Pictor in fabula

Antiphilus is commended for a boy blowing the fire, and a faire house beginning to glitter, but especially for the lads mouth. He is likewise commended for a picture of spindle worke, wherein the threads of every spinning woman seem to make a very great haste.

Apelles being carried by tempest into Aegypt, during the reign of that Ptolome that could never abide him in Alexanders Court, was brought into danger of his life, but for the help of this art. For coming to supper to the king, deceived by one suborned by some spightfull enemy, who had invited him disguised in the habit of those to whom that office belonged, the king was much insenced against him; and calling for all those officers to know who had done it, Apelles not seeing the man amongst the companie, took up a cole from the hearth, and drew his picture upon the wal so lively, that upon the first draught the king knew the man.

Art therefore is never better, but when she is likest unto Nature : Art is then perfect, said Dionysus Longinus [[1:De Sublim.§ 19]], when she seems to be Nature. This was the reason why Apelles mistrusting the judgment of partial censurers, did appeal from them to the very beasts : for having perceived, said Pliny, that his emulators were like to prevail by some favour prepared with great suite, he showed every one his work unto some horses that were brought into the room: but the horses did only weigh to Apelles his horse: and this was ever after held to be a trial of Art: see Ælian. Var. hist. lib. II, cap. 3, and Valer. Masimus lib. VIII, cap. II exemplo externo 4. Such painters on the contrary as did mistrust their own skill, and found themselves to come far short of Nature, could never abide that their pictures sould be compared with that truth of life which is in things natural. A certain painter therefore, as Plutarch reported, who painted cockes most unluckily, gave his boy great charge, to chase the true cockes away from his picture. [[1:De discr. adul. et amici]].

Apelles also when he painted Diana among the sacrificing virgins, tooke his pattern out of the same Homer.

[[4:suit Protogène et Démétrius]] The great monarch Alexander came likewise to Apelles his shop, very often accompanied with a good many princes: and although it was the greatest honour mans heart could wish, that the monarch of the world, whose judgment was esteemed to be the judgment of the world, should expresse his favour after so loving and familiar a manner, yet hath this magnanimous king found another way, to grace the artificer a great deale more […][[4:voir Apelle et Campaspe]] Out of the like respect to Art came it to passe, that the same king, to leave a truer image unto posteritie, would not have his image by many artificers promiscuously defiled; making a proclamation thorough all his dominions, that nobodie should unadvisedely undertake to expresse his image in brasse, in colours, or in any engraved worke, but that Polycletus alone should cast him in brasse, Apelles alone should paint him in colours, Pyrgoteles alone should engrave him: besides these three, who were most famous for their workmanship, if anyone was found anywhere to meddle with the sacred image of the king, he should be severely punished for his sacrilegious attempt. The feare thereof of this edict brought to passe, that Alexander his image was everywhere the prime image; and that in all statues, pictures, and engravings there was to be seene the same vigour of a most vehement warrier, the same markes of the greatest dignitie, the same liveliness of his fresh youth, the same grace of his high forehead. Apuleius in Floridis. 

Away then with all those, who thinke it enough if they can but confidently usurpe the authority belonging onely to them that are well skilled in these arts : it will not serve their turne, that they doe sometimes with a censorious brow reject, and somtimes with an affected gravity commend the workes of great masters: the neat and polished age wherein we live will quickly finde them out. So did the selfe-conceited Megabyzus, when hee was sitting in Zeuxis his shop, presume to prattle something about matters of art, even as if his big lookes and purple coat should have made his unadvised discourses good; but he found himself very much deceived: seeing Zeuxis did not sticke to tell him to his face, that he was both admired and reverenced of all that saw him, as long as he held his peace; whereas now having begun to speak senselessly, he was laughed at even of the boyes than grinde colours. See Ælian, Var. hist. lib. II cap. 2.

[[4:suit Protogène et Démétrius]] The great monarch Alexander came likewise to Apelles his shop, very often accompanied with a good many princes: and although it was the greatest honour mans heart could wish, that the monarch of the world, whose judgment was esteemed to be the judgment of the world, should express his favour after so loving and familiar a manner, yet has this magnanimous king found another way, to grace the artificer a great deal more: for when he had commanded, said Pliny, that Campaspe, one of his most beloved concubines, in regard of her wonderful beauty, should be painted naked by Apelles, he gave her unto Apelles, when he perceived him to be as deep entangled in the love of the woman as he found himself to be: great was his mind, and yet was the conquering of his own lust greater: wherefore had he likewise been as much esteemed for this deed, as for any other victory; seeing he overcame himself in this. Neither did he give his bed only to the artificer, but his affection also: not so much as suffering himself to be moved with the respect of his beloved, but rather giving way that she who had been a kings concubine, should now be the concubine of a painter. [[4:suite: Apelle et Alexandre]]

The former care did not as yet shew itselfe more in the ancient artificers, when by a praiseworthy ingenuitie they called both upon artists and idiots, desirous that all men should examine and censure the worke in hand. Hesiodus his observation is well expressed by Minucius: I have often heard, sayth Minucius [[1:apud Liviuim lib. XXII, ab v.c.]], that he is the best man, that can advise himself what is fit to be done; and that he is in the next ranke of goodnesse, that is content to receive good advice; but that on the contrarie side, whosoever can neither advise himselfe, nor will be directed by the advice of others, is of a very ill nature. [...] I am of opinion, sayth Seneca [[1:De tranqu. Animi., cap. 1]], that many should have attained unto wisedome, of they had not conceived themselves to be wise alreadie: see also Arriani epict. Lib. II, cap. 17. No man is able to passe through the secrets of Art, sayth Fulgentius, unlesse he first overcome the pompe of vaine glorie: seeing the appetite of an idle praise doth never search out the truth, but taketh all to itselfe whatsoever is offered by way of flattery. Contrition extinguisheth all manner of presumption: and for this reason is the goddesse of wisedome called Tritonia: because all contrition breedeth wisdom: and verily, none can be worse than those who tickle themselves with a false perswasion of Art, though they are not very much past the first lines: for scorning to give way to them that are more skilfull, they betray their owne foolishnesse by the securitie of a wrongfully usurped authoritie. The ancients were quite of another minde; they followed another way. Painters, and such as make statues, yea poëts also, said Tullie, will have their worke considered of the multitude; to the end it might he mended in what they see reprehended by many: they search therefore most diligently by themselves and with others what faults there are committed in the work. The younger Plinie urgeth the same upon another occasion, nothing can satisfie my care, sayth he [[1:Lib. VII, epist. 17]], I thinke still how great a matter it is to publish anything: neither can I perswade myself otherwise, but that we are to peruse often and with many, what wee wish might please all men and alwayes.

Nether did they content themselves with artificers alone, but they did moreover desire a confluxe of envious and favourable spectators, yea of all sorts of men, suffering their workes indifferently to be censured by them all: see the younger Plinie, lib. VII, espist. 17. It is reported, sayth Lucian [[1:Pro imaginib.]], that Phidias, when he made Jupiter for the Eleans, ans shewed it the first time, stood behinde the doore listening what was commended and discommended in his worke: one found fault with the grossenesse of the nose: another with the length of the face: a third had something else to say: and when all the spectators were gone, he retired himself againe to mende the worke according to what was liked by the greater part: for he did not thinke the advice of such a multitude to be a small matter, esteeming that so many saw many things better then he alone, though he could not but remember himselfe to be Phidias. Observe here in the meane while, that, when they gave unto abject and contemptible men such power over their workes, it was not because they hoped to learne something by them that might advance the perfection of Art, seeing it is a most thing, sayth Tullie [[1:Lib. V. Tuscul. Vide quoque Ælianum lib. II, var. hist. cap. I et 6]], to expect great matters from an assembly of those, whom we contemne one by one as handy-crafts-men and barbarians. Polycletus, as we reade in Ælian, tooke a fine course to make vulgar wittes understand themselves, shewing unto them by a lively example that they were more likely to spoile then to helpe the Art, if an artificer should follow their judgment in all things: see Ælianum var. hist. lib. XIV, cap. 8. The artificers therefore did not admit their directions generally in everything, but they followed their motions only in such things as did belong to their profession. When Apelles had made any workes, sayth Plinie, he exposed them in a place, where all that passed by might see them: hinding himself in the meane time behinde the picture, to hearken what faults were noted in his worke; preferring the common people, a most diligent judge, before his owne judgement: and he is reported to have mended his worke upon the censure of a shoo-maker, who blamed the artificer for having made fewer latchets in the inside of one of the pantoffles then of the other. The shoo-maker finding the worke the next day mended according to his advertisement, grew proud and began to find faults with the legge also. Whereupon Apelles could not containe himselfe any longer, but looking forth from behind the picture, bid the shoo-maker not meddle beyond the pantoffle: which saying of his became afterwards a proverbe.

[[4:suit Zeuxis et Agatharcos]] Apelles was of the same minde: for when a foolish painter shewed him a picture which he did boast to have made up suddenly; I see it well enough, sayd Apelles, and wonder very much why you did paint no more such pictures in that space of time: see Plutarch de Educandis liberis. 

Apelles had this custome, saith Pliny in the same place, that he never would suffer himselfe to be so much imployed a whole day, but that he remembred ever to exercise the art by drawing of a line: and this custome of his became a common proverbe. Yea, we may learn out of the following words also, that Apelles by the meanes of this diligence put downe Protogenes in that most famous strife of drawing subtill lines. It is pretty, what fell out between Protogenes and Apelles, saith Pliny. Protogenes did live at Rhodes; whither when Apelles was come, desirous to know the workes of him whom he knew only by fame, he made haste to goe to his shop. Protogenes himselfe was absent, but an old woman kept a large boord, alreadie sitted upon the asse or scaffold, to have something drawne upon it. The old woman having answered, that Protogenes was gone forth, asked withal, whom shee should say had looked for him. Tell him, said Apelles, that this is the man that sought him: and taking a pencill, hee drew an exceeding thinne line with one or other colour upon the board. The old woman at Protogenes his returne shewed him instantly what was done. And it is reported that the artificer, having considered the finenesse of the line, did forthwith professe himselfe to know that Apelles was come; seeing he held it impossible that such an absolute work should be done by anybody else. It is added also, that Protogenes drew a thinner line with another colour over the said line, bidding the old woman at is going forth, that she should shew this unto him that had asked for him and ell (sic) him that this was the man he did looke for. It fell out so. Apelles returneth: but being ashamed to be overcome, he divided the lines with a third colour, not leaving any further place for subtilitie. Whereupon Protogenes confessing himselfe overcome, did hastily runne to the haven, seeking the stranger: this same boord was left unto the following ages without any change, to the astonishment of all men, but of artificers chiefly. We have greedily viewed it before the first firing of Caesar his house in the palace, where it perished, containing in a more spacious wideness nothing else, but such lines as could hardly be discerned by the eye: so that this boord among the brave works of many artificers did seeme to be emptie, alluring the spetators therefore and being indeed more noble than any other worke. I know well enough that many will not understand these words of Plinie after that plaine meaning the alledged place urgeth; yet does they not perswade us to take these words otherwise, then of the strife of lines most subtilly drawne with a light and gentle hand. But of this, God willing, somewhere else: seeing it is better wee should pursue our intent, by comparing that carefull diligence of the ancients with the carelesse negligence of these our times.

[[8:voir aussi Parrhasios contours]]

Besides this same Harmoge, which draweth different colours into one by an orderly and pleasant confusion, it is furthermore requisite that an artist should take speciall care about the extreme or uttermost lines; seeing it was ever held one of the greatest excellencies in these arts that the unrestrained extremities of the figures resembled in the worke should be drawn so lightly and so sweetly as to represent unto us things we doe no see: neither can it be otherwise but our eye will alwayes beleeve that behind the figure there is something more to be seene then it seeth, when the lineaments that doe circumscribe, compasse, or include the images are so thinne and fine as to vanish by little and little, and to conveigh themselves quite away out of our sight. All masters doe confesse, sayth Plinie [[1:Lib. XXXV cap. 10.]], that Parrhasius his chiefe glory was in the uttermost lines, and that indeed is the highest subtiltie in picture: for although it require great skill to paint the bodie and middlemost parts of figures, yet are there many that got credit by it. To make the extremities of bodies and handsomly to shut up the measure of an ending picture, is seldome found in the greatest successe of art; seeing the extremitie ought to compasse her selfe about, ending with a promise of other things behinde, sand setting forth also what shee concealeth. Parrhasius for all that being, compared with himself seemeth to come short in the expression of the middlemost bodies. The following words of Petronius urge the same, I came to a gallery, sayth he [[1:In Satyrico.]], much to bewondered at for severall sorts of pictures. I saw Zeuxis his hand, which as yet had escaped the injury of age; as for Apelles his picture, which was known among the Grecians by the name Monocnemos, I did not sticke to adore it: for the extremities of the images were with such a wonderfull subtiltie cut off after the similitude, that you could not but thinke it to be a picture of the spirits and soules it selfe. Seeing that Petronius and Plinie doe urge such a singular subtiltie in the uttermost lines of an exact and absolute picture, wee may very well suspect that they did anciently in these extremities of images require certaine lines approching neere to the subtiltie of the imaginarie geometricall lines; which are nothing else but a length without breadth. That it is not an idle fancy of our brain, sayth Ammonius [[1:In Aristotelis praedicam]], that there should be a longitude without latitude, but that such a thing is in Nature, the partings betweene enlightened and shadowed places doe manifestly shew: for when it chanceth that the sunne casting his beames upon a wall enlighteneth but some part of the same, the partition betweene the enlightened and shadowed place must needs be a longitude without latitude: for if it hath any latitude, it must needs be either enlightened or else shadowed with the rest; seeing nothing can be conceived betweene these two: and if it be enlightened, it is to be put to the enlightened part: if on the contrary it be shadowed, it is to be added to the shadowed part: but now there is a line manifestly to be seene in the middest, which by her length doth onely distinguish the enlightened part from the shadowed: and if these parts are distinguished one from another, there must of necessitie be something besides them that distinguisheth, which as it shall not be enlightened nor shadowed, so shall it consequently be without any breadth. Whosoever therefore doth but slenderly understand how much a neat and delicate picture abhorreth all maner of grosse and course lines, the same shall easily be perswaded to conceive well of those extreame lines that come something neere the geometricall: neither shall he be very much deceived who guesseth that this was the maine reason why the ancients studied with such an industrious care to draw all manner of lines in colours with a light and easie hand. We shewed above, lib. II, cap. XI, §1, that this was Apelles his daily practice, and that afterwards it grew to be the highest point wherein Apelles and Protogenes made triall of their art.

It is then most evident what a hard taske they undertake, which go about to recommend their memories to the following age by one or other absolute piece of workmanship; seeing that this gracefull comelinesse is not sufficient to the worke, unlesse there doe moreover appeare in it some successful effects of a bold and confident facilitie. After that Plinie, as it is quoted in the first section of this present chapter, hath related how Apelles did challenge unto himselfe the chiefest praise in this point of Grace above all other artificers, he goeth further on to something else; Apelles did also take on him another praise, sayth he, when he did admire Protogenes his worke done with excessive pains and too much care: for he said that Protogenes in all other things was equall with him, or rather better then he thought himselfe to be; but that Protogenes in one thing was far inferior to him, because he knew not when to hold his hand: insinuating by this memorable precept, that too much diligence is oftentimes hurtfull. Plutarch does likewise make a distinction betweene the fore-mentioned Grace and this same bold facility: the verses of Antimachus, sayth he [[1:In Timoleonte]], and the pictures of Dionysius, who both were Colophonians, having vehemencie and intension, seeme to be forcibly expressed and too much belaboured: but Nicomachus his pictures and Homer his verses have this also besides all the other efficacie and grace which is in them, that you would thinke them made out of hand with much ease. So doth then this excellent perfection of Grace waxe more graceful, when it is accompanied with an unconstrained facilitie proceeding out of the unstayed motions which used to stirre and to impell the free spirit of a most resolute artificer; whereas an unresolved and timorous lingerer doth on the contrary deface and utterly overthrow all the hope of grace.

The ancient painters of better sort, did constantly follow this same study of simplicitie ; neither did they spare those that durst shew themselves addicted to an effeminately remisse and a most corrupt kinde of sumptuous workmanship: so was it that Apelles, as Clemens Alexandrinus reporteth [[1:Lib. Il Pedagog. cap. 12.]], seeing one of his scholars busie with the picture of Helen, the which was afterwards named the golden Helen, sayd unto the youth, Because you knew not how to paint her faire, you have made her rich. Although great masters in old times did labour mightily to recall such depraving of art to the uncorruptnesse of severe judgements, yet could they not prevaile so much, but that the sophisticated art, abounding with many sweet vices, drew still the eyes and minds of unadvised spectators.

Although artificers might justly seeme to bee emboldened by the successe of art, yet did they never runne on with such a confident rashnesse, as to forget the care due unto these arts. It is a good saying of Fabius Maximus [[1:Apud Livium lib. XXII ab v.c.]], All things shall bee sure and cleare unto him that doth not make too much haste: rashnesse is improvident and blinde. An artificer therefore cannot be without diligence, a great help of a mean wit also, sayth Seneca the Rhetorician [[1:In proemio libri Tertii Controvers.]] Metrocles was wont to say, that houses and such like things were to be bought with silver, but that learning could not bee had without the expense of time and care [[1:Apud Laertium lib. VI.]]. Pamphilus his schoole, as we have shewed before out of Pliny, did not dismisse the disciples, unlesse they had passed their ten years in an orderly course of learning. This was a most laudable custom, seeing advancement doth most of all consist in diligence, saith Quintilian [[1:lib. II Orat. Instit. cap. 7.]] Neither did the Ancient when they came forth out of the shadow of the schooles to the public light, instantly forsake that diligence used about the first beginning of Art; but they did rather resolve to follow with a constant perseverance, what they had begunne with a studious industry. Nicias his diligence hath been mentioned before out of Plutarch. [[4:suite : Apelle et Protogène]]

[[8: voir aussi Apelle grâce]] It is then most evident what a hard taske they undertake, which go about to recommend their memories to the following age by one or other absolute piece of workmanship; seeing that this gracefull comelinesse is not sufficient to the worke, unlesse there doe moreover appeare in it some successful effects of a bold and confident facilitie. After that Plinie, as it is quoted in the first section of this present chapter, hath related how Apelles did challenge unto himselfe the chiefest praise in this point of Grace above all other artificers, he goeth further on to something else; Apelles did also take on him another praise, sayth he, when he did admire Protogenes his worke done with excessive pains and too much care: for he said that Protogenes in all other things was equall with him, or rather better then he thought himselfe to be; but that Protogenes in one thing was far inferior to him, because he knew not when to hold his hand: insinuating by this memorable precept, that too much diligence is oftentimes hurtfull. Plutarch does likewise make a distinction betweene the fore-mentioned Grace and this same bold facility: the verses of Antimachus, sayth he [[1:In Timoleonte]], and the pictures of Dionysius, who both were Colophonians, having vehemencie and intension, seeme to be forcibly expressed and too much belaboured: but Nicomachus his pictures and Homer his verses have this also besides all the other efficacie and grace which is in them, that you would thinke them made out of hand with much ease. So doth then this excellent perfection of Grace waxe more graceful, when it is accompanied with an unconstrained facilitie proceeding out of the unstayed motions which used to stirre and to impell the free spirit of a most resolute artificer; whereas an unresolved and timorous lingerer doth on the contrary deface and utterly overthrow all the hope of grace.

Good nature then that were loath to shame ther good Masters, did with all care and diligence emulate the best works of old renowned Artificers, taking speciall notice of that same simplicitie of Art so much commended in ancient workes. Arts are advanced, not so much by them that dare make a great shew of Art, but rather by them that know how to find out what there is in every Art, sayth Isocrates. Adorne any thing purely and soberly, sayth Agellius, and it shall grow better and better; daube it over on the contrary with the painting colour of women, and it shall resemble a jugglers delusion: neither doth any thing marre and falsifie the integritie of Art so much, as the astonished persuasion of them that conceive nothing to be faire and praise-worthy, but what is costly and farre remote from the simplicitie of the Ancients. Such is alwayes the condition of our minds, that the workes begun with necessary things, end most commonly with superfluous, sayth Plinie. Apelles, Echion, Melanthius, Nicomachus, most famous Painters, sayth the same Plinie, have made these immortall workes with foure colours onely; and yet was every one of their workes sold by it selfe for the wealth of whole cities. Now on the contrary is there never a noble picture made, though purple settleth it selfe upon our walls, though India bringeth in the mud of her rivers, as also the corrupt bloud of dragons and elephants: see Plinie himselfe, for he setteth downe in the same place the particular names of these four colours used by them. It will not be amisse to expound, sayth Vitruvius, why the integritie of workmanship is now adayes put down by false and adulterate wayes; for what laborious and industrious antiquitie did study to have commended for the Art, the same doe our Artificers obtaine by the fine shew of rare colours: and the cost bestowed upon the worke by the patron of the worke, bringeth to passe, that the authoritie ancient works drew out of the subtiltie of the artificer, is not so much as desired. Who was there among the ancients but he did use vermilian sparingly, and even after the manner of a medicament? but now are there every where whole walls daubed over with it, as also with Chrysocolle, Ostrum, Armenium: which things, when they are used in painting, draw the eyes by their glistering brightnesse, though they be never place by any art: and because they are very chargeable and costly, the law hath excepted them, that namely the patrone of the worke should exhibite and provide them, not the Artificer. There was also another wanton device of chargeable art, tending to the undoing of this same simplicitie we speake of, yea causing the uttermost ruine of the whole art it selfe. Picture, an art noble in times past, sayth Plinie, is now altogether thrust out by marble and gold: not onely that whole walls are covered with it, but that marble also is scraped and filed for to make party-coloured crusts representing severall things and beasts: the lower square of pillars have lost their estimation they were in; no more are whole spaces of hils that lie hid in our privie chambers liked of: we have begun to paint stones also: this was found out in the times of Claudius his government: as it was first instituted in Nero his times to vary the unitie of a stone by inserting such spots into the crusts as were not by nature: that namely the Numidian stone might be filled with ovalls, and the synnadian shoulds seeme to be distinguished with purple, even as waiward delicacies would have them grow. [[4:suite : Hélène belle et Hélène riche]]

By the consideration of the honour given to these arts, the artificers themselves were admonished to use them with more respect, and being ashamed to confine Arts of so large extent within a narrow compasse, they would not employ them in adorning the walls of private houses for the delight of particular land-lords onely, nor of such places as could not be defended from the danger of casuall fires. The old artificers therefore as they would not have their workes smoothered up in some private corners, so were they very carefull in publishing them; and it proceeded out of this same veneration of the Art, that the founders of painting and casting, sayth Plinie [[1:in Praefatione ardui operis]], inscribed their accomplished workes, and such as can never satisfie our admiration, with an uncertaine title, saying, Apelles faciebat aut Polycletus, Apelles or Polycletus made it: to make the world thinke that the art was but begun and left unperfect; that the artificer likewise by this means might looke for pardon, even as if he should have mended all, unlesse he had been intercepted by an untimely death. So was it then a custome full of modesty, and it did show in them a wonderfull veneration of these arts, that they would have posteritie look upon all their workes as if they were their last workes, and that the fatall houre had taken them away before they could make a full end. It is reported that there have beene but three pictures which were absolutely inscribed, Apelles fecit, Apelles hath made it: whereby it did appeare that the author would have the Art above all things secured: and for this reason were all such works subject to a great deal of envie. That now they sped well with that tender care they had of the credit of these arts, is manifest out of the following words of Plinie, It is a very rare and most memorable thing, sayth he, that the last workes of artificers and their unperfect pictures have been in greater admiration than the perfect: as namely, Aristides his Iris, Nicomachus his Tyndarides, Timomachus his Medea, Apelles his Venus; seeing there are in such kinde of pictures to be seen the remaining lineaments and the very thoughts of the artificers: so doth our grief also commend the worke unto us, whilest we cannot but love and desire the hands which perished in the midst of such a worke. But here must we needs note by the way, that when the ancient artificers are said to have been spurred on by the hope of glory, it is meant of the true and solid glory, and not of a false and momentany shadow of the same.

Aristides Thebanus was the first who painted the mind, expressing all the affections and perturbations. One of his pieces contained the picture of an infant, which in a surprised city crept to the breast of his mother that was a dying of a wound. The mother may be understood to have some feeling of it, and she seemeth to fear lest the childe finding no milke, should suck up the bloud. Plin. XXXV. 10.

As we see in the former relation how much artificers were countenanced in old times, so do we likewise understand the great esteem they were in by the high rates their words were praised at. Is it known that a picture of Bularchus the painter was valued at the weight of it in gold by Candaules king of Lydia: so much was the art even in those times esteemed, Plin. Lib. XXXV cap. 8. Aristides the Thebane painted a battel fought with the Persians, wherein were an hundred figures, and he agreed with Muason the tyrant of the Eleatenses to receive ten minas for every figure. He was so powerful in his art, that king Attalus is reported to have bought one of his pictures for an hundred talents; Pliny XXXV, 10.

It is likewise related by the greatest part of ancient writers, that all the statues before Daedalus his time, have had a most unpleasant stiftnesse, standing in a lifelesse posture with their eyes closed up, their hands hanging straight downe, their feet joyned close together.

Yea, the first beginning of these arts seem to have proceeded out of a desire of prolonging the memory of the deceased, or else of them whose absence would be most grievous unto us without such a remembrance. See what Fulgentius reporteth of the Ægyptian Syrophanes. A Corinthian maid also, taught by Love, ventured to put her unskilfull hand to the first beginnings of art, drawing lines about the shadow of her lover that was to go a great journey. Whereupon (as it is the custome of men to prosecute small beginnings with a stedfast study) her father Dibutades, a potter by his trade, cut out the space comprised within the lines, and filling it with clay, he made a pattern and hardened it in the fire, profering to Greece the first rudiments of picture and statuary.

[12] An artificer therefore is to take good heed that he does not by a malepart wantonnesse of his vainly conceited wit devise all kind of monstruous and prodigious images of things not knowne in Nature ; for it fitteth him better to have his minde, as Lucian speaketh [[1:De conscrib. historia]], like unto a pure, bright looking-glasse, the which also being of an accurate center, show the true images of things even as it receiveth them, not admitting any distorted, false-coloured, otherwise shaped figures; whatsoever then has been spoken in the former, and also in this present chapter, about the raising of our thoughts and conceits, may not be understood of all sorts of idle and giddie-headed imaginations, but only of such fantasies as are grounded upon the true nature of things: the art of painting, says Socrates [[1: Apud Xen. lib. III Apomnem.]], is a resembling of visible things neither does our imitation at any time fasten upon things invisible, but (as it hath been said before) with a relation to what is really existing and visible: The Auncient, saith Vitruvius [[1: Lib. IV, cap. 2]] did judge that such things could not be resembled with any shew of truth, which were disagreeing from the true nature of things: for they were wont to draw everything to the perfection of their workes out of one or other undeniable propertie of nature; approving only of such images as after a ripe debate were found to admit an explication consenting with Nature: the same author hath pressed this very point in another place with a great deal more earnestnesse. Let the picture bee an image, saith he [[1: Lib. VII, cap. 5]], of a thing that is, or at least can bee; of a man namely, of a house, of a shippe, and such like things, out of whose limited shapes our imitation propoundeth it selfe an example: the auncient therefore were want to adorne such parlors as were for the spring and harvest time, such porches also and long entries as were for summer, with all kinde of pictures drawne out of the certaine truth of things naturall. But those examples taken by the Ancient out of true things, are now by reason of our corrupt manners utterly disliked: seeing in our plaisterings there are rather monsters painted, than any certaine images of limited things: and yet doe not men, when they see such false things, rebuke them, but they doe much more take delight in them: neither do they mark whether any such thing can be, or not: the weaknesse of their judgment hath so darkened their wits, that they cannot examine what the authoritie and reason of decencie demandeth: for such pictures are not to be liked, as doe not resemble the truth: and if they are made neat and fine by Art, yet must wee not instantly approve of them, unlesse we do find in them some certaine kinde of arguments free from all offense. Now as the artificer may not abuse the libertie of his imaginations, by turning it into a licentious boldnesse of fancying things abhorring from Nature; so must also a right lover of art preferre a plain and honest worke agreeing with Nature before any other phantastically capricious devices. Plutarch has very well observed this; There are many at Rome, saith he [[1:De curiositate]], which doe nothing at all care for good pictures and statues, but a man may find them alwayes upon the monster-market, where they stand and stare upon such maimed creatures as want either legges or arms, as have three eyes or heads of ostriches, and if there be any other hideous detestable deformitie: but although at the first they seem very much to be taken with such kind of spectacles, yet will they soone have their fill on them, yea they will loath them, if you bring them often before their eyes.

[13] It is then a grosse error to deeme with the vulgar sort that Painters as well as Poets have an unlimited libertie of devising; for if we do but marke what Horace telleth us in the first entrance of his booke written about the Poeticall Art, we shall confesse that neither poets nor painters may take such a liberty as to stuffe up their workes with all kinds of frivolous and lying conceits. Lactantius has observed this point very well: Men do not know, sayth he [[1: Divin. instit. lib. I cap. II]], which be the measures of poeticall licence, and how farre we may give way to our fancies; seeing a true Poets part does consist chiefly in this, that by some crooked and wandering kind of conceit he does decently turn the deeds of Gods and men into a fabulous tale: for to devise the whole related matter, is the worke of an idle brain, and it becometh a liar better than a Poet. The mention we made here of Poets and Painters, seemeth now to lead sufficiently known that the imaginative qualitie, of the which we have handled, is alike necessary to them both. Thus do we then in the next chapter go about this point: once for all admonishing, that under the name of Painters, all such artificers are comprised, as do any manner of way practice any of the other Arts of that nature.

[[4:suit Pireicus]] Ludio did in the time of Augustus first of all institute the most pleasant painting of walls with farme-houses, galleries, arbors, consecrated groves, forrests, hillocks, fish-ponds, inlets of waters, rivers, and upon their banks hee the was wont to paint such things as heart could wish; as namely, divers companies of them that did walke at the river side, or goe in boats, or else did ride to their countrie-houses with little asses or with carts: some spent their time in fishing, fowling, hunting, gathering of grapes for the presse: there were also in his pictures farme-houses notable for a Moorish comming to, and men ready to slippe whilest they carried upon their shoulders fearfully shrieking women, with many more witty and merrie conceits of that nature. This same Ludio hath also first of all devised to paint sea-cities in open galleries, making a very fine and uncostly shew. Plin. XXXV, 10.

But when precepts doe faile, our wits must supply the rest, and we must warily consider what is decent and expedient. Nealces was very wittie and subtill in the art, sayth Pliny [[1:Lib. XXXV, cap. 12]], for when he painted a sea-fight between the Persians and the Ægyptians, and would expresse that this fight was fought in the river Nile, whose water resembleth the sea, he declared by an historicall argument what he could not shew by art: for he made an asse drinking upon the shoare, and a crocodile lying in waite to intrap him. [[4:suite : Timanthe, Iphigénie et Cyclope]]

Diogenes therefore, according to Ælian[[1:Var. hist. XII, 56. Laertius, lib. VI. Plut. de Amore diuitiarum]] his relation, when hee saw that the Megarians took more care for their cattel than for their children, said, that hee had rather be a Megarian his ramm than his son. The greatest part of the most polished Grecians in the meane time did mightily detest that gross errour of the Megarian, and would not only have their children thoroughly skilled in all kind of necessary sciences, but would have them taste also these more curious arts: The Grecians for the most parte, saith Aristotle[[1:Lib. VIII Polit., cap. 3]], did teach their children the Art of painting; least they might be deceived in the buying and selling out vessells and houshold stuffe: or rather, that they might improve themselves in the true knowledge of perfect beautie. Varro likewise in his treatise of the education of children speaks even to the same purpose: Shee that hath not learn to draw, saith hee[[1:Apud Nonium in Plumarium]], cannot be able to judge what is well painted by the embroderers or weavers in the counterpoints of bolsters: it doth then appeare by these words of Varro that not the Grecians only, but the Romanes also would have their children bred after this manner: and Plutarch teacheth us in the life of Paulus Æmilius, that this noble captain had as well sculptors and painters among the masters of his children, as sophists and rhetoricians: yet can wee not denie but that this same custome of breeding has beene more frequent in Greece, seeing it was brought to passe by the authoritie of Pamphilus, saith Pliny[[1:Lib. XXXV. nat. hist. cap. 10]], first at Sicyon, and afterwards in all Greece, that free-borne youth should be taught before all things a certain kind of painting in box-wood, and that this same art should be received into the first ranke of liberal sciences: although it has ever been so honoured, that none but free-bon might exercice the said art, and such afterwards as were at least of an honest condition: with a perpetuall prohibition, that none of the servile sort of men should be trained up to the knowledge of this art: so was there also in this art, and in the art of graving never anyone famous that was of a slavish condition. Galen therefore giveth us a very good and wholsome advice, expressing withall the true reason why these arts are to be rancked with the liberal sciences; We are to exercice an art, sayth he[[1:In exhortatione ad perdiscendas artes]], that may stay with us all our lifetime: and as some arts are rationall and reverent, some on the contrary contemptible and exercised only by the labour of the bodie; so is it always better a man should addict himselfe to the first sort of arts; for the second sort used to forsake and to disappoint the artificers when they waxe old: of the first sort are Physicks, Rhetorick, Musick, Geometry, Arithmetrick, Logick, Astronomy, Grammar, the knowledge of civill lawes. Joyne unto these, if you will, the arts of Carving and Painting; for though their worke doth demand the help of our hands, yet does it not require youthfull strength.

Besides this same Harmoge, which draweth different colours into one by an orderly and pleasant confusion, it is furthermore requisite that an artist should take speciall care about the extreme or uttermost lines; seeing it was ever held one of the greatest excellencies in these arts that the unrestrained extremities of the figures resembled in the worke should be drawn so lightly and so sweetly as to represent unto us things we doe no see: neither can it be otherwise but our eye will alwayes beleeve that behind the figure there is something more to be seene then it seeth, when the lineaments that doe circumscribe, compasse, or include the images are so thinne and fine as to vanish by little and little, and to conveigh themselves quite away out of our sight. All masters doe confesse, sayth Plinie [[1:Lib. XXXV cap. 10.]], that Parrhasius his chiefe glory was in the uttermost lines, and that indeed is the highest subtiltie in picture: for although it require great skill to paint the bodie and middlemost parts of figures, yet are there many that got credit by it. To make the extremities of bodies and handsomly to shut up the measure of an ending picture, is seldome found in the greatest successe of art; seeing the extremitie ought to compasse her selfe about, ending with a promise of other things behinde, sand setting forth also what shee concealeth. Parrhasius for all that being, compared with himself seemeth to come short in the expression of the middlemost bodies. The following words of Petronius urge the same, I came to a gallery, sayth he [[1:In Satyrico.]], much to bewondered at for severall sorts of pictures. I saw Zeuxis his hand, which as yet had escaped the injury of age; as for Apelles his picture, which was known among the Grecians by the name Monocnemos, I did not sticke to adore it: for the extremities of the images were with such a wonderfull subtiltie cut off after the similitude, that you could not but thinke it to be a picture of the spirits and soules it selfe. Seeing that Petronius and Plinie doe urge such a singular subtiltie in the uttermost lines of an exact and absolute picture, wee may very well suspect that they did anciently in these extremities of images require certaine lines approching neere to the subtiltie of the imaginarie geometricall lines; which are nothing else but a length without breadth. That it is not an idle fancy of our brain, sayth Ammonius [[1:In Aristotelis praedicam]], that there should be a longitude without latitude, but that such a thing is in Nature, the partings betweene enlightened and shadowed places doe manifestly shew: for when it chanceth that the sunne casting his beames upon a wall enlighteneth but some part of the same, the partition betweene the enlightened and shadowed place must needs be a longitude without latitude: for if it hath any latitude, it must needs be either enlightened or else shadowed with the rest; seeing nothing can be conceived betweene these two: and if it be enlightened, it is to be put to the enlightened part: if on the contrary it be shadowed, it is to be added to the shadowed part: but now there is a line manifestly to be seene in the middest, which by her length doth onely distinguish the enlightened part from the shadowed: and if these parts are distinguished one from another, there must of necessitie be something besides them that distinguisheth, which as it shall not be enlightened nor shadowed, so shall it consequently be without any breadth. Whosoever therefore doth but slenderly understand how much a neat and delicate picture abhorreth all maner of grosse and course lines, the same shall easily be perswaded to conceive well of those extreame lines that come something neere the geometricall: neither shall he be very much deceived who guesseth that this was the maine reason why the ancients studied with such an industrious care to draw all manner of lines in colours with a light and easie hand. We shewed above, lib. II, cap. XI, §1, that this was Apelles his daily practice, and that afterwards it grew to be the highest point wherein Apelles and Protogenes made triall of their art.

Parrhasius made two very famous pictures, knowne by the name Hoplitides, pictures of armed men: the one doth so runne his race, as that hee seemth to sweat; the other putting off his armor, may be perceived to draw his breath with much difficulty. Plin. XXXV. 10

The art of Painting has been about the time of her infancy so rough and poore, that Aelianus, speaking of the first beginners of this art, doth not stick to say, that they were forced by reason of their unskilfulnesse in painting, to write by the severall figures expressed in their pictures, this is an oxe, this is a horse, this is a tree. The great interpreter of the mysteries of nature witnesseth also, that the first picture hath been nothing else but the shadow of a man drawne about with lines. [[4:suite : voir Dédale]]

That artificers have need of geometry and the opticks is proved by the following example. The Athenians intending to consecrate an excellent image of Minerva upon a high pillar, set Phidias and Alcamenes to work, meaning to chuse the better of the two. Alcamenes being nothing at all skilled in geometry and in the optickes, made the goddesse wonderful fair to the eye of them that saw her hard by. Phidias on the contrary, as being sufficiently instructed with all maner of arts, and especially with optick and geometricall knowledge, did consider that the whole shape of his image should change according to the height of the appointed place, and therefore made her lips wide open, her nose somewhat out of that order, and all the rest accordingly, by a certaine kinde of resupination. When these two images were afterwards brought to light and compared, Phidias was in great danger to have been stoned by the whole multitude, untill the statues were at length set on high. For Alcamenes his sweet and diligent strokes being drowned, and Phidias his disfigured and distorted hardnesse being vanished by the height of the place, made Alcamenes to be laughed at, and Phidias to bee much more esteemed. See Tzetzes Chiliad. XI, hist. 381. and Chil. VIII, hist. 193.

Amulius his Minerva seemeth also to have been made by the help of these arts, and chiefly of the optickes, for from what side soever a man looketh upon her, she doth likewise looke upon him. There was in the Syrian goddesse her temple an image of Juno, which looketh upon you, if you stand full against it: if you goe from thence, it followeth you with her eyes: and if any other man looketh upon it from another place, he findeth the same: see Lucian de Syriâ deâ. The head of Diana is set up on high at Chios: Bupalus and Anthermus have made her after such a manner, as to make them that enter into the temple thinke that shee frowneth, whereas they that goe out of the temple thinke that shee is now appeased. Plinie XXXVI, 5. That same Hercules, who in the temple of Antonia turneth his backe towards us, is thought to be of Apelles his hand: the picture (which is very difficult) doth rather shew his face, then promise it. Plinie XXXV, 10.

So doth then this same most fertile power of our soule, according to Plato his opinion, yeeld two sorts of imitation; the first medleth only with things seene, whilest they are set before our eyes; the other on the contrary studieth also to expresse things prefigured only and represented by the phantasie. “Some artificers, sayth Proclus [[1:Lib. II. In Timeum Platonis.]], can imitate the workes of others most accurately; whereas other workmen have rather an inventive qualitie to devise wonderful workes for the use of man: so hath he that first made a ship, phantastically conceived a platform of what he meant to make.” The same author goeth yet further; “whatsoever is made after a conceived or intelligible thing, sayth he [[1:Ibidem]], is faire: whatsoever on the contrary is made after a thing generated, is not faire. For he that maketh any thing after intelligible things, must needs make it like the conceived things, or else unlike: if he doth make it like by imitation, so is it that the imitation of necessitie shall be faire; seeing there is in the conceived thing a principall beauty; but if the imitation be unlike, then doth he not make it after the conceived things; seeing he doth more and more swarve aside from the similitude of what is truely faire. Likewise he that maketh any thing after the example of things generated, shall never, as long namely as he doth fix his eyes upon them, attaine to what is perfectly beautifull; seeing the things generated are full of deformed disproportions, and far remoted from the principall true beautie. Hence it is that Phidias, when he made Jupiter, did not cast his eyes upon any thing generated, but he fetched the patterne of his worke out of a Jupiter conceived after Homers description.” Other famous writers, besides Proclus, doe also very much harp upon this string, urging alwayes Phidias his example as an infallible rule of art: and it seemeth by their words, that they held Phidias to be so excellent an artificer, because he had a singular abilitie to imagine things invisible after a most majesticall manner. “Nothing is in my opinion so beautifull, sayth Tullie [[1:De perfecta oratore]], but we must alwayes conceive that to be fairer from whence the former, even as an image was wont to be made after a face is expressed; which cannot be perceived by our eyes, nor eares, nor any of our senses, since we doe apprehend it onely by thought and minde. Hence it is that we can imagine something fairer yet than Phidias his images, although our eyes cannot behold any thing fairer in that kinde. Neither did that same artificer, when he made the images of Jupiter and Minerva, fix his eyes upon one after whom he should draw such a similitude; but there did abide in his mind an exquisite form of beautie, upon the which he staring, directed both his art and his hand to the similitude of the same. There is then in the forme and shape of things a certaine perfection and excellencie, unto whose conceived figure such things by imitation are referred as cannot be seene. Plato, a most grave author and teacher, not of knowing onely, but also of speaking, doth call these figures Ideas”. To this place of Tullie, we must by all meanes adde the words of Seneca the Rhetorician [[1:Lib. X. Controver. 5.]]: “Phidias saw not Jupiter, sayth he, yet hath he made him as thundering. Minerva stood not before the eyes of the artificer; his mind for all that, worthy of such an art, has rightly conceived the gods, and exhibited them.” We may learne also out of the same author how great a difference there is betweene the artificers that doe worke after this manner, and the others that doe but imitate things present. “This same majesty can then onely be expressed, sayth he [[1:Lib. VIII. Controv. 2]], when our mind foreseeth and forecasteth the whole worke.” Philostratus propoundeth all this more at large in that same most learned discourse, between Apollonius Tyaneus and Thespesion, the chiefest of the gymnosophists. The words of Philostratus [[1:Lib. VI. de vita Apollonii, cap. 9.]] are worth rehearsing: “It is so, sayth Thespesion, that Phidias and Praxiteles climbing up to heaven, and there expressing the several shapes of the gods, have afterwards applied them to the art, or is there something else, that has taught these artificers to counterfeit? Something else, replied Appolonius, and that full of wisedome. What is that? sayth Thespesion againe; seeing you can, besides the imitation, name nothing. Phantasie, answered Apollonius, hath accomplished these things; an artificer farre exceeding imitation in wisedome: for imitation doth worke out nothing but what shee hath seene: phantasie on the contrary doth take in hand also what shee hath not seene; for shee propoundeth unto her selfe unknowne things with a relation to such things as are. A certaine kinde of astonishment doth also often hinder our imitation; whereas nothing can disturbe the phantasie, being once resolved to follow undauntedly what shee undertaketh. As for an artificer that meaneth to conceive in his minde an image not unworthy of Jupiter, the same must see him accompanied with the foure seasons of the yeare, with the constellations, with the whole heaven: for such a one did Phidias then imagine. He likewise that doth intend to make an image wherein there might be perceived some resemblance of Pallas, must see her with the looke she hath at the marshalling of great armies, or when she busieth her selfe about devices of counsell and inventions of art; yea he must propound her unto himselfe as shee came gallantly leaping forth out of Jupiter his braine.”

Calaces got himselfe a great name by making of little comicall pictures. Plin. XXXV, 10.

Pyreicus, although he was in his Art inferior to none, yet hath hee painted but barbours and coblers shops. Plin. XXXV, 10.

Pyreicus might likewise[[5:like Nicophanes.]] have gone a great deale higher, if his intent had not beene bent another way. Pyreicus was in his art inferiour to none, sayth Pliny , but I doe not know whether hee spoyled himself by a purposed resolution: and though hee did delight in meane things, yet did he deserve in them the greatest praise: he painted barbers and coblers shops, asses, all maner of victuals, and such like things, wherefore hee was called rhyparographus. These workes of his being wonderfull pleasant, should better than the bravest pieces of other masters. Such artificers therefore as long to gaine an everlasting fame must needs be of an exceeding great spirit, or at least upon all occasions entertaine great thoughts, and stately imaginations. But seeing our minde cannot well give itself to this practice, unlesse it be thorowghly freed from all maner of sordid and abject cares, it is altogether requisite that we should banish the ordinary and most cumbersome troubles about the necessities of our wretched life. A cheerful mind poureth forth a witty invention, sayth Cassiodorus in praefat. libri undecimi variarum. Is it impossible that those, sayth Longinus [[1: De sublimi orat. §7.]], who busie the thoughts and studies of their whole life about vile and servile matters, should bring forth anything that might deserve the admiration of all ages. See Juvenal, Sat. 6 and T. Calphurnius Siculus, Eglog. IV.

Nicomedes the king would have bought Praxiteles his Venus of the Gnidians, offering for it to pay all their debts, which did amount to a great summe of money ; but they chose rather to endure any extremitie, than to part with such a rare piece of worke: neither was it without cause that the Gnidians did shew themselves so resolute, seeing Praxiteles made Gnidus renowned by this piece of worke.

That great and eminent men in ancient times were very skilfull in these arts, may be gathered out of that love and respect the artificers enjoyed. It is by a naturall vice grafted and rooted in the brests of men, that such as doe not understand the arts, doe not admire the artificers, sayth Sidonius Apollinaris liv. V, epist. 10. Virtues are obscured by reason of the ignorance of Art, sayth Vitruvius in prœmio libri tertii. Seeing then that excellent artificers thinke themselves to be placed upon a thea er (sic), where nothing heateth their forward spirits so much as the astonished acclamations and applauses of all sorts of men, it was no wonder that many did excel in those times when kings with their peeres resorted to the shops of painters, kindling in the hearts of the artificers an unspeakable desire to have this glory still continued and increased. Demetrius surnamed Poliorcetes, whilest he was at the siege of Rhodes, did not stick to come to Protogenes, who was then busie with the picture of Ialysus, and leaving the hope of his victory, he beheld the artificer in the midst of hostill weapons and batterings of the wall, as Plinie speaketh, lib. XXXV, cap. 10. see that copious author himself. [[4:suite: Apelle et Alexandre]]

What we have sayd already, may serve for an introduction into a setled way of judging, and wee would willingly end with this, if wee had not something to say about the by-workes, commonly called parerga in the antient Greeke and Latin authors. Parerga are called such things, sayth Quintilian, as are added to the worke for to adorne it. Pliny doeth likewise expresse the same: Protogenes, sayth he[[1:Lib. XXXV, cap. 10]], when he painted at Athens in the porch of Minerva’s temple that famous ship called Paralus, with another ship called Hemionis, he added also many other little gallies among the things which painters call Parerga. Galen has a more large expression: Good workmen, sayth he[[1:LIb. XI, de usu partium corporis humani]], use to make some Parergon or by-work for a document of their art, upon the bolts and shields: oftentimes also do they make upon the sword hilts and drinking pots, some little images over and above the use of the worke, expressing Ivy branches, Cypress trees, trendels of a Vine, and other such like devices. Philostratus[[Iconum lib. I, In piscatorib.]] seemeth to call these additions, sweets seasonings of picture. But because the artificers goe over these workes slightly and with a light hand, so is it that we doe likewise for the most part examine them more negligently. We consider the by-works of workmen but slenderly”, sayth Plutarch[[1: Cur Pythia nunc non reddat oracula carmine]], for they study onely to be pleasant in many of them; neither do they alwayes avoid in them what is to small purpose and superfluous. If we doe finde in the meane while, that the artificers hit the true force and facilitie of grace better in these sudden things than in the worke it selfe, yet must wee never be so inconsiderate in our judgment, as to preferre the by-worke before the worke: Protogenes his example may teach us, how much the indiscretion of such spectators discourageth the artificer. Among many excellent donaries that did adorn the city Rhodes, the picture Ialysus was much renowned; a painted Satyr also standing near a pillar, wherupon the picture of a partridge was to be seene. The picture of the partridge being newly hung there, drew the eyes of all sorts of men so much, that the most excellent picture of Ialysus grew contemptible, and no body did any more regard it. Protogenes therefore finding himself much vexed, that the by-worke should be preferred before the work it selfe, having asked leave of the church-wardens, did put out the bird. See Strabo, lib. XIV, Geograph. Such another company od unadvisedly and impertinently judging spectators made Zeuxis likewise cry out: These men commend the mud of our art. See Lucian in Zeuxide.

Wee have shewed already in the fifth chapter of our first booke, that lovers of art ought to store up in their minde the perfect images of all manner of things; to the end that they might have them alwayes at hand, when any workes of art are to be conferred with them. Here it is furthermore required, that all those who meane to enter into a judicious consideration of matters of art, must by the means of these images accustome their mind to such a lively representation of what they see expressed in the picture, as if they saw the things themselves and not their resemblance onely. Theon, a most famous painter, having made the picture of an armed man who seemed to runne most furiously on his enemies that depopulated the country round about, he did thinke it good not to propound the picture before he had provided a trumpetter to sound an alarme somewhere hard by; the trumpet therefore being heard, the picture was likewise brought forth suddenly at the same instant. The sound of the trumpet, sayth Aelian, possessed the phantasies of the spectators with a more lively impression of a man desperately sallying out to ayd his countrey. The most excellent artificer conceived very well that the phantasie of the beholders would fasten soonest upon such a representation, if it were first mooved by this dreadfull noise to expect nothing else but an invasion of armed and desperatly resolved men.

[[4:suit Néalcès]] Timanthes also perceived that he was to cover something in his picture with the which he overcame Colotes, judging that some circumstances might not be shewed, or else that they could not be expressed as the matter did require: For when in the Sacrifice of Iphigenia, says Quintilian [[1:lib. II, cap. 13]], he had painted Calchas sad, Ulysses sadder, and had attributed unto Menelaus the greatest sorrow art could effect; having spent all his passions, and not finding how to express her fathers countenance worthily, he thought it good to cover his head, and to leave the apprehension of the fathers heavinesse to the consideration of the beholders. Plinie doth mention the same picture, Timanthes did abound in wit, sayth he [[1:Lib. XXXV, cap. 10]], that same Iphigenia so much extolled by the orators, as shee stood neere the altar readie tho die, was his worke: for having painted all them that stood by full of griefe, especially her uncle, when he had now consumed the whole image of sadnesse, he covered her fathers face, not knowing how to shew it as it was fit. There are also other proofes of his wit: as namely a sleeping Cyclops in little: whose greatness when he studied to expresse, he painted some satyrs hard by measuring his thumb with the stalk of some kind of hearbes. There is ever much more understood in his workes, than there is painted; and though the art be great, yet doth his wit goe beyond the art.

Poesie likewise, “being haughty and of a lofty style, as Lucian speaks, is able to enlarge our conceits. Neither do we find among the Ancient any artificers more renowned, than those that drew their inventions out of excellent poets. “The spirits and weithtiness of the matter, says Quintilian, the whole gesture of the affections, the decent comeliness of persons is drawn out of poets”. Demetrius Phalereus, Dionys. Halicarnass. and Pliny, ascribe unto Phidias a certain kind of accurate greatness and worthy magnificence: and our conjecture shall not be vain if we affirm, that he fetched the chiefest strength of his invention out of poets: seeing he himself was not ashamed to confess, that his much admired Elean Jupiter was made after the image of Jupiter described by Homer. Apelles also when he painted Diana among the sacrifiing virgins, took his pattern out of the same Homer. It is likewise evident that Timanthes, whose wit ancient authors do so highly extoll, for that pretty shift he made in the picture of Iphigenia did owe his invention unto Euripides seeing this same wise tragedian brings in Agamemnon with a vaile before his eyes.

Discretion is here also a great point, but very often neglected by them that observe truth and occasion too much: for as in tragedies, so likewise in pictures, all things are not to be laid open before the eyes of the spectator. Let not Medea, says Horace [[1:De arte]], murder her own children in the presence of the whole people: let not the villanous Atreus boile the flesh of man openly. There are doubtlesse many things misbecoming them that doe profess a severe integritie of uncorrupt manners; so that an artificer had better leave them out with the losse of some part of the storie, than with the losse of modestie. Lucian calleth the picture of Pylades and Orestes, who slew Clytemnestra and Ægisthus, a most just or discreet picture, adding withall the reason of such a new and unused denomination: The painter, sayth he, devised a grave course, for having but shewed the impious undertaking a fare off, and running over it as if it were alreadie done, he made the young men busie with the slaughter of the adulterer: see also the description of Timomachus his Medea, as we find it in the Anthologie of Greek Epigrammes, lib. IV, cap. 9. They doe likewise wrong this same discretion very much, who by the wantonnesse of their workes throw the spectators headlong downe into all manners of unlawfull and filthy concupiscences; and an artificer is here also to take good heed that he do not lose the authoritie of a good and discreet man, whilest he studies to gaine the vaine and shamefull title of wit and waggerie.

To let them therefore alone, we doe esteeme that he is most likely to come neerest unto perfection, who taketh at the first greater care how to paint well, than fast: whosoever on the contrary studieth more to have done painting, than to paint, shall come farre short of his hope; neither shall he receive any other fruit of his mountebank-like braverie, but an idle praise of blockish spectators, a presumptuous persuasion of his own abilitie, the contempt of so venerable an Art, a shamelesse boldnesse, and a custome of doing amisse. When Agatharcus the painter did vaunt himselfe in the presence of Zeuxis, sayth Plutarch[[1:In Pericle.]], for making all manner of pictures most speedily and easily; But I, answered Zeuxis, am a good while about it: for as this nimblenesse and quicknesse of hand doth not leave in the worke any durable weight of art or accuratenesse of beautie; so doth the time bestowed upon the making render a certaine force tending to the preservation of the work. Themisthius likewise speaking of Phidias, although Phidias, sayth he [[1:Orat. Adv. qui postulaverat ut ex tempore sermonem haberet]] was skilfull enough to make in gold and in ivorie the true shape of God or man, yet did he require sufficient time and leisure to the work: so is he also reported to have spent much time about the pantoffle of the goddess Minerva. [[4:suite : Apelle et le peintre trop rapide]]

The ancient therefore as they did not neglect similitude, so did they for all that make more work of symetrie: esteeming similitude to be the work of art, whereas symetrie proceeded out of some perfection in the artificer surpassing art: see Maximus Tyrius Dissert. XVI, where he does most accurately distinguish these two things. It is reported also that Zeuxis painted a boy holding a cluter of grapes; and when the grapes were so like that the birds came flying to them, it happened that one of them who were present said that the birds did not think well of the picture; for that they never would have ventured to come so near, if the boy had been like: yet do they say that Zeuxis did put out the grapes, keeping what was better in the picture, and not what was more like: see Seneca the Rhetorician lib. X, Controv. 5. Lysippus and Praxiteles are esteemed to come nearest unto truth; says Quintilian [[1:lib. XII, cap. 10]], for Demetrius is blamed as being too curious to this point, and loved similitude more than pulchritude.

Such artificers therefore as carry in their mind an uncorrupt image of perfect beautie, do most commonly powre forth into their workes some certain glimmering sparkles of the inward beautie contained in their minds: neither may we thinke this to be very easie; for, according to Apollonius Tyaneus [[1:epist. 19]] his opinion, that which is best, is alway hard to be found out, hard to be judged. Is is also well observed by an ancient orator [[1:In Panegyr. Maxim. et Const. Dicto]], that the imitation of a most absolute beautie is never most hard and difficult: and as it is an easie matter to set forth a true similitude of deformitie by her owne markes, so on the contrary the similitude of a perfect beautie is rarely seene as the beautie itself. It was not unknowne unto Zeuxis, says Tullie[[1:In ipso statim mitio lib. II de Invent.]], that Nature would never bestow upon one particular bodie all the perfections of beautie; seeing that nothing is so neatly shaped by Nature, but there will alwayes in one or other part therof some notable disproportion be found; as if nothing more should be left her to distribute unto others if she had once conferred upon one all what is truely beautiful. Wherefore, when this noble artificer intended to leave unto the inhabitants of Crotona a choice patterne of a most beautifull woman, he did not thinke it good to seeke the perfection of a faultlesse formositie in one particular body; but he pick\'d out of the whole citie five of the well-favouredst virgins, to the end he might find in them that perfect beautie, which as Lucian speaketh[[1:In Hermotimo]], of necessitie must be but one. So does Zenophon very fitly to this purpose bring in Socrates his discourse held with the painter Parrhasius, seeing it is not so easie, sayth Socrates[[1:Apud Xenophontem lib. III Apomnem.]], to meet with anyone that does altogether consist of irreprehensible parts, so is it, that you having chosen out of every part of severall bodies what is fittest for your turn, bring to pass that the whole figures made by your Art seeme to be most comely and beautifull.

As manie therefore as resolve to follow this same contemplation earnestly, doe sometimes purposely take certaine images of things conceived, and turne them many wayes, even as one lumpe of waxe useth to be wrought and altered into a hundred severall fashions and shapes: but principally do they labor to store up in their phantasie the most compleat images of beautie. Such artificers as worke in brasse and colours receive out of the naturall things themselves those notions by the which they do imitate the outward lineaments, light, shadows, risings, fallings; they pick out of every particular body the most excellent marks of true beautie, and bestow them upon someone body : so that they seem not to have learned of Nature, but to have strived with her, or rather to have set her a law. For who is there, I pray you, that can shew us such a compleat beautie of any woman, but a quick-sighted judge will easily find in her somthing wherein she may be esteemed to come short of true perfection?

It appeareth by all these examples what care great kings and mightie common-wealths tooke to cherish the brave spirits of excellent artificers; and there was good cause for it; seeing it most of all concerneth those that are vertuous, for the upholding of arts invented, to make some difference betweene deserving and undeserving men. [...] The artificers themselves did likewise reape great profit out of this respect the flower of the world gave them; neither was it possible they should thinke meanly of themthelves, seeing they could not but judge their arts worth so much as they saw them valued at by the matchlesse moderators of earthly things: having therefore once drunke in this perswasion, they were instantly possesseth with the love of a strange magnanimitie. Nicias refused to sell his picture called Necyia to King Attalus, who offered for it LX talents: but being himselfe very rich, chose rather to bestow it as a present upon his country. Plinie XXXV, 11. Zeuxis first began to make presents of his workes, saying that no price could be answerable to their worth; so he bestowed Alcmena upon the inhabitants of Agrigentum, Pan upon Achelaus; Plinie XXXV, 9. Polygnotus painted at Athens the porch called Poecile freely; whereas Mycon did paint a part of it for a reward: no wonder then that Polygnotus was of more esteeme and authoritie; and the Amphictyones, a publike councell of Greece, bestowed upon him lodgings rent-free; Plinie, XXXV, 9. It was then discreetly done of these artificers, that they would not lessen the authoritie of their art; seing many things lose their worth for nothing so much, sayth Quintilian [[1:Lib. XII, cap. 7.]] as that they may be prised at a certain rate.

Pyreicus, although he was in his art inferiour to none, yet hath hee painted nothing but barbours and coblers shops. Plin. XXXV, 10.