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ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A36766	De arte graphica The art of painting / by C.A. Du Fresnoy ; with remarks ; translated into English, together with an original preface containing a parallel betwixt painting and poetry, by Mr. Dryden ; as also A short account of the most eminent painters, both ancient and modern, continu'd down to the present times, according to the order of their succession, by another hand.; De arte graphica. English	Dufresnoy, Charles-Alphonse, 1611-1668.; Dryden, John, 1631-1700.; Graham, Richard, fl. 1680-1720. Short account of the most eminent painters.	1695 (1695)	Wing D2458; ESTC R18532	173,861	426

if we consider Arts as they are in us and according to a certain degree of Perfection sufficient enough to make it known that we possess them above the common sort and are comparatively better than most others we shall not find that Life is too short on that account provided our time be well employ'd 'T is true that Painting is an Art which is difficult and a great undertaking But they who are endu'd with the qualities that are necessary to it have no reason to be discourag'd by that apprehension Labour always appears difficult before 't is try'd The passages by Sea and the Knowledge of the Stars have been thought impossible which notwithstanding have been found and compass'd and that with ease by those who endeavour'd after them 'T is a shamefull thing says Cicero to be weary of Enquiry when what we search is excellent That which causes us to lose most of our time is the repugnance which we naturally have to Labour and the Ignorance the Malice and the Negligence of our Masters we waste much of our time in walking and talking to no manner of purpose in making and receiving idle Visits in Play and other Pleasures which we indulge without reckoning those hours which we lose in the too great care of our Bodies and in Sleep which we often lengthen out till the day is far advanc'd and thus we pass that Life which we reckon to be short because we count by the years which we have liv'd rather than by those which we have employ'd in study 'T is evident that they who liv'd before us have pass'd through all those difficulties to arrive at that Perfection which we discover in their Works though they wanted some of the Advantages which we possess and that none had labour'd for them as they have done for us For 't is certain that those Ancient Masters and those of the last preceding Ages have left such beautifull Patterns to us that a better and more happy Age can never be than ours and chiefly under the Reign of our present King who encourages all the noble Arts and spares nothing to give them the share of that Felicity of which he is so bountifull to his Kingdom and to conduct them with all manner of advantages to that supreme Degree of Excellence which may be worthy of such a Master and of that Sovereign Love which he has for them Let us therefore put our hands to the work without being discourag'd by the length of time which is requisite for our Studies but let us seriously contrive how to proceed with the best Order and to follow a ready diligent and well understood Method Take Courage therefore O ye noble Youths you legitimate Offspring of Minerva who are born under the influence of a happy Planet c. Our Author intends not here to sow in a barren ungratefull Ground where his Precepts can bear no Fruit He speaks to young Painters but to such onely who are born under the Influence of a happy Star that is to say those who have receiv'd from Nature the necessary dispositions of becoming great in the Art of Painting and not to those who follow that Study through Caprice or by a sottish Inclination or for Lucre who are either incapable of receiving the Precepts or will make a bad use of them when receiv'd You will do well c. Our Author speaks not here of the first Rudiments of Design as for example The management of the Pencil the just relation which the Copy ought to have to the Original c. He supposes that before he begins his Studies one ought to have a Facility of Hand to imitate the best Designs the noblest Pictures and Statues that in few words he should have made himself a Key wherewith to open the Closet of Minerva and to enter into that Sacred Place where those fair Treasures are to be found in all abundance and even offer themselves to us to make our advantage of them by our Care and Genius You are to begin with Geometry c. Because that is the Ground of Perspective without which nothing is to be done in Painting besides Geometry is of great use in Architecture and in all things which are of its dependence 't is particularly necessary for Sculptors Set your self on designing after the Ancient Greeks c. Because they are the Rule of Beauty and give us a good Gusto For which reason 't is very proper to tie our selves to them I mean generally speaking but the particular Fruit which we gather from them is what follows To learn by heart four several Ayres of Heads of a Man a Woman a Child and an Old Man I mean those which have the most general Approbation for example those of the Apollo of the Venus de Medices of the little Nero that is when he was a Child and of the God Tiber. It would be a good means of learning them if when you have design'd one after the Statue it self you design it immediately after from your own Imagination without seeing it and afterwards examine if your own work be conformable to the first Design Thus exercising your self on the same Head and turning it on ten or twelve sides you must do the same to the Feet to the Hands to the whole Figure But to understand the Beauty of these Figures and the justness of their Outlines it will be necessary to learn Anatomy when I speak of four Heads and four Figures I pretend not to hinder any one from designing many others after this first Study but my meaning is onely to show by this that a great Variety of things undertaken at the same time dissipates the Imagination and hinders all the Profit in the same manner as too many sorts of Meat are not easily digested but corrupt in the Stomach instead of nourishing the parts And cease not Day or Night from Labour till by your continual Practice c. In the first Principles the Students have not so much need of Precepts as of Practice And the Antique Statues being the rule of Beauty you may exercise your selves in imitating them without apprehending any consequence of ill Habits and bad Ideas which can be form'd in the Soul of a young Beginner 'T is not as in the School of a Master whose Manner and whose Gust are ill and under whose Discipline the Scholar spoils himself the more he exercises And when afterwards your Iudgment shall grow stronger c. 'T is necessary to have the Soul well form'd and to have a right Judgment to make the Application of his rules upon good Pictures and to take nothing but the good For there are some who imagine that whatsoever they find in the Picture of a Master who has acquir'd Reputation must of necessity be excellent and these kind of people never fail when they copy to follow the bad as well as the good things and to observe them so much the more because they

of Heroes and both endeavour to eternize them Both of them in short are supported by the strength of their Imagination and avail themselves of those licences which Apollo has equally bestow'd on them and with which their Genius has inspir'd them Pictoribus atque Poetis Quidlibet audendi semper fuit aequa potestas Painters and Poets free from servile awe May treat their Subjects and their Objects draw As Horace tells us in his Art of Poetry The advantage which Painting possesses above Poesie is this That amongst so great a Diversity of Languages she makes her self understood by all the Nations of the World and that she is necessary to all other Arts because of the need which they have of demonstrative Figures which often give more Light to the Understanding than the clearest discourses we can make Segnius irritant animos demissa per aurem Quam quae sunt oculis commissa fidelibus Hearing excites the Mind by slow degrees The Man is warm'd at once by what he sees Horace in the same Art of Poetry For both of them that they might contribute c. Poetry by its Hymns and Anthems and Painting by its Statues Altar-pieces and by all those Decorations which inspire Respect and Reverence for our Sacred Mysteries have been serviceable to Religion Gregory of Nice after having made a long and beautifull Description of Abraham sacrificing his Son Isaac says these words I have often cast my eyes upon a Picture which represents this moving object and could never withdraw them without Tears So well did the Picture represent the thing it self even as if the Action were then passing before my Sight So much these Divine Arts have been always honour'd c. The greatest Lords whole Cities and their Magistrates of Old says Pliny lib. 35. took it for an honour to obtain a Picture from the hands of those great Ancient Painters But this Honour is much fallen of late amongst the French Nobility and if you will understand the cause of it Vitruvius will tell you that it comes from their Ignorance of the charming Arts. Propter ignorantiam Artis virtutes obscurantur in the Preface to his Fifth Book Nay more we should see this admirable Art fall into the last degree of Contempt if our Mighty Monarch who yields in nothing to the Magnanimity of Alexander the Great had not shown as much Love for Painting as Valour in the Wars we daily see him encouraging this noble Art by the considerable Presents which he makes to his chief Painter And he has also founded an Academy for the Progress and Perfectionating of Painting which his first Minister honours with his Protection his care and frequent Visits insomuch that we might shortly see the age of Apelles reviving in our Country together with all the beauteous Arts if our generous Nobility who follow our incomparable King with so much Ardour and Courage in those dangers to which he exposes his Sacred Person for the Greatness and Glory of his Kingdom would imitate him in that wonderfull Affection which he bears to all who are excellent in this kind Those Persons who were the most considerable in Ancient Greece either for Birth or Merit took a most particular care for many ages to be instructed in the Art of Painting following that laudable and profitable custom which was begun and establish'd by the Great Alexander which was to learn how to Design And Pliny who gives testimony to this in the tenth Chapter of his 35th Book tells us farther speaking of Pamphilus the Master of Apelles That it was by the authority of Alexander that first at Sicyon and afterwards thro' all Greece the young Gentlemen learn'd before all other things to design upon Tablets of Boxen-wood and that the first place among all the Liberal Arts was given to Painting And that which makes it evident that they were very knowing in this Art is the love and esteem which they had for Painters Demetrius gave high testimonies of this when he besieg'd the City of Rhodes For he was pleas'd to employ some part of that time which he ow'd to the care of his Arms in visiting Protogenes who was then drawing the Picture of Ialisus This Ialisus says Pliny hinder'd King Demetrius from taking Rhodes out of fear lest he should burn the Pictures and not being able to fire the Town on any other side he was pleas'd rather to spare the Painting than to take the Victory which was already in his hands Protogenes at that time had his Work-house in a Garden out of the Town and very near the Camp of the Enemies where he was daily finishing those Pieces which he had already begun the noise of Soldiers not being capable of interrupting his studies But Demetrius causing him to be brought into his Presence and asking him what made him so bold as to work in the midst of Enemies He answer'd the King That he understood the War which he made was against the Rhodians and not against the Arts. This oblig'd Demetrius to appoint him Guards for his Security being infinitely pleas'd that he could preserve that hand which by this means he sav'd from the barbarity and insolence of Soldiers Alexander had no greater pleasure than when he was in the painting room of Apelles where he commonly was found And that Painter once receiv'd from him a sensible Testimony of Love and Esteem which that Monarch had for him for having caus'd him to paint naked by reason of her admirable beauty one of his Concubines call'd Campaspe who had the greatest share in his affections and perceiving that Apelles was wounded with the same fatal dart of Beauty he made a present of her to him In that age so great a deference was pay'd to Painting that they who had any Mastery in that Art never painted on any thing but what was portable from one place to another and what could be secur'd from burning They took a particular care says Pliny in the place above-cited not to paint any thing against a Wall which could onely belong to one Master and must always remain in the same place and for that reason could not be remov'd in case of an accidental Fire Men were not suffer'd to keep a Picture as it were in Prison on the Walls It dwelt in common in all Cities and the Painter himself was respected as a Common Good to all the World See this Excellent Author and you shall find that the 10th Chapter of his 35th Book is fill'd with the praises of this Art and with the Honours which were ascrib'd to it You will there find that it was not permitted to any but those of noble Blood to profess it Francis the First as Vasari tells us was in love with Painting to that degree that he allur'd out of Italy all the best Masters that this Art might flourish in his own Kingdom Amongst others Leonardo da Vinci who after having continued for some time in France died at Fontainbleau

obscurity than let in a flash of Lightning to clear the natural darkness of the place by which he must discover himself as much as them The Altar-Pieces and holy Decorations of Painting show that Art may be apply'd to better uses as well as Poetry And amongst many other instances the Farnesian Gallery painted by Hannibal Carracci is a sufficient witness yet remaining the whole Work being morally instructive and particularly the Herculis Bivium which is a perfect Triumph of Vertue over Vice as it is wonderfully well describ'd by the ingenious Bellori Hitherto I have onely told the Reader what ought not to be the subject of a Picture or of a Poem what it ought to be on either side our Author tells us it must in general be great and noble and in this the Parallel is exactly true The subject of a Poet either in Tragedy or in an Epique Poem is a great action of some illustrious Hero 'T is the same in Painting not every action nor every person is considerable enough to enter into the Cloth It must be the Anger of an Achilles the Piety of an Aeneas the Sacrifice of an Iphigenia for Heroins as well as Heroes are comprehended in the Rule but the Parallel is more compleat in Tragedy than in an Epique Poem For as a Tragedy may be made out of many particular Episodes of Homer or of Virgil so may a noble Picture be design'd out of this or that particular Story in either Author History is also fruitfull of designs both for the Painter and the Tragique Poet Curtius throwing himself into a Gulph and the two Decii sacrificing themselves for the safety of their Country are subjects for Tragedy and Picture Such is Scipio restoring the Spanish Bride whom he either lov'd or may be supsos'd to love by which he gain'd the Hearts of a great Nation to interess themselves for Rome against Carthage These are all but particular Pieces in Livy's History and yet are full compleat Subjects for the Pen and Pencil Now the reason of this is evident Tragedy and Picture are more narrowly circumscrib'd by the Mechanick Rules of Time and Place than the Epique Poem The time of this last is left indefinite 'T is true Homer took up onely the space of eight and forty days for his Iliads but whether Virgil's action was comprehended in a year or somewhat more is not determin'd by Bossu Homer made the place of his action Troy and the Grecian Camp besieging it Virgil introduces his Aeneas sometimes in Sicily sometimes in Carthage and other times at Cumae before he brings him to Laurentum and even after that he wanders again to the Kingdom of Evander and some parts of Tuscany before he returns to finish the War by the death of Turnus But Tragedy according to the Practice of the Ancients was always confin'd within the compass of 24 hours and seldom takes up so much time As for the place of it it was always one and that not in a larger Sence as for example A whole City or two or three several Houses in it but the Market or some other publick place common to the Chorus and all the Actours Which establish'd Law of theirs I have not an opportunity to examine in this place because I cannot do it without digression from my subject though it seems too strict at the first appearance because it excludes all secret Intrigues which are the Beauties of the modern Stage for nothing can be carry'd on with Privacy when the Chorus is suppos'd to be always present But to proceed I must say this to the advantage of Painting even above Tragedy that what this last represents in the space of many Hours the former shows us in one Moment The Action the Passion and the manners of so many Persons as are contain'd in a Picture are to be discern'd at once in the twinkling of an Eye at least they would be so if the Sight could travel over so many different Objects all at once or the Mind could digest them all at the same instant or point of time Thus in the famous Picture of Poussin which represents the Institution of the Blessed Sacrament you see our Saviour and his twelve Disciples all concurring in the same action after different manners and in different postures onely the manners of Iudas are distinguish'd from the rest Here is but one indivisible point of time observ'd but one action perform'd by so many Persons in one Room and at the same Table yet the Eye cannot comprehend at once the whole Object nor the Mind follow it so fast 't is consider'd at leisure and seen by intervals Such are the Subjects of Noble Pictures and such are onely to be undertaken by Noble Hands There are other parts of Nature which are meaner and yet are the Subjects both of Painters and of Poets For to proceed in the Parallel as Comedy is a representation of Humane Life in inferiour persons and low Subjects and by that means creeps into the nature of Poetry and is a kind of Iuniper a Shrub belonging to the species of Cedar so is the painting of Clowns the representation of a Dutch Kermis the brutal sport of Snick or Snee and a thousand other things of this mean invention a kind of Picture which belongs to Nature but of the lowest form Such is a Lazar in comparison to a Venus both are drawn in Humane Figures they have Faces alike though not like Faces There is yet a lower sort of Poetry and Painting which is out of Nature For a Farce is that in Poetry which Grotesque is in a Picture The Persons and Action of a Farce are all unnatural and the Manners false that is inconsisting with the characters of Mankind Grotesque-painting is the just resemblance of this and Horace begins his Art of Poetry by describing such a Figure with a Man's Head a Horse's Neck the Wings of a Bird and a Fishes Tail parts of different species jumbled together according to the mad imagination of the Dawber and the end of all this as he tells you afterward to cause Laughter A very Monster in a Bartholomew-Fair for the Mob to gape at for their two-pence Laughter is indeed the propriety of a Man but just enough to distinguish him from his elder Brother with four Legs 'T is a kind of Bastard-pleasure too taken in at the Eyes of the vulgar gazers and at the Ears of the beastly Audience Church-Painters use it to divert the honest Countryman at Publick Prayers and keep his Eyes open at a heavy Sermon And Farce-Scriblers make use of the same noble invention to entertain Citizens Country-Gentlemen and Covent-Garden Fops If they are merry all goes well on the Poet's side The better sort goe thither too but in despair of Sense and the just Images of Nature which are the adequate pleasures of the Mind But the Authour can give the Stage no better than what was given him by Nature and the Actors must represent such things

it into England and gave him Letters recommendatory to Sir Thomas Moore then Ld. Chancellour who receiv'd and entertain'd him with the greatest respect imaginable imploy'd him in making the Portraits of himself and Family and which the sight of them so charm'd King Henry VIII that he immediately took him into his service and by the many signal Instances which he gave him of his Royal Favour and Bounty brought him likewise into esteem with all the Nobility and People of Eminence in the Kingdom One of his best Pieces is that of the said King with his Queen c. at White-hall which with divers other admirable Portraits of his hand some as big and others less than the Life and as well in Water-Colours as Oyl may challenge a place amongst those of the most fam'd Italian Masters Vid. Pag. 224. He was eminent also for a rich vein of Invention very conspicuous in a multitude of Designs which he made for Gravers Sculptors Iewellers c. and was particularly remarkable for having like Turpilius the Roman perform'd all his Works with his Left hand He died of the Plague at London Anno 1554. PIERINO del VAGA was born at Florence Anno 1500 of such mean Parentage that his Mother being dead at two months end he was afterwards suckled by a Goat The name of Vaga he took from a Country Painter who carry'd him to Rome where he left him in such poor circumstances that he was forc'd to spend three days of the week in working for Bread but yet setting apart the other three for his improvement in a little time by studying the Antique together with the Works of Raphael and Michael Angelo he became one of the boldest and best Designers of the Roman School and understood the Muscles in naked Bodies and all the difficulties of the Art so well that Raphael took an affection to him and imploying him in the Popes Apartments gave him a lucky opportunity of distinguishing himself from his Fellow-disciples by the marvellous beauty of his Colouring and his peculiar Talent in Grotesque His chief Works are at Genoua where he grew famous likewise for his skill in Architecture having design'd a noble Palace for Prince Doria which he also painted and adorn'd with his own hand From Genoua he remov'd to Pisa and afterwards to several other parts of Italy his rambling humour never suffering him to continue long in one place till at length returning to Rome he had a Pension settled on him for looking after the Pope's Palace and the Casa Farnese But Pierino having squander'd away in his Youth that which should have been the support of his old Age and being constrain'd at last to make himself cheap by undertaking any little Pieces for a small Summ of ready money fell into a deep Melancholy and from that extreme into another as bad of Wine and Women and the next turn was into his Grave Anno 1547. FRANCESO MAZZUOLI call'd PARMEGIANO because born at Parma Anno 1504 was an eminent Painter when but sixteen years old famous all over Italy at nineteen and at twenty three perform'd such wonders that when the Emperour Charles V. had taken Rome by Storm some of the common Soldiers in sacking the Town having broke into his Apartments and found him intent upon his work were so astonish'd at the charming Beauty of his Pieces that instead of Plunder and Destruction which was then their business they resolv'd to protect him as they afterwards did from all manner of violence But besides the perfections of his Pencil which was one of the gentilest the most graceful and the most elegant of any in his time he delighted much in Music and therein also excell'd His principal Works are at Parma where for several years he liv'd in great Reputation till falling unhappily into the study of Chymistry he wasted the most considerable part of his Time and Fortunes in search of the Philosophers-Stone and died poor in the flower of his age Anno 1540. See farther Page 221 and note that there are extant many valuable Prints etch'd by this Master GIACOMO PALMA Senior commonly call'd PALMA VECCHIO was born at Serinalta in the State of Venice Anno 1508 and made such good use and advantage of the instructions which he receiv'd from Titian that few Masters are to be nam'd who have shewn a nobler Fancy in their Compositions a better Iudgment in their Designs more of Nature in their Expression or of Art in finishing their Works Venice was the place where he usually resided and where he died Anno 1556. His Pieces are not very numerous by reason of his having spent much time in bringing those which he has left behind him to such wonderful perfection DANIELE RICCIARELLI surnam'd da VOLTERRA from a Town in Tuscany where he was born Anno 1509 was a person of a melancholy and heavy temper and seem'd to be but meanly qualified by Nature for an Artist Yet by the instructions of Balthasar da Siena and his own continued Application and Industry he surmounted all difficulties and at length became so excellent a Designer that his Descent from the Cross in the Church of the Trinity on the Mount is rank'd amongst the principal Pieces in Rome He was chosen by Pope Paul IV. to cloath some of the Nudities in Michael Angelo's Last Iudgment which he perform'd with good success He was as eminent likewise for his Chisel as his Pencil and wrought several considerable things in Sculpture Ob. Anno 1566. FRANCESCO SALVIATI a Florentine born Anno 1510 was at first a Disciple of Andrea del Sarto and afterwards of Baccio Bandinelli and very well esteem'd both in Italy and France for his several works in Fresco Distemper and Oyl He was quick at Invention and as ready in the execution Graceful in his Naked Figures and as Gentile in his Draperies Yet his Talent did not lie in great Compositions And there are some of his Pieces in two Colours onely which have the name of being his best Performances He was naturally so fond and conceited of his own Works that he could hardly allow any body else a good word And 't is said that the Jealousie which he had of some Young men then growing up into reputation made him so uneasie that the very apprehensions of their proving better Artists than himself hasten'd his Death Anno 1563. PIRRO LIGORIO a Neapolitan liv'd in this time and tho' he address'd himself chiefly to the study of Architecture and for his skill in that Art was imploy'd and highly encourag'd by Pope Pius IV. yet he was withall an excellent Designer and by the many noble Cartoons which he made for Tapestries c. gave sufficient proof that he was more than indifferently learn'd in the Antiquities There are several Volumes of his Designs preserv'd in the Cabinet of the Duke of Savoy of which some part consists in a curious Collection of all the Ships and other sorts