant per sæcula mundo_
_Nomina, magnanimis heroibus inde superstes_
_Gloria, perpetuoque operum miracula restant._
_Tantus inest divis honor artibus atque potestas._

_Non mihi Pieridum chorus hic, nec Apollo vocandus,_ {25.}
_Majus ut eloquium numeris, aut gratia fandi_
_Dogmaticis illustret opus rationibus horrens:_
_Cum nitidâ tantum et facili digesta loquelâ,_
_Ornari præcepta negent, contenta doceri._

_Nec mihi mens animusve fuit constringere nodos_ {30.}
_Artificum manibus, quos tantùm dirigit usus;_
_Indolis ut vigor inde potens obstrictus hebescat,_
_Normarum numero immani, geniumq. moretur:_
_Sed rerum ut pollens ars cognitione, gradatim_
_Naturæ sese insinuet, verique capacem_ {35.}
_Transeat in genium, geniusq. usu induat artem._

[Sidenote: Primum præceptum. i.e. pulchro.]

_Præcipua imprimis artisque potissima pars est,_
_Nôsse quid in rebus natura creârit ad artem_
_Pulchrius, idque modum juxta, mentemque vetustam:_

_Qua sine barbaries cæca et temeraria pulchrum_ {40.}
_Negligit, insultans ignotæ audacior arti,_
_Ut curare nequit, quæ non modo noverit esse;_
_Illud aput veteres fuit unde notabile dictum,_
_Nil pictore malo securius atque poeta._

_Cognita amas, et amata cupis, sequerisq. cupita;_ {45.}
_Passibus assequeris tandem quæ fervidus urges:_
_Illa tamen quæ pulchra decent; non omnia casus_
_Qualiacumque dabunt, etiamve simillima veris:_
_Nam quamcumque modo servili haud sufficit ipsam_
_Naturam exprimere ad vivum; sed ut arbiter artis,_ {50.}
_Seliget ex illa tantùm pulcherrima pictor._
_Quodque minus pulchrum, aut mendosum, corriget ipse_
_Marte suo, formæ veneres captando fugaces._

[Sidenote: II. De speculatione et praxi.]

_Utque manus grandi nil nomine practica dignum_
_Assequitur, purum arcanæ quam deficit artis_ {55.}
_Lumen, et in præceps abitura ut cæca vagatur;_
_Sic nihil ars operâ manuum privata supremum_
_Exequitur, sed languet iners uti vincta lacertos;_
_Dispositumque typum non linguâ pinxit Apelles._

_Ergo licèt totâ normam haud possimus in arte_ {60.}
_Ponere (cùm nequeant quæ sunt pulcherrima dici)_
_Nitimur hæc paucis, scrutati summa magistræ_
_Dogmata naturæ, artisque exemplaria prima_
_Altiùs intuiti; sic mens, habilisque facultas_
_Indolis excolitur, geniumque scientia complet;_ {65.}
_Luxuriansque in monstra furor compescitur arte:_
_Est modus in rebus, sunt certi denique fines,_
_Quos ultra citraque nequit consistere rectum._

[Sidenote: III. De Argumento.]

_His positis, erit optandum thema nobile, pulchrum,_
_Quodque venustatum circa formam atque colorem_ {70.}
_Sponte capax, amplam emeritæ mox præbeat arti_
_Materiam, retegens aliquid salis et documenti._

_Tandem opus aggredior; primoq. occurrit in albo_
_Disponenda typi, concepta potente Minervâ,_
_Machina, quæ nostris ~Inventio~ dicitur oris._ {75.}

[Sidenote: Inventio prima picturæ pars.]

_Ilia quidem priùs ingenuis instructa sororum_
_Artibus Aonidum, et Phœbi sublimior æstu._

[Sidenote: IV. Dispositio, sive operis totius œconomia.]

_Quræendasque inter posituras, luminis, umbræ,_
_Atque futurorum jam præsentire colorum_
_Par erit harmoniam, captando ab utrisque venustum._ {80.}

[Sidenote: V. Fidelitas argumenti.]

_Sit thematis genuina ac viva expressio, juxtà_
_Textum antiquorum, propriis cum tempore formis._

[Sidenote: VI. Inane rejiciendum.]

_Nec quod inane, nihil facit ad rem, sive videtur_
_Improprium, miniméque urgens, potiora tenebit_
_Ornamenta operis; tragicæ sed lege sororis,_ {85.}
_Summa ubi res agitur, vis summa requiritur artis._

_Ista labore gravi, studio, monitisque magistri_
_Ardua pars nequit addisci rarissima: namque,_
_Ni priùs æthereo rapuit quod ab axe Prometheus_
_Sit jubar infusum menti cum flamine vitæ,_ {90.}
_Mortali haud cuivis divina hæc munera dantur;_
_Non uti Dædaleam licet omnibus ire Corinthum._

_Ægypto informis quondam pictura reperta,_
_Græcorum studiis, et mentis acumine crevit:_
_Egregiis tandem illustrata, et adulta magistris,_ {95.}
_Naturam visa est miro superare labore._

_Quos inter, graphidos gymnasia prima fuêre_
_Portus Athenarum, Sicyon, Rhodes, atque Corinthus,_
_Disparia inter se, modicùm ratione laboris;_
_Ut patet ex veterum statuis, formæ atque decoris_
_Achetypis; queis posterior nil protulit Ætas_ {100.}
_Condignum, et non inferius longè, arte, modoque_.

[Sidenote: VII. Graphis, seu positura, secunda picturæ pars.]

_Horum igitur vera ad normam Positura legetur:_
_Grandia, inæqualis, formosaque partibus amplis_
_Anteriora dabit membra, in contraria motu_
_Diverso variata, suo librataque centro._ {105.}

_Membrorumque sinus ignis flammantis ad instar,_
_Serpenti undantes flexu; sed lævia, plana,_
_Magnaque signa, quasi sine tubere subdita tactu,_
_Ex longo deducta fluant, non secta minutim._
_Insertisque toris sint nota ligamina, juxta_ {110.}
_Compagem anatomes, et membrificatio Græco_
_Deformata modo, paucisque expressa lacertis,_
_Qualis apud veteres; totoque Eurythmia partes_
_Componat; genitumque suo generante sequenti_
_Sit minus, et puncto videantur cuncta sub uno._ {115.}

_Regula certa licet nequeat prospectica dici,_
_Aut complementum graphidos; sed in arte juvamen_
_Et modus accelerans operandi: at corpora falso_
_Sub visu in multis referens, mendosa labascit;_
_Nam geometralem nunquam sunt corpora juxtà_ {120.}
_Mensuram depicta oculis, sed qualia visa_.

[Sidenote: VIII. Varietas in figuris.]

_Non eadem formæ species, non omnibus ætas_
_Æqualis, similisque color, crinesque figuris:_
_Nam variis velut orta plagis gens dispare vultu est._ {125.}

[Sidenote: IX. Figura sit una cum membris et vestibus. X. Mutorum actiones imitandæ.]

_Singula membra, suo capiti conformia, fiant_
_Unum idemque simul corpus cum vestibus ipsis:_
_Mutorumque silens positura imitabitur actus._

[Sidenote: XI. Figura princeps.]

_Prima figurarum, seu princeps dramatis, ultrò_
_Prosiliat media in tabula, sub lumine primo_ {130.}
_Pulchrior ante alias, reliquis nec operta figuris._

[Sidenote: XII. Figurarum globi, seu cumuli.]

_Agglomerata simul sint membra, ipsæque figuræ_
_Stipentur, circumque globos locus usque vacabit;_
_Nè, malè dispersis dum visus ubique figuris_
_Dividitur, cunctisque operis fervente tumultu_ {135.}
_Partibus implicitis, crepitans confusio surgat._

[Sidenote: XIII. Positurarum diversitas in cumulis.]

_Inque figurarum cumulis non omnibus idem_
_Corporis inflexus, motusque; vel artubus omnes_
_Conversis pariter non connitantur eodem;_
_Sed quædam in diversa trahant contraria membra,_ {140.}
_Transverséque aliis pugnent, et cætera frangant._

_Pluribus adversis aversam oppone figuram,_
_Pectoribusque humeros, et dextera membra sinistris._
_Seu multis constabit opus, paucisve figuris._

[Sidenote: XIV. Tabulæ libramentum.]

_Altera pars tabulæ vacuo ne frigida campo,_ {145.}
_Aut deserta fiet, dum pluribus altera formis_
_Fervida mole sua supremam exurgit ad oram._
_Sed tibi sic positis respondeat utraque rebus,_
_Ut si aliquid sursum se parte attollat in unâ,_
_Sic aliquid parte ex aliâ consurgat, et ambas_ {150.}
_Æquiparet, geminas cumulando æqualiter oras._

[Sidenote: XV. Numerus figurarum.]

_Pluribus implicitum personis drama supremo_
_In genere ut rarum est; multis ita densa figuris_
_Rarior est tabula excellens; vel adhuc ferè nulla_
_Præstitit in multis, quod vix bene præstat in unâ:_ {155.}
_Quippe solet rerum nimio dispersa tumultu,_
_Majestate carere gravi, requieque decora;_
_Nec speciosa nitet vacuo nisi libera campo._

_Sed, si opere in magno, plures thema grande requirat_
_Esse figurarum cumulos, spectabitur unà_ {160.}
_Machina tota rei; non singula quæque seorsim._

[Sidenote: XVI. Internodia et pedes, exhibendi.]

_Præcipua extremis raro internodia membris_
_Adbdita sint: sed summa pedum vestigia nunquam._

[Sidenote: XVII. Motus manuum motui capitis jungendus.]

_Gratia nulla manet, motusque, vigorque figuras_
_Retro aliis subter majori ex parte latentes,_ {165.}
_Ni capitis motum manibus comitentur agendo._

[Sidenote: XVIII. Quæ fugienda in distributione et compositione.]

_Difficiles fugito aspectus, contractaque visu_
_Membra sub ingrato, motusque, actusq. coactos;_
_Quodq. refert signis, rectos quodammodo tractus,_
_Sive parallelos plures simul, et vel acutas,_ {170.}
_Vel geometrales, (ut quadra, triangula,) formas:_
_Ingratamque pari signorum ex ordine quandam_
_Symmetriam: sed præcipua in contraria semper_
_Signa volunt duci transversa, ut diximus antè._
_Summa igitur ratio signorum habeatur in omni_ {175.}
_Composito; dat enim reliquis pretium, atq. vigorem._

[Sidenote: XIX. Natura genio accommodanda.]

[Sidenote: XX. Signa antiqua naturæ modum constituunt.]

_Non ita naturæ astrictè sis cuique revinctus,_
_Hanc præter nihil ut genio studioque relinquas;_
_Nec sine teste rei natura, artisque magistra,_ {180.}
_Quidlibet ingenio, memor ut tantummodo rerum,_
_Pingere posse putes; errorum est plurima sylva,_
_Multiplicesque viæ, bene agendi terminus unus;_
_Linea recta velut sola est, et mille recurvæ._
_Sed juxta antiquos naturam imitabere pulchram,_ {185.}
_Qualem forma rei propria, objectumque requirit._

[Sidenote: XXI. Sola figura quomodo tractanda.]

_Non te igitur lateant antiqua numismata, gemmæ,_
_Vasa, typi, statuæ, cælataque marmora signis,_
_Quodq. refert specie veterum post sæcula mentem;_
_Splendidior quippe ex illis assurgit imago,_ {190.}
_Magnaque se rerum facies aperit meditanti;_
_Tunc nostri tenuem sæcli miserebere sortem,_
_Cùm spes nulla siet redituræ æqualis in ævum._
_Exquisita siet formâ, dum sola figura_
_Pingitur; et multis variata coloribus esto._

[Sidenote: XXII. Quid in pannis observandum.]

_Lati, ampliq. sinus pannorum, et nobilis ordo_ {195.}
_Membra sequens, subter latitantia, lumine et umbrâ_
_Exprimet; ille licet transversus sæpe feratur,_
_Et circumfusos pannorum porrigat extra_
_Membra sinus; non contiguos, ipsisque figuræ_
_Partibus impressos, quasi pannus adhæreat illis;_ {200.}
_Sed modicè expressos cum lumine servet et umbris:_

[Sidenote: XXIII. Quid multum conferat ad tabulæ ornamentum. XXIV. Ornamentum auri et gemmarum. XXV. Prototypus. XXVI. Convenientia rerum cum scena. XXVII. Charites et nobilitas. XXVIII. Res quæque locum suum teneat.]

_Quæque intermissis passim sunt dissita vanis,_
_Copulet, inductis subtérve, supérve lacernis_
_Et membra, ut magnis, paucisque expressa lacertis,_
_Majestate aliis præstant, forma, atque decore:_ {205.}
_Haud secus in pannis, quos supra optavimus amplos,_
_Perpaucos sinuum flexus, rugasque, striasque,_
_Membra super, versu faciles, inducere præstat._
_Naturæque rei proprius sit pannus, abundans_
_Patriciis; succinctus erit, crassusque bubulcis,_ {210.}
_Mancipiisque; levis, teneris, gracilisque puellis._
_Inque cavis maculisque umbrarum aliquando tumescet,_
_Lumen ut excipiens, operis quà massa requirit,_
_Latius extendat, sublatisque aggreget umbris._
_Nobilia arma juvant virtutum, ornantque figuras,_ {215.}
_Qualia musarum, belli, cultusque deorum._
_Nec sit opus nimiùm gemmis auroq. refertum;_
_Rara etenim magno in pretio, sed plurima vili._
_Quæ deinde ex vero nequeunt præsente videri,_
_Prototypum prius illorum formare juvabit._ {220.}
_Conveniat locus, atque habitus: ritusq. decusque_
_Servetur: sit nobilitas, charitumque venustas,_
_(Rarum homini munus, cœlo, non arte petendum.)_
_Naturæ sit ubique tenor, ratioque sequenda._ {225.}
_Non vicina pedum tabulato excelsa tonantis_
_Astra domus depicta gerent, nubesque notosque;_
_Nec mare depressum laquearia summa, vel orcum:_
_Marmoreamque feret cannis vaga pergula molem:_
_Congrua sed propriâ semper statione locentur._

[Sidenote: XXIX. Affectus.]

_Hæc præter, motus animorum, et corde repostos_ {230.}
_Exprimere affectus, paucisque coloribus ipsam_
_Pingere posse animam, atque, oculis præbere videndam,_
_~Hoc opus, hic labor est. Pauci, quos æquus amavit~_
_~Jupiter, aut ardens evexit ad æthera virtus,~_
_Dis similes, potuere manu miracula tanta._ {235.}

_Hos ego rhetoribus tractandos desero; tantùm_
_Egregii antiquum memorabo sophisma magistri_,
_~Verius affectus animi vigor exprimit ardens,~_
_~Solliciti nimiùm quam sedula cura laboris.~_

[Sidenote: XXX. Gothorum ornamenta fugienda.]

[Sidenote: Chromatice tertia pars picturæ.]

_Denique nil sapiat Gothorum barbara trito_ {240.}
_Ornamenta modo, sæclorum et monstra malorum:_
_Queis ubi bella, famem, et pestem, discordia, luxus,_
_Et Romanorum res grandior intulit orbi,_
_Ingenuæ periere artes, periere superbæ_
_Artificum moles; sua tunc miracula vidit_ {245.}
_Ignibus absumi pictura; latere coacta_
_Fornicibus, sortem et reliquam confidere cryptis;_
_Marmoribusque diu sculptura jacere sepultis._
_Imperium interea, scelerum gravitate fatiscens,_
_Horrida nox totum invasit, donoque superni_ {250.}
_Luminis indignum, errorum caligine mersit,_
_Impiaque ignaris damnavit sæcla tenebris._
_Unde coloratum graiis huc usque magistris_
_Nil superest tantorum hominum, quod mente modoque_
_Nostrates juvet artifices, doceatque laborem;_ {255.}
_Nec qui chromatices nobis, hoc tempore, partes_
_Restituat, quales Zeuxis tractaverat olim,_
_Hujus quando magnâ velut arte æquavit Apellem_
_Pictorum Archigraphum, meruitque coloribus altam_
_Nominis æterni famam, toto orbe sonantem._ {260.}
_Hæc quidem ut in tabulis fallax, sed grata venustas,_
_Et complementum graphidos (mirabile visu)_
_Pulchra vocabatur, sed subdola, lena sororis:_
_Non tamen hoc lenocinium, fucusque, dolusque_
_Dedecori fuit unquam; illi sed semper honori,_ {265.}
_Laudibus et meritis; hanc ergo nosse juvabit._

_Lux varium, vivumque dabit, nullum umbra, colorem._
_Quo magis adversum est corpus, lucique propinquum,_
_Clarius est lumen; nam debilitatur eundo._
_Quo magis est corpus directum, oculisque propinquum,_ {270.}
_Conspicitur melius; nam visus hebescit eundo._

[Sidenote: XXXI. Tonorum luminum et umbrarum ratio.]

_Ergo in corporibus, quæ visa adversa, rotundis,_
_Integra sint, extrema abscedant perdita signis_
_Confusis, non præcipiti labantur in umbram_
_Clara gradu, nec adumbrata in clara alta repentè,_ {275.}
_Prorumpant; sed erit sensim hinc atque inde meatus_
_Lucis et umbrarum; capitisque unius ad instar,_
_Totum opus, ex multis quamquam sit partibus, unus_
_Luminis umbrarumque globus tantummodo fiet,_
_Sive duas, vel tres ad summum, ubi grandius esset_ {280.}
_Divisum pegma in partes statione remotas._
_Sintque ita discreti inter se, ratione colorum,_
_Luminis, umbrarumque, antrorsum ut corpora clara_
_Obscura umbrarum requies spectanda relinquat;_
_Claroque exiliant umbrata atque aspera campo._ {285.}

_Ac veluti in speculis convexis, eminet ante_
_Asperior reipsâ vigor, et vis aucta colorum_
_Partibus adversis; magis et fuga rupta retrorsum_
_Illorum est (ut visa minùs vergentibus oris)_
_Corporibus dabimus formas hoc more rotundas._ {290.}
_Mente modoque igitur plastes, et pictor, eodem_
_Dispositum tractabit opus: quæ sculptor in orbem_
_Atterit, hæc rupto procul abscedente colore_
_Assequitur pictor, fugientiaque illa retrorsum_ {295.}
_Jam signata minùs confusa coloribus aufert:_
_Anteriora quidem directè adversa, colore_
_Integra vivaci, summo cum lumine et umbra_
_Antrorsum distincta refert, velut aspera visu._
_Sicque super planum inducit leucoma colores._
_Hos velut ex ipsâ naturâ immotus eodem_ {300.}
_Intuitu circum statuas daret inde rotundas._

[Sidenote: XXXII. Corpora densa et opaca cum translucentibus.]

_Densa figurarum solidis quæ corpora formis_
_Subdita sunt tactu, non translucent, sed opaca_
_In translucendi spacio ut super aera, nubes,_
_Lympida stagna undarum, et inania cætera debent_ {305.}
_Asperiora illis prope circumstantibus esse;_
_Ut distincta magis firmo cum lumine et umbra,_
_Et gravioribus ut sustenta coloribus, inter_
_Aerias species subsistant semper opaca:_
_Sed contra, procul abscedant perlucida, densis_ {310.}
_Corporibus leviora; uti nubes, aer, et undæ._

[Sidenote: XXXIII. Non duo ex cœlo lumina in tabulam æqualia.]

_Non poterunt diversa locis duo lumina eádem_
_In tabulâ paria admitti, aut æqualia pingi:_
_Majus at in mediam lumen cadet usque tabellam_
_Latius infusum, primis qua summa figuris_ {315.}
_Res agitur, circumque oras minuetur eundo:_
_Utque in progressu jubar attenuatur ab ortu_
_Solis, ad occasum paulatìm, et cessat eundo;_
_Sic tabulis lumen, tota in compage colorum,_
_Primo à fonte, minus sensim declinat eundo._ {320.}
_Majus ut in statuis, per compita stantibus urbis,_
_Lumen habent partes superæ, minus inferiores;_
_Idem erit in tabulis: majorque nec umbra, vel ater_
_Membra figurarum intrabit color, atque secabit:_
_Corpora sed circum umbra cavis latitabit oberrans:_ {325.}
_Atquè ita quæretur lux opportuna figuris,_
_Ut late infusum lumen lata umbra sequatur._
_Unde, nec immeritò, fertur Titianus ubique_
_Lucis et umbrarum Normam appellâsse Racemum._

[Sidenote: XXXIV. Album et nigrum.]

_Purum album esse potest propiusque magisque remotum:_ {330.}
_Cum nigro antevenit propiùs; fugit absq. remotum._
_Purum autem nigrum antrorsum venit usque propinquum._

_Lux fucata suo tingit, miscetque colore_
_Corpora, sicque suo, per quem lux funditur, aer._

[Sidenote: XXXV. Colorum reflectio.]

_Corpora juncta simul, circumfusosque colores_ {335.}
_Excipiunt, propriumque aliis radiosa reflectunt._

[Sidenote: XXXVI. Unio colorum.]

_Pluribus in solidis liquida sub luce propinquis,_
_Participes, mixtosque simul decet esse colores._
_Hanc Normam Veneti pictores ritè sequuti,_
_(Quæ fuit antiquis corruptio dicta colorum)_ {340.}
_Cùm plures opere in magno posuêre figuras;_
_Nè conjuncta simul variorum inimica colorum_
_Congeries formam implicitam, et concisa minutis_
_Membra daret pannis, totam unamquamque figuram_
_Affini, aut uno tantùm vestire colore,_ {345.}
_Sunt soliti; variando tonis tunicamq. togamq._
_Carbaseosque sinus, vel amicum in lumine et umbra_
_Contiguis circum rebus sociando colorem._

[Sidenote: XXXVII. Aër interpositus.]

_Qua minus est spacii aërii, aut quà purior aër,_
_Cuncta magis distincta patent, speciesq. reservant:_ {350.}
_Quâque magis densus nebulis, aut plurimus aër_
_Amplum inter fuerit spatium porrectus, in auras_
_Confundet rerum species, et perdet inanes._

[Sidenote: XXXVII. Distantiarum relatio.]

_Anteriora magis semper finita, remotis_
_Incertis dominentur et abscedentibus, idque_
_More relativo, ut majora minoribus extent._ {355.}

[Sidenote: XXXIX. Corpora procul distantia.]

_Cuncta minuta procul massam densantur in unam;_
_Ut folia arboribus sylvarum, et in æquore fluctus._

[Sidenote: XL. Contigua et dissita. XLI. Contraria extrema fugienda. XLII. Tonus et color varii.]

_Contigua inter se coëant, sed dissita distent,_
_Distabuntque tamen grato, et discrimine parvo._ {360.}
_Extrema extremis contraria jungere noli;_
_Sed medio sint usque gradu sociata coloris._
_Corporum erit tonus atque color variatus ubique;_
_Quærat amicitiam retro; ferus emicet ante._

[Sidenote: XLIII. Luminis delectus.]

_Supremum in tabulis lumen captare diei,_ {365.}
_Insanus labor artificum; cùm attingere tantùm_
_Non pigmenta queant: auream sed vespere lucem;_
_Seu modicùm mane albentem; sive ætheris actam_
_Post hyemem nimbis transfuso sole caducam;_
_Seu nebulis fultam accipient, tonitruque rubentem._ {370.}

[Sidenote: XLIV. Quædam circa praxim.]

_Lævia quæ lucent, veluti crystalla, metalla,_
_Ligna, ossa, et lapides; villosa, ut vellera, pelles,_
_Barbæ, aqueique oculi, crines, holoserica, plumæ;_
_Et liquida, ut stagnans aqua, reflexæque sub undis_
_Corporeæ species, et aquis contermina cuncta,_ {375.}
_Subter ad extremum liquidè sint picta, superque_
_Luminibus percussa suis, signisque repostis._

[Sidenote: XLV. Campus tabulæ. XLVI. Color vividus, non tamen pallidus.]

_Area, vel campus tabulæ vagus esto, levisque_
_Abscedat latus, liquidèque bene unctus amicis_
_Tota ex mole coloribus, unâ sive patellâ;_ {380.}
_Quæque cadunt retro in campum, confinia campo._
_Vividus esto color, nimio non pallidus albo;_
_Adversisque locis ingestus plurimus ardens:_
_Sed levitèr parcèque datus vergentibus oris._

[Sidenote: XLVII. Umbra. XLVIII. Ex una patella sit tabula.]

_Cuncta labore simul coëant, velut umbrâ in eâdem._ {385.}
_Tota sit tabula ex unâ depicta patellâ._

[Sidenote: XLIX. Speculum pictorum magister.]

_Multa ex naturâ speculum præclara docebit;_
_Quæque procul sero spatiis spectantur in amplis._

[Sidenote: L. Dimidia figura, vel integra ante alias.]

_Dimidia effigies, quæ sola, vel integra plures_ {390.}
_Ante alias posita ad lucem, stat proxima visu,_
_Et latis spectanda locis, oculisque remota,_
_Luminis umbrarumque gradu sit picta supremo._

[Sidenote: LI. Effigies.]

_Partibus in minimis imitatio justa juvabit_
_Effigiem, alternas referendo tempore eodem_
_Consimiles partes; cum luminis atque coloris_ {395.}
_Compositis, justisque tonis; tunc parta labore_
_Si facili et vegeto micat ardens, viva videtur._

[Sidenote: LII. Locus tabulæ. LIII. Lumina lata. LIV. Quantitas luminis loci in quo tabula est exponenda.]

_Visa loco angusto tenerè pingantur, amico_
_Juncta colore, graduque; procul quæ picta, feroci_
_Sint et in æquali variata colore, tonoque._ {400.}
_Grandia signa volunt spacia ampla, ferosque colores._
_Lumina lata, unctas simul undique copulet umbras_
_Extremus labor. In tabulas demissa fenestris_
_Si fuerit lux parva, color clarissimus esto:_
_Vividus at contra, obscurusque, in lumine aperto._ {405.}

[Sidenote: LV. Errores et vitia picturæ.]

_Quæ vacuis divisa cavis, vitare memento;_
_Trita, minuta, simul quæ non stipata dehiscunt;_
_Barbara, cruda oculis, rugis fucata colorum,_
_Luminis umbrarumque tonis æqualia cuncta;_
_Fœda, cruenta, cruces, obscœna, ingrata, chimeras,_ {410.}
_Sordidaque et misera, et vel acuta, vel aspera tactu;_
_Quæque dabunt formæ, temerè congesta, ruinam,_
_Implicitas aliis confundent mixtaque partes._

[Sidenote: LVI. Prudentia in pictore.]

_Dumque fugis vitiosa, cave in contraria labi_
_Damna mali; vitium extremis nam semper inhæret._ {415.}

[Sidenote: LVII. Elegantium idea tabularum.]

_Pulchra gradu summo, graphidos stabilita vetustæ_
_Nobilibu signis, sunt grandia, dissita, pura,_
_Tersa, velut minimè confusa, labore ligata,_
_Partibus ex magnis paucisque efficta, colorum_
_Corporibus distincta feris, sed semper amicis._ {420.}

[Sidenote: LVIII. Pintor tyro.]

_Qui bene cœpit, uti facti jam fertur habere_
_Dimidium; picturam ita nil, sub limine primo_
_Ingrediens, puer, offendit damnosius arti,_
_Quàm varia errorum genera, ignorante magistro,_
_Ex pravis libare ~Typis~ mentemque veneno_ {425.}
_Inficere in toto quod non abstergitur ævo._

[Sidenote: LIX. Ars debet servire pictori non pictor arti.]

_Nec graphidos rudis artis adhuc citò qualiacunque_
_Corpora viva super, studium meditabitur, ante_
_Illorum quam symmetriam, internodia, formam_
_Noverit, inspectis, docto evolvente magistro,_ {430.}
_~Archetypis~, dulcesque dolos præsenserit artis._
_Plusque manu ante oculos quam voce docebitur usus._
_Quære artem quæcumque juvant; fuge quæque repugnant._

[Sidenote: LX. Oculos recreant diverstias et operis facilitas, quæ speciatim ars dictur.]

_Corpora diversæ naturæ juncta placebunt;_
_Sic ea quæ facili contempta labore videntur:_ {435.}
_Æthereus quippe ignis inest et spiritus illis;_
_Mente diu versata, manu celeranda repenti._
_Arsque laborque operis grata sic fraude latebit:_
_Maxima deinde erit ars, nihil artis inesse videri._

[Sidenote: LXI. Archetypus in mente apographum in tela.]

_Nec prius inducas tabulæ, pigmenta colorum,_ {440.}
_Expensi quàm signa typi stabilita nitescant,_
_Et menti præsens operis sit pegma futuri._

[Sidenote: LXII. Circinus in oculis.]

_Prævaleat sensus rationi, quæ officit arti_
_Conspicuæ; inque oculis tantummodo circinus esto._

[Sidenote: LXIII. Superbia pictori nocet plurimùm.]

_Utere doctorum monitis, nec sperne superbus_ {445.}
_Discere, quæ de te fuerit sententia vulgi._
_Est cæcus nam quisque suis in rebus, et expers_
_Judicii, prolemque suam miratur amatque._
_Ast ubi consilium deerit sapientis amici,_
_Id tempus dabit, atque mora intermissa labori._ {450.}
_Non facilis tamen ad nutus, et inania vulgi_
_Dicta, levis mutabis opus, geniumque relinques:_
_Nam qui parte sua sperat bene posse mereri_
_Multivaga de plebe, nocet sibi, nec placet ulli._

[Sidenote: LXIV. γνῶθι σεαυτὸν. LXV. Quod mente conceperis manu comproba.]

_Cumq. opere in proprio soleat se pingere pictor,_ {455.}
_(Prolem adeo sibi ferre parem natura suevit)_
_Proderit imprimis pictori γνῶθι σεαυτὸν,_
_Ut data quæ genio colat, abstineat que negatis._
_Fructibus utque suus nunquam est sapor, atque venustas_
_Floribus, insueto in fundo, præcoce sub anni_ {460.}
_Tempore, quos cultus violentus et ignis adegit:_
_Sic nunquam, nimio quæ sunt extorta labore,_
_Et picta invito genio, nunquam illa placebunt._
_Vera super meditando, manûs labor improbus adsit._
_Nec tamen obtundat genium, mentisq. vigorem._ {465.}

[Sidenote: LXVI. Matutinum tempus labori aptum.]

_Optima nostrorum pars matutina dierum,_
_Difficili hanc igitur potiorem impende labori._

[Sidenote: LXVII. Singulis diebus aliquid faciendum. LXVIII. Affectus inobservati et naturales. LXIX. Non desint pugillares.]

_Nulla dies abeat, quin linea ducta supersit._
_Perq. vias, vultus hominum, motusq. notabis_
_Libertate sua proprios, positasque figuras_
_Ex sese faciles, ut inobservatus, habebis._ {470.}
_Mox quodcumque mari, terris, et in aëre pulchrum_
_Contigerit, chartis propera mandare paratis,_
_Dum præsens animo species tibi fervet hianti._
_Non epulis nimis indulget pictura, meroque_ {475.}
_Parcit: amicorum nisi cum sermone benigno_
_Exhaustam reparet mentem recreata; sed inde_
_Litibus, et curis, in cœlebe libera vita,_
_Secessus procul à turba, strepituque remotos,_
_Villarum, rurisque beata silentia quærit._ {480.}
_Namque recollecto, totâ incumbente Minervâ,_
_Ingenio, rerum species præsentior extat;_
_Commodiusque operis compagem amplectitur omnem._

_Infami tibi non potior sit avara peculî_
_Cura, aurique fames, modicâ quam sorte beato,_ {485.}
_Nominis æterni, et laudis pruritus habendæ,_
_Condignæ pulchrorum operum mercedis in ævum._
_Judicium, docile ingenium, cor nobile, sensus_
_Sublimes, firmum corpus, florensque juventa,_
_Commoda res, labor, artis amor, doctusque magister;_ {490.}
_Et quamcumque voles occasio porrigat ansam,_
_Ni genius quidam adfuerit, sydusque benignum,_
_Dotibus his tantis, nec adhuc ars tanta paratur._
_Distat ab ingenio longè manus. Optima doctis_
_Censentur, quæ parva minus; latet omnibus error;_ {495.}
_Vitaque tam longæ brevior non sufficit arti._
_Desinimus nam posse senes, cùm scire periti_
_Incipimus, doctamque manum gravat ægra senectus;_
_Nec gelidis fervet juvenilis in artubus ardor._

_Quare agite, O juvenes, placido quos sydere natos_ {500.}
_Pacifera studia allectant tranquilla Minervæ;_
_Quosque suo fovet igne, sibique optavit alumnos!_
_Eja agite, atque animis ingentem ingentibus artem_
_Exercete alacres, dum strenua corda juventus_
_Viribus extimulat vegetis, patiensque laborum est;_ {505.}
_Dum vacua errorum, nulloque imbuta sapore_
_Pura nitet mens, et rerum sitibunda novarum,_
_Præsentes haurit species, atque humida servat._

[Sidenote: LXX. Ordo studiorum.]

_In geometrali priùs arte parumpèr adulti,_
_Signa antiqua super Graiorum addiscite formam;_ {510.}
_Nec mora, nec requies, noctuque diuque labori,_
_Illorum menti atque modo, vos donec agendi_
_Praxis ab assiduo faciles assueverit usu._

_Mox, ubi judicium emensis adoleverit annis,_
_Singula quæ celebrant primæ exemplaria classis,_ {515.}
_Romani, Veneti, Parmenses, atque Bononi,_
_Partibus in cunctis pedetentìm, atque ordine recto,_
_Ut monitum suprà est, vos expendisse juvabit._

_Hos apud invenit Raphael miracula summo_
_Ducta modo, veneresque habuit, quas nemo deinceps._ {520.}
_Quidquid erat formæ scivit Bonarota potenter._

_Julius à puero musarum eductus in antris,_
_Aonias reseravit opes, graphicâque poesi_
_Quæ non visa prius, sed tantùm audita poetis,_
_Ante oculos spectanda dedit sacraria Phœbi:_ {525.}
_Quæque coronatis complevit bella triumphis_
_Heroum fortuna potens, casusque decoros,_
_Nobilius reipsâ antiqua pinxisse videtur._
_Clarior ante alios Corregius extitit, ampla_
_Luce superfusa, circum coëuntibus umbris,_ {530.}
_Pingendique modo grandi, et tractando colore_
_Corpora. Amicitiamque, gradusque, dolosque colorum,_
_Compagemque ita disposuit Titianus, ut inde_
_Divus appellatus, magnis sit honoribus auctus,_
_Fortunæque bonis: quos sedulus Hannibal omnes_ {535.}
_In propriam mentem, atque modum mirâ arte coëgit._

[Sidenote: LXXI. Natura et experientia artem perficiunt.]

_Plurimus inde labor ~Tabulas~ imitando juvabit_
_Egregias, operumque ~Typos~; sed plura docebit_
_~Natura~ ante oculos præsens; nam firmat et auget_
_Vim genii, ex illâque artem experientia complet._ {540.}
_Multa supercilio quæ ~Commentaria~ dicent._

_Hæc ego, dum memoror subitura volubilis ævi_
_Cuncta vices, variisque olim peritura ruinis,_
_Pauca sophismata sum graphica immortalibus ausus_ {545.}
_Credere pieriis, Romæ meditatus: ad Alpes,_
_Dum super insanas moles, inimicaque castra_
_Borbonidum decus et vindex Lodoicus avorum,_
_Fulminat ardenti dextrâ, patriæque resurgens_
_Gallicus Alcides premit Hispani ora Leonis._ {550.}

THE ART OF PAINTING.

The passages which you see marked with an asterism * are more
amply explained in the remarks.

Transcriber’s Note: This mark has been expanded to include the
dagger symbol and reference number to help the reader to locate
the relevant remark.

Painting and Poesy are two sisters, which are so like in all things, that they mutually lend to each other, both their name and office. One is called a dumb poesy, and the other a speaking picture. The poets have never said any thing, but what they believed {5.} would please the ears. And it has been the constant endeavour of the painters to give pleasure to the eyes. In short, those things which the poets have thought unworthy of their pens, the painters have judged to be unworthy of their pencils. [*†1.] For both “those arts, that they might advance the sacred honours of religion,” have raised themselves to heaven; and, having found a free admission into {10.} the palace of Jove himself, have enjoyed the sight and conversation of the gods; whose “awful majesty they observe, and whose dictates they communicate to mankind;” whom at the same time they inspire with those celestial flames, which shine so gloriously in their works. From heaven they take their passage through the world; and “with concurring studies” collect whatsoever they find worthy of them. [*†9.] They dive (as I may say) into {15.} all past ages; and search their histories, for subjects which are proper for their use: with care avoiding to treat of any but those which, by their nobleness, or by some remarkable accident, have deserved to be consecrated to eternity; whether on the seas, or earth, or in the heavens. And by this their care and study, it comes to pass, that the {20.} glory of heroes is not extinguished with their lives; and that those admirable works, those prodigies of skill, which even yet are the objects of our admiration, are still preserved. [*†24.] So much these divine arts have been almost honoured; and such authority they preserve amongst mankind. It will not here {25.} be necessary to implore the succour of Apollo, and the muses, for the gracefulness of the discourse, or for the cadence of the verses; which, containing only precepts, have not so much need of ornament, as of perspicuity.

I pretend not in this treatise to tie the hands of {30.} artists, “whom practice only directs;” neither would I stifle the genius, by a jumbled heap of rules; nor extinguish the fire of a vein which is lively and abundant. But rather to make this my business, that art being strengthened by the knowledge of things, may at length pass into nature by slow degrees; and so in process of time, may be {35.} sublimed into a pure genius, which is capable of choosing judiciously what is true; and of distinguishing betwixt the beauties of nature, and that which is low and mean in her; and that this original genius, by long exercise and custom, may perfectly possess all the rules and secrets of that art.

[Sidenote: Precept I. Of what is beautiful.]

[*†37.] The principal and most important part of painting, is to find out, and thoroughly to understand, what nature has made most beautiful, and most proper to this art; [*†39.] and that a choice of it may be made according to the taste and manner of the {40.} ancients; [*†40.] without which, all is nothing but a blind and rash barbarity; which rejects what is most beautiful, and seems, with an audacious insolence, to despise an art, of which it is wholly ignorant; which has occasioned these words of the ancients: “That no man is so bold, so rash, and so overweening of his own works, as an ill painter, and a bad poet, who are not conscious to themselves of their own ignorance.”

[*†45.] We love what we understand; we desire what {45.} we love; we pursue the enjoyment of those things which we desire; and arrive at last to the possession of what we have pursued, if we warmly persist in our design. In the mean time, we ought not to expect, that blind fortune should infallibly throw into our hands those beauties; for though we may light by chance on some which are true and natural, yet they may prove either not to be decent, or not to be ornamental. Because it is not sufficient to imitate nature in every circumstance, {50.} dully, and as it were literally, and minutely; but it becomes a painter to take what is most beautiful, [*†50.] as being the sovereign judge of his own art; “what is less beautiful, or is faulty, he shall freely correct by the dint of his own genius,” [*†52.] and permit no transient beauties to escape his observation.

[Sidenote: II. Of theory and practice.]

[*†54.] In the same manner, that bare practice, destitute of the lights of art, is always subject to fall into a precipice, like a blind traveller, without being {55.} able to produce any thing which contributes to a solid reputation; so the speculative part of painting, without the assistance of manual operation, can never attain to that perfection which is its object, but slothfully languishes as in a prison; for it was not with his tongue that Apelles performed his noble works. Therefore, {60.} though there are many things in painting, of which no precise rules are to be given, [*†61.] (because the greatest beauties cannot always be expressed for want of terms,) yet I shall not omit to give some precepts, which I have selected from among the most considerable which we have received from nature, that exact school-mistress, after having examined her most secret recesses, as well as [*†63.] those master-pieces of antiquity, which were the chief examples of this art; and it is by this means, that the mind and the natural disposition {65.} are to be cultivated, and that science perfects genius; [*†66.] and also moderates that fury of the fancy which cannot contain itself within the bounds of reason; but often carries a man into dangerous extremes. For there is a mean in all things; and certain limits or bounds wherein the good and the beautiful consist, and out of which they never can depart.

[Sidenote: III. Concerning the subject.]

This being premised, the next thing is to make choice of [*†69.] a subject beautiful and noble; which being of itself capable of all the charms and graces, {70.} that colours, and the elegance of design, can possibly give, shall afterwards afford, to a perfect and consummate art, an ample field of matter wherein to expatiate itself; to exert all its power, and to produce somewhat to the sight, which is excellent, judicious, [*†72.] and ingenious; and at the same time proper to instruct, and to enlighten the understanding.

“At length I come to the work itself; and at {75.} first, find only a bare strained canvas, on which the sketch is to be disposed by the strength of a happy imagination;” [*†74.] which is what we properly call invention. [*†75.]

[Sidenote: Invention the first part of painting.]

[*†76.] Invention is a kind of muse, which, being possessed of the other advantages common to her sisters, and being warmed by the fire of Apollo, is raised higher than the rest, and shines with a more glorious and brighter flame.

[Sidenote: IV. The disposition, or œconomy of the whole work.]

[*†77.] It is the business of a painter, in his choice of attitudes, to foresee the effect and harmony of the lights and shadows, with the colours which are to enter into the whole; taking from each of them, that which will most conduce to the production of {80.} a beautiful effect.

[Sidenote: V. The faithfulness of the subject.]

[*†81.] Let “there be a genuine and lively expression of the subject,” conformable to the text of ancient authors, to customs, and to times.

[Sidenote: VI. Whatsoever palls the subject to be rejected.]

“Whatever is trivial, foreign, or improper, ought by no means to take up the principal part of the picture.” [*†83.] But herein imitate the sister of painting, Tragedy; which employs the whole forces of her art in the main action. {85.}

[*†89.] This part of painting, so rarely met with, is neither to be acquired by pains or study, nor by the precepts or dictates of any master. For they alone who have been inspired at their birth with {90.} some portion of that heavenly fire, [*†91.] which was stolen by Prometheus, are capable of receiving so divine a present.

Painting in Egypt was at first rude and imperfect, till being brought into Greece, [*†92.] and being cultivated by the study and sublime genius of that {95.} nation, [*†95.] it arrived at length to that height of perfection, that it seemed to surpass even original nature.

Amongst the academies, which were composed by the rare genius of those great men, these four are reckoned as the principal: namely, the Athenian school, that of Sicyon, that of Rhodes, and that of Corinth. These were little different from each other, only in the manner of their work; as it may {100.} be seen by the ancient statues, which are the rule of beauty and gracefulness; and to which succeeding ages have produced nothing that is equal; “or indeed that is not very much inferior, both in science, and in the manner of its execution.”

[Sidenote: VII. Design, the second part of painting.]

[*†103.] An attitude therefore must be chosen, according to their taste: [*†104.] the parts of it must be great and large, [*†105.] “contrasted by contrary motions; the {105.} most noble parts foremost in sight, and each figure carefully poised on its own centre.”

[*†107.] “The parts must be drawn with flowing, gliding outlines, large and smooth, rising gradually, not swelling suddenly, but which may be just felt in the statues, or cause a little relievo in painting. {110.} Let the muscles have their origin and insertion, [*†112.] according to the rules of anatomy; let them not be subdivided into small sections, but kept as entire as possible, [*†113.] in imitation of the Greek forms, and expressing only the principal muscles.” In fine, [*†114.] let there be a perfect relation betwixt the parts and the whole, that they may be entirely of a piece. {115.}

Let the part which produces another part, be more strong than that which it produces; and let the whole be seen by one point of sight. [*†117.] Though perspective cannot be called a perfect ruler “for designing,” yet it is a great succour to art, and facilitates the “dispatch of the work:” though frequently {120.} falling into error, it makes us behold things under a false aspect; for bodies are not always represented according to the geometrical plane, but such as they appear to the sight.

[Sidenote: VIII. Variety in the figures.]

Neither the shape of faces, nor the age, nor the colour, ought to be alike in all figures, any more {125.} than the hair; because men are as different from each other, as the regions in which they are born are different.

[Sidenote: IX. The members and drapery of every figure to be suitable to it.]

[Sidenote: X. The actions of mutes to be imitated.]

[*†126.] Let every member be made for its own head, and agree with it; and let all together compose but one body, with the draperies which are proper and suitable to it. And, above all, [*†128.] let the figures to which art cannot give a voice, imitate the mutes in their actions.

[Sidenote: XI. Of the principal figure of the subject.]

[*†129.] Let the principal figure of the subject appear in the middle of the piece, under the strongest light, {130.} that it may have somewhat to make it more remarkable than the rest; and that the figures which accompany it, may not steal it from our sight.

[Sidenote: XII. Groups of figures.]

[*†132.] Let the “parts be brought together, and the figures disposed in groups:” and let those groups be separated by a void space, to avoid a confused {135.} heap; which proceeding from parts that are dispersed without any regularity, and entangled one within another, divides the sight into many rays, and causes a disagreeable confusion.

[Sidenote: XIII. The diversity of attitudes in the groups.]

[*†137.] The figures in the groups ought not to “have the same inflections of the body, nor the same motions; nor should they lean all one way, but break {140.} the symmetry, by proper oppositions and contrasts.

“To several figures seen in front oppose others with the back toward the spectator; that is, the shoulders of some opposed to the breasts of others, and right limbs to left, whether the piece consists of many figures, or but of few.” {145.}

[Sidenote: XIV. Equality of the piece.]

[*†145.] One side of the picture must not be void, while the other is filled to the borders; but let matters be so well disposed, that if “any thing rises high on one side of the piece, you may raise {150.} something to answer it on the other,” so that they shall appear in some sort equal.

[Sidenote: XV. Of the number of figures.]

[*†152.] As a play is seldom very good, in which there are too many actors; so it is very seldom seen, and almost impossible to perform, that a picture should be perfect, in which there are too great a {155.} number of figures. How “should they excel in putting several figures together, who can scarce excel in a single one?”

“Many dispersed objects breed confusion, and take away from the picture that solemn majesty, and agreeable repose, which give beauty to the piece, and satisfaction to the sight. But if you are {160.} constrained by the subject to admit of many figures, you must then make the whole to be seen together, and the effect of the work at one view; and not every thing separately, and in particular.”

[Sidenote: XVI. Of the joints and feet.]

[*†162.] The extremities of the joints must be seldom hidden; and the extremities or end of the feet never.

[Sidenote: XVII. The motions of the hands and head must agree.]

[*†164.] The figures which are behind others, have neither grace nor vigour, unless the motions of the hands accompany those of the head. {165.}

[Sidenote: XVIII. What must be avoided in the distribution of the figures.]

Avoid “all odd aspects or positions, and all ungraceful or forced actions and motions.” Show no parts which are unpleasing to the sight, as all foreshortenings usually are.

[*†169.] Avoid all those lines and outlines which are equal; which make parallels, or other sharp-pointed and geometrical figures; such as are squares and {170.} triangles: all which by being too exact, give to the eye a certain displeasing symmetry, which produces no good effect. But, as I have already told you, the principal lines ought to contrast each other: for which reason, in these outlines, you ought to have a special regard to the whole together: for it {175.} is from thence that the beauty and force of the parts proceed.

[Sidenote: XIX. That we must not tie ourselves to nature; but accommodate her to our genius.]

[*†176.] Be not so strictly tied to nature, that you allow nothing to study, and the bent of your own genius. But on the other side, believe not that your genius alone, and the remembrance of those things which you have seen, can afford you wherewithal to furnish out a beautiful piece, without the succour of that incomparable school-mistress, Nature; [*†178.] whom you must have always present as a witness to the truth. “Errors are infinite,” and, amongst many ways which {180.} mislead a traveller, there is but one true one, which conducts him surely to his journey’s end; as also there are many several sorts of crooked lines; but there is one only which is straight.

[Sidenote: XX. Ancient figures the rules of imitating nature.]

Our business is to imitate the beauties of nature, as the ancients have done before us, and as the object and nature of the thing require from us. And for {185.} this reason, we must be careful in the search of ancient medals, statues, gems, vases, paintings, and basso relievos: [*†183.] And of all other things which discover to us the thoughts and inventions of the Grecians; because they furnish us with great ideas, and make our productions wholly beautiful. And {190.} in truth, after having well examined them, we shall therein find so many charms, that we shall pity the destiny of our present age, without hope of ever arriving at so high a point of perfection.

[Sidenote: XXI. A single figure how to be treated.]

[*†193.] If you have but one single figure to work upon, you ought to make it perfectly finished, and diversified with many colours.

[Sidenote: XXII. Of the draperies.]

[*†195.] Let the draperies be nobly spread upon the body; let the folds be large, [*†196.] and let them follow {195.} the order of the parts, that they may be seen underneath, by means of the lights and shadows; notwithstanding that the parts should be often traversed (or crossed) by the flowing of the folds, which loosely encompass them, [*†200.] without sitting too straight upon them; but let them mark the {200.} parts which are under them, so as in some manner to distinguish them, by the judicious ordering of the lights and shadows. [*†202.] And if the parts be too much distant from each other, so that there be void spaces, which are deeply shadowed, we are then to take occasion to place in those voids some fold to make a joining of the parts. {205.} “[*†204.] And as those limbs and members which are expressed by few and large muscles, excel in majesty and beauty,” in the same manner the beauty of the draperies consists not in the multitude of the folds, but in their natural order, and plain simplicity. The quality of the persons is also to be considered in the drapery. [*†210.] As supposing them to be magistrates, their draperies ought to be large and ample; if country clowns, or slaves, they ought to be coarse and short; [*†211.] if ladies, or damsels, light and {210.} soft. It is sometimes requisite to draw out, as it were from the hollows and deep shadows, some fold, and give it a swelling, that so receiving the light, it may contribute to extend the clearness to those places where the body requires it; and by this means we shall disburthen the piece of those hard shadowings, which are always ungraceful.

[Sidenote: XXIII. What things contribute to adorn the picture.]

[*†215.] The marks or ensigns of virtues contribute not {215.} little, by their nobleness, to the ornament of the figures. Such, for example, as are the decorations belonging to the liberal arts, to war, or sacrifices.

[Sidenote: XXIV. Of precious stones and pearl for ornaments.]

[*†217.] But let not the work be too much enriched with gold or jewels; “for the abundance of them makes them look cheap; their value arising from the scarcity.”

[Sidenote: XXV. The model.]

[*†220.] It is very expedient to make a model of those things, which we have not in our sight, and whose {220.} nature is difficult to be retained in the memory.

[Sidenote: XXVI. The scene of the picture.]

[*†221.] We are to consider the places where we lay the scene of the picture; the countries where they were born, whom we represent; the manner of their actions, their laws, and customs, and all that is properly belonging to them.

[Sidenote: XXVII. The graces and the nobleness.]

[*†222.] Let a nobleness and grace be remarkable through all your work. But, to confess the truth, this is a most difficult undertaking; and a very rare present, which the artist receives rather from the hand of Heaven, than from his own industry and studies.

[Sidenote: XXVIII. Let every thing be set in its proper place.]

In all things you are to follow the order of nature; for which reason you must beware of drawing or painting clouds, winds, and thunder, towards the bottom of your piece, and hell, and waters, in the {225.} uppermost parts of it; you are not to place a stone column on a foundation of reeds, but let every thing be set in its proper place.

[Sidenote: XXIX. Of the passions.]

Besides all this, you are to express the motions {230.} of the spirits, and the affections or passions, whose centre is the heart; in a word, to make the soul visible, by the means of some few colours; [*†233.] this is that in which the greatest difficulty consists. Few there are, whom Jupiter regards with a favourable eye in this undertaking; so that it appertains only to those few, who participate somewhat of divinity itself, to work these mighty wonders. It is the business of rhetoricians, {235.} to treat the characters of the passions; and I shall content myself, with repeating what an excellent master has formerly said on this subject, that a “true and lively expression of the passions, is rather the work of genius, than of labour and study.”

[Sidenote: XXX. Gothic ornaments are to be avoided.]

[Sidenote: Colouring the third part of painting.]