Paternes like a Decree; but Picture did most flourish, about the Daies of Phillip and even to the Succeffours of Alexander; yet by fundry Habilities; for Protogenes, did excell in Diligence; Pamphilius and Melanthius in due Proportion, Antiphilus in a franke Facilitie; Theon of Samos, in Strength of Fantafie and conceiving of Paffions; Apelles, in Invention, and Grace, whereof hee doth himselfe moft vaunte; Euphranor, deferves Admiration, that being in other excellent Studies, a principall Man, he was likewife a wondrous Artizan, both in Painting and Sculpture. The like Difference we may observe among the Statuaries; for the Workes of Calon and Egefias were fomewhat Stiffe, like the Tuscan Manner; thofe of Calamis not done with fo cold Stroakes; and Myron more tender than the former; a diligent Decency in Polycletus above others, to whom though the highest Prayse bee attributed by the most, yet left he fhould goe free from Exception, fome thinke hee wanted Solemneffe; for as he may perchance be fayd to have added a comely Dimenfion to humane Shape, fomewhat above the Truth; fo on the other Side, hee feemed not to have fully expreffed the Majefty of the Gods: Moreover, hee is fayd not to have medled willingly with the graver Age, as not adventuring beyond smooth Cheekes: But these Vertues that were wanting in Policletus, were supplied by Phidias and Alcmenes, yet Phidias was a better Artizan in the representing of Gods, than of Men; and in his Workes of Ivorie, beyond all Emulation, even though hee had left nothing behinde him, but his Minerva at Athens, or the Olympian Jupiter in Elis, whofe Beautie feemes to have added fomewhat, even to the received Religion; the Majeftie of the Worke, as it were equalling the Deity. To Truth, they affirme Lyfippus and Praxiteles, to have made the neereft Approach: for Demetrius is therein reprehended, as rather exceeding than deficient; having beene a greater Aymer at Likenes, than at Lovelines.

This is that witty Cenfure of the ancient Artizans, which Quintilian hath left us, where the laft Character of Demetrius doth require a little Philofophicall Examination; How an Artificer, whofe End is the Imitation of Nature, can bee too naturall? which likewife in our Dayes was either the Fault, or (to fpeake more gently) the too much Perfection of Albert Durer, and perhaps alfo of Michael Angelo da Buonaroti, betweene whom I have heard noted by an ingenious Artizan, a pretty nice Difference, that the German did too much expreffe that which was; and the Italian, that which should be: Which fevere Observation of Nature, by the one in her commonest, and by the other in her abfolutest Formes, muft needs produce in both a Kinde of Rigidity, and confequently more Naturalneffe than Gracefulnesse: This is the cleereft Reason, why fome exact Symmetrists have been blamed for being too true, as neere as I can deliver my Conceit. And fo much touching the Choyce of Picture and Sculpture: The next is, the Application of both, to the beautifying of Fabriques.

First, therefore, touching Picture, there doth occurre a very pertinent Doubt, which hath beene paffed over too flightly, not onely by fome Men, but by fome Nations; namely, whether this Ornament can wel become the Outfide of Houfes, wherin the Germanes have made fo little Scruple, that their VOL. I. PP

best

best Townes are the moft painted, as Augufta and Norembergh. To deter mine this Question in a Word; It is true, that a Story well fet out with a good Hand, will every where take a judicious Eye; but yet withal it is as true, that various Colours on the Out-walles of Buildings, have alwayes in them more Delight than Dignity: Therfore I would there admit no Paintings but in Black and White, nor even in that Kinde any Figures (if the Roome be capable) under nine or ten Foot high, which will require no ordinary Artizan; because the Faults are more visible than in fmall Defignes. In unfigured Paintings, the nobleft is the Imitation of Marbles, and of Architecture it felfe; as Arches, Treezes, Columnes, and the like.

Now for the Infide, heere growes another Doubt, whether Grotefca (as the Italians) or Antique Worke (as wee call it) fhould be received, against the expreffe Authoritie of Vitruvius himselfe, lib. 7. cap. 5. where Pictura (faith hee) fit ejus, quod eft, feu potest effe, excluding by this fevere Definition, all Figures compofed of different Natures or Sexes; fo as a Syren or a Centaure had beene intolerable in his Eye: But in this wee muft take Leave to depart from our Master; and the rather, because he spake out of his owne Profeffion; allowing Painters (who have ever bin as little limited as Poets) a leffe Scope in their Imaginations, even than the graveft Philofophers, who sometimes doe ferve themselves of Instances, that have no Existence in Nature; as wee fee in Platoe's Amphisbæna, and Ariftotle's Hirco-Cervus. And (to settle this Point) what was indeede more common and familiar among the Romanes themselves, than the Picture and Statue of Terminus, even one of their Deities? which yet if we well confider, is but a Piece of Grotefca; I am for thefe Reasons unwilling to impoverish that Art, though I could wish such medlie and motlie Defignes, confined onely to the Ornament of Freezes, and Borders, their propereft Place. As for other Storied Workes upon Walles, I doubt our Clime bee too yeelding and moist for fuch Garnishment; therefore leaving it to the Dwellers Difcretion, according to the Qualitie of his Seat; I will onely adde a Caution or two, about the difpofing of Pictures within.

First, That no Roome bee furnished with too many, which in Truth were a Surfet of Ornament, unleffe they bee Galleries, or fome peculiar Repository for Rarities of Art.

Next, That the beft Pieces be placed not where there is the least, but where there are the fewest Lights; therefore not onely Roomes windowed on both Ends, which we call through-lighted, but with two or moe Windowes on the fame Side, are Enemies to this Art; and fure it is, that no Painting can be. feene in full Perfection, but (as all Nature is illuminated) by a fingle Light.

Thirdly, That in the placing there be fome Care alfo taken, how the Painter did ftand in the Working, which an intelligent Eye will easily dif cover, and that Pofture is the molt naturall; fo as Italian Pieces will appeare best in a Roome where the Windowes are high; because they are commonly made to a descending Light, which of all other doth fet off Mens Faces in their trueft Spirit.

Laftly,

Lastly, That they bee as properly bestowed for their Quality, as fitly for their Grace: that is, chearefull Paintings in Feafting and Banquetting Roomes; Graver Stories in Galleries, Land fchips, and Bofcage, and fuch wilde Workes in open Tarraces, or in Summer Houfes (as we call them) and the like.

And thus much of Picture, which let mee clofe with this Note; that though my former Difcourfe may ferve perchance for some reasonable Leading in the Choyce of fuch Delights; yet let no Man hope by fuch a speculative Erudition, to difcerne the Masterly and Mysterious touches of Art, but an Artizan himselfe; to whom therefore we must leave the Prerogative, to cenfure the Manner and Handling, as hee himselfe muft likewise leave fome Points, perchance of no leffe Value to others; as for Example, whether the Story be rightly reprefented, the Figures in true Action, the Perfons futed to their feverall Qualities, the Affections proper and strong, and fuch like Obfer

vations.

Now for Sculpture, I must likewife begin with a Controverfie, as before (falling into this Place) or let mee rather call it a very meere Fancie, strangely taken by Palladio, who having noted in an old Arch or two at Verona, fome Part of the Materials already cut in fine Formes, and fome unpolished, doth conclude (according to his Logicke) upon this particular, that the Auncients did leave the outward Face, of their Marbles or Free-ftone, without any Sculpture, till they were laid, and cemented, in the Bodie of the Building; for which likewife hee findeth a Reafon (as many doe now and then very wittily, even before the Thing it felfe be true) that the Materialls being left rough were more managable in the Mafons Hand, than if they had beene fmooth; and that fo the Sides might bee laide together the more exactly; which Conceit, once taken, hee feemes to have farther imprinted, by marking in certaine ftoried Sculptures, of oulde Time how precifely the Parts and Lines of the Figures that paffe from one Stone to another, doe meete; which hee thinkes could hardly fall out fo right, (forgetting while he fpeakes of ancient Things, the auncient Diligence) unleffe they had beene cut, after the joyning of the Materials, but all these Inducements, cannot countervaile the fole Inconvenience of shaking, and disjoynting the Commiffures with fo many Strokes of the Chiffell, befides an Incommodious Working on Scaffolds; efpecially having no Teftimonie, to confirme it, that I have yet feene among the Records of Art; nay, it is indeede rather true, that they did square, and carve, and polish, their Stone and Marble Workes, even in the very Cave of the Quarrie, before it was hardened by open Aire; but (to leave Difputation) I will fet downe a few pofitive Notes, for the placing of Sculpture; because the chufing hath beene handled before.

That first of all, it bee not too generall and abundant, which would make a House looke like a Cabbinet; and in this Point, morall Philofophie, which tempereth Fancies, is the Superintendent of Art.

That especially, there bee a due Moderation of this Ornament in the first Approach; where our Authors doe more commend (I meane about the principall Entrance) a Dorique, than a Corinthian Garnishment: So as if the great Doore be arched, with fome brave Head, cut in fine Stone or Marble Pp 2

for

for the Key of the Arch, and two incumbent Figures gracefully leaning upon it, towards one another, as if they meant to conferre: I fhould thinke this a fufficient Entertainement, for the firft Reception, of any judicious Sight; which I could wifh feconded with two great ftanding Statues on each Side of a paved Way that fhall leade up into the Fabrique, fo as the Beholder at the first Entrance may paffe his Eye betweene them.

That the Niches, if they containe Figures of white Stone or Marble, bee not coloured in their Concavitie too blacke; for though Contraria juxta fe pofita magis illucefcunt (by an olde Rule) yet it hath beene fubtilly, and indeede truely noted that our Sight is not well contented with those sudden Departments, from one Extreame to another; therefore let them have rather a duskish Tincture, than an abfolute blacke.

That fine and delicate Sculptures be helped with Neerenes, and große with Distance; which was well feene in the olde Controverfie betweene Phidias and Alcmenes about the Statue of Venus: wherein the first did fhew Dif cretion, and fave Labour, because the Worke was to be viewed at good Height, which did drowne the sweet and diligent Strokes of his Adverfarie: A famous Emulation of two principall Artizans, celebrated even by the Greeke Poets.

That in the placing of ftanding Figures aloft, wee must fet them in a Pofture fomewhat bowing forward; because (faith our Master, lib. 3. cap. 3. out of a better Art than his owne) the vifuall Beame of our Eye, extended to the Head of the faid Figures, being longer than to the Foote, must neceffarily make that Part appeare farther; fo as to reduce it to an erect or upright Pofition, there must be allowed a due Advantage of stooping towards us; which Albert Durer hath exactly taught in his fore mentioned Geometry. Our Vitruvius calleth this Affection in the Eye, a Refupination of the Figure: For which Word (being in Truth his owne, for ought I know) wee are almost as much beholding to him, as for the Obfervation it felfe: And let thus much fummarily fuffice, touching the Choice and Use of these adorning Arts. For to fpeake of garnishing the Fabrique with a Row of erected Statues about the Cornice of every Contignation or Story, were Discourse more proper for Athens or Rome, in the Time of their true Greatneffe, when (as Plinie recordeth of his own Age) there were neere as many carved Images as living Men; like a noble Contention, even in Point of Fertility, betweene Art and Nature; which Paffage doth not onely argue an infinite Abundance, both of Artizans and Materials; but likewife of magnificent and majesticall Defires, in every common Perfon of thofe Times; more or leffe according to their Fortunes. And true it is indeed that the marble Monuments and Memories of well deferving Men, wherewith the very Highwayes were ftrewed on each Side was not a bare and tranfitory Entertainement of the Eye, or onely a gentle Deception of Time, to the Travailer; but had alfo a fecret and ftrong Influence, even into the Advancement of the Monarchie, by continuall Representation of vertuous Examples; fo as in that Point ART became a Piece of State.

Now

Now as I have before fubordinated Picture, and Sculpture to Architecture, as their Miftreffe; fo there are certaine inferiour ARTS likewife fubordinate to them: As under Picture, Mofaique; under Sculpture, Plastique; which two, I onely nominate, as the fittest to garnish Fabriques.

Mofaique is a Kinde of Painting in fmall Pebbles, Cockles and Shells of fundry Colours; and of late Dayes likewife with Pieces of Glasse, figured at Pleasure; an Ornament in Trueth, of much Beauty, and long Life, but of most Use in Pavements and Floorings.

Plastique is not onely under Sculpture, but in deed very Sculpture it felfe: but with this Difference; that the Plasterer doth make his Figures by Addition, and the Carver by Subftraction, whereupon Michael Angelo was wont to say somewhat pleasantly: That Sculpture was nothing but a Purgation of Superfluities. For take away from a Piece of Wood, or Stone, all that is fuperfluous, and the Remainder is the intended Figure. Of this Plastique Art, the chiefe Ufe with us is in the gracefull fretting of Roofes: but the Italians applie it, to the manteling of Chimneys, with great Figures. A cheape Piece of Magnificence, and as durable almoft within Doores, as harder Forms in the Weather. And here though it bee a little Excurfion, I cannot passe unremembred againe, their Manner of difguifing the Shaftes of Chimneys in various Fashions, whereof the nobleft is the Pyramidall: beeing in Trueth a Piece of polite and civill Discretion, to convert even the Conduits of Soote and Smoake, into Ornaments; whereof I have hitherto spoken as farre as may concerne the Bodie of the Building.

Now there are Ornaments alfo without, as Gardens, Fountaines, Groves, Confervatories of rare Beafts, Birds, and Fishes. Of which ignobler Kind of Creatures, Wee ought not (faith our greatest * Master among the Sonnes of Nature) childishly to defpife the Contemplation; for in all Things that are naturall, there is ever fomething, that is admirable. Of these externall Delights, a Word or two.

First, I must note a certaine Contrarietie betweene Building and Gardening: For as Fabriques fhould bee regular, fo Gardens fhould bee irregular, or at least caft into a very wilde Regularitie. To exemplifie my Conceit; I have seene a Garden (for the Maner perchance incomparable) into which the firft Acceffe was a high Walke like a Tarrace, from whence might bee taken a generall View of the whole Plott below; but rather in a delightfull Confusion, than with any plaine Distinction of the Pieces. From this the Bebolder defcending many Steps, was afterwards conveyed againe, by severall Mountings and Valings, to various Entertainements of his Sent, and Sight: which I fhall not neede to defcribe (for that were poeticall) let me onely note this, that every one of these Diverfities, was as if hee had beene Magically transported into a new Garden.

But though other Countreys have more Benefite of Sunne than wee, and thereby more properly tyed to contemplate this Delight; yet have I feene

* Arif. lib. 1. cap. 5. de part. Anim. Δεν μὴ δυσχεραίνειν παιδικῶς τὴν περὶ τῶν ἀτιμοτέξων ζων ἐπίσκεψιν. Εν πασι γὰρ τοῖς φυσικοῖς ἐνεςὶ τι θαυμαεόν.