Poetry by the Force of the most Allective Ratiocination, Charmes the Mind with the Real Essences of Delight ; not onely by pleasing the Eare with Dulcisonant Numbers, but likewise by Informing the Soul, in the Expansion of the most Abstruse and Occult Misterys of Philosophy ; conducting us thereby through Feilds of Delight, to the Magnificent Seats of Vertue and Knowledge.
           Musick Refines and rayses the Spirits, above all the Gross, Mundane Pleasures, which Attend the Avenues of common sense: Replenishing the Fancy with the most Beautiful Idea’s, and Seraphick Raptures of Bliss, and giving us here a Tast of those Flouds of Immence Delight, Prepar’d for such Harmonious Souls, (who despising the Insipid and Imperfect Joys, swallowed down with Greediness, by the Inconsiderate Herd of Mankind) adapt themselves for those Immortal Pleasures.
           But Painting not onely Allures and Delights with the Charming Numbers and Noble Information of Poetry ; with the sweet Unisons and Ravishing Harmony of Musick ; but likewise brings from their several Orbes, the Great Monopolists of these Sciences for us to Converse with, and by every artfull stroak adds to the Erection of her own Monument, to the Delight and Instruction of the present and future Ages : thus he who is not Felicify’d with the Fruition of these Three Beatitudes, enjoys the Perfection on of them all, in this one Charming Mistress.

Painting is an Art, which by Draught of Lines and Colours, doth not only Express the Forms of all things, on the superficies of the Earth (according to Socrates) [...] with the Actions of all Animals, but likewise the Passions of Intellectual Beings.
           It is the Noblest of all Arts, since it immediately Copys after the Miraculous hand of the Almighty ; nor only imitates Created Beings, but the Creation it self : for out of a Chaos of Colours, which by chance mixture, would perish in their mutual Imbraces, and of themselves are Glaring, or Foul ; and thence unpleasing to the Eye, as ill sounds are Diaphonous to the Ears ; the Artfull Hand, by a Sympathy in Mixture, and the Harmonious Unisons of Proportion, not only Formes a Beautifull Body, but likewise gives the Expressions of the Soul.
           It is the most Expressive of all Arts, and of more General Information then Printing ; for it speaks at once to all Nations and Languages, and they who are strangers to Letters, may read the story in it self : therefore the Egyptians Couch’d their wisest Morals in Hieroglyphicks and Emblems, and the Universality of the Knowing part of Mankinde Improv’d thereby.
           It hath more Force of Perswasion then Eloquence, for the Idea of any thing is more Subtilly and Entirely Conveyed to the Understanding by the Eye then by the Ear, Objects being more Allective to this Sence then the other ; and having this Advantage, that the Visual Rayes at once Comprise the whole Story, whereas Relation is Dilatory and thence more Burthensome to the Memory.
           What use the Ancients made of this Art for the Exciting Vertue, may be seen in these (amongst Nnmberless) Exemples.
The Romans Painted Fortitude in the Example of Horatius Cocles defending the Bridge (call’d Sublitius) against a great Troop of Tuscanes : and Marcus Marcellus, who by cutting of the Head of Britomarte a French Captain, Discomfitted the Enemies whole Army.
          For Love to their Country, Marc. Curtius, who cast himself and Horse into a Bottomless Gulff : and the Three Decii the Father in the Roman Warr, the Son in the Tuscane and the Nephew in the Battle against Pyrrhus ; all which ran into certain and Eminent Death, for the good of their Country.
           And for Military Discipline, Posthumus the Dictator, who put his own Son to Death for getting a Conquest over his Enemies by breaking his Ranks ; with innumerable more Emblems of Divers Vertues and pieces of Gallantry.
           Certainly these Painted with a great Spirit, Passion and Gracefull Action, must be more Instructive and Exciting then the most Rhetoricall Harangue.
           It is the most Ingenuous Art, and greatly assisting to Natural Philosophy ; since with the greatest Scrutiny it examines into the very Entity of Nature.

Painting is an Art, which by Draught of Lines and Colours, doth not only Express the Forms of all things, on the superficies of the Earth (according to Socrates) [...] with the Actions of all Animals, but likewise the Passions of Intellectual Beings. [...] It is the most Ingenuous Art, and greatly assisting to Natural Philosophy ; since with the greatest Scrutiny it examines into the very Entity of Nature.
           It Argues in the Masters the Finest and Sublimest Invention, to Express many Times, the most Heroick Actions in the World, with greater Magnanimity and Beauty then the Celebrated Actors were possessed with.
           And those great Men whose Works have been held in such Admiration, both by the greatest Judgments as well as the Noblest Quality ; it shews in them Souls Capacitated and Adapted for such high Actions as themselves have Express so to the Life : for there must be a Concretion of Idea’s into a Form in the Minde before Action is produc’d : of Mindes to Replete their works are sufficient Evidence.

Appelles added the last Perfection [ndr : à la peinture] by the help of Geometry and Arithmetick ; without which, as his Master Pamphilus would say, no Man could prove a Painter ; and Bernard Lovinus would say, a Painter without Perspective was like a Doctor without Grammer.
            And indeed it is a Compound of many Arts ; as Geomitry, Architecture, Arithmetick, Perspective, &c. for a Painter cannot perform without Lines, Superficies, Profunditys, Thickness and Geometricall Figures.
            Nor can Churches, Pallaces, Amphiteaters, Bridges, Ports and other Buildings be Represented without Skill in Architecture.
            Nor without Arithmetick can he Understand the Proportion of Mans Body, to take it in any fise ; or the Proportion of other Things either Artificiall or Naturall.

Appelles added the last Perfection [ndr : à la peinture] by the help of Geometry and Arithmetick ; without which, as his Master Pamphilus would say, no Man could prove a Painter ; and Bernard Lovinus would say, a Painter without Perspective was like a Doctor without Grammer.
            And indeed it is a Compound of many Arts ; as Geomitry, Architecture, Arithmetick, Perspective, &c. for a Painter cannot perform without Lines, Superficies, Profunditys, Thickness and Geometricall Figures.

There hath been a continual Altercation between Painters and Carvers for Superiority in the Excellency of Art : but that Carvers may not pretend to excel Painters in the Essential part we will lay down how far they agree and then wherein the Carvers are Excel’d.
[...].
            And as there is no Essential difference between two particular Men, both being Rational Creatures, so there is not between Painting and Carving, for both tend to the same End, by Representing Individual Substances ; and both must observe the same Geometrical Quantity in what they Represent.
            Suppose a Painter and Carver were to Counterfeit the same Person, doubtless both would conceive the same Idea of him, proceeding in their Minds with the same discourse of Reason and Art, and (as before) observe the same Geometrical Quantity, endeavouring to make it as like the Person they Represent as they could : and so the Draught expressing the Idea’s of both the Workmen, would agree in expressing the true Resemblance, which is the Essence of this Art.
            ’Tis true one Painteth and the other Carveth ; but this is a Material Difference only, which argues no Specifical Difference in Art or Science, and it is the Essential Difference alone that maketh a Distinction of Species and Diversity of Science.
If it be Objected that the Carver maketh more of the Figure then the Painter, it is answer’d, more or less makes no Specifical or Proper Difference ; therefore it is the Defect of Matter, and not of Art, thus far the Arts are Analogical.
Now that this Art far Excels Carving is easily Demonstrated, since on a Flat, it Represents Roundness and Thickness, exceeding therein the Power of Nature it self, expressing Life and Spirit far beyond Carving, as in these Instances.
Apelles Painted Alexander the Great so to the Life, that his Horse Bucephalus brought into the Room, immediately kneeld down supposing it his Master : His Horse he likewise Painted with such Spirit that other Horses began to Neigh, when they saw him.
Andreas Mantegna represented a Servant in Porta Vercellina, so Natural, that the Horses left not Kicking at it till there was no shape of a Man left.
[...].
            A Venus cannot be made with that Allectation in Carving, since the Complection of the skin, with Colour of Eyes, Hair, &c. are requisite to the Perfection of a Beauty.
            Nor can History be Carv’d without great Defects, since all Distances require a Faintness of Colouring, as well as Diminution of Body : with many more Observations in Nature, onely Obvious to Colouring, of absolute Necessity for the Animating of Figures.

Proportion is of two sorts either Proper, Expressing the exact Proportion of the Thing to be Represented, or else in Perspective, in Respect of the Eye, differing very much from the other, for according to the Distance of the Thing from the Eye is Judgeth what Proportion the Head hath with the Body.
            For should a Carver make a Statue according to true Proportion and place it on high, he that below beholds it will judge it Disproportionable, by Reason the upper Parts will come to the Eye in a Sharp Angle, and the lower Parts in a Blunt.
[...].
            So great is the Vertue of Proportion, that nothing delighteth the Eye without it, since the Grace of all Beautifull Forms consists in a Proportionable Measure of Parts, and as Vitruvious saith, that none can proceed with Judgment without Acquaintance with the Force thereof, it giving the Majesty and Beauty to Bodys, whence he calleth it Eurithmia.
            It hath been of great Force in exciting Mens Minds to Reverence and Devotion, witness the Statue of Jupiter Carv’d by Phidias ; [...].
            Proportion is a Correspondency and Agreement of the Measures of the Parts between themselves, and with the whole in every Work
.            This Correspondency Vitruvius cals Commodulation, because a Modell is a Measure, which being taken at first, measures both the Parts and the Whole.

Proportion is a Correspondency and Agreement of the Measures of the Parts between themselves, and with the whole in every Work
.            This Correspondency Vitruvius cals Commodulation, because a Modell is a Measure, which being taken at first, measures both the Parts and the Whole.

Cap. XII, Rules of Proportion.
[...].

The Passions of the Minde are certain Motions, proceeding from the Apprehension of Something : and are either Sensitive, Rationall or Intellectual. Sensitive is, when we consider Good and Evil as Profitable or Unprofitable, Pleasant or Offensive. Rational, when we Consider good and Evil as Virtue or Vice ; Prayse or Disprayse ; and Intellectual, when we regard them as True or False.
[...].
            The Artist is therefore diligently to observe that he is not only to show the Passion by Contraction, Dilation, &c. of Features, but likewise to adapt a Complexion sutable to the Character the Figure is to bare in the Design, whither a Soldier, a Lover, a Penitent, &c. as for Example.
            A Martialist should have a Meager Body with large rays’d and hard Limbs, Great Bones well Knit with Joynts, the Complexion Swarthy with an adult, Red, large Eyes, Yellowish like a Flame of Fire, wide Nostrels, a wide Mouth, thick and purplelish Lips, small Ears, [...].
            Thus he that can express the Propertys of one Complection may easily conceive of the Rest, since all Natural Things have a Correspondency in Method, Form, Proportion, Nature, aad Motion ; which Philosophically understood bring a Certain knowledg of all Passion and Action to be imagin’d in Bodys.
            For most Certain it is that those Passions of the Minde, whence these Externall Actions flow, discover themselves more or less as the Bodys have Affinity with any of the four Complections arising from the four Elements.

In Expression we must Regard the Sex, Man must appear more Resolute and Vigorous, his Actions more Free, Firm and Bold ; but Womans Actions more Tender, Easy and Modest.
            We must likewise Regard the Age, whose different Times and Degrees carry them to different Actions, as well by the Agitations of the Minde as the Motions of the Body.
            We must also take Notice of the Condition, if they be Men of great Extent and Honour, their Actions must be Reserv’d and Grave ; but if Plebeians, more Rude and Disorderly.
            Bodys Deify’d must be Retrench’d of all those Corruptible Things which serve only for the Preservation of Humane Life, as the Veins, Nerves, Arterys ; and taking onely what serve for Beauty and Form.
            We must likewise observe to give to Man Actions of Understanding ; to Children, Actions which only Express the Motions of their Passions ; to Brutes, purely the Motions of Sence.
[...].
            Nor is it sufficient that we observe Action and Passion in their own Natures, in the Complection and Constitution ; in the Age, Sexe, and Condition : but we must likewise observe the Season of the Year in which we express them.
            The Spring ; Merry, Nimble, Prompt and of a good Colour. The Summer, causeth Open and Wearisome Actions, Subject to sweating and Redness. Automn, Doutbfull, and something Inclining to Melancholly. Winter, Restrain’d, drawn in and Trembling.
[...].

Light hath so great Force in Painting, that the Gracefull Part consists much therein, for if the Lights are well dispos’d, there will be a Beauty in the Picture (although not a Perfection) notwithstanding the Draught be not Extraordinary ; for it is through the Vertue of that, that the Figures are brought off from the Flat.
            The Force hereof may be seen in the Resurection of our Saviour (as hath been observ’d) in the Covent of the Church of Grace in Millain, by Bernard Zenale Triviliano ; where though the Muscles and other Necessary Complements for a perfect piece of Work are not seen, yet it gives a great satisfaction, by the strength and orderly Disposal of the Lights. The Power of it is likewise such, that it gives admirable Foreshortnings and Perpectives ; neither can Form, Motion, Proportion, Composition, Order or Figure have Perfection without it, like a Body without Situation or Spirit.
[...].

Light is twofold Primary and Secondary, the Primary is that which falleth on that part of the Colour’d Body which is opposite to the Body giving Light, touching it with direct Beams ; a Light Body is that which hath Light within it self, as the Sun, Fire, &c. now that Light which ariseth from this Primary Light is the Secondary Light.
[...].

The Secondary Light is likewise of three sorts, the Direct, Reflected and Refracted. [...] The Reflected Light is that which ariseth from the endind of the Direct, it Lightneth all the Bodys on which it fals, cheifly the hinder parts of such Bodys as are Lightned before, by the Direct Beams.

The first Primary Light is that which falleth upon and is receiv’d in that Part of a Colour’d Body which is opposite to the Body giving Light ; which running upon the Bodys, toucheth them sweetly with a certain Natural Order, not possessing them in any of the Extreams as other Lights do, and must be observ’d in Historys suppos’d in the open Air.
            The Second Primary Light is that which is caus’d by the Apparitions of Angels, or Glory, as about our Saviour in his Nativity, his Transfiguration, his Resurrection, &c. and it must be observ’d in all parts according to their distance on every side.
            The third Primary Light is from Fire, Torches, Lamps, Candles, &c. but must be less Refulgient then the last. In this we must observe whither it be by Day or Night, the Matter Burning, &c.
Where there be several Lights there must be care taken how they are placed that by their Opposition, they take not away all Occasions of Shaddowing, which will diminish their Beauty, though the want of force and strength ; likewise that they cast not double Shaddows, and confound each other.

Where there be several Lights there must be care taken how they are placed that by their Opposition, they take not away all Occasions of Shaddowing, which will diminish their Beauty, though the want of force and strength ; likewise that they cast not double Shaddows, and confound each other.

The Secondary Light [ndr : est de trois sortes : Direct, Reflected et Refracted] is that which is caus’d not by Direct Beams but Reflected, though Direct from the Primary Light : which is the first Species of the second Division of Light, and is brighter according to the Thickness of the Body it meeteth with, but strikes only on the Superficies direct opposite to it.
            The Reflected Light is that which ariseth from the endind of the Direct, it Lightneth all the Bodys on which it fals, cheifly the hinder parts of such Bodys as are Lightned before, by the Direct Beams.
            The Refracted Light is that (which the Philosophers say) is ingendred by the Direct Light, as it fals on Christals, Armour, Water and such shining Things as are apt to Ingender the same : and is nothing but the breaking of the Direct Light upon these Bodys, which it causeth round about in every place, as may be seen in clear water towards the bottom, as likewise on the Superficies next the Eye.

Chap. XXI, The Effects of Light.

The Light falling on the Flesh of Young Women and Children causeth a Pleasant, Tender Shaddow without much Reflection ; but when on old hard and stiff Flesh, it remaineth more Harsh, the shaddows being harder : [...].
            In Drapery it must be observ’d that those Folds which come nearest to the Bones, as the Joynts of the Fingers, the Shoulders, the Knees and other Eminences, must be more strongly Touch’d then the other Parts, and by that means the Flesh will appear the more soft and sweet.
            On Diamonds and other Pretious Stones the Light falls more quick and strong according to the Condensation of their Bodys, next upon polisht Mettals as Silver, Armour, &c [...].

The Light falling on the Flesh of Young Women and Children causeth a Pleasant, Tender Shaddow without much Reflection ; but when on old hard and stiff Flesh, it remaineth more Harsh, the shaddows being harder : [...].

In Drapery it must be observ’d that those Folds which come nearest to the Bones, as the Joynts of the Fingers, the Shoulders, the Knees and other Eminences, must be more strongly Touch’d then the other Parts, and by that means the Flesh will appear the more soft and sweet.

We will now lay down a few Precepts necessary to be observ’d and so conclude this Discourse of Chiaro Scuro.
In Light we must consider the Sun in his Luster, as Rising, Meridionall, Setting and according to the Vapours he meets in the Air. [...].
We must Consider Lights as Principall falling Perpendicular (without Interruption) on any Surface or Extremity. Glancing by sliding Diagonally on Elevated Bodys. And Secondary, for things at distance, according to the Thickness of Vapours which Intervene, and offer many incidental opportunitys for giving the more Beauty to the stronger Lights ; as likewise loosen the Lighted parts by the opposition of the deep Teints.
If the Design be in the open Air, the Light is extended and diffus’d on the Objects with the greater Tenderness. If in Inclosed Places, it is more confin’d, the Lightnings more strong and Quick.
The Chief Light must be on the Principall Figure of the Group, and must be extended without the Interruption of little shaddows, that the Relievo may stand more boldly out.
All Shaddow must have a Sympathy with the Lights in their Colour as likewise the Reflections with the Bodys Reflecting. Arteficial Lights, if very bright, give a quick Heightning, and dark and deeply shortned Shaddows.
Lastly it must be carefully observ’d that betwixt all Lights and Shaddows there must be such Mediums, as may take of all Hardness, and so Arteficially wrought in as may not foul either with the other and so take away the Beauty and strength of the Picture.

All Shaddow must have a Sympathy with the Lights in their Colour as likewise the Reflections with the Bodys Reflecting. Arteficial Lights, if very bright, give a quick Heightning, and dark and deeply shortned Shaddows.
Lastly it must be carefully observ’d that betwixt all Lights and Shaddows there must be such Mediums, as may take of all Hardness, and so Arteficially wrought in as may not foul either with the other and so take away the Beauty and strength of the Picture.

Perspective (being a Species of Geometry) is a Science treating of Visible Lines, and may be divided into three parts, Optica, Sciographica and Specularia.
            Optica is of two kindes, either Physiological or Grammical.
The Physiological part scearcheth the Universal Principles, Causes and Elements of the appearences of things [...].
The Grammical is the Art of Delineation, and is more Necessary to Painting then the other. [...].
            Another Species is call’d Sciographica ; It handleth the Causes, Principles, Elements and Properties of Shaddows ; giving the Reason of the Variety of the Apparitions of the Shapes and Images of Things, [...].
            The last Species is Specularia, and considereth the Reflections and Refractions of Beams, giving Directions for making Glasses, [...].
            The Eye is the Foundation of Perspective, because thence the Natural and the Rational Sight is Formed : Natuaral wherein the shapes of Things seen do come to it simply, by the Beams of light ; Rational, wherein there is farther Consider’d the Reason and Effect of the Sight, even where the Eye cannot be otherwise plac’d then by supposition, as at an infinite distance, &c.
            The Eye is call’d by some Italian Authours, the Term ; because by it all Things in a Picture are Limited, and any Thing made without the disposition of this Term, cannot be true, as not being dispos’d for the Sight, nor order’d according to the Visuall Beames, coming to the Eye from the whole.
[...].

Perspective (being a Species of Geometry) is a Science treating of Visible Lines, and may be divided into three parts, Optica, Sciographica and Specularia.
            Optica is of two kindes, either Physiological or Grammical.
The Physiological part scearcheth the Universal Principles, Causes and Elements of the appearences of things [...].
The Grammical is the Art of Delineation, and is more Necessary to Painting then the other. [...].
            Another Species is call’d Sciographica ; It handleth the Causes, Principles, Elements and Properties of Shaddows ; giving the Reason of the Variety of the Apparitions of the Shapes and Images of Things, [...].
            The last Species is Specularia, and considereth the Reflections and Refractions of Beams, giving Directions for making Glasses, [...].
            The Eye is the Foundation of Perspective, because thence the Natural and the Rational Sight is Formed : Natuaral wherein the shapes of Things seen do come to it simply, by the Beams of light ; Rational, wherein there is farther Consider’d the Reason and Effect of the Sight, even where the Eye cannot be otherwise plac’d then by supposition, as at an infinite distance, &c.

In Distance we must observe that the Object come not too near to the Eye, nor yet be too far of, for then the Air between will take away too much of the Colour and Beauty.
            In too Obtuse and short Distances, Things seem to decline and run too much backwards, in a preposterous manner ; so Things too far of, making Acute and sharpe Angles in the Eye give no grace to the work ; it is reckon’d a proper Distance, for the Beholder to stand from the Object, three times the Length thereof.

Yet although in Things at Distance, we must go by the Rationall Proportion in Perspective, and in things near by the Natural ; yet we must not so observe the Natural, but regard must be had to the Grace of the Picture.
            For the Power of Painting, not only extends it self, to the Imitation of Nature, but sometimes to the Correcting of it : rendring Things more pleasing to the Eye, then they are of themselves.

Draught is a Physical Line, or Lineal Demonstration ; and hath always some Dimentions, if it be never so slender : and serves to represent Bodys according to their Forms, Aspects and Scituation ; Limiting and Determining the surface of an Object ; and Making out the Several Parts, which are contain’d therein. For no Superficies can Exist, without being Terminated by Lines, Streight, Circular or Mixt.
            The Extent of Draught is Immense ; for it is not only concern’d in all the Visible Things in Nature, but in all Things which the Fancy or Imagination can form any Idea of, that can be compris’d under the Figure of Body : nay, so vast is its extent, that it adventures to Dive into the very Soul, and express its Thoughts ; for though Colour is accessary to Expression, yet nothing can be Terminated without Lines.
            They that would arrive to the Perfection in the Practick, must dilligently observe these following Rules.
            First he must draw by the Hand, Circles, Ovals, &c. Then the several Features of the Face by themselves, [...] then the several Members, [...]. Observing in the Hands and Feet, to draw the upper Lines first then the lower ; [...]. [...] They must Design the Nudity, Model, &c. exactly, without Charging or overburthening any of their Parts ; their being no way to obtain an entire exactness, but by proportioning every part with the first, comparing them exactly, so that we may be at liberty to Strengthen and go over again the Parts as we shall think fit, when we make use of this Design ; as it truly follows and represents the Models whither they be Antique or Natural.

Draught is a Physical Line, or Lineal Demonstration ; and hath always some Dimentions, if it be never so slender : and serves to represent Bodys according to their Forms, Aspects and Scituation ; Limiting and Determining the surface of an Object ; and Making out the Several Parts, which are contain’d therein. For no Superficies can Exist, without being Terminated by Lines, Streight, Circular or Mixt.
            The Extent of Draught is Immense ; for it is not only concern’d in all the Visible Things in Nature, but in all Things which the Fancy or Imagination can form any Idea of, that can be compris’d under the Figure of Body : nay, so vast is its extent, that it adventures to Dive into the very Soul, and express its Thoughts ; for though Colour is accessary to Expression, yet nothing can be Terminated without Lines.

Draught is a Physical Line, or Lineal Demonstration ; and hath always some Dimentions, if it be never so slender : and serves to represent Bodys according to their Forms, Aspects and Scituation ; Limiting and Determining the surface of an Object ; and Making out the Several Parts, which are contain’d therein. For no Superficies can Exist, without being Terminated by Lines, Streight, Circular or Mixt.
            The Extent of Draught is Immense ; for it is not only concern’d in all the Visible Things in Nature, but in all Things which the Fancy or Imagination can form any Idea of, that can be compris’d under the Figure of Body : nay, so vast is its extent, that it adventures to Dive into the very Soul, and express its Thoughts ; for though Colour is accessary to Expression, yet nothing can be Terminated without Lines.
            They that would arrive to the Perfection in the Practick, must dilligently observe these following Rules.
            First he must draw by the Hand, Circles, Ovals, &c. Then the several Features of the Face by themselves, [...] then the several Members, [...]. Observing in the Hands and Feet, to draw the upper Lines first then the lower ; [...].
            When he attempts a whole Body, he must begin with a Body standing Frontwise, [...].
            For Rustick and Country Figures, the Contours must be Gross, Equally Counterhatch’d and Notch’d, without regard to extraordinary Neatness and Roundness.
            But for Grave and serious Persons, they must be rounded, noble and Certain ; not so at adventure as the foremention’d.
            They must be strong, Resolute, Noble, Perfect and Chose for Heroes.
            They must be Puissant and Austere, full of Greatness and Majesty, for Deifyd Bodys.
            And for young Women and Children, the Contours must be Smooth, Round and Delicate.
            They must Design the Nudity, Model, &c. exactly, without Charging or overburthening any of their Parts ; their being no way to obtain an entire exactness, but by proportioning every part with the first, comparing them exactly, so that we may be at liberty to Strengthen and go over again the Parts as we shall think fit, when we make use of this Design ; as it truly follows and represents the Models whither they be Antique or Natural.

There be Seven Cardinal Colours viz. White, Blew, Yellow, Red, Brown, Green and Black. [...].

Diligently observe what Colours bare a Sympathy or Antipathy to each other, and order your mixtures on your Pallate accordingly, as Blew and Yellow make a Green but Blew and Vermilion produce a Nigre Colour.
            In the disposal of Colours on a Picture, consider the whitest Colours are not always the Stronger, but as they are Luminous or agreeing with the Light, as Vermilion is stronger then Green brought up to the same Height : and Yellow Masticot is stronger then White Masticot and will be seen at a greater Distance.
            Those Colours must be laid near to one another, that are proper of their own nature to help one another, and give a mutual help to rayse up their Briskness, as the Red doth to the Green, and the Yellow to the Blew, &c.
            What Colour soever we put in Drapery, &c. and there be a Colour by of a near kind we must bring a different one in between, which may loosen the Drapery, otherwise they will Loose themselves in each other.

Diligently observe what Colours bare a Sympathy or Antipathy to each other, and order your mixtures on your Pallate accordingly, as Blew and Yellow make a Green but Blew and Vermilion produce a Nigre Colour.
            In the disposal of Colours on a Picture, consider the whitest Colours are not always the Stronger, but as they are Luminous or agreeing with the Light, as Vermilion is stronger then Green brought up to the same Height : and Yellow Masticot is stronger then White Masticot and will be seen at a greater Distance.
            Those Colours must be laid near to one another, that are proper of their own nature to help one another, and give a mutual help to rayse up their Briskness, as the Red doth to the Green, and the Yellow to the Blew, &c.

What Colour soever we put in Drapery, &c. and there be a Colour by of a near kind we must bring a different one in between, which may loosen the Drapery, otherwise they will Loose themselves in each other.

Chap XXVII, The Instruments and Materials us’d in Painting and the preparing Colours to the Pallat.
[...]. [...] Your Mostick is best of a Bamboo, or some other stick that is light and yielding to the Hand, [...].

Chap XXVII, The Instruments and Materials us’d in Painting and the preparing Colours to the Pallat.
[...]. [...] For you Pallat, you should give order to the Colour shops, [...].

Chap XXVII, The Instruments and Materials us’d in Painting and the preparing Colours to the Pallat.
[...].
Your Pencels must be Swans Quils, Goose Quills, [...].

Chap XXVII, The Instruments and Materials us’d in Painting and the preparing Colours to the Pallat.
[...].
Your Pencels must be Swans Quils, Goose Quills, [...].
For you Pallat, you should give order to the Colour shops, [...].
Your Mostick is best of a Bamboo, or some other stick that is light and yielding to the Hand, [...].
Your Cloath must be of an even thread : [...].
Your Easel must be of a convenient Sise according to your work ; [...].

After you have attain’d to a Mastership in Draught, [...] ; you may begin the great Mistery of Colouring. [...] First Practise your Hand in Boylt Plate, not Burnish’d, and other things of fewest Colours, then Fruits, Flowers, &c. [...].
            Observe in things which require a strong Yellow as Peaches &c. that although you may obtain much of that Colour, with White, Pink and Vermilion, yet you must use only Masticots, as being of more Force.
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When you have attain’d to a good Knowledge in the Mistery of Colouring, by Copying after many things in the Stillife that have the greatest variety of Colours, so that at first sight you can perceive most of the Colours in a Picture, and Judge when they are Compounded, you may adventure on the Profoundest part of the Science viz Painting of a Face.

After you have attain’d to a Mastership in Draught, [...] ; you may begin the great Mistery of Colouring.
            And first begin in two Colours as White and Umber &c. after good Draughts or Prints : which you may do in this manner.
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            First with a large Pencel lay on the lightest parts of the Forehead, Balls of the upper Cheeks, [...] then the lightest shaddows on the Forehead, under the Eyes [...] and so till you come down to the Darkest : taking care to leave no edges about the Eye-lids, Lips, &c. Observing to keep your Pencels for the same degree of Colouring, [...].
            Thus when you have copyd some time in Two Colours, having obtaind some freedom in Pencelling by a light but steady hand : observing carefull all the Muscles and other Remarks : working all in with much Softness ; [...].

Cap. XXIX, The way of Painting a Face.
For a Clear and Beautiful Complection, lay on your Pallat and Temper them by themselves (cleaning your Pallat well after each Colour) these following Colours. [...].
            As for Colour in Draperys, though some have (absurdly) layd down Certain rules for all Colours, it is a thing impossible to do, by reason the same Colours from divers dispositions of Lights and Reflections, have various Tinktures : nor need the Practisioner be concern’d about it, for when he can once apprehend all the Colours in the Face, he may with great Facility mix all Colours for the more difficult Drapery, even from Nature it self.

In Carnations, we must avoid the Affectation of too many Clear Red Colours, which more resemble the Skin when Flead of, then the true Natural Skin.
            Nor must we affect the diversity of Sparkling and Glowing Colours, as the Bright of Diaphanous Bodys, which represent reflections of the variety of Neighbouring Colours ; always remembring, that mans Skin how Beautiful soever, dwells in a delicate down-Colour.
            We must observe in the Contrast, or the Opposition which Intervenes in the Union of Colours ; that by a sweet Interruption it may rayse up its Briskness, without it a fading Disagreeableness ensues.
            In Landskip we must observe, that the Air being universally overspread, carrys something of Light with it, and admits nothing Darke in places at distance and approaching the Horizon.
            That which way soever we carry the Wind, the Clouds, Trees and all Things Subject to its Motion, tend the same way.
            That in Clouds for Storms, &c. they be Painted in manner of a Group, and not to much Scattering by Breakes, which will disturb the Harmony of the Picture.
[...].

In Carnations, we must avoid the Affectation of too many Clear Red Colours, which more resemble the Skin when Flead of, then the true Natural Skin.

In Carnations, we must avoid the Affectation of too many Clear Red Colours, which more resemble the Skin when Flead of, then the true Natural Skin.
            Nor must we affect the diversity of Sparkling and Glowing Colours, as the Bright of Diaphanous Bodys, which represent reflections of the variety of Neighbouring Colours ; always remembring, that mans Skin how Beautiful soever, dwells in a delicate down-Colour.
            We must observe in the Contrast, or the Opposition which Intervenes in the Union of Colours ; that by a sweet Interruption it may rayse up its Briskness, without it a fading Disagreeableness ensues.

In Carnations, we must avoid the Affectation of too many Clear Red Colours, which more resemble the Skin when Flead of, then the true Natural Skin.
            Nor must we affect the diversity of Sparkling and Glowing Colours, as the Bright of Diaphanous Bodys, which represent reflections of the variety of Neighbouring Colours ; always remembring, that mans Skin how Beautiful soever, dwells in a delicate down-Colour.

In Landskip we must observe, that the Air being universally overspread, carrys something of Light with it, and admits nothing Darke in places at distance and approaching the Horizon.
            That which way soever we carry the Wind, the Clouds, Trees and all Things Subject to its Motion, tend the same way.
            That in Clouds for Storms, &c. they be Painted in manner of a Group, and not to much Scattering by Breakes, which will disturb the Harmony of the Picture.
[...].

In great works we mnst lay the Colours on Full, that we may Empast and Incorporate them sweetly, and that will make them to hold Firm and be lasting.
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Colours must be so laid together, that they may be all sweetly united under the Briskness of a principall one, that it may participate of the Light which is chief over all the rest in the Picture ; and that all the Colours be Connected together by an agreeable Union, and likewise so dispos’d as they may partake of each other, by the Communication of the Light and help of Reflection.
We must not only avoid all Garrish and Gaudy Colouring (the Effect of a poor Judgment) but likewise a Briskness in the Meaner Parts which may any way hurt the Eye of the Picture.
We must observe to lay the Colours very strong at first, because it is easy to weaken what we would put back ; but more difficult to give a strength, where it is weakly put in.

Colours must be so laid together, that they may be all sweetly united under the Briskness of a principall one, that it may participate of the Light which is chief over all the rest in the Picture ; and that all the Colours be Connected together by an agreeable Union, and likewise so dispos’d as they may partake of each other, by the Communication of the Light and help of Reflection.
We must not only avoid all Garrish and Gaudy Colouring (the Effect of a poor Judgment) but likewise a Briskness in the Meaner Parts which may any way hurt the Eye of the Picture.

Colours must be so laid together, that they may be all sweetly united under the Briskness of a principall one, that it may participate of the Light which is chief over all the rest in the Picture ; and that all the Colours be Connected together by an agreeable Union, and likewise so dispos’d as they may partake of each other, by the Communication of the Light and help of Reflection.

Touches must be Bold, by the conduct of a free and steady Pencel, with all possible Freedom : that thereby, they may Animate the work with Life and Spirit, and may appear most Finish’d at a Proportionable distance.

But in works finish’d to be seen near at Hand, you must apply each Colour properly in its place, sweetning with a light Hand all their Extremitys, without Tormenting or Fretting them, that their Purity may be preserv’d.

But in works finish’d to be seen near at Hand, you must apply each Colour properly in its place, sweetning with a light Hand all their Extremitys, without Tormenting or Fretting them, that their Purity may be preserv’d.
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            We must have regard to the scituation of Colours, where we must observe to put before the Picture, those which are Naturally the stronger and of the greatest Purity ; that by the Force of their Briskness, we may keep back the Force of them which are Compounded, and which must appear at a distance ; [...].

We must have regard to the scituation of Colours, where we must observe to put before the Picture, those which are Naturally the stronger and of the greatest Purity ; that by the Force of their Briskness, we may keep back the Force of them which are Compounded, and which must appear at a distance ; [...].

And lastly you must take care in the Colouring of the Harmony which makes the variety of Colours agree, supplying the Weakness of some by the Strength of others, to sustain them, as by a Consonance well manag’d, where they must neglect on purpose certain places, to serve for the Basis and Repose of the Sight ; and to raise up those which by their Briskness keep upmost.

And lastly you must take care in the Colouring of the Harmony which makes the variety of Colours agree, supplying the Weakness of some by the Strength of others, to sustain them, as by a Consonance well manag’d, where they must neglect on purpose certain places, to serve for the Basis and Repose of the Sight ; and to raise up those which by their Briskness keep upmost. And likewise of the Degradation, where the more easely to Proportion the Degree of Colours that fly back, we must reserve some of the same kinde and entire purity, and then to compare them which ought to be a far off, according to the Perspective Lines, to justify the Diminution ; observing the Quality of the Air, which being charg’d with Vapours, duls them more then when it is Serene.

Precepts about Ordonnance and Design. As Likewise for Drawing by the Life.
In Designing a Peice of History we must have greatest Regard to the Principal Group, that the Lights fall strongest on it, and more especially on the Cheif Figure that it be of the first Character and most Finish’d, being the Eye of the work.
            That the Group be sustain’d by something that seems loose about it, which serves to extend and continue it to some other Group by, otherwise the Diminution will be too apparent, and break to much into Heaps, and the Eye not descend naturally from one to another, which must, begining at the Principall, fall according to the Mind of the Story.

Too force Atittudes must be avoided, which cause extravagant Contorsions : but the boldest Action are allowed (not exceeding Nature) which may be advantagious to the Design.
            Wee must avoid an Injudicious Mixture of Passions, which will disturbe the Harmony of the Picture ; as the mixing Anxiety, and Roughness, with Chearfullness, Clemency, &c.
            We should never Express a Figure without first examining the Action from the Life ; since in every Action there is some Alteration in the Muscles, Joynts, Contorsions, &c.
            Passions must not only be form’d in the Features and Actions, but suited, also, to fit Constitutions and Complections.

Too force Atittudes must be avoided, which cause extravagant Contorsions : but the boldest Action are allowed (not exceeding Nature) which may be advantagious to the Design.

Wee must avoid an Injudicious Mixture of Passions, which will disturbe the Harmony of the Picture ; as the mixing Anxiety, and Roughness, with Chearfullness, Clemency, &c.
            We should never Express a Figure without first examining the Action from the Life ; since in every Action there is some Alteration in the Muscles, Joynts, Contorsions, &c.
            Passions must not only be form’d in the Features and Actions, but suited, also, to fit Constitutions and Complections.

We must adjust the Drapery so on Figures, that they may appear real Vestments, and therefore we must cloath the Lay-man, before we put it in the Action we design.
            The Folds must be dispos’d in such manner, that they may make the great parts, in which the Nudity may appear, Free ; the little Folds being plac’d about the Joynts ; and taking great care that upon the Relief and Surface of Members, we do not strain or hurt them, but that the motions may seem disingag’d. We must also raise up the stuff, letting it fall lightly, that the Air sustaining the Folds, may make them fall more neat and soft.
            We must take care to distinguish Draperys ; Taffatys and thin Silks must be full of Breaks and Flickerings ; [...].

Finally we must observe. that the whole work be of one Peice ; all Free, and nothing Forc’d or Restrain’d ; a judicious observation in the Perspective ; Actions suiting the Character, whither Noble or Rustick ; the Sex, whither Masculine and Strong ; or Tender, soft and Easy ; the Age, whither Grave, Vigorous or Childish : that there be a Principall Eye in the Picture, to which all the rest have reference. That there be a Harmony of Colouring throughout the work, that in the Drapery, the Lesser folds descend naturally without Crossings and Confusion from the greater, [...].

But wheras in History the Figures have dependency on each other, a Figure by the Life (one Figure usually making the Picture) be only agreeable to it self,
            We must Consider (by divers Tryals) what Position of Body, Action and Light best becoms the Person, and when any thing seems forc’d or affected, we must Endeavour to divert them by Discours, &c.
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Attitudes. Actions, or Postures.

Analogical ; Proportionable.

Chiaro Scuro ; Placing of Lights.

Contours ; Out-Lines.

Contrast ; strengthening together.

Empaste ; to lay well in.

Group ; a Knot of Figures together.

Idea ; the Form of any thing.

Monochroma ; one Colour.

Tone ; a Tune, or Harmony.

Teints ; Tincktures, touches of Colours.