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not bound to comprise all particular Cafes, within the Latitude of the Subject, which they handle; generall Lights, and Directions, and Pointings at fome Faults, is fufficient. The reft must be committed to the Sagacitie of the Architect, who will bee often put to divers ingenious Shifts, when hee is to wreftle with Scarfitie of Ground. As fometimes to damme one Roome (though of fpeciall Ufe) for the Benefit and Beautie of all the reft; another while, to make thofe faireft, which are moft in Sight, and to leave the other (like a cunning Painter) in Shadow, cum multis aliis, which it were infinite to pursue. I will therefore close this Part touching Compartition, as cheerefully as I can with a fhort Defcription of a Feafting or entertayning Roome, after the Egyptian Manner, who feeme (at least till the Time of Vitruvius) from the auncient Hebrewes and Phenicians (whence all Knowledge did flow) to have retayned with other Sciences, in a high Degree, alfo the Principles, and Practife of this magnificent Art. For as farre as I may conjecture by our Mafters Text, lib. 6. cap. 5. (whereas in many other Places he hath tortured his Interpreters) there could no Forme, for fuch a royall Ufe, bee comparably imagined, like that of the forefaide Nation, which I fhall adventure to explaine.

The

Let us conceive a Floore or Area of goodly Length, (for Example, at leaft of 120 Foote) with the Breadth fomewhat more than the halfe of the Longitude, whereof the Reason fhalbe afterwards rendred. About the two longeft Sides, and Head of the faid Roome, fhall runne an Order of Pillars, which Palladio doth fuppofe Corinthian (as I fee by his Defigne) fupplying that Point out of Greece, because we know no Order, proper to Egypt. fourth Side I wil leave free for the Entrance: On the forefaid Pillars was laid 'an Architrave, which Vitruvius mentioneth alone: Palladio addes thereunto (and with Reason) both Freeze and Cornice, over which went up a continued Wall, and therein, halfe or three quarter Pillars, answering directly, to the Order below, but a fourth Part leffe; and betweene these halfe Columnes above, the whole Roome was windowed round about.

Now, from the lowest Pillars there was layd over a Contignation or Floore, borne upon the outward Wall, and the Head of the Columnes with Tarrace and Pavement, fub dio (faith our Mafter) and fo indeed hee might safely determine the Matter in Egypt, where they feare no Clowds: Therefore Palladio (who leaveth this Tarrace uncovered in the middle, and ballised about) did perchance conftrue him rightly, though therein difcording from others: Alwayes we must understand a fufficient Breadth of Pavement, left between the open Part and the Windowes, for fome Delight of Spectators, that might looke downe into the Roome: The Latitude I have fuppofed contrary to some former Pofitions, a little more than the halfe of the Length; because the Pillars ftanding at a competent Distance from the outmoft Wall, will by Interception of the Sight, fomewhat in Appearance diminish the Breadth; in which Cafes, (as I have touched once or twice before) Discretion may bee

* The Italians call it una stanza dannata, as when a Buttrie is caft under a Stayrecafe, or the like.

more

more licentious than Art. This is the Defcription of an Egyptian Roome, for Feaftes and other Jollities. About the Walles whereof wee muft imagine entire Statues, placed below, and illuminated by the defcending Light, from the Tarrace, as likewife from the Windowes betweene the halfe Pillars above: So as this Roome had abundant and advantageous Light; and besides other garnishing, muft needes receive much State by the very Heighth of the Roofe, that lay over two Orders of Columnes: And fo having runne through the foure Parts of my first generall Divifion, namely, Foundation, Walles, Appertions, and Compartition; the House may now have Leave to put on his Hatte: having hitherto beene uncovered it felfe, and confequently unfit to cover others. Which Point though it be the laft of this Art in Execution, yet it is alwayes in Intention the firft, for who would build but for Shelter? Therefore obtayning both the Place, and the Dignity of a Finall Caufe, it hath beene diligently handled by diverse, but by none more learnedly than Bernardino Baldi Abbot of Guastalla (before cited upon other Occafion) who doth fundamentally, and Mathematically demonftrate the firmeft Knittings of the upper Timbers, which make the Roofe. But it hath beene rather my Scope, in thefe Elements to fetch the Ground of all, from Nature her felfe, which indeed is the fimpleft Mother of Art. Therefore I will now onely deliver a few of the propereft, and (as I may fay) of the naturaleft Confiderations, that belong to this remayning Piece.

There are two Extremities to be avoyded in the Cover, or Roofe; that it be not too heavy, nor too light. The firft, will fuffer a vulgar Objection of preffing too much the Under-worke. The other, contayneth a more fecret Inconvenience; for the Cover is not onely a bare Defence, but likewise a Kind of Band or Ligature, to the whole Fabrique, and therefore would require fome reasonable Weight. But of the two Extreames, a House Topbeavie is the worst. Next, there must be a Care of Equality, that the Edifice be not preffed on the one Side more than on the other; and here Palladio doth wifh (like a cautelous Artizan) that the inward Walles might beare fome good Share in the Burthen, and the outward be the leffe charged.

Thirdly, The Italians are very precife in giving the Cover a gracefull Pendence or Slopenesse, dividing the whole Breadth into nine Parts; whereof two fhall ferve for the Elevation of the higheft Toppe or Ridge, from the lowelt. But in this Point the Quality of the Region is confiderable: For (as our Vitruvius infinuateth) thofe Climes that feare the falling and lying of much Snow, ought to provide more inclining Pentices; and Comelinesse must yeeld to Neceffity.

These are the usefulleft Cautions which I finde in Authors, touching the laft Head of our Divifion, wherewith I will conclude the First Part of my prefent Travaile. The Second remayneth, concerning Ornaments within, or without the Fabrique: A Piece not fo dry as the meere Contemplation of Proportions. And therefore I hope therein fomewhat to refresh both the Reader, and my felfe.

Of

Of the Elements of ARCHITECTURE. The 2d Part.

E Selfe-Fruition,

VERY Mans proper Mansion House and Home, being the Theater of

his owne Life, the Noblest of his Sonnes Inheritance, a Kinde of private Princedome; nay, to the Poffeffors thereof, an Epitomie of the whole World; may well deferve by these Attributes, according to the Degree of the Mafter, to be decently and delightfully adorned. For which Ende, there are two Arts attending on Architecture, like two of her principall Gentlewomen, to dreffe and trimme their Miftreffe, PICTURE and SCULPTURE: Between whom, before I proceed any further, I will venture to determine an ancient Quarrell about their Precedency, with this Distinction; that in the garnishing of Fabriques, Sculpture no doubt must have the Prebeminence, as being indeede of neerer Affinity to Architecture it felfe, and confequently the more naturall, and more futable Ornament. But on the other Side, (to confider these two Arts as I fhall doe Philofophically, and not Mechanically) An excellent Piece of Painting, is to my Judgement the more admirable Object, because it comes neere an Artificiall Miracle; to make diverfe diftinct Eminences appeare upon a Flat, by Force of Shadowes, and yet the Shadowes themselves not to appeare: which I conceive to be the uttermost Value and Vertue of a Painter, and to which very few have arrived in all Ages.

In these two Arts (as they are applicable to the Subject which I handle) it shall bee fit firft to confider how to choose them; and next, how to difpofe them. To guide us in the Choyce, wee have a Rule fomewhere (I well remember) in Pliny, and it is a pretty Obfervation: That they doe mutually helpe to cenfure one another. For Picture is beft when it ftandeth off, as if it were carved; and Sculpture is best when it appeareth fo tender, as if it were painted, I meane, when there is fuch a feeming Softneffe in the Limbes, as if not a Chiffell had hewed them out of Stone, or other Materiall, but a Penfill had drawne and stroaked them in Oyle, which the judicious Poet tooke well to his Fancy.

Excudent alii fpirantia mollius æra.

But this Generalitie is not fufficient to make a good Choofer, without a more particular Contraction of his Judgement. Therefore when a Piece of Art is set before us, let the firft Caution be, not to afke who made it, least the Fame of the Author doe captivate the Fancie of the Buyer. For, that excellent Men doe alwaies excellently, is a falfe Conclufion; whereupon I obferve among Italian Artizans three notable Phrases, which well decipher the Degrees of their Workes.

They will tell you, that a Thing was done Con diligenza, Con ftudio, and Con Amore; the firft, is but a bare and ordinary Diligence, the second, is a learned Diligence; the third, is much more, even a loving Diligence; they meane not with Love to the Bespeaker of the Worke, but with a Love and Delight in the Worke it felfe, upon some speciall Fancie to this, or that

Storie;

Storie; and when all these concurre (perticularly the laft) in an eminent Author, then perchance Titianus Fecit, or Qídias moles will ferve the Turne, without farther Inquifition; Otherwife Artizans have not onely their Growthes and Perfections, but likewife their Vaines and Tymes.

The next Caution must be (to proceede Logically) that in judging of the Worke it felfe, wee bee not distracted with too many Things at once; Therefore first (to beginne with Picture) we are to obferve whether it bee well drawne, (or as more elegant Artizans tearme it) well defign'd; then whether it be well Coloured, which bee the two generall Heads; and each of them hath two principall Requifites; for in well Defigning, there must bee Truth and Grace, in well Colouring, Force, and Affection; all other Praifes, are but Confequences of these.

Truth (as we Metaphorically take it in this Art) is a juft and naturall Proportion, in every Part of the determined Figure. Grace is a certaine free Dif pofition, in the whole Draught, anfwerable to that unaffected Franknes of Fashion, in a living Bodie, Man or Woman, which doth animate Beautie where it is, and fupplie it, where it is not.

Force confifteth, in the Roundings and Raifings of the Worke, according as the Limbes doe more or leffe require it; fo as the Bebolder, fhall fpie no SharpeneЛfe in the bordering Lines; as when Taylors cut out a Sute, which Italians doe aptly tearme according to that Comparison, Contorni taglienti ; nor any Flatnesse within the Bodie of the Figure, which how it is done, we must fetch from a higher Discipline; for the Opticques teach us, that a Plaine, will appeare prominent, and (as it were) embosed, if the Parts fartheft from the Axel-tree or middle Beame of the Eye, fhalbe the most shadowed. Because in all Darknesse, there is a Kinde of Deepeneffe, but as in the Arte of Perfwafion, one of the most fundamentall Precepts is; the Concealement of Arte, foe here likewife, the Sight must be fweetly deceaved, by an infenfible Paffage, from brighter Colours, to dimmer, which Italian Artizans calle the middle Tinctures; that is, not as the Whites, and Yolkes of Egges lie in the Shell, with vifible Diftinction; but as when they are beaten, and blended, in a Difb: which is the neerest Comparison, that I can fuddenly conceive.

Laftly, Affection is the lively Representment, of any Paffion whatsoever, as if the Figures ftood not upon a Cloth or Boorde, but as if they were acting upon a Stage; and heere, I muft remember, in Truth with much Marveile, a Note, which I have received, from excellent Artizans, that though Gladnesse, and Griefe, be oppofites in Nature; yet they are fuch Neighbours and Confiners in Arte, that the leaft Touch of a Penfill, will tranflate a* Crying, into a Laughing Face; which Inftance, befides divers other, doth often reduce unto my Memorie, that ingenious Speculation, of the Cardinall Cufanus extant

The Verfes following, touching the Coincidence of extreame Affections, reprefented by Homer in the Perfon of Hector's Wife; as Painters and Poets have alwaies had a Kind of Congeniality.

Ι Λ Ι Α Δ. ζ.
Ὡς εἰπὼν ἀλόχειο φίλης ἐν χερσιν ἔθηκε,
Παιδ ̓ ἐὸν, ἥδ ̓ ἄρα μιν κηώθει δέξατο κόλπῳ
Anspor yiháσaca. -That is,

Shee tooke her Sonne into her Armes,
weepingly laughing.

in his Workes, touching the Coincidence of Extreames. And thus much of the foure Requifites, and Perfections in Picture.

In Sculpture likewife, the two first are abfolutely Neceffarie; the third impertinent; for Solide Figures neede no Elevation, by Force of Lights, or Shadowes; therefore in the Roome of this, wee may put (as hath beene before touched) a Kinde of Tendernesse, by the Italians tearmed Morbidezza, wherein the Chiffell, I must confeffe, hath more Glory than the Penfill; that being so hard an Inftrument. and working upon fo unpliant Stuffe, can yet leave Strokes of fo gentle Appearance.

The Fourth, which is the expreffing of Affection (as farre as it doth depend upon the Activity, and Gesture of the Figure) is as proper to the Carver, as to the Painter; though Colours, no Doubt, have therein the greatest Power; whereupon, perchance, did firft grow with us the Fashion of colouring, even Regall Statues, which I muft take Leave to call an English Barbarifme.

Now in thefe fower Requifites already rehearfed, it is ftrange to note, that no Artizan, having ever beene blamed for Exceffe in any of the three last; onely Truth (which fhould feeme the most Innocent) hath fuffered some Objection, and all Ages, have yeelded fome one or two Artificers, fo prodigiously exquifite, that they have beene reputed too Naturall, in their Draughts; which will well appeare, by a famous Paffage in Quintilian, touching the Characters of the ancient Artizans, falling now fo aptly into my Memory, that I must needes tranflate it, as in Truth it may well deserve.

The Place which I intend, is extant in the last Chapter fave one of his whole Worke, beginning thus in Latine.

Primi, quorum quidem opera non vetuftatis modo gratia vifenda funt clari Pillores fuiffe dicuntur, Polygnotus atque Aglaophon, &c.

TH

The whole Paffage, in English ftandeth thus:

HE firft Painters of Name, whofe Workes bee confiderable for any Thing more than onely Antiquitie, are said to have beene Polygnotus, and Aglaopbon; whofe bare Colourings (hee meanes I thinke in white and blacke) hath even yet fo many Followers, that thofe rude and first Elements, as it were of that, which within a while, became an Arte, are preferred, before the greatest Painters that have beene extant after them, out of a certaine Competition (as I conceive it) in Point of Judgement. After thefe, Zeuxes and Parafus not farre diftant in Age, both about the Time of the Peloponefian Warre, (for in Xenophon wee have a Dialogue betweene Parafius and Socrates) did adde much to this Arte. Of which the first is faid, to have invented the due Difpofition of Lights and Shadowes; The fecond, to have more fubtilly examined, the Truth of Lines in the Draught; for Zeuxes did make Limbes, bigger than the Life; deeming his Figures, thereby the more ftately and majesticall; and therein (as fome thinke) imitating Homer, whom the touteft Forme doth please, even in Women. On the other Side, Parafius did exactly limit all the Proportions fo, as they call him the Law giver, because in the Images of the Gods and of Heroicall Perfonages, others have followed his

Paternes

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