A TREATISE O N ancient painting, CONTAINING OBSERVATIONS O N T H E Rise, Progress, and Decline of that Are amongft the Greeks and Romans % THE High Opinion which the Great Men of Antiquity had of it $ its Connexion with Poetry and Philosophy j and the Ufe that may be made of it in Education :• ... To which are added Some REMARKS on the peculiar Genius, Character, and Talents of Rapba'ely Michael Angelo^ Nicholas Poujfmy and other Celebrated Modern Maliers; and the commendable Ufe they made of the exquilite Remains of Antiquity in Painting as well as Sculpture. * The Whole illuftrated and adorned with FI*FTY PIECES of Ancient Painting ; • * ' Difcovered at different times in the Ruins of Old Rome, accurately engraved from Drawings of Camillo Paderni a Romany lately done from the Originals with great Exaönefs and Elegance. •% • By GEORGE TURNBULL LL» ZX ______^.pft etiam ilia Platotiis vera, tibi Catule, certe non inaudita vox, omnm doßrinam harum in- genuarum, & bumanarum Artium, uno quodam Societatis vinculo contineri, ubi enim perfpetta vis eft > rationis ejus, qua caufa rerum, atque exitus cognofcuntur, merus quidam quafi omnium confenfus doßrinarim, coneentuftque reperitur. . Cicero de Oratore, Lib. 3. OS n? fj.rt rw £aiyfx(pfav, dStxit rnv dXrSuav, xSinei S\ ti, aropiw S-iro'm, U TroijjTa? nxi i, (pood yug urn auQoTv If t* twu npiiuv uSn, W*. Pup.p.tTgUv r\ it1 iwoum. Si m n r^vn rr s Philoftrati Imagines. LONDON: Printed for the Author i and fold by A. Millar, at Buchanans Head, over-againft St. Clement’s Church, in the Strand. MJDGC.XL t o The Right Honourable H E N R Y Lord Vifcount Lonfdaky &c. This TREATISE is humbly dedicated By his Lordship’s Moft Devoted, and Obedient Servant^ GEORGE TURNBULL. SUBSCRIBERS NAME A. TJIS Grace the Thike . The Advocates Library at Edinburgh. Mr. William Adams, Architect. B. The Right Honourable Earl o f Bute. The Right Honourable Lord Bel haven. The Right Honourable Lord Brook* The Honourable George Baillie. The Honourable William Berkely. Sir |ohn Baird Bart. Bell' Boyle Efq', William Briftow Efq-, two Boons. lohn Briftow Efq-, Joiiah Burchet Efq-, Secretary to the Ad- James Baillie M. T). Robert Burd M. H. Robert Barker M. (D. Beaupre Bell M. 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The Honourable Anthony Lowther. Matthew Lamb Efq; Erneft Leflie Efq-, John Lockhart Efqi james Loch Efq-, Thomas Lidderdale M. H. Sir Darcy Lever Knt.LLSD. of Alkrington. LA3 M, A N EPISTLE TO THE Right Honourable the Lord VifcountLw/Zfe/?, UponEducation, and theDefign of thisEfläy onPamting, My Lorö, T Should not have adventur’d to dedicate this Effay to your did T aim at nothing higher (as fome may imagme from the Tide) than 1 TrZ to recommend to our Youth a Tafte in Painting as an ingem- r ?■ have °ften ied your penetrating Mind. IN (l.™g wherein ,be ,„1 Si K'Sl'f rJÄ w - r-: a good 1 alte ot au mem , V necefl*ltv of combining in it 1 TuZS KÄS» äccompU moft fuccefrfully its acknowledged End ; which is to fern^l^oFs“ MankhT| ÄamTtime a rig^t Notion of upon the Mind any l ru , y r every Art that pre- be the End of Language of whatever fort, that is, ot every P tends to inftruft or move us. SO thoroughly my Lord, am Icoavincc^o^the UfeMnefs^the Dff,gd Aat °ften indu’iges itfeiu withAe offered to > our Lordl ‘ P Y p d virtues united together, which higheft delight in adm.mt.on1 as , could Jlh : So fully, I mat is chiefly kept in my Lord, do I feel the f I would gladly take advantage view throughout the following Treatile, that 1 w g g here> of the noble Image now before me; anda* g J ancient make an Experiment on myfelf of a Rule preienbe^ y y ^ Writers as verify’d in then- own Expemcnc - > ’ are fpeaking to a kind of Infpiration in handling any Subjea, imagine you p & 3 Epiftle on E ducat ion, and or writing to one who thoroughly underdands it; has it fully at heart ; and like whom you would chufe to be able to think and expreß your Sentiments : And then let your Thoughts flow freely, as you are warm’d and directed by that pleafing, elevating Fancy. I am fufficiently authorifed, my Lord, by ancient Examples to fet forth the Moment of my Delign, and the Truth of the Principles upon which it is built, in this kind of Dedication : And I dare not prefume to addreß your Lordfhip in the modern way of Panegyrick, though I am fure every one will fay, that in order to draw the moft amiable Character, all that is neeeflary on this occafion is to hit the Likenefs, and to paint a true one. ’TIS impoflible, my Lord, to refled: one moment upon Human Nature without perceiving, that its right or wrong State depends as necefiarily upon Education, as that of a Plant upon proper Culture. Though Man be ef-fentially different from every merely mechanical Being that never ads, but is in all cafes paflive, or moved by Springs and Caufes abfolutely independent of it; becaufe Man hath an adive Principle in his Frame, and ascertain Sphere of Power or Dominion afligned to him by Nature, in virtue of which, many Operations and Effeds, both within and without his Mind, are dependent as to their Exiftence or Non-exiftence upon his own Will: Tho* this be as certain as Confcioufnefs can render any Fad:; yet our ading Well dr ill, the right or wrong Exercife of our feveral Powers mud depend upon the Principles and Habits we have early imbib’d and contraded, for thefe make us what we are ; thefe conditute our Temper and Difpofition ; by them we are moved and influenced in all our Choices and Purfuits. Wherefore not to think of modelling thefe aright in Education, is to negled the only End it pretends to have in view, which is to mould us into a good Form or Temper. To give a wrong Cad to them by Education is to employ the forming Art to mifhape, and deform or deprave us. The Bufi-nefs of Education is by cultivating and perfeding all our Powers and Af-fedions, all our Faculties, and all the Movements by which we are fet to work, to make Man fuch as he ought to be; that is, fuch as his greated Dignity and Happinefs require he fhould be : Or, in other words, to indil into him fuch Principles, and to form within him fuch Deflres, Affedions and Habits as will lead him right in all his Purfuits and Employments; and to inure him to fuch Exercifes of his Powers and Faculties as will render them mod vigorous; mod lerviceable to himfelf and to Society on every occafion. RIGHT Education, if it be not the one thing needful, it is at lead abfolutely necedary to private or publick Happinefs. The bed Laws without proper care about it are Mockery : They may enfnare Men, but they can go but little way in redraining them; and none at all in forming or mending them : Whereas proper Education would in a great meafure prevent the neceflity of Laws and their Sandions, by framing betimes a right Difpofition in us that would naturally, and as it were necedarily produce what good Laws can only command. If the moving Powers, or Springs of Motion, and all the Wheels be found and right, all mud go well in moral Nature as well as in Mechanifm. EVERY one who hath the Perfedion and Happinefs of Mankind fo fincerely at heart as your Lordfhip, mud have often refleded upon the great End of Education, and the proper Methods of gaining that End • and confequently mud have wondered to find a very powerful and exceeding ufeful Principle in our Make intirely overlooked in it, as if it had no- the Deßgn of the Essay on Faint iNö. thino- to do with our Conftitution; and that is, the Influence of Habits 'early formed. This is the more furprizing, becaufe the Reality and Strength of this Principle in our Natures is fo univerfally acknowledged, that^ in every Nation it is and always has been a vulgar Proverb, That Cuftom is a fecond Nature. The Power of Habit is readily owned by all: But what is done, my Lord, in the forming Art that is founded upon this Principle: 5 or what proper means are ufed conformably to this acknowledged Truth, early to eftablilh good Habits in young Minds, either m refped of Initruc- tion or Difcipline ? THE Whole of Education muft confift in the Formation of right Habits: For what we call Temper is nothing elfe but natural Propenfions formed by repeated Exercifes into ftrong and lafting Habits Every Affedion every Power, and every Propenfion muft be originally of Nature : Art cannot create: All it can do is to cultivate and perfect what Nature hath planted * But ’tis Art and repeated Exercife that work natural Powers into Strength or natural Affedions into Temper. Some proper Difcipline or Regimen is therefore neceffary to accomplifli the principal Scope of Education if to produce virtuous Habits be flieh. And what can be jufl-ly called cultivating and improving Undemanding or Reafon, but fornnng one by proper Exercife into the confiderätive Temper, or the Habit of deliberating and computing before one chufes or ads P ’Tis certainly Pleafure and Pain^that move us: Nothing can be the Objed of Affection or Deflre but Pleafure ; or, on the other hand, the Objed of Averfion and Diflike but Pain. Pleafures of Senfe, of Contemplation, of Sentiment, of Self-approbation, and their Oppofites, are all but fo many different forts of Pleafures and Pains. And let Metaphyficians debate and wrangle as long as they will, this muft neceffarily be true, and be no more than an identical Proportion, that what is pleafing is pleafing, and that Pleafure alone can be plea-fant * But it is Reafon’s Bufinefs to examine, compute and ballance Pleafures and Pains of all kinds : And then is Reafon well formed ; or formed into a really ufeful Principle, when the Mind hath acquired the Habit of computing before it ads; and of computing readily as well as truly : Which Habit or Temper can only be attained by inuring the Mind betimes to think and reafon before it ads, that is, to compare and ballance Pleafures and Pains before it chufes. NOW in forming this Habit, which not only conftitutes the wife but the free Man, there are two things to be taken care of. One is to inure Youth to reafon, or compute from Experience only; that is, from Fads afeertained by Obfervation, and not from abftrad, imaginary Theories and Hypothefes. The other is to inure them to imploy their Reafon chiefly about thofe Objeds and Connexions in Nature, which have the^neareft relation to human Life and Happinefs. In order to both which ’tis manifeft, that they ought to be taught to take a juft View of human Nature, and to confider Man as he really is, neither as a merely fenfitive Being, nor as a merely moral one ; but as a compound of moral and fenfitive Powers and Affedions. For in the human Make thofe Powers and Affedions are fo blended together, that it is impoflible to avoid Errors concerning Man’s Duties or Interefts, if any of them are confidered feparately, that is, independently of the reft. IT were eafy, my Lord, to point out feveral falfe Dodrines that take their Rife from dividing thole conftituent Parts of our Frame from one another, which are really infeparable in the Nature of things. To mention Epiflle on Education, and no other Inftance at prefent: Hence, I think, it is that fome have railed in fuch a vague, undetermined manner againft Luxury, as if all Pleafures ought to be defpifed by wife and good Men, and therefore banifhed human Society, but thofe that are abfolutely neceffary to our Subfiftence; or thofe that produce Enjoyment and Satisfaction of the very nobleft kind. In the general, confufed way of declaiming againft Luxury, all the Pleafures of Imagination, and all the ornamental Arts are damn’d as abfolutely fuper-fluous, and as unworthy of our Attention in any degree : Nay Cleanlinefs, not to fay, Elegance, is condemned and interdicted, as if Nature had given Man Eyes, Ears, and other Senfes, with a natural Tafte and Relifh of Proportion, Beauty, and Harmony, to no purpofe. THE happy Confequence of inuring Youth to reafon from Experience alone; and to reafon firft and chiefly about thofe things that have the neareft relation to Life, and with which it is therefore our Intereft tobe very early acquainted, would be, that the natural Defire of Knowledge, which is implanted in us on purpofe to impel us to feek after that Science, which is as neceffary to guide our Condudt, as Light is to ftiew us our Road, would not be milled into a way of gratifying itfelf by Enquiries quite remote from the practice of the World. And I am apt to imagine, my Lord, that more are ignorant of Life, and quite Strangers to the World and human Affairs, in confequence of employing their Minds about Objects that have little or no concern with Men and Things, than through mere Stupidity or Want of Capacity. It is falfe Learning that is the moft dangerous Enemy to the true, or that moft effectually fupplants it. Nothing therefore is of greater Importance in Education, than to render Youth betimes capable of diftin-guifhing ufeful Enquiries, from thofe that ought only to have the place of Amufements, like a Game at Chefs or Piquet: And for that reafon it would be of more confequence to exercife young People in often reviewing, with attention, a well-calculated Table of Arts and Sciences, in refpedt of their different degrees of Utility, than any other Categories or Arrangements of Ideas whatfoever, that are called Logick in the Schools, though fuch like-wife may have their ufe. BUT at the fame time that the Habit of reafoning well and readily is formed by inuring Youth to Reafon; the Faculty of exprefting known Truths clearly and ftrongly may be likewife acquired. It is neceffary that a Teacher fhould take the moft gradual, regular, clear, and full Method of explaining and proving Truths; or that he fhould proceed ftep by ftep with his Scholars : And therefore that dida&ick Art will of courfe be learned by them at the feme time that Knowledge itfelf is acquired in that way. But there is an Eloquence of another kind that ought not to be neglected in the Formation of Youth; and that would foon be attained by them, were but this one Rule obferved in Education, to inure Students after they have been led to the Knowledge of any Truth in the didadtick way, to find out the propereft Methods of exprefting it concifely and ftrongly; or of giving a convincing, emphatical View of it in few Words. This laft would be teaching them the Language in which Men ought to fpeak to Men about the fame Truths that can only be conveyed into raw, unformed Minds in a more flow and tedious manner. After young People under-ftand any Truth, it is neither unpleafant nor unprofitable ; but on the contrary it is very fit to employ them in confidering how feveral celebrated Authors have chofen to represent it in different Lights, each according to his own Genius; or in order to adapt it to fome particular Caft of Under-ftanding ; and then in vying with them in finding out other ways of nreffin foon as it lhall be purfued in the fame manner; that is, as Philofophers ftiali endeavour in the later, as they have done in the former, to find out from Experience, Analogies, Agreements and Harmonies of Phenomena; or. in the Deßgn of the Essay on Painting. iii other words, to reduce Appearances to general Laws. That the Knowledge of Nature, of human Nature in particular, is yet fo very imperfed, is certainly owing to dividing or fevering natural and moral Philofophy from one another; or to our not giving due Application to collect from Experience the general Laws to which Phenomena of the moral fort are reducible, in like manner as feveral Phenomena of the fenfible World have been reduced to a few fimple general Laws, which have at the fame time been found to be wifely and fitly eftablifhed in refped of the Good and Order they produce ; for all Phenomena of whatever fort can only be explained or accounted for in that way : All that Explication of Phenomena can mean, is the reducing them to fome general Law Or Principle: And therefore all other Attempts towards the Advancement of real Knowledge are to no purpofe. jjq Confequence of the View that hath been briefly delineated of Philofophy and Languages, it is manifeft, that the right way of teaching true Philofophy, muft be teaching at the fame time Science and Languages: And therefore it muft be forming at the fame time Reafon, Imagination, and Temper. ’Tis plainly forming Reafon to difcover or prove Truths, and Imagination to embellifh and enforce, that is, to paint them. And that it is forming the Temper, is no lefs obvious* fince Temper means nothing elfe but certain Affections worked into Habits, or become as fuch the Bent and Difpofition of our Mind. But Affections can only be wrought into Habit or Temper by being often exercifed and worked j and the Ex-ercifers or Workers are Sentiments duly conveyed and enforced by Reafon and Imagination. i • THIS is yet more evident when we coiifider, that what is principal with refped to Reafon in Education, is, as hath been faid, to form betimes that deliberating, computing Temper by which the Mind becomes Mafter of itfelf, and able to refift all the moft inviting Promifes and Solicitations of ObjeCts, till their Pretenfions have been fairly canvaffed. This Temper is what is properly called Virtue or Strength of Mind : without it one muft be feeble and unfteady, unable to aCt a reafonable or becoming part in Life ; nay, the Sport of contradictory Paftions and Appetites. It is by it alone that one can attain to that Harmony and Confiftency of AffeCtions and Manners which create Peace and Joy within, and command RefpeCt and Love from all around ; even from the moft Diffolute and Vitious ; for Nature can never be rendered quite infenfible to the Beauty and Charms of wife and good Condud. A due Confideration of thofe Maxims will naturally lead every thinking Perfon to difcover Abfurdities of many kinds in Education, that no doubt have frequently come a-crofs your Lordfhip’s Mind. Hence we may fee the Error of the famous Lycurgus, fince his manner of Education neither ferved to produce a right Temper, nor a fufficient variety of Genius, or confequently of Happinefs in Society ; but, on the contrary, tended to make Men favage and ferocious, and at the fame time cunning and deceitful ; and to exclude from human Life many excellent Virtues and agreeable Affedions, as well as Philofophy, and all the fine Arts. HENCE we may fee, on the other hand, the Error in Athenian Education ; the Youth there being more employed about Languages than Things. Whence it was that Athens Was fo over-run with that Deluge of Sophiftry, which Socrates was continually oppoftng; and that too many applied Epiflle on Education, and applied themfelves to the embellishing Arts, or the Arts of Imagination, in proportion to the number of thofe who applied to the Study of Nature ; or to drawing Confequences from the real Knowledge of Nature for ufe and practice in Life, and to be the Objects of the imitative and ornamental Arts. Whence proceeded in a great meafure the fatal Abufe, Degeneracy and Corruption of the fine Arts among them, before the Romans* who had thefe Arts from Greece, gave any attention to them. HENCE likewife appears the neceflity of treating Morals in another way than Puffendorf \ Grotius, and moft other celebrated modern Doctors of moral Philofophy have done ; fince their Conclufions (tho’ they be generally true) are neither deduced from a right, that is, a full View of the human Constitution, and our Relations and Connexions in Nature ; nor are moral Doctrines explained and enforced in their Writings by the pro-pereft Terms of Expreflion: On the contrary, all infinuating, beautify" ing, and captivating Lights in which moral Truths may be reprefented, that at once enlighten and warm the Mind, are rather avoided by them. I can’t help, my Lord, obferving one thing farther on this Subject, that if one may reafon at all from Authorities in Morals, as thofe Writers chiefly do, the propereft way of reafoning from Authorities about Morals would be by fhewing ; that almoft all the Truths which relate more immediately to human Life and good moral Condudl are fo evident, that in all Ages and in all Countries they have been converted into Proverbs or familiar Sayings ; and, which is very furprizing, they have been expreffed very nearly by the fame Images in all Countries, notwithftanding all the Diverfities of Genius, Temperament, and Language that have prevailed in the World. Whence it would appear how common, how univerfal good Senfe is, and always hath been. ANOTHER Error in Education is no lefs manifeft from what hath been faid, which is, that it is not contrived in order to explore, and give free Scope and fuitable Culture to all different Genius’s. Education is ge-r nerally carried on in the fame uniform way, without any regard to the natural variety of Genius amongft Mankind ; as if it were done on pur* pofe to difappoint the kind Intention of Nature in diverfifying Men’s Dif-pofitions and Talents: At leaf!:, proper Meafures are not taken in Education to invite different Genius’s to difclofe themfelves ; or after they are known to give fuitable Culture to each that appears, in order to improve it to its natural Perfection and ufeful End. Diverfity of Genius amongft Men is however no lefs neceffary to the Enlargement of human Happinefs and Perfection in the Sum of things, than variety of Herbs and Plants is fco the Beauty and Utility of the fenfible World. And fure it is not more abfurd to propofe one way of training and forming all young People, than to think of one fort of Culture for all kinds of Vegetables. THERE is another Diverfity among Mankind that is as little attended to in forming Youth as that juft mentioned ; the remarkable variety amongft us in refpect of different Propenfities to certain Affections. And yet this later Diverfity, if it be not quite infeparable from the former, is no lefs requifite than it to the End of Nature in making Man, which is the cre-neral Good of the Kind. Some are naturally hot and fiery, others are cold and phlegmatick ; fome are prone to Anger, fome to Love, fome to Ambition, and others to Quiet and Eafe; fome, in one word, to one Paf-fion, and fome to another : And all thefe Varieties are fo many different Seeds that require each its peculiar Culture ; and which mNht each bv proper the Deßgn of the Essay on Painting. xii proper Methods of Education, be improved into that ufeful Temper of which it is the natural Seed or fird Principle. Nature doth nothing in vain whether in the material or moral World : Whatever Foundations it hath laid for Art to work upon, are well intended. And as Art and Culture can only perfe& what Nature hath begun; fo the Improvement of natural Faculties and Difpofitions being wifely left to ourfelves, to neglect the due Culture of any Power, Quality, or Affedion Nature hath formed in human Breads, is to defpife, or at lead to over-look its kind and generous Providon for our extendve Happinefs in the bed way of providing for us ; which is by furnifhing us with a proper variety of Materials and Talents for our own Cultivation and Improvement into Goods. FROM what hath been faid, it is fufficiently evident in general, what ought to be the chief Aim of Indrudion ; and how it ought to be managed in order to perfed our Faculties of Reafon and Imagination, and to ^produce betimes in our Minds good and ufeful Habits. And at the fame time it is obvious, that teaching cannot be fufficient, but that foijic early Difcipline or Regimen is abfolutely neceflary to gam the principal End of Education ; iince it is by proper pradice alone that any Virtue can be rendered habitual to the Mind ; or be early confirmed into Temper. HAVING thus, my Lord, laid open fome Errors in Education, I wiffi I were able to propofe a proper Scheme of it: But that requires a maderly Projedor, a very expert moral Archited. All I am capable of doino- is to throw afide fome Rubbiffi ; and ffiew the Foundations upon which the noble Building mud be raifed: That Building which would^ ef-fedually make human Society happy ; or at lead without which it is im-poffible, Men can arrive at that Perfedion and Happinefs Nature plainly intended them for ; but left to themfelves to build, that they might have the Satisfadion of confidering it as their own Acquifition. We are certainly defigned by our Maker for whatever Dignity and Happinefs we are qualified to attain to by the proper Exercife of our natural Powers and Affedions. And as that alone, which is fo acquired, is moral Perfedion, Virtue or Merit, and alone can afford the Pleafure of Self-approbation ; fo Mankind’s being made able to arrive at their highed Perfedion and Happinefs only by their united Force, is the neceffary Bafis of focial Union, and of all the noble Enjoyments refulting from focial Intercourfe and well-form’d Government. IF any one thinks meanly of our Frame and Rank, let him ferioudy con-fider the Riches and Fullnefs that appears in Nature as far as we can extend our Enquiries ; and how every Being in the Scale of Life within our Obfervation rifes in due degree : Let him then confider how neceffary the Exidence of fuch a Species as Man is to the afcending Plenitude of Nature; to its Fullnefs and Coherence; and let him impartially examine our Con-ditution, and the Provifion made for our Happinefs ; the Excellence to which our natural Powers and Difpofitions may be improved and railed by good Education and proper Diligence; or the Dignity and Felicity to which we may attain by the Study of Wifdom and Virtue, efpecially in well-regulated Society ; for he will plainly fee, that though there be good reafon to think that there are various Orders of rational Beings in the Scale of Exidence, the lowed of which is fuperiour to Man, yet he is crowned with Glory and Honour, is well placed, and hath a very confiderable Dominion allotted to him: Let him attentively confider feveral glorious Characters Epiftle on Education, &c. • in Hiflory : Or rather let him turn his Eyes with me towards a living Example of Worth and Greatnefs, to have a place in whofe Efteem is indeed Merit, that cannot be reflected upon, without feeling a noble Ambition more and more to deferve it; nor declared to the Publick without bringing one’s felf under the ftrongeft Obligations to take particular care of one’s Condudt. I am, My Lord, Your Lordfiip's Mofi Obedient, Humble Servant, London, Ap. 25. I73 9- GEORGE TURNBULL. PREFACE, CONCERNING Education, Travelling, and the Fine Arts, A Preface is now generally expefted, and I fall in more readity with that efiablifhed Cußom, bee aufe it gives me an opportunity of pre-mifing fomething to the following Treatife that is by no means improper or unneceffary. THOUGH one of the principal Ends I propofed to myfelf in this Effay on Painting, &c. be to prepare young Travellers for feeing Statues, Sculps tures, and Piftures to better advantage than they can poffibly do if they have not previoußy turned their Thoughts a little that way ; Yet I am far from thinking it the chief Defign of Travel to examine the Productions of the Fine Arts even with the greatefi Accuracy, or in the mofi intelligent, philojo-phi cal manner ; and much lefs in order to become an Antiquary or Virtuofo, in the common Acceptation of that Char after; or to fee the Remains of ancient Arts very fuperficially, and to fet up for a Critick of them upon fo fight a Foundation. THERE are Subjefts of a more important Nature than Paintings and Sculptures, in whatever light they are confidered, that ought principally to employ the Thoughts of a Traveller, who has it in his View to qualify himfelf for the Service of his own Country, by vifiting foreign ones. But one Point aimed at in this Treatife is to fhew how mean, infipid, and trifling the fine Arts are when they are quite alienatedfrom their better and nobler, genuine Purpofes, which, as well as thofe of their Sifter Poetry, are truly philofophi-cal and moral: that is, to convey in an agreeable manner into the Mind the Knowledge of Men and Things ; or to inflruft us in Morality, Virtue, and human Nature. And it neceffarily follows, that the chief Defign of travelling muft be fomewhat of greater moment than barely to learn how to diftinguif an original Medal from a counterfeit one, a Greek from a Roman Statue, or one Painter s Hand from another s ; fince it is here proved', that even with regard to the Arts of Defign that kind of Knowledge is but idle and trivial; and that by it alone one has no better title to the Character of a P erf on of good Tafte in them, than a mere verbal Critick hath to that of a polite Scholar in the ClaJJicks. LET us conftder a little the pretended Reafons for fending young Gentle-men to travel: They may be reduced to thefe two. £t That they may fee the u Remains of ancient Arts, and the be ft Produftions of modern Sculptors and “ Painters and “ That they may fee the World and ftudy Mankind^ NO W as for the. fir ft, how it Jhould be offered as a Reafon for fending young Gentlemen abroad,is indeed very unaccountable, when one confiders upon what footing Education is amongft us at prefent; unlefs it could be thought that one may be jolted by an Italian Chaife into the Knowledge and Tafte that are evidently prersquifite to travelling with advantage, even in that view, or that fuch 2 PREFACE, concerning Education, fuch Intelligence is the neceffary, mechanical EffeEl of a certain Climate upon theUnderflanding', and will be inßantaneoußy infufed into one at his Arrival on Claffick Ground. For in our prefent Method of educating young Gentlemen either in publick Schools or by private Tutors, what is done that can in any degree prepare them for making proper and ufeful Reflexions upon the fine Arts, and their Performances ? Are not the Arts of Defign quite fever d in modern Education not only from PhiloJ'ophy, their Connexio?i with which is not fo obvious, or at leaf fo generally acknowledged; but likewfe from claffical Studies, where not only their UJeflilnefs muß be readily owned by all who have the fiighefl Notion of them, but where the want of proper Helps fro?n anciejit Statues, Bas-reliefs and Paintings for underßanding ancient Authors, the Poets in particular, is daily felt by Teachers and Students It is not more ridiculous to dream of one s acquiring a ßrange Language merely by fucking in foreign Air, than to imagine that thofe who never 'have, been direEled at home into the right manner of confidering the fne Arts ; thofe who have no Idea of their true Beauty, Scope, and Excellence fnot to mention fuch as have not the leaß notion of Drawing) that fitch Jhould all at once fo foon as they tread Italian Soil become Immediately capable of underflanding thefe Arts, and of making jufi Reflexions upon their excellent ProduSlions. And yet this is plainly the cafe with regard to the greater part of our young Travellers. And for that reafon I have endeavoured in the following Effay to lead young Gentlemen and thofe concerned in their Education, into a jufl er Notion of the Fine Arts than is commonly entertained even by the Plurality of their profeffed Admirers ; by diftinguifhing the fine Tafle of them from the falfe Learning that too frequently paffes for it; and by fhewing in what re-fpells alone the Study of them belongs to Gentlemen, whofe high Birth and Fortune call them to the mo ft Important of all Studies; that, of Men, Manners and Things, or Virtue and publick Good. And this I have attempted to do by fitting to view the Opinions which fome of the greatefl Men of all Ages have had of their truefl Excellence and befl Scope; and not by Argutnents of my own Devife ; or for which I have no better Authority than my own judgment. AS for the other principal End of Travel, commonly comprehettded under the general Phrafe of' feeing the World, and acquiri?tg the Knowledge of Mankind, it is a SubjeEl that requires a much more comprehenflve Knowledge of the World than I can pretend to, to treat it as it ought to be. Having however in the following Difcourfe on Painting fhewn, what Notions fome very great Men, of ancient Times in particular, entertained of that Art; and having made the befl ufe I could of their Sentiments and Reafonings about the fine Arts, to fit them in a due light; IJhall jufl remark here, with regard to travelling, that ancient Philofophers, Legiflators, Patriots and Politicians thought Travel necejfary, and accordingly travelled. But why did they travel; or at what time of Life did they fit about it f They travelled after they were Men of Reading and Experience; and they travelled to fee different States and to acquire more Experience in human Affairs j or a more extenfive Knowledge of Mankind. Arui indeed he who hath been in the Wmid, and rightly underflands what knowing the World means, he, and he alone is qualified for travelling. Seeing the World is a very familiar Phrafi', it is almoft in every one s mouth. But how few diflinBly comprehend its fidl Import and Signification f The Ancients travelled to fee different Countries, and to have thereby Opportunities of making folid Reflexions upon various Governments, Laws, Cufloms and Policies, and their EffeSls and Con-fiquences with regard to the Happinefs or Mifiry of States, in order to import with them into their own Country, Knowledge founded on Facl and Obfe?~vation, Travelling, and the Fine Arts. Obfervation, from which, as from a Treafure of Things new and o 'f jure and folid Rules and Maxims might be brought forth for their Country s Benefit ok every Emergency. For this is certain, that the real Knowledge _ of Mankind can no more be acquired by abftraB Speculation without fiudying human Nature itfelf in its many various Forms and Appearances, than tvs real Knowledge of the material World by framing imaginary Hypothejes and Theories, without looking into Nature itfelf: And no lefs variety ofOb-fervations is necejfary to infer or efiablifh general Rules a?id Maxims in the one than in the other Philofophy. But how can one be Juppofed fit for fuch ferious and profound Employment, before he hath very char and diflind Ideas of Government and Laws, and of the Intereßs of Society , or woo y previous Education hath not been put into the way oj moling Reflexions on thofe ufeful SubjeBs f I have often heard a very young Nobleman (the Advantage of whofe uncommon Parts, and equal Virtues, may his Family, his Friends, and htS Country long continue to enjoy) remark abroad', “ Float though all our young « Gentlemen of Fortune are fent to travel at a certain Age, promifeuoufiy « or without diflinElion ; yet it is very eafy to find out whether one bejit for ci travelling or not; fince he alone is fo, who takes pleafure in reading Hi-cc fiory, not merely for his Amufement, but in order to lay up in his Mind « truly ufeful Knowledge ; and who, after having been inured for a con-u fiderable time to fuch a ferious and profitable Train of deep-thinking about cc Men and Things ; and having thus conceived a clear Notion of the things cc to be obferved and enquired into in his Travels in any foreign Country, is a able to form to himj'elf a proper Plan of Travels, in order to accomplifh « fome manly, rational Defignd Such only are qualified to travel: Before fuch a Turn of Mind be well efiablifhed by Reading, Converfation, and fome PraBice in the World, it is as abfurd to fend one abroad to fiudy Man kind, as to think of coming at PerfeBion in any Science without the Knowledge of its Eleme7its or firß Principles. It is really like employing one to meafure without a Standard, or count without Arithmetick. IN order to travel with Advantage through any foreign Country, one ought to have not only a very full Knowledge of the Laws, Conßitution,Hißory and Intereßs of his own Country, (which is feldom the cafe) ; but he ought likewife to have as full and thorough a Knowledge of that foreign Country he intends to vifit, as can be learned at home from Books and Converfation: And he ought certainly to have very jufi aitd well-digefied Notions of Government, and civil Policy, and its Ends : Otherwife he goes indeed abroad not knowing whither he goes, or what he goes to fee ; without any Scheme ; and ab-lolutely unqualified to compare, or make right Judgme?its of Men and Things. IF Parents fend their Sons fo young abroad, for no other reafon but merely that they may be for fo?ne time out of their fight, (I wijh it could be likewife faid, that they fent them out of Harms way) in fuch a cafe is it to be wondered at, that young Gentlemen go abroad without any other view but to make ufe of their Difiance from all Checks, to fii?tg themfelves headlong into Pleafure, and give full fwing to their Appetites ; and that thus ' they bring back with them broken Confutations, and a worfe Habit of Mind f IF young Gentlemen are early fent abroadfor any of the infer iour Parts of LiberalEducation, there muft be great DefeBs in our own at home, which ought ‘ d to PREFACE, concerning Education J o J to bo remedied, in order to put an end to a Necejfity fo rifquous, in whatever View we take of it. If the Exercifes are fo necejjary to com bleat Education, that young Gentlemen are fent very youno- into France on that account, [and certain genteel, manly Exercifes are imdoubtedly requifite to form a fine Gentleman) why have we them ?not in our own Schools and Uni-verfities in their proper Place and Seafion P IT camtot be fiaid, that it is to learn Good-manners and a polite Mien and Carriage, that our young Gentlemen muß be fent Jo early into France without doing injifiice to our own Fair Sex, by Converfiation with whom they would quickly be polifhed into a Behaviour far preferable to that con-traded abroad. ’Tis no doubt owing to our fending our Youth to be polifhed in France into genteel, pretty Behaviour (as it is called) a Complement that has been paid to that Nation by the Britifh in particular, too, too Iona-, that the French are the o?ily People in the World who have the very extraordinary Politenefs to tell all Strangers, that they alone wider ft and Le /9a voir vivre ; and the Commerce de la vie. That furely cannot be the reafon for fending young Gentlemen betimes into Country-Towns in France, fmee it is well known how awkard the People of the heft Fafhion at Caen, Angers, or Befancon, for inßance, appear to the Court-bred at Verfailles or Paris the Center of French Politenefs. Tis the Fair Sex in every Country that is the Source of good Breeding, and that regulates genteel Manners : And thanks to our untravelled Ladies for their better Notion of a fine Gentleman ; Jmce it is chiefly by their means that any of our young Travellers who return from France Fops and Coxcombs, are ever recovered from their French Fluttering, Volatility, and Impertinence, and reftored to that native Plainnefs and Serioufnefs of the Britifh j of which, if ever we become generally aflamed, all that is Grave and Great amongfl us, andth at exalts us above every ftavifh Country, muft be on the Brink of Ruin. J J IF it is faid, that they are fent early into France to learn the French Language, that they may have a Tongue to travel with afterwards ; I Jhall only fay, that very many have acquired in confequence of a right Education at home, not only French but Italian, to a very great degree of Per-fethon, without having negleEled Languages of greater Ufefalnefs, by the Help of which they may early imbibe Sentiments much better becoming a free People, than they can from French or Italian Authors : Sentiments that will beft ferve to maintain Love of Liberty and publick Spirit in that due Vigour necejjary to uphold a free Conftitution. And there are, on the other hand, but few Examples of very great Progreß made abroad in France in the French Language, by fuch as had not made conftderable Advances in it before they left their own Country. THO’ it appears from what hath been faid, who alone are qualified to travel; and that very few young People can be fo, at leafl till found Politicks, and the Knowledge of the PVorld have a greater flare in our Education ; yet it is with the highefl SatisfaElion I fay it, that I have met with Jome very young Gentlemen abroad who travelled to very great advantage ■ I have already mentioned a very juft Remark of one in his Travels • and I would name him and a great many more, did I not fear to offend their Modefty. One very extraordinary Inßance I cannot chufe but relate to Jhew young Travellers what Difpofition of Mind is necejjary to travelling 'pro-jit ably. A Nobleman who Jet out to travel very young, not fatisfed with having' very wed digefted the Plan of his Travels before he left England upon his Arrival in-----fat down ferioufiy to review his baft Education • and T ravelling, and the Fine Arts. and to confider what remained for him to do, to fit himfelf for being fervice-able to his Country in the high Station to which his Birth entitled him. Having then for fame time maturely weigh'd the chief Ends of travellings and confidered the Preparation it requires, he wrote, by way of Directory to himfelf an excellent Performance, in Imitation of the ancient Fable of Prodicus concerning the Choice of Hercules. TVifdom and Pleafure accofi him as they did Hercules. The latter courts him to fling himfelf into her foft Arms, and to give full Scope to every Fancy and Appetite that promijes him pleafure, without being at the trouble of examining its Pretenfions. But JVifdom advifes him to think of Virtue and true Honour; of his Country audits Good', and to travel in order to qualify himfelf for worthy Purfuits and Employments at home. He by asking Wifdom what Defign one ought chiefly to propofe to himfelf in travelling,, puts her upon pointing out to him the chief Purpofes and Advantages of Travel, and the Qualifications neceffary for gaining thefe Ends : Upon which he refolves to beftowfome time at the Univerfity,, where he then was, upon Hiftory, the Laws of Nature and Nations, and other fuch previous Studies ; and then to travel on condition that Wifdom would go along with him, keep his Country ever in his Heart and Eye, and preferve him from the contagious Vices of the World. He was able to form to himfelf in this manner an excellent Scheme of travelling, and having purfued it as one could not but expeSl from fuch rare Virtue and Prudence, his Country now reaps the happy Fruits of his Knowledge and Integrity. If one would be great and amiable, let him imitate * * *, and be happy by fo doing. THE World is fujficiently fluffed with Books of Travels, but in almofl all of them I have been able to get into my Hands, the main End of travelling is over-looked; and as if the Knowledge of Mankind had nothing to do with it, every thing elfe is treated of in them but that alone. The greater part of them are filled up with general Notices of Buildings, Statues, \Bas-reliefs and PiElures, that are to be feen in Italy in particular, which do not even fuperfede the necejfity of having recourfe to the very defeEhve Originals from which they are taken, that are to be found in every Town, under the Title of a Guide to Foreigners, for that place. Mr. B— has wrote a Book, from the Title of which one would naturally expecl a Treatife upon the principal Purpofes and Ends of travelling, and the right Method of accompli fling thefe Ends. But thd he calls it An Effay on the Utility of Travel, after telling us, that it is fit to carry good Maps with us of the Countries we intend to vifit, and giving us fome other fuch-like profound Advices, he immediately falls into learned, or rather advent rous Difcuffions about Medals, Gems, and Talfmans, as if collecting fuch Rarities wfrf t0 be a Gentleman s chief Employment abroad ; and the Knowledge of Men and Things were quite foreign to his purpofe. Hardly will any one of our Travellers fay, that M-- is a fuffcient Guide, or that he with all his commendable Zeal againft Popery; all his ridiculous Anecdotes^ of Pnefts, Friars, and Nuns, and all his fiage Counfels about carrying with us Bea-Linen, Knives, Forks, Spoons, a Blunderbufs, &c. has quite exhaufied the BUT thd we ftill want fomething more full upon the chief Purpofe of travelling, than hath been yet written, for the DireElion and Ajfifiance of our young Travellers ; Lord Bacon hath a Chapter upon it in humoral Effays, that well deferves to be often read, and maturely pondered before one fets out, and to be frequently returned to, and read over and over again abroad. In Mr. Addifonh Travels there are fome excellent Obferva-tions upon Men and Things ; but his Remarks will chiefly ferve to (hew, how PREFACE, concerning Education, well verfed in the Clafficks one ought to bey in order to have agreeable En tertainment in feeing the Scenes of celebrated ABions, and the Remains of ancient Arts. LORD Moles worth in his Preface to his Account of Denmark, [he vs what advantage one who thoroughly underflands the Value of a free Confii-tutioji, and hath withal a humane, generous Soul, will reap in enfaved Countries, by feeing, or rather feeling the miferable EffeBs of lawlefs Power. Travelling into fuch Kingdoms he thinks necejfary to thofe who are born in free Countries ; becaufe as one is in danger offorgetting the Value of Healthy whilfi he enjoys an uninterrupted Courfe of it ; ß amidfi the happy Fruits of Liberty, a Senfe of its ineftimable Worth may be lofty or at leaf confider-ably impaired. Buty on the other handy if one hath not very juft Notions of Government \ and a very benigny as well as penetrating Mindy may 'he not be dazzled by the glaring Pageantry and falfe Magnificence of the Courts of Tyrants ; and become enamoured of the Worfhip paid by a flavifh Commonalty to the Nobles, and think the Homage and Submiffion they are obliged to render in their turn to their defpotick Lorcly fujfciently compenfated by the Power left them to tyrannize over their Inferiours. LORD MolesworthV Account of Denmark points out toTravellers the Things that ought to be inquired into abroad : And thofe who having read that excellent Treatifey Sir William Temple’r Account of the United Pro-vincesy Busbequius 's EpiftleSy and fame otherfuch Books, have learned what they ought principally to endeavour to know in foreign Countries ; and have already taken the proper eft Methods of getting fatisfaElion about all thefe Matters with regard to their own Country ; thofe alone are fit to travel; and fuch cant fail to return from abroad freighted with very ufeful Knowledge. But fuchy as far from being prepared for thofe important EnquirieSy have not Jo much as the leaft Tafte of the fine Arts before they travel; what elfte can be expeBedfrom themy but that they fhould entirely give themfelves up abroad to jhamefuly ruinousPleaJureSy toDrefiy Gallantry and Play \ and that amongft People not of the higher Rank : not merely becaufe it is eafier to have accefs to the lower; but rather becaufe they meet amongft them with more of that vile, pernicious Flattery and Cringingy by which they were corrupted at hotney not by Servants and Parafites alone. I have only mentioned thefe few things about Travely left any one ftjould imagine, that having wrote upon Painting chiefly for the Ufe and Afliftance of young Travellers, I looked upon it to be the principal Defign of travelling to get acquainted with AntiquitieSy or with the Hands and Pencils of Painters. And having fufficiently declared my Sentiments on that heady I ftjall now take advantage of another received Cuftom in PrefaceSy and give fome ftoort Account of the following EJfay. A Reader now-a-days as naturally expeBs that in a Prefacey as one does an Advertifmenty where there is any Rarity to be feeny with fo7ne general Information of the Entertainment offered for his Money. And this is fo much the more necejfary, with regard to this Treatifey becaufe it is impoffible to expreß fully in the Title of it a Defign fo 7tew attd co?nprehe?ifive : And' fotnz tnay have imagined that it is only a Treatife for Painters. THE Defign of the EBay on the Rife, Progrefs, and Decline of Painting among the Greeks, &c. is to fit the Arts of Defign in a juft Light; and to point out in particular the excellent Ufe that ?nay be ?n a de of thezn in Education. IN Trävell ing, and the Fine Arts. Kxi IN the firft Chapter it is obfterved, that the Arts of Defign are very Undent ; more antient than the Fables concerning Apollo, Minerva, Vulcan, the Mufes and Graces, and confequently than the Story of Dsedalus. Bui whatever may be determin'd with reftpeCl to their Antiquity in praClice, Homer certainly had very per fed Notions of them in all their Parts and dualities \ and a very high Idea of their Power, Extent and Ufteftulnefts, Tot only to charm and pleafte,, but to inftruCl in the mofi important Points of Knowledge. Virgil hkewifle has not fcrupled to fuppofe not only Sculpture but Painting as anciently in ufe as the Siege op Troy ; and he had the fame Opinion of their Dignity, Utility, and Fxcellence. The befi ancient Philo-fophers entertained the fame Sentiments concerning thofe Arts; their Fitnefs in particular, to teach hitman Nature ; to difplay the Beauties of Virtue and the Turpitude of Vice ; and to convey the moft profitable InftruChons into the Mind in the mofi agreeable manner. Accordingly they employ'd them to that noble purpofie, frequently taking the SubjeEls of their moral Left-fons from Paintings and Sculptures with which publick Porticoes ^Athens, where the Philofophers taught, were adorn d. Some Moderns of our own Country, who are own d to have come near eft to the befi Ancients in agreeable as well as ufieful Writings have earneftly inculcated the like Notion of the polite Arts, and recommended them together with the manly Exercifies as neceffary to complete a truly Liberal Education. Thus the Conclufeon, that is principally aim'd at in this EJfay, comes out with a confiderable degree of Evidence in the firft Chapter. IN order to give a juft View oft the Excellence and Ufteftulnefts oft the fine Arts, it is requifite to give a fair Repreftentation of the Perfection to which they have been improved at any time. Some may fuft'peCl, that Men of fine Imaginations have carry d thefte Arts further in Speculation than they have ever been aClually brought to, or than they can really be advanced. Thofe who have conceiv'd., whether from Deftcriptions of Poets, or from feeing a few good Pictures, fome Idea of what they may be really able to perform^ if duly cultivated and improved, will naturally be defirous oft knowing what Progrefs they had made in ancient Times; and by what Means and Cauftes that chiefly happen d. And in truth it is hardly pojfible to ftet their Power, Extent, and Merit in a better lights than by Jhewing what they have actually produced. Now this is attempted in the ftecond Chapter. B UT before I entered upon the Hifttory of the Art, it was proper to ob-ferve in an EJfay, chiefly intended to fhew the Ufteftulnefts of Painting and its Sifter Arts in Education, That tho' the more ancient Treatifes on Paintings are loß ; inftomuch that we have nothing preferv d to us that was ex-preftftly written on that SubjeCl, except what is to be found in Pliny the Elder, and the two Philoftratus’s TVorks ; yet fuch was the ancient Manner of Education, and of explaining any particular Art or Science, that in their Dift-courjes upon Poetry, Eloquence, Morals and other Subjects, many excellent Remarks are made for the Illuft ration of thefe Subjects upon the different Talents and beftl Performances of ancient Painters \ the eftfential Qualities' of good Painting, and the Rife, Progrefs and Decline of that Art: which Obfervations when laid together in proper Order, will be found to furnifth not only a very full Hifttory of the Art, but a juft Idea of its Ufefulnefs in Education ; or for the Improvement of the Heart as well as of the Imagination and, fudgment. Accordingly the firft Chapter ends with an Obfter-vation to that purpofie upon the Authorities from which the following Account of ancient Painting is brought, and upon the ancient Mamter of uniting all the Arts and Sciences in Liberal Education. e IN P R E F A C E, concerning Education^ IN the fecond Chapter an Account is given by way of Parallel, of the chief Patents and Qualifications of the more remarkable Painters in the two moft diftinguifth'd Ages of the Art, that of Apelles and that of Raphael ; in which it is fhewn by what fimilar Means and Caufes it advanced to fo like a degree of Perfechon at both thefe Periods. Phe Analogy between thofe two Ages of Painting in many Circumfiances is indeed furprifeng ; but it is well vouch'd, and not imagined; and therefore abftraBly from all other Con-fiderations, it is, by itfilfi a Phenomenon well worth a Philofopher or Politician s Attention. This Hiftory is given by way of Parallel; becaufe it was thought it would not be difagreeable to fee two Ages of the Art, as it were at one View ; but chiefly becaufe it is very dißcidt to convey clear Ideas of the Talents of Painters merely by IVirds; and thofe who are at a lofs to und erfand any ways of J'peaking that are ufed in defcribing the Abilities of any ancient Painter, will be befl fatisfied by having recourfi to the PiBures (or good Prints of them) of thofe Mafters among the Mederns, to whom the Me Qualifications are aferibed. In this double Hiftory frequent Opportunities occur of 'fitting to view the Connexion of the polite Arts with true Philofi-phy, and their Serviceablenefs in fhewing the Beauties and Deformities of Life and Manners, and in leading to juft Notions of Nature, and of all the Arts, and likewife of good moral ConduB; more particularly in drawing the Chara&crs of Apelles, Pamphilus, Euphranor, Nicias and Metrodorus; ■and in commenting upon fame Paffages of Cicero and Quintilian, concerning the like Progrejs of Painting and Oratory among the Greeks, and fome of the Caufes and Means of their Improvements. PHIS Ejfay is divided into Chapters, becaufe it is neceffary to return again and again to the fame SubjeB, in order to fit it in various Lights and Views. 6 AND in the third the fame SubjeB is refum'd, but purfud in another manner. It is likewife about the Progrefs of Painting among the Greeks. In it fome^ of the befl PiBures of the moft celebrated ancient Artifts are confided d, juch as fiemd moft proper to fhew the PerfiBion at which Painting in all its parts had arriv'd in Greece ; to evince the Excellence of the fine Arts ; and to confirm the Conclufion that is principally aim'd at, the Connexion of Painting with Poetry, and of both with Philofophy : which in the end of that Chapter is illuftrated by a Paraphrafi on what the two Philoftra-tus’s have faid on that SubjeB in their Books of PiBures. To which Reflexions a few others are added upon the equal Extent of Painting with Poetry, and the fimilar Diverfity both thofe Arts admit of, that do likewife no lefts plainly follow from the Examples of ancient Painting deferib'd in this Chapter. IN the fourth, after fome Obfervations upon the Colouring and Draw-ing of the Ancients, and their Knowledge of PerfpeBive; fome of the moft ejfential Qualities of good Painting', fuch as Truth, Beauty, Greatnefs, Eafi and Grace are more particularly confided d. And for this end, two Dialogues of Socrates, one with a Painter, and another with a Statuary, are examin'd and commented upon at great length. After which feveral Paffages of Ariftotle, Cicero, Quintilian, and other Authors, relative to thfte Qualities of good Painting, are explain'd. And in diftourfinr on them. Painting having been all along compar'd with Poetry, in order to give a right Idea of both, the Chapter ends with a floort View of the principal Queftiqns, by which, in the Senfe of ancient Criticks, PiBures as well Travell ing, and the Fine Arts. as Poems ought to be try d and examin d ; which pews the Confederation ofe both to be a very improving and truly philofophical Employment. IN the fefeth Chapter, an Enquiry is made concerning the Progrefes of Painting among the Romans; in which it being quickly found out, that Painting never came to Jo great Per fehl ion among them as in Greece ; feme RefleElions are made upon the moral Caufees, to which the Progrefes and Decline of all the Arts, ofe Painting in particular, are afecfiV'd by anciettt Authors. Some had been already menÜGJted in the feecond Chapter, relatmg to the Talents and Characters of Painters, and the Encouragement of that Art; but feveral others of more univerfal Concern are here touch'd., fetch as the mutual Union and Dependance of all the Arts, and their Connexion with Liberty, Virtue, publick Spirit and true PhiloJ'ophy. The fexth Chaffer fheweth the excellent Ufes to which the Greeks chiefly employ'd the Arts of Defign ; and the high Opinion which feme of the greatefi Men of Antiquity entertain d of their real Dignity and Excellence, on account of their Tendency to promote and encourage Virtue, and to give Luftre, Beauty and Tafee to human Life. After which there is feme Rea-foning to pew how neceffary the fine Arts are to the trueft Happinefs of Man and the real Grandeur of Society. And laft of all the Objections made againft the polite Arts are remov'd: Such as, that Plato banip'd them from his ideal Republick ; and what is faid by others of their Tendency to foften and effeminate Men, and of their having been one principal Caufe of the Ruin of the Roman State. BUT all thefe Enquiries being chiefly intended to prepare the way for a philofophical Confederation of the fine Arts; in the feeventh Chapter it is pewn, that good Tafle of Nature, of Art, and of Life, is the fame ; takes its Rife from the fame Difpofetions and Principles in our ?noral Frame and Make ; and conjequently that the mofe fuccefeful way of forming and improving good Tafee, mu ft be by uniting all the Arts in Education agreeably to their natural Union and Connexion. To illuferate this more fully, our Capacity of underflanding Nature, delighting in it, and copying after it, either in Life and ConduCi ; or by the imitative Arts \ is Jhewn to arife from our natural Love of Knowledge ; our Senfe of Beauty natural and moral; our publick and generous AffeClions, and our Love of Greatnefe ; to improve and perfeCl which Difpofetions is certainly the principal Scope of Education. Then the properefe way of teaching Oratory, Poetry, Logick, natural or moral Philofephy is enquired into ; and Painting is provd to be requifete to the mofe agreeable as well as profitable Method of explaining and teaching all thefe Arts and Sciences. Whether Education is confided d with refpeCl to the Improvement of Imagination, of Reafen, or of the Heart, Painting is (hewn to be of excellent ufe. In confedering the Nature and End of Philofephy, Pictures are prov d to be proper Samples or Experiments either in natural or moral Philofephy; and they are Jhewn to be as fuch, of admirable Efficacy to fix our Attention in the Examination of Nature, the foie ObjeB of all Knowledge, the Source of all Beauty, and the Standard of all the imitative Arts. To co?ifirm this feme moral Pictures are defcrib'd. And after having remarked, that in reading and explaining the Claffick Authors to Pupils, Sculptures and PiSlures ought for many reafons to have their place, and to be ojten ref err'd to ; this Chapter concludes with obferving, that this Scheme of Education only requires, that Drawing be early taught, which, as Ariftotle long ago afferted, is not only neceffary to Liberal Education, but to that of Me'chanicks. 2 THE PREF A GE, concerning Education, THE laß Chapter points cut feme other very ufeful and entertaining Enquiries about Pictures, befides thofe that regard Truth and Beauty of Compofition. For though that be the main thing in Painting as well as in Poetry; yet fo like are thefe Arts in every refpeEl, that fome other Refearches are equally pleafing and profitable with refpeEl to both : Such as how the diflinguijhing Genius of a Painter, as well as that of a Poet, appears in all his Works \ and what ufe modern Painters have made of the Antique, in like manner as the befi tnodern Poets have done of the ancietit ones. THESE Enquiries are recommended as being not merely about Hands 'and Styles, but about Men and Things, and for that reafon they are not barely fuggefled; but in order to put young Travellers into the way of them, fome Obfervations are offer'd with refpeEl to the diftinguijhing Talents, Genius and CharaElers of feveral of the mofi famous modern Maß ers, and the happy and laudable Ufe they made of the exquifite Remains of Antiquity in Sculpture and Painting. THIS Work concludes with fome few Remarks upon the fifty Pieces of ancient Painting now engraved with great ExaElnefs and Elegance from excellent Drawings. Several Obfervations are made on them in the pre-ceding Chapters ; but here fome Reafons are given for puhlifhing them. It is a part of Antiquity that deferves to be made known, and that muß therefore be very acceptable to all Lovers of Antiquity. Which is more, they ferve to prove that the Accounts given in this Effay of ancient Painting, from ancient Authors, may be depended upon, or are not exaggerated. But they are publfidd chiefly in order to excite thofe, who are concern d in Education, to make a proper ufe of the ancient Remains of Antiquity in Painting and Sculpture, in explaining ancient Authors to their Scholars * and to induce Travellers infiead of republijhing Statues and Bas-reliefs that have been often well engraved, to enquire after fuch as have not yet been made publick, by which either the Tafle of Art may be improv'd, or any light may be given to a?icient Authors. Some Account is added of the Originals, their Sizes, where they were found, and where they are, &c. It never was my Intention to enter in this Effay upon any mythological or claffleal Difcuffions about any Remains of ancient Arts ; yet fome few Paffages of the Clafficks that occur d to me upon confldering fome of thefe ancient Paintings, are infer ted, for the fake of thofe, who perhaps may never have thought of the mutual Light which ancient Authors and ancient Pieces of Art cafi one on the other, though that hath been taken notice of by many Writers. And I am exceedingly glad that I can tell the Publick that one much fitter for that learned, as well as polite Task, has far advanced in fuch a Work, which cannot fail to be of great ufe to Teachers and Students of Poetry, Hiflory, Sculpture, and Painting; and in particular to Travellers, as far at leafl as Improvement in good Tafle of the fine Arts is concern'd in Travel, fo equal is the Undertaker to that ufeful Deflgn. ALL I have further to add is, that I am exceedingly indebted to a late excellent Commentary in French on Pliny h Book of Painting ; as like-wife to the fame Author s Notes in French, added to a very correEl Edition of the Latin Text * ; and that I have not fcrupled to make ufe of fuch Englilh Tranflations and Paraphrafes upon feveral Paffages of ancient Authors relative to my SubjeEl, as feerned to me to do juftice to the Originals * But all that I have borrowed of that, or of any kind, is acknowledged in the marginal Notes; where the more important Paffages of ancient Authors * By Mr. T>. D. London 1725. Travelling, and the Fine Arts. xxv Authors commented upon in the Text, are alfo inferted for the moft part at full length, and in the original Languages. Mr. Pope .r Obfervations on the Shield of Achilles make a great part of the firft Chapter. And indeed as an Effay on the Antiquity of Painting would have been very imp er fehl without taking notice of the fine Ideas Homer had of that Art; Jo it would have been vain and arrogant to have attempted any thing on that hubjecu after fo mafterly a Performance upon it. ’Lis very difficult not to indulge one s felf in praifing when the Heart is full of Efteem. But it very juftly would have been accounted prefumptuous and ajfuming in^ me, to do more than mention Mr. Pope when I quote any part of his Writings. It belongs to thofe of eftablifhed Fame to difpenfe it, und to me to endeavour to merit it. I have received very little affiflance from any of the few Writers upon ancient Painting) (for they do little more than copy from Pliny; effiptpf nius * and to him I frankly own I owe fo much, that had he not obliged the VAorld with his very learned Performance) I jhould never have attempted what I have done. But at the fame time thofe who have read that Author will immediately perceive from the Account already given of this Effayy that I have purfuedquite a different Scheme ; and that lean have but very little in common with him except certain Authorities from ancient Authors. And with regard to thofe he quotes, I have left out not a few, as having very little relation to my SubjeB; many I have made a very different ufe of from what he does ; and very many Paffages of ancient Authors are to be found in this Treatife, which had either efcaped him) or did not fall within Pis pian. To give a juft Idea of truly Liberal Education is my principal view throughout the whole ; or by explaining the Relation of Painting to Philo fophy) which is generally reckoned fo remote from it, and its Ufefulnefs in Education, to unfold at full length the Truth and Importance of that Saying of Plato : “ That all the Liberal Arts and Sciences have a ftriB “ and intimate Affinity \ and are clofely united together by a certain common u ßond) and that they cannot be fever d from one another in Education) with -« out rendering any of the Arts that is taught very defeBive and imperil. jey. and Education very narrow and ftinted, and incapable of produ-“ cing that univerfal good Tafte which ought to be its Aiml And that is quite a different SubjeB from what Junius had in view, tho he likewife occasionally takes notice of this natural and infeparable Connexion and Union of all the Liberal Arts and Sciences. As I have no right to give any Advice to Art ft s ; fo I have no where attempted to do it, or affumed any^ higher Char aB er to myfelf than that of a ColleBor from the Ancients. Yet if any Art ftsJhould think or fay that Art ft s alone can judge of their Performances, I would juft ask fuch) for whom they paint) if it is for Artifts only. They finely have no reafen to complain, when one not of the Profeffion endeavours to the utmoft of his power to do juft ice to their Art, and to Jhew what excellent ufeful Entertainment it is capable of affording to all who will but conftder it as a Species of Poetry, as it ought to be. All however I pretend to, is to have aBed the part of a Compiler, and to have digefted into the beft Order I could the Sentiments of ancient Authors about Painting, that are fcattered thro many of their Treatifes on other SubjeBs : But in doing fo, I did not think myfelf obliged merely to tranflate, I have offener commented or paraphrajed. LET me juft fubjoin, that I flatter myfelf the virtuous Intention with which this Work is wrote, will atone with my Readers for many Imp erf ec- f tions * Francifcus Junius de Pi&ura veterum. P REF ACE, concerning Education, §§c. tions in it, befides thofe in Language, with regard to which I cant forbear faying, that I have ever had the Jatne Idea of too great nicety about Style, as oj over-finißing in Pi&ures. I need not male any Apology for inferting fo many Paffages from ancient Poets in the Text, fince the praElice is common ; thofe who like the original Authors from which they are quoted, will be plea-fed to fnd them applied to proper purpofes ; and very few Tranfations of ancient Poets are fo equal to the Originals as that of Homer, that I could adventure to make the fame ufe of them I have done of it. I return my mofl hearty Thanks to all thofe who have generoufly encouraged this Work ; and I hope they will not blame me for its not being publifhed prectfely at the time mentioned in the Propofals, fince (not to fay that very few Authors have fo exaSlly kept to their time as I have done) I can ajfure them, the Hindrances that retarded this W)rk were absolutely inevitable. Not having leave to mention thofe Gentlemens Natnes who were pleafed to take the trouble of revifing my Papers, and to favour me with their Animadverfions upon them, all I can do is to ajfure them, I reckon myfelf exceedingly obliged to their very friendly CorreSlions and Amendments. N. B. If this Efiay had been printed upon a Paper of the Size that was at firft intended, it would have far exceeded the number of Sheets pro-pofed. But it was afterwards thought proper, for the fake of the Copper-Plates, to print it upon a Paper of a much larger Size, tho’ the Author’s Expence be thereby not a little augmented. Principal Contents of this Eflky DIGESTED INTO A Regular Connected Summary. CH A P. I. Contains Obfervations upon the Antiquity of the Arts of Defgn-t of Painting in particular ; and the jufi Notions which we are led to form of their Dignity, and Ufefulnefs, by many Defcriptions of Sculptures and PiElures in Homer and Virgil, in the following Order. The Learned have proved Painting to be very ancient by feveral Arguments : Arguments taken from ancient Eables, from the Nature of Things ; and from Hiftory. p. i, and2. Though Pliny fays it was not known at the Siege of Troy> yet he owns that Sculpture was": Whence it follows, that Defign muft have been underftood at that time > and he juftly wonders at its very quick Progrefs, on fuppofttion that it began later. p. 3. Homer, who is rigidly exaft in his Accounts of Cuftoms and Arts, reprefents Painting, or fomething equivalent to it to have been then in ufe : And whether the Practice of that Art be fo ancient or not, "tis plain, he had very perfect Ideas of it in all its parts. Accordingly he was not only regarded by ancient Criticks as the Father of Oratory and Poetry; but by ancient Painters as their Legiflator and Infpirer. p. 3. And indeed a very good Reafoning of Cicero to prove, that Oratory as well as Poetry muft have been at a very confiderable degree of Perfection at that Period, equally extends to Painting, of which Homer fhews luch a thorough Skill and Tafte. --------- p. 4. Mr. Popes excellent Difiertation on the Shield of Achilles is inferted here, in which it is confidered as a Piece of Painting which was never done before by any Critick ; for by it Homers compleat Knowledge and high Opinion of that Art are put beyond all doubt, and the Art itfelf is fet in a mod juft and delightful Light. Some Authorities are added to prove, that it was confidered by the Ancients in the fame View. --- ---------- ---------- ------- ---------------* p.y,toil. That Virgil had the fame high Opinion of the Arts of Defign, and equally delighted in bringing Ornaments to his Poem from them, appears by feveral Defcriptions of Pidures and Sculptures, and other Works of Tafte in his zAEneid; from the hiftorical Paintings in particular, with which he adorns Juno’s Temple, and the Effect he deferibes them to have had upon zyTneas. . —- — — —• p.12. Every one who is capable of underftanding and relilhing thole beautiful Defcriptions, muft upon reading them anticipate the Conclufion chiefly aimed at in this Eflay j and immediately perceive and acknowledge the Luft re and Tafte the fine Arts duly improved and applied would give to human Life and Society ; and the ufe that might be made of them in Education. p. 13. And we find in ancient Hiftory that feveral Philofophers actually made a very happy ufe of them in teaching Morals in particular 5 frequently taking the Arguments of their Lectures from the Pictures with which their Schools were adorned. --- p. 14, and t y. But bccaufe I propofe to give a Hiftory of the Art, and alfo to fhew at fuller length what Opinion fomc of the greateft Men of Antiquity had of Painting, and wherein they placed its chief Excellence and Ufefulnefs, it is proper to premife an ObferVation upon the Notion which the Ancients entertained of the natural Union and Connexion of dll the Liberal Arts and Sciences 5 upon ancient Logick and the ancient manner of explaining any Art or Science : for very little being left to us which was expreflly written by any Ancient on Painting, Jtis only in confequence of their way of illuftrating any one Art, by comparing it with all the others, that we can,know their Sentiments concerning that Art. *|,v‘ p.l6,ij. The Defign of this Eflay is to difpofe into proper Order the Reflexions of Socrates, Plato, Ariftotle, Cicero, Plutarch, Quintilian, and other ancient Authors that are Scattered oceafionally through their Treadles on other Subjects ; and thus to give a full Idea of the Art and the Ufe that might be made of it in Liberal Education, — p. iS. Chap. II. Contains Obfervations upon the P erfeel ion to which Painting was brought in Greece ; and upon fome of the Means and Caufes of its Improvement, in the following Order. Besaufe Xxviii PRINCIPAL CONTENTS, Bccaufe it cannot be difagrceablc to fee at one View the Progrels Of Painting in two remarkable Ages of it, that of Apelles and that of Raphael', and for many other rca-fons 5 the Advancement of that Art in Greece to an Apelles, is compared with its later Improvements after its Revival in Italy to a Raphael. And the Art is found to have advanced in both in the fame manner ; or by Jim dar Means and Steps. p. 18. The Art was at its higheft Perfection amongft the Greeks in Apelles, as it is owned to have been in the laft Age of Painting amongft the Italians in Raphael. Now there is a remarkable LikcncJs of Temper, Genius, and Talents between thefc two great Mafters: They were both highly cftccmcd for the lame good perfonal Qualities 5 and the Works of both excelled in the fame analogous good Qualities of Painting, that is, in Grace and Greatnefs: And they were both deficient in the fame refpeds. They were both formed in the fame manner by Maliers of like Genius, Temper and Talents, äs appears by comparing the Character of Ramphilus, Mafter to the one, with that of Leonardo da Vinci, Maftcr to the other. ’T is remarkable, that the two laft were skilled in Ma-thematicks, and not a little improved Painting by the help of that Science, p. 19,2 0,21. But they too were educated in the fame manner by Mailers of very like Characters and Abilities, as is plain from comparing the Account given of Eupompus, Mafter to Ram-philus, with that of Andrea Verrochio, Mafter to Leonardo : They were both great Studicrs of Nature, and ftrongly recommended that Study to their Difciplcs. p. 21. Zeuxis the bell Colourift among the Ancients, excelled Apelles in colouring, as Titian did Raphael. And thefe two famous Colourifts had the fame Turn of Mind and Genius : They were indebted in like manner, the one to the Alliftance of Apollodorns, and the other to that of Giorgione, two Mailers that were likewife very like to one another in their Characters, and made fimilar Improvements in the Art: They arc alfo ccnfurcd for the fame Faults or rather Defects. They came fhort in Drawing and Ex-preffion, which are deemed by ancient Criticks the two molt eftential Qualities of good Painting, by Anftotle in particular. ----------------------- p. 22,23,24. Rarrhafius and Correggio were very like to one another in fcvcral refpecls ; they both excelled in rounding off the Extremities, and giving relief to their figures. But the former feems to have excelled the latter in Correctnefs, and perhaps in Expreffion. As he had the lame Talent of drawing Characters to the Life by his Pencil, for which Socrates is fo famous in his Converfation and Lectures j fo he was in all probability not a little obliged to the Alliftance of that celebrated Philofopher, who had been bred a Sculptor in his Youth ,• continued to be a great Lover of the line Arts, and was frequently with Painters and Statuaries, with Rarrhafius in particular. -- p 2 y. Rarrhafius was furpafled by Timanthes in what may be juftly called the Sublime in Painting, which is delcribcd by Rliny, juft as the Sublime in Writing is by Longinus ; but may be better underftood from the Works of Raphael and Nicolas RouJJin, than from any Definition. ----------- -------- —-—-— ■ 0.26,27. N. RouJJin is greatly praifed for his Skill in exp r effing the Paffions; and this was the diftin-guifhing Talent of Ariftides ■, and is indeed a principal part in Painting, fince it alone can render the Art inftruttivc in human Nature, and lerviceable in Morality. p. 27, Rrotogenes, who was likewife Cotemporary with Apelles, was much loved and honoured by Ariftotle, who took great pains to perfuade him to employ his Pencil on hffih and noble Subjects : He was generoufly brought into Reputation by Apelles, of whom he fell fhort only in Grace, through his over-diligence to finifh, and his not knowing when to give over as was Correggio, who came fo near to Raphael even in Grace and Greatnefs, among the Moderns, by certain Painters of cftablifh’d Fame. Thofe two had no Mailers, and lived at firft in a very mean and oblcure way but having furprizin" Genius’s, they produced very great Works, even in thefe Circumftances fo unfavourable to theMufes. The Tranquility of Rrotogenes in continuing to paint quite cafy and undi-fturbed in the very Camp of an Enemy, is celebrated: And we have a like inftance in Rarmeggiano, a Painter of the fame Character, and who did Pieces that excelled in the fame Softnefs, Gentlencfs, and Sweetnefs for which thofe of Rrotogenes arc fo much praifed by ancient Authors. ..................................... /. 28 25? fihcomachus and Rhiloxenus painted fall, but had fine Pencils, and did not deferve* the Rebukes Apelles and Zeuxis gave to certain Painters, who boafted of finifhing Pictures in a very fhort time. Eafy Painting however, as well as eafy Writing, requires much Time and Study. The Perfection of Art lies in concealing Art, and is very difficult to be attained to. — ■ --------p. 20 Nicophanes is commended for the high Notion he had of the Art, and the Care he took to make it really ufeful. Several Moderns were remarkable for painting fall: But none among them made a finer Choice of Subjects, or employed the Pencil upon nobler and more ufeful Arguments than Annibal Carr ache, who feems to have excelled in the fame . way with Nicophanes. —------------------------------------- £29 Rerfieus, nor none of Apelles’s Scholars came near to their Mafter : Nor did thofe of Raphael approach to his Perfection. So true it is, that though right Education be necelfarv it muft have a good Genius to work upon. —— ■ ■ -— p. Euphranor a: Digefted into a Regular Summary. _ . . „ • nf - furnrizino- Character among the Ancients ; he had many woiU ^XrfulTaicnB : And iuft fuch a one was Mic Angelo among the Moderns. They had both the fame Excellencies; and they both erred in the fame manner i that is, on was a Painter of the fame Genius and Charafter with Andrea del Sarto, Scholar to Michael Angelo:They were both heavy but diligent; they had not enough of the poetical Fire equally requifite to Painting and to Poetry, meine had excellent Qualifications, and a very high Idea of the Sublimity and Ufefulnefs to which the Art mTght be brought: he confidered Painting as a Species of Poetry. And indeed all the great Mailers had the fame high Notion of the Ait and ftrove ac coring to carry it to its utmoft Beauty and Strength, by proper.Methods of Study ; and thufit was thlt the Art was brought amongft them to fo great Perfeaion. This we learn from Socrates, from Maximus Tyrius, from Cicero and Quintilian. It was fo likewife with regard to the bell modern Mafter^and thus wasffie Art pe^hy a'Carr ache by his juft Notions of Painting faved or rather reftored the Art from falle Tafte and Ruin: He formed fcveral excellent Painters, who by his Inftiutdions became able to oppofe with fuccefs a falfe Tafte that had already gamedja great Afcen- dint at Rome, Guido in particular. VauTas Scholar to Tamphilus, painted chiefly in the encauftick way ; and he had much tte fame Tafte with Giov. da Udina, Scholar to Raphael, who excelled in grotefque AthelToT^greatly praifed by the Ancients for the fame Excellence as Giulio Romano amongft the Moderns; that is, for Erudition : and thefe two were deficient in Colouring in°the fame refpect. - - . , , A3i-- Tyrhcus painted low Subjecfts, like the Bajfans among the Moderns, and had as well " as they his Admirers. , , • * Gallicles and Calades painted chiefly in Miniature; but had great Talents either for Co-medv or Tragedy in Painting. But Timomachus excelled in doing tragic,^ Piftuics ; or in movingHorror and Pity, which is the End of Tragedy. He had that Excellence aferibed to the Florentine Matters, called the Furia by Artifts. - A- 3+>3 f* Nicearchus, like Guido and Tarmeggiano, excelled in exprefling the foft, tender Affections ——— - * r A ^ ^ The feveral Qualifications of a good Painter were in ancient, as well as modern Times, divided among many Mailers. Some were only underftood and. admired by Artifts. Some by all. Some excelled in one part of Painting, and lbrne in another.^ p. 3f* Erkonus was an inftance of an extraordinary Genius, and what it is able to attain to with very little A Alliance. He was a common Servant to Neale es-, but quickly became a great Painter meerly by the Strength of his natural Difpofition and Parts. And we have two fuch Examples among the modern Painters Toly dor e and Michael Angelo, both of Car- ‘ ■ ” .--------— • PA7- Araondf the Antients fome Women were excellent Paintrefles: fo likewife amongft the Moderns, Varro gives a fine Character of Lala, and her Works. p- 3 6. The laft of the Greek Painters I mention is Metrodorus, who was a good Philofopher as well as Painter, and had a confiderable hand in forming Scip 10, one of the greateft Men that ever liv’d. We may learn from Scipio’s Character what Education ought to aim at; and from his Education how this End can only be accomplifh’d; even by uniting all the fine Arts and the manly Exercifes with Philofophy. -------‘— ' A-37- But it may be ask’d, were there no Painters before Apollodorus ? Quintilian names tome. But cenfures thofe pretended Virtuofi who valued their Pieces more upon account of their Antiquity than their real Excellence. . ~ A- 3 7- This Cenfure however docs not fail on thofe who are curious about the Hiftory of Arts; but on thofe who fondly doat on Ruft and Ruins. —- — A- 3 8- The Art began in Greece according to the oldeft Accounts we have of it, in the fame way it did id Italy at the Revival of Painting; and proceeded in the fame Manner from the firft rude Designers in Greece like to Cimabne, Giotto and others among the Moderns, to Tanrenus, Tolygnotus and a few others the firft of a Succeflion of Painters among the Greeks, equal to Majfaccio and Mantegna among the Moderns. —- A-39* It is difficult to fix the Age of the firft rude Defigners mention’d among the Greeks. But it plainly appears by all Accounts that the Art, at whatever Period it began, or was reviv’d, advanc’d to Perfection very gradually This is evident from what Cicero and Quintilian tell us of the fimilar Progrefs of Oratory, Sculpture, and Painting. p. 357, 40,41. Cicero and Columella, and other Antients give us a fine Picture of the Times in which polite Arts were improv’d; of the Spirit, Emulation, and Attachment to the Truth of Art that prevail’d amongft Artifts; and of the Care and Zeal of great Men to encourage that Spirit. —------------* — .u‘ —*------ —“ A-42. There There were different Schools from the beginning of Painting among the Greeks as well as among the Moderns ■> and hence proceeded an Emulation that exceedingly promoted the Art at both thofe periods. ————----------------- — ----- /’•43* Tho’ it is not eafy to afeertain pofitively the Characters of the different ancient Schools; vet they feem by all Accounts to have been diftinguifh’d in the fame way as the three famous ones in modern Times of Rome, Florence, and Lombardy; the firft of which ftudied Majefty and Grandeur, with Simplicity and Purity; the fecond Pury and Motion: the third Swcetnefs and Agreeablenefs. This appears from the Accounts given of the State of the other Arts in the famous ancient Scats of Painting Athens, Rhodes, and Corinth5 and from the Confideration of the Caufes to which the Differences of Tafte among therii are aferib’d by ancient Authors. For the fame Caufes will naturally have a like Influence upon all the Arts and Sciences. —------------------------ p. 44. The publick Conftitutions throughout Greece, at Athens in particular, contributed exceedingly to promote Emulation and beftir Genius; for all the Arts had their Share in thefe publick Solemnities. — p. 4,4,. The ancient Cuftom of expofing Pictures to publick View and Cenfure, gave the Artifts good Opportunities of improving their Tafte, by feeing the different Effects of their Pictures on different Tempers and Difpofitions; and thus contributed greatly to the Advancement of the Art. The Confluence of Spectators of all forts to fee their Pictures, formed a School for the Painters to ftudy Nature in, humane Nature in particular. Ancient Poets and Painters for good Reafons difdained not to liften to the Remarks even of the Vulgar and Illiterate. And the belt modern Matters took the fame Method of confulting even the Unlearned, and ftudying Nature in the Beholders of their Pictures. ---- « p. 4^ 4,^ Painting’and all Arts have been, and only can be polifhed and improved by free Criticifm. And as ancient Painters, Philofophers, and others wrote well on the fine Arts, which contributed greatly to their Advancement; fo fcveral among the Moderns likewife wrote on Painting and Sculpture, and did Honour and Service to thefe Arts by their Writings. — p. 46,47. Painting among the Ancients received great afnftance from Sculpture and Statuary and fo did it likewife among the Moderns. In fine, the Art begun and was improved in the fame manner in both Ages ; and it likewfe declined in both in the fame manner by degenerating into the Languid and Effeminate. ---- —-p. 4^ ^g’ Chap. III. Contains Obfervations on fome Pi El nr es deferibed by ancient Authors ; on the jufi Notions the Ancients had of the Art, and of its Con-neElion with Poetry and Philofophy, in this Order. The Defign of all Arts is to inftruct, delight and move : Now the oldeft Paintings deferibed by any ancient Authors, were in a great and mafterly Tafte of Defign ■, thofe in the Poecile at Athens. The Subjects of them were noble and truly poetical j they were chiefly taken from Homer, with whom Polygnotus, Pananus, and other Artifts who did them, vied. /. 48,45?. The good Qualities of Zeuxis, as a Painter, appear from the Defcriptions given of his Pictures; from that of his Jupiter } from that of a famous Centaurefs done by him as it is deferibed by Lucian, and other Pieces. .----pm 4^ The Character and Tafte of Echion, the fame who is called Amphion by Pliny, appear from the Account given of his Marriage of Alexander by Lucian : The Modefty of the Bride, like to that Bafhfulnefs of Lavinia in Virgil, was finely expreffed by this Painter, as it is alfo in the Bride in the Nozze Aldobrandine, in this Collection of ancient Paintings. p. y r. Timanthess Iphigenia fhewed great Judgment, and a mafterly Tafte of Compofition : He imitated Homer in one very well-chofen Circumilance, and was imitated in that by Nicol. Poujfn in his Picture of the Death of Germanicus. His Cyclops was another Inftance of the fame fublime mafterly way of thinking. —1-------------- pA1- Parrhafiuss great Skill in characterizing Perfons appears from many of his Works as they are deferibed; from his Picture of the People of Athens in particular. Pliny very juftly cenfures fome obfeene Pieces done by this Painter, as a vile Proftitution of an excellent Art; and Propertius likewife moralizes charmingly on this Subject. p. y2. The Character of Evanthes appears from his Pictures deferibed by Achilles Tatius ; his Per feus and Andromeda, his Prometheus, and his Philomela and Progne-, all which Pictures are often alluded to by ancient Poets. „ The Abilities of Ariftides appear from the Pictures aferibed to him, of a dying Mother of feveral expiring Perfons, a Battle-piece, and others.------------------PA A, The Genius and Excellencies of Protogenes appear from the Defcriptions given of his Jalyfus, his Satyr, his Paralus, and his Nauficaa ; the Subject of this laft was taken from Homer, and a Bas-relief reprefenting that Story, is deferibed by Paufanias F A- That 1 Digefted into a Regular Summary. That whole Story, as it is told by Homer,affords fcveral fine Subjcfts for the Pencil: The laft Dart of it UlyfTes furprifing Nauficaa and her Damfels, was painted by Tolygnotus in the variou’s Gallery at Athens. And Homers Compariion taken from Hi ana was painted by Apelles. Virgil very probably had an eye not only to Homer s Description, but to Apelles’s Picture done to vie with it, in his Defcriptions of Hiana and His fuperiour Excellence above all the other Painters of his time in giving Grace and Great-neis to his Pictures, appears from the Accounts given us of his P enus Anadyomene } of his Picture reprefenting War, to which Virgil alludes j of his Alexander with Thunder in his Hand j of his Hero and Leander ; and of the Graces. And the Scrviceabie-nefs of Painting in reprefenting the Beauties of Virtue, and the Dcformit 1 es^of Vice,-is obvious from" his Picture of Calumny deferibed by Lucian. - —— P- 57>5 ■ The Subjects of Nicomachus’s Pidures were truly poetical. Such were his Rape ol 1 to-Cerpine and Ulyffes acknowledged by his Dog Argus, a Subject taken from Homer > 'his Apollo, Hiana, a Bacchanalian Piece 5 his Scylla, and other Pieces. 'PA 9- Euphranor excelled in painting Gods and Heroes. He had painted all the Divinities 1 se-feus, and feveral Heroes, and fome Battle-pieces : Tis obfervable, that though he had a mafterly 2rand Tafte, yet he neglected no part of the Art, and was famous tor painting Hair to great perfection, and in a very piCturefque Gufto. — p• 60. Cvdias painted the Argonautick Expedition in a truly heroick, grand late And the truth of the Character given of Nicias appears from the Perfections afenbed to feveral Pictures done by this great Matter, to his Hanae, his Calypfo, his Jo, his Juno, his Her feus, his Alexander, and feveral Pieces. • ' p. 60,61, That Timomachus was juftly faid to have excelled in Tragedy; and that there is the tra-gick Stile in Painting, as well as in Poetry, is plain from what is faid of his Ajax, his "Medea, his Orefles, his Iphigenia, and his Medufla: to excell in which tragick Subjects, fo as to avoid the painful and difagreeable, or the too horrible, is, as ancient Authors have öbferved, extremely difficult. ——---- p. 61,62. There are Examples among the Ancients of all the Parts and Qualities of Painting. An-ftophon, Socrates, and others, did hiftorical and allegorical Pieces. The firft of thefe was a very ancient Painter, he was Brother to Tolygnotus. ■--- p- The Hanae, and the Stratonice, and the Hercules afeending to Heaven, by Artemon, are highly commended. Ctefilochus was a Libertine Painter. Nealces had a great regard to^the Coflume. Simus painted the Goddefs Nemefls, with all her proper Symbols, p.6^. Theodoras had painted in feveral Pieces all the remarkable Fates in the Trojan War : Thefe Pictures were at Rome in Virgil’s time, and as he had feen them, fo probably he had them in view in his Defcription of the Pictures reprefenting the Trojan War, in Juno’s Temple at Carthage. The fame Artift had painted Clytemneftra, and other tragical Subjects. He had alfo painted Cajfandra, to which Picture, which was at Rome in ^Virgil’s time, the Poet no doubt had an Eye. It is not derogatory from Virgil to fuppofethat he borrowed Images from the Arts of Deftgn; and his doing it mult have confiderably augmented the pleafure of his Readers, who were acquainted with the Pictures he thought worthy of being deferibed or alluded to. From thofe Inftances that have been mentioned, the ftriCt Alliance between Painting and Poetry is obvious: And other Proofs of it might be brought.----------------------------------- ^>.63,64,. Theon painted Orefles, and ufed a very fine Stratagem in producing it to view at the pub- 1 • 1 _ __/1„ A A lick Contefts p. 6f. The burning of Troy, the Nativity of Minerva, and Hiana, were finely painted by Aregon. -----------1— P-^T There were fome who only painted Portraits, as Hionyfias. But the Hionyflus, of whom Arijiotle fpcaks, was a Hiftory-Painter, as we fhall fee afterwards. ------- p- 6y. The Battle of the Argians was nobly painted by Onatas and the Ancients feem to have delighted much in martial Pieces, which are indeed truly moral Pictures. p.6f. A great many other ancient Pictures are particularly deferib’d or alluded to by ancient Writer; but thofe that have been mention’d fufficiently confirm the Truth of what the two Thiloftratus’s have faid of the Excellence of Painting; its relation to Poetry, and the Connexion of both thefe Sifter-Arts with Philofophy; which is the Conclufion chiefly aim’d at in this Eflay. --------- -------------- -——1— p.66,67. To what thefe Authors have faid, the Examples of Painting that have been brought, authorize us to add, that Painting and Poetry admit of the fame Variety: and accordingly the Antients divided Painting as well as Poetty into the Epic, Tragic, Comic, Paftoral, Crc. The End of both thefe Arts is the fame, to inftruft, move, and delight. And the Ancients well underftood when the Epic Majefty and Sublimity, the Comic Mask, or the Tragic Buskin might be aferib’d to Pictures as well as to Poems. p. 6j, 68. Chap. Chap. IV. Contains farther Remarks on form of the more effential ffualitlet of good Painting, as they are explain d to us by ancient Authors; the poetical ones chiefly, Truths Beauty, Unity, Greatnefs, Grace in ' Compofltion, in the following Order. It appears that all the Parts of Painting had been fully handled by ancient Writers, from the Titles of their Pieces upon that Art: but nothing elfe remains of thefe Treadies, p. 68. However from the accidental Obfervations of many ancient Authors upon Painting, in order to illuftrate by it fome other Science or Art, we may gather their Sentiments about it. p.6 8. There is a fine Difcourfe of Socrates with Parrhafius the Painter that well deferves to be confide r’d; becaufe he gives in it a full Account of the chief End and Excellence Painting ought to afpire at. — p. 69. He gives a juft Account of the End of Drawing and Colouring; and the Colouring and Drawing of the Ancients is generally allow’d to have been perfect. ’Tis only doubted whether the Science of Pcrfpedive was known to the Ancients: Cut feveral Arguments render it probable, that it was in fome Degree; particularly Socrates’s way of dilcourfing about the Art, in fome Parts of ‘Plato’s Works; and what Pliny and Vitruvius fay of feveral Painters and Writers. ------- p. 69,70. At leaft ancient Painters were able by the Judgment of the Eye to paint agreeably, to Per- fpedive, fince all its Effe&s are aferib’d to many ancient Pictures. --- p. 70. The Colouring of the Antients lafted long; and they took care to fubdue the florid, p.71. Apelles invented a'Varnifh which had excellent Effects; the fame Effects which Oil-colouring now has. So did Nicias. — p-72- Their Drawing was highly valued; and fo much was good Drawing eftccm’d by ancient Critics of Painting preferably to Colouring, that the mere Drawings or Dcfigns, and the unfinifh’d Pidures of ancient Matters were held in great Efteern by them. And indeed Drawings are the Originals; Pidures are but Copies after them. -------. 72. The belt way to have a juft Notion of Colouring is to compare it with Stile. Whatever is faid againft the pompous, the luxuriant, the gaudy, in the latter, doth equally a°xee to Colouring that hath the like Faults. The Antients talk of the Perfedions and Faults of both in the fame Terms. —------------------ . P-77,- The ancient way of comparing Painting with Poetry naturally leads to a juft Notion of Painting, of the dilferent Qualities of Painters, and of the different Values of Pidures. p-73- The fame Circumftances which recommend Defcriptions, and qualify one to give more Plea-fure to the Mind than another, take place in Painting; Uncommonnefs,Teauty and A- greeablenefs, Greatnefs and Vehemence. .-------- p-7\- So Socrates reafons with Parrhafius. And fo he likewife rcafons with Clito a Statuary with regard to his Art. •- -............ -............ p ff The Difpute about Colouring and Expreflion, which is preferable, is quite modern. The Antients reckon’d Truth of Drawing and Expreflion the chief Excellence of Painting for obvious good Reafons. — f A late ingenious French Author, in his Refledions on Poetry and Painting, civcs in one Part very unanfwerable Reafons againft what he maintains in other Parrs of the fame El-fay upon this Subjed. And the Principle, upon which he founds his Decifion at laft leads to many Abfurdities; which I am far however from charging him with. For if Taftes may not be dilputed, Criticifm and Education are words without a meaning./» 76 But if we attend to what is meant by Expreflion, what by Paflion, and what by Colourin'»-" this jangle will foon be at an end. Longinus juftly diftinguifhes the Sublime from the Pathetic. And Socrates and Ariftotle have not hefitated to pronounce the Talent of cx-prefling the Paffions and imitating moral Life, the chief Excellence in all the imitative Arts; on account of the Pleafure it gives, and its real Ufefulncfs. P- 77- It is proper to confider more particularly the more effential good Qualities of Painting It ought to aim at Truth; but Probability is the Truth of Art; and Painters have a Liberty to mend Nature within the bounds of Confiftency or Probability. ----------------- p -g Painters of moral Life muft be well acquainted with Mankind and Human Nature. And Horace, for that reafon, commends to the Study of Poets and Painters the Charta So-craticee. —------ .------------------------------------- - " . _ According to an Obfervation of Earl Shaftesbury not commonly attended to by Horace’s Commentators, in thefe mimic Pieces "Characters were well painted. Beauty in Painting and Poetry is excellently deferib’d by Ariftotle as likewife Qrdonancc and Eafinefs of Sight. But all that relates to Unity of Defign, and to the one Point of Time in moral Painting, is excellently handled by Earl Shaftesbury, in his Notion of the hiftorical Draught of the Judgment of Hercules, where he fhews Paintin«- to be a rmiV profound and philofophical Art. —--------- ------------------- 0 ^>80 I Digeßed into a Regular Summary. t confine myfelf to what the Ancients have faid. Socrates reprcfcnts moral Imitation as the chief End of Painting, and {hews how ferviceable the Art may be in exhibiting Characters, and in recommending the Beauty of Virtue. /. 81,8 2. ÄÄcinS fenfible of the Power and Charms of Painting, have endeavoured to force it into the Service of Vice. But Socrates made a better ufe of it, and one more fuited to the natural Genius and Tendency of the Art, as well as more proper to difplay its Efficacy and Sublimity : All the good Qualities of the fine Arts are united and connected together like the moral Graces and Virtues. So that it is hardly - - • - ■'-------- p.82,83. poilible to difcourfe of any oile of then! lingly and apart from the reft. Painting admits of the Sublime as well as Writing, and it is the fame in both. There is a Sublimity peculiar to fome Subjects; fuch in particular are virtuous Characters and Tempers feverely tried : but there is a Greatnefs in Manner that may be attained toun Painting, whatever the Subject be. v , , " ‘ It confifts in producing Surprizes by a well-chofen variety, arid in cpntrafting artfully : in both which ancient Painters eminently excelled; as they did likewife in concealing Bounds, which is the third thing effential to Greatnefs of Manner. p. 8y, 86'. There is Eafe in Painting as well as in Writing: fome Subjects are peculiarly called eafy ones; but Eafe, whether in Writing or Painting, as it is oppofed to the ftiff, affeCted and laboured, is the fame, and attainable by the fame Rules as far as it is attainable by Study and Rules } for it muft be in a great meafure of Natures Growth j and it is chiefly learned in the School of the World. . ■——-------- p- 86,87.. The Perfection of all the Arts confifts, according to Cicero, in the Decorum, and is well defined by him. It is the fame that he in other places, and Quintilian after him, call' Simplicity and Frugality. Art muft imitate Nature in its juft Referve, without nig-gardlinefs; in retrenching the Superfluous, and adding Force to what is principal in everything. * /• 88. Grace can hardly be defined; it is different from Beauty and Greatnefs: it is not peculiar to one Character : it extends even to the Folds of the Draperies. Several ingenious Writers have rriade good and ufeful Obfervations upon the Airs of Heads, Proportions, Contrafts arid Attitudes to be found in the Antiques, that have Grace and Greatnefs, which deferve our Attention. All the Pieces now publilhed have thefe excellent Qualities; the Airs of Heads, Attitiides, and Draperies, are exceeding beauteous and graceful. I cannot better deferibe this Quality than by tranflating a Paflägc of Lucian as well as I can, where he calls upon Painting to do a Mafter-piece, and paint a more beautiful, graceful Woman than ever had been feen in real Life, in which he likewife moft pleafantly reprefents all the different Qualifications Of the beft ancient Maliers. A-89,90,91, In order to infufe Grace and Greatnefs into one’s Works, the Painter muft poffefs it him-felf in Habit, and then will it infinuate itfelf into his Performances naturally, and have the fame good Effect upon their Beholders, that Tibullus aferibes to it in outward Behaviour. —--------------------- , ‘— 1 * A-91- The Perfection the Arts of Defign had arrived at in Grace, cannot be wholly aferibed to the extraordinary Genius of the Artifts : that would be doing irijuftice to a People who produced the beft Models, either with rcfpcct to external or moral and inward Beauty and Proportion for Artifts to imitate or copy after, that ever appeared in the World. Reubens aferibes the outward Beauty and Grace of ancient Works to the excellent Patterns they had of It before their Eyes. And the fame reafon extends to the other fuperiour Beauty and Grace belonging to the Mind, riot lefs remarkable in their Pieces. ------------- ------- ---------———------------------- A-92,93- Modern Mailers only imitated and endeavoured to equal the Copies of the Ancients, which they did from Nature, far fuperiour to what we now fee, at the fame time Having to excel it. And it cannot Purely be thought to have been of fmall Confequence to the imitative Arts'and Artifts to have had the moft perfect Originals to copy after, or rather to endeavour to furpafs. ■ P-93- From what hath been faid, we fee by what Queftions or Principles, in the Serife of ancient Criticks, Pictures as well as Poems ought to be tried ; and that the Examination of both is truly philofophical Employment. It is the Study of Nature, with the Afliftance of good Copies. ------------ ------------- -------------- -——- /■ 93,94- a Chap. V. Contains Obfervations on the Rife and Decline of Paintin• among the Romans ; the State of the other Arts, while it flourifhed a?nong the Greeks and Romans ; and the Caufes natural and moral to which its Declenfon is aferibed, in the following Order. It is acknowledged by all the Roman Writers that Philofophy, and all the Liberal Arts, came from Greece to Rome, and that it was very late before they were encouraged by the Romans, Paintirig in particular. p. 94,. 2 h Pliny h PRINCIPAL CONTENTS, Fhny indeed mentions Tome Pictures older than Rome, but thefe were done by Greek Artifts ; and for 450 Years we do not fo much as find the Name of any Painter anions the Romans. -------- -------------- --------------- —. p_ p^ Fabius is the firft mentioned ; but he does not feem to have been a very good one. The fecond is Facuvius, a good Tragick Poet as well as Painter; and his poetical Talents no doubt contributed a little to ufher Painting into good Reputation among the Remans who continued however long after that to under-value the Profeflion, infomuch that no Pcrfon of Diftinftion after him followed it, till Turpilius a Roman Knight in Vefpafians Time. -------- —------------ y>. <54,; Antiftius Labeo eftccmed the Art, and amufed himfelf in Painting, but was hooted at by the Romans on that account. The general Contempt of this Profeflion was however very confiderably IdTened in Augufius s time. Painting came into fome Reputation in the U. C. 48p, when Valerius Meffala expos’d a Picture of his Battle to publick View at Rome. L. Scipio made the fame ufe of Painting, as did likewife Hojtilius Mancinus afterwards. And this warlike People then began to efteem the Art,. when they faw how able it was to do juftice to heroick military Atchievements.---------* p - Scenical Decorations were introduced by Claudius Fulcher in the U. C. 633. But Painting came into yet greater Reputation, when Pictures were brought from Greece to Rome; which was firft done by L. Mummius Achaicus ; yet thereVere no very con-fidcrable Roman Painters even in Augufius’s time. Fliny mentions but a few Roman Painters in all, and gives no great Character of any of them. In fine, we know very little of the Roman Painters, except, in general, that the Art flourifhed a little in Augufiuss time, and revived under Vefpafian, Titus, and the other few good Emperors. *----■ -—---■ °p.95,96. It was in a very bad way in the time of Claudius and Nero ; nay it began to be difcoloured and to degenerate in the time of Augufius. This is evident from what Cicero and Hio-nyfius Halicar naffms fay of modern and ancient Painters in their time, and the remarkable difference between their Performances. —------.--------------- p_ In fhort, even from the Days of Augufius, ancient Writers are full of Complaints of the Decay of all the Arts ; of Painting in particular. It therefore only remains to be enquired, what ancient Authors have faid of the Progrefs and Decline of all the Arts. /.p8. All the greateft Men of every fort in Greece, Poets, Painters, Orators, Hiftorians, Heroes Were nearly cotemporary : and fo it likewife happened amongftthe Romans. Now this conjunctive Growth of all the Arts is juftly aferibed by the Ancients to the natural Union and Dependence of all the Arts, which was allegorically figured amongft them by the Symbols of the Mufes and Graces; by reprefenting them hand and hand entwined together, or dancing in regular Meafures to the Mufick of Apollo.---------pt p§^ ^ But another moral Caufe to which the mutual Improvement or Decline of all the Arts is attributed by ancient Writers, is the Prevalence or Fall of Liberty, and of that publick Spirit which alone begets or upholds it. Liberty or a free Conftitution is abfolutely necefiary to produce and fupport Greatnefs of Mind and Genius; and accordin°-ly Longinus introduces a Philofopher aferibing the miferable Decay of all Arts to the lofs of Liberty, and the prevalence of a fervile mercenary Spirit.-----— p pp This is evident from Hiftory : from the Hiftory of Greece. --------------* IOO’ And from the Hiftory of Rome. ------- ------------- -----------, p.100 ioii Lord Shaftesbury gives a true Account of the Decline of all the Arts at Rome. It is the fame that is given by ancient Authors, by Seneca, by Fliny, by Tacitus, by Fetro- nius. * ---- ----------- p. 101,102. Civil and moral Liberty were reprefented in a manner that fignifies ftrongly this Connexion between Liberty, publick Spirit, and the Improvement of all ingenious Arts. p. 102. The Philofophy that prevailed in Greece while the Arts flourifhed, was a truly generous publick-fpirited Philofophy : when it degenerated into a dejecting and corrupting Account of human Nature, all the Arts proportionably degenerated. ----P-102,103 So it was likewife amongft the Romans. The true Philofophy that can alone produce* °reat Minds and great Deeds, and Arts was delightfully characterized by the Ancients in their allegorical way. It was, according to them, the proper Bufinefs of the Mufes to recommend Virtue, and to difeomfit the Syrens or falfe Pleafure. But while true Philofophy inlpiring the Love of Mankind, Society, Liberty, Virtue, and ingenious Arts flourifhed in Greece, it was not promoted by force: Wit and Argument had free Scope and fair Play. ----- ------------------------------------- /.104,10 V. Another Obfervation of the Ancients upon this Subject (of Strabo in particular) well de-lerves our moft ferious Attention; which is, that good Authors and good Artifts have always been good Men. True Judgment and good Tafte cannot refide where Harmony and Honefty have no Being. As for the belt ancient Painters, they were not only faithfully attached to the Truth of their Art, but fevere in the Difcipline and Conduct of their Lives. ---------- -------- ----------- ------------ /. lod, 107. A late ingenious Author, in his Reflexions on Poetry and Painting, thinks moral Caufes arc no t fufficient to account for the Sinking and Decay of Arts, and that natural ones muft Digeßed into a Regular Summary. tauft be allowed to have a great ftiare in the Phenomenon His Account of Fafts is iuft; but with regard to his Concluftons I beg leave to obfervc, that the Ancients, Cicero in particular, have juftly remarked, that when a State is inwardly unfettled, or in outward Danger, the Deftre of Knowledge, and Love of Arts is not likely to rile and fpread. This Temper is the Produce of Peace 5 but of what Peace . Of Peace refulting from Profperity, and Liberty fix d upon a folid Foundation and guarded by the Love of Liberty's watchful jealous Eye. But they have alfo obfcived, that nothin» is more dangerous to Virtue, true Philofophy, and all the Arts, than Opulence and profound Quiet and Eafe, and the Vices which, as it were, naturally, fpread from that Source. Hence the ancient ProYerb, TluS nocuere toga, quam Lone a. /. 107, IOO. This Obfervation, founded on Experience, well deferves the Politicians Attention. But not to leave our prefent Subject; with regard to what this Author fays oi phyfical Caufes, I would only obferve, that in confequence of our Frame phylicai Gaules muft needs have a very great Influence on our Minds; but ftill moral Gaules muft be principal with refpeft to moral Appearances or Effefts. And this Influence of natural Caufes does evidently not extend fo far as to render Progrels in \ iuuc and Knowledge quite beyond our own power. The chief Dependence of Virtue, and the rts upon Caufes not in our power, is in the nature of Things a focial Dependence, vis. our Dependence upon the right Frame of the Government we live under, and upon our Education ------—* /. 108, 109. This Author at the fame time that he commends the Ehgliß Genius* afciibes our not havin'* had any great Painters wholly of our own Growth to our Air, Diet, and other fuch Caufes. But other Reafons iufficient to explain the Fact are too obvious. /. no. From what hath been faid, we fee how neceffary a free and publick-fpirited Government is to produce and uphold all the liberal Arts, as well as all the Virtues. /.no. Chap. VI. Contains Observations on the Ufes to which Painting and Sculpture were employed among the Ancients .* the noble Purpoj es to which they ought to be employed, in order to adorn human Society, promote and reward Virtue and publick Spirit ; and upon the ObjeElitms that are brought againfi the Encouragement of them, in this Order. Pictures and Sculptures were applied fo preferve the Memory of great Men and great Deeds, and fo beget a noble Emulation to imitate fuch Examples. All their Heroes* all their Poets, all their Philofophers, all their ingenious Artifts were honoured by having their Pictures put up in publick Places. And proper Symbols were given to Piftures or Statues reprefenting the diftinguifhing good Qualities of each Perfon. Several Examples of this are given, as how Homer was painted, Achilles, feveral Heroes, &c. ----------- /.no, hi. But this was not. all, ancient Artifts excelled in exprefllng the peculiar Char afters of Perfons in their Portraits or Statues. And --------— /. 112,113. Great Deeds were painted in the hiftorical Way ; ancient Shields were adorned with fuch Reprefentations. --------- /.114. Ehilopamon recovered the Achaian Youth from Effeminacy by a noble Stratagem, which {hews how our natural Tafte of Beauty may and ought to be improved by Education. /. iif. To confirm all this, feveral ancient Monuments of great Men and their illuftrious Deeds are mentioned; and the good Effeft of the ancient funeral Panegyricks among the Greeks and Romans is taken notice of. Piftures reprefenting great Men and their excellent Deeds were placed in the Temples. So likewife were moral Piftures. The allegorical Pifture of Cebes was an Ornament of a Temple of Saturn. There were Places throughout all Greece for publick Meeting and Gonverfation, called Lefche, that were adorned with Piftures and Sculptures. /. 116, 117,118. The publick Libraries at Rome, after the Model of thefe in Greece, were adorned with Piftures and Sculptures. Which Libraries were dedicated or confecrated in a very folemn manner. —------ /• 119. Atticus was at great pains to preferve the Images of illuftrious Men. So was Marcus Harro. ---------- /• 119- Private Libraries were adorned in like mannen —-------------------- /. 120. The Conclufions that follow from all this are manifeft. Hence appears the true and beft Ufe of the fine Arts ; and that Piftures ought to be fet up to publick View, and not to be excluded from fight. --------- /. 120. M. Agrippa was very zealous againft (hutting up Piftures in private Houfes, an Evil that begun to prevail in his time. The Topham Colleftion was given to Eton College on terms worthy of an Aßnius Eolho, a Harro, or a Marcus Agrippa; -——> /.120. A Piftures CONTENT Pictures ought to be publick, in order to excite worthy Emulation ; explore Genius's, or invite them to difclofe thcmfelves; and to be ftudied by Learners of the Art;, p. 121. The Love of Praife ought to be encouraged by a State; and not Poetry only, but all the Arts, are Difpenfers of Fame and Praile : The publick Coins may be nude fueh by making them, as it were, publick Regifters of great Deeds, great Men, and ureat Events. . ^ : p. 122 It is Virtue and the Purfuit of ufeful Studies and Arts that alone can make even a rich Man happy. How very happy was the younger Pliny, to name no other Examples, with a very fmall Fortune, in confequcnce of his knowing how to divide his Time between good Deeds and polite ufeful Studies ? *1_______________ p I22 x The Opulence of a State ought to be employed in encouraging Virtue, Induftry and all the ingenious Arts and Sciences. Unlcfs thefe flourifh, Riches are a nufanceu Thcfe alone truly aggrandize a State. ------- ’ Ariftotle and ‘Plato juftly cenfured Lycurgus for banilhing the fine Arts from his Rc publick. This made his People favage. The fine Arts fweeten, but at the fame time fir eng then the Mind. . p 12 But have not the fine Arts been objeded againftby great Men ? Did not Platobanfih diem from his Ideal Republick ? If he banilhed Painting from his Commonwealth he ferved Poetry in the fame manner ? And fure none who are acquainted with that Art are dilpofcd to follow his Example in that particular? But in reality the Defi°n of his ideal State is to Ihew where Laws can have no effed, but muft rather be pernicious -and what muft be left to the Magiftrates, and other Men of Power and Authority m accomplifh by their good Example. ---.---. P12 ‘Pericles is cenfured by fome, not for encouraging the fine Arts too much; but either for employing publick Money in that way, which was deftined to other purpofes; or for not ufing, at the fame time, other proper Methods to promote virtuous Manners Plutarch fets him forth as a Pattern worthy of the Imitation of great Men in refped of the Encouragement he gave to Ingenuity and Arts. Cicero gives him a great Charader; and alfo fhews how great Men ought by their Example to encourage ufeful and ingenious Arts. ThCi Afi V did n0t COntribute t0 the Ruin of the Roman State ; it fell as Polybius hid pf0- Theie was a great Tendency towards the Diffolution of their Government before the firn» Arts came amongft them, or about that time; and corrupt Manners foon corruDted the Arts, which for that reafon never came to very great Perfedion amoim them The obftrVcd WCre at bCft bUt COpkrS after thC Greeh in the fine Arts> as h*s been already Cicero gives a glorious Charader of thofe who firft brought Statues and Pidures and1 rife fine Arts into Rome, not to adorn their own Houfes, but Rome. The Arts flounThed moft under the good and frugal Emperors. And they did not effeminate a Socrates a Xenophon, a Scipio, a Cicero, a Polybius, &c. _____ ’ Cato who firft oppolcdthclntroduaioa of ^Learning, afterwards changed his Mtad and became a hard Student of it, as Lord Bacon has obferved V s .But no doubt the fine Arts may be, and have been fadly corrupted as everv vnSrhuP may, or rather hath been. And the manly Exercifes ought to take place iniducatW” ZcftiiS-”111“ fhcEody, according to the ancient Method of forming /• 128. Chap. VII. Contains Obfervations on the Samenefs of good Taße in all the Arts, and in Life and Manners ; on the Sources and Foundations of rational Pleafures in our Natures', and the Ufefulnefs of the fine Arts in a Liberal Education, in this Order. “ J According to the better Ancients, the Pleafures of the Mind are far fuperiour to thofe of mere Senfe : and we are excellently furnifhed by Nature for Proofs in Virtue Knowledge, and ingenious ufeful Arts. And therefore Education ought to be calc./ lated to improve this our beft and nobleft natural Furniture. . Man according to the Ancients, is chiefly made to contemplate, and to imitate1 the Giuci \\ ifdom. Harmony, Beauty, Greatnefs and Goodnefs of Nature And there forejrhe mam Bufinefs of Philofophy and Education is to qualify us for the Pleafures and Exercifes of Contemplation and Imitation. ________ It is fit to illuftrate this DoCfrine more fully. P' Vt Aw n quali5cd hf iqature for the Contemplation and Knowledge of the Order Beamv Vv ifdom, Goodnefs, and Greatnefs of Nature by our Reafon, as it is united in our Frame. 1. \\ ith an internal Senfe and Love of Order and Unity ofDelHn. This Tafte puts us into the right way of purfuing natural Knowledge bv diredinr. • ° oPfrtPS“Cral £a"'S- »• » * «ÄÄE 01 of the Tendency of general Laws to promote the greater o-ood of ftp ai/i ,7 M which they belong. This Tafte prompts and direfls us to enquire after fid Caufes? Digefied into a Regular Summary. , W;th a Senfe and Love of Greatnefs, which Tafte leads the Mind to be particularly 3‘ pkafed with Objeds that are in themfelves great, or have a Greatnefs in then Mannci. Sobjcas the put and Sir //inf Newton. And hence we may learn how moral Philofophy alio can o:ij governing^Mind, that made and raleth over all in the Regnlat.on of our Afghans C/EtScSaUtheVir^s to the fnitable Improvements of thofe four Difpoltdona in ^our Nature by which we are eminently diftinguilhed above other Ammals s the Love $ Tmb,the Love of Union and Society, the Love of Power and Greatnefs, and the TlK°Capachv of'VirtuTneceflarily pre-fuppofes a Senfe of moral Beauty and Greatnefs, T, Jt afocialPrinciple- and fo docs ourCapacity of enjoying and delighting in the Older, Harmony' S and Greatnefs of Nature. We may therefore mills' argue, that h- hem be Lit a thing in Nature as Order, Beauty, Goodnefs, and Greatnefs, we ought ota täte in the Government of our Affeftions, and in our Conduft s and if we "S of forming any Notion to ourfelves of moral Beauty, Fitneß and Greatnefs ^Condua“ there mSl be moral Order, Beauty, Fitnefs and Greatnefs in Nature itfelf throughout all its Oeconomy and Admimftration. — — I ' But 2 We arc qualified bv Nature for the Imitation of Nature by ingenious Arts, by the fame Faculties and Difpofitions which fit us for the Study of Nature, and the Ration An^Vrts1a^eimitations of Nature. But Poetry, Sculpture and Painting are peculiarly called imitative Arts. We are made by Nature prone to Imitation. Hence the Origin of all the Arts that imitate Nature, and yie with it. Now we are qualified foi imitatin0 the Beauty Truth, Simplicity, Goodnefs and Greatnefs of Nature in thefe Arts by the fame Difpofitions juft mentioned. This will appear by recalling to mind what hath been faid of the more effential good Qualities of Painting; of Truth Beauty, Grace and Greatnefs in that Art. And we may juftly reafon in this manner, that if the: reality of thefe Qualities is acknowledged in one inftance, either in Nature itfek, nr our moial Condud or in the imitative Arts ; their reality muft of neceflity be owned thiou0h-out them’ all. Virtuofi muft therefore cither give up their beloved Arts, or own the reality of Virtue. 1 ’ /'■ 136' I 3 To illullrate this, it is proper to obferve, I. The drift Analogy that there is between our Senfe of Beauty in material Objeds, and our Senfe of Beauty in moral ones , and t le ftrift Analogy that there is univerfally between the corporeal and moral, 01 mtelledual World, as far as our Obfervation can go. s —“ ” .. /'}.■? * 2. The infeparable Connexion throughout all Nature, of Truth and Beauty with Utility. Both thefe are much infilled upon by the Ancients. - P- I39- 3 LiiCIC die 11 ILL Nil 1111IUV.U ^ . , ' Who tell us alfo in their way of explaining the Beauty and Perfection of the imitative Arts; that thefe Arts ought not too ftridly to adhere to any particular Ob) eft of Nature, but to take their Idea of Beauty from Nature in general, and to endeavour to do as Nature does, to make a good Whole; becaufe thefe Arts cannot take in all Nature, but a part only; therefore whatever they reprefent ought to be a perfed Whole, as Natuie itfelf where all is managed for the beft, with perfed Frugality and juft Referve ; its wife Author being profufe to none, but bountiful to all: never employing in one thing more than enough ; but with exad Diftribution and Oeconomy retrenching the Superfluous, and adding force to what is principal in every thing. This feems to be Cicero s Meaning when he is fpeaking of Zeuxis, and giving the Reafon why he colleded Beauties from many different Originals, to make one perfed Piece. Z' 1^'°\ In order to fuch Imitation of Nature, ftis obvious that Art muft fet off what is principal by proper Contrails ; for thus in Nature itfelf is every thing heightned or ftrengthen d. a It is likewife worth Obfervation in the 4th place, that the chief Pleafures excited in us bv ingenious Imitations of human Life and Manners pre-fuppofe a moral and publick SenfiT- They could not otherwife have an agreeable Effed upon us; or give us fuch exquifite Touches of Joy. And reciprocally, if the reality of a moral Senfe and focial Affedion in our Natures be owned, it muft neceffarily follow, that the chief Pleafures we can receive from Imitations or Fidions, muft be of a moral and focial kind. P‘ 142* <- To thefe Obfervations it may be juftly added, that Man is fo made as to be greatly delighted with whatever prefents him with a high Idea of the Perfedion to which human Nature may be improved by due Culture. And for this reafon all the Improvements ot the fine Arts muft be exceeding delightful to human Contemplation. p- J42 • PRINCIPAL CONTENTS, The Conclufions that naturally follow from thofe Principles that have been laid down' concerning our moral Make and Conftitution ; and that were inferred from them by the better Ancients, are, 14,2. That Man is fitted and qualified by Nature for a very noble degree of Perfection and Happinefs: not merely for fenfitive, but chiefly for rational Happinefs. And Happi-nefs is not unequally diftributed by Nature upon fuppolition, that our chief Happinefs is from the Exercifes of Reafon and Virtue. For all Men may have the Pleafures of Reafon, Virtue, and Religion to a very high pitch : that is in every one’s own power. And in a good and well-conftituted Government, even the lower Ranks of Men will have the Pleafures arifing from the Sciences, and from well-improved Arts, in a very confidcrable degree. --------*—- — p, t^. We may juftly infer from the preceding Account of human Nature, that our Author mud have a 1110ft perfect moral Difpofition, or be infinitely good and benevolent, fince he hath made us capable of difeerning and delighting in moral Order, Beauty, Truth and Goodncfs. '----------------------------- ■—--- --------------- p, 1^ But the Conclufion which chiefly belongs to our prefent purpofe regards Education; namely, that it 11111ft be its chief End to improve to due perfection our Underftanding our Imagination, and our Senfe of Beauty natural and moral : And that the propereft Method of accomplifhing that End muft be by combining together in Education all the Liberal Arts and Sciences agreeably to their natural Union, Connexion, and Dependency. ------------------ —-----' -------- -------- ------ p. ’143,14.4,. To illuftrate this ’tis only neceflary to reflect upon the ancient Method of teaching Oratory and Poetry, and of explaining the effential Qualities of good Painting. All thefe Arts are truly philofophical; and as the Confideration of them ncceflarily leads to a moft profound Examination of Nature, of human Nature in particular, fo Philofophy cannot advance one ftep without bringing Examples from them: And the true Defign of genuine Logick is to point out the common Union and Connexion of all the Liberal Sciences and Arts, in order to furnifti us with a proper Directory for our rRht Procee- durein queft of Truth and Knowledge. r- -------- p% But the Ufefulnefs of the Arts of Defign will appear more clearly if we confidcr what Philofophy is, and how it ought to be taught; for Pictures are plainly Samples either in natural or in moral Philofophy : And the beft way of teaching the one or the other Philofophy is by Samples or Experiments. Landfcapcs or Views of Nature’s vifible Beauties are Samples or Experiments in natural Philofophy } whether they are Copies after particular Parts of real Nature, or imaginary Compofitions. They are Samples of the Beauties or Harmonies which refult from Nature’s Laws of Light and Colours; for by thefe all the vifible Beauties of the fenfible World are produced : And thus they are proper means for forming and improving our Eye, or our Senfe of vifible Beauty in the fame way that mufical Compofitions are the proper means of improving an Ear for Mufick. So Tint arch and other Ancients have juftly remarked. ---___ Nov/ as for moral or hiftoricai Pictures, they are plainly Samples or Experiments^ in the Philofophy which teaches human Nature, its Operations and Pafllons, and their Effects and Confequences. It is acknowledged that Poetry by its Imitations affords very proper Samples to the moral Philofopher’s Contemplation. And it is no lefs evident that moral Pictures muft likewife furnifh equally proper Samples in the fame way. The imitative Arts are for that reafon recommended by Ariflotle as better teaching human Nature than merely didaCtick Philofophy 5 nay, than Hiftory itfelf: They are,°faith he more Catholick or Unrverfal. That all moral Pictures are Samples of human Life and Manners, is too evident to be infilled upon. And the Advantage of teaching-moral Philofophy by means of fuch Samples confifts in this. The Mind is highly di> lighted with the double Employment of comparing Copies with Originals f and is thereby rendered more attentive to Nature itfelf than it can be without fuch Helps. And which is more, as certain delicate Veffels in the human Body cannot be perceived by the naked Eye, but muft be magnified in order to be difeerned; fo without the help of Magnifiers not only would feveral nice Parts of our moral Frame efcape our Obfervation 5 but no Features or Characters of the moral fort would be fufficiently attended to. Now the imitative Arts become Magnifiers in the moral way by means of reprefenting Affections, and their Workings, and Confequences in fuch Circumftances as are moft proper to fet them in the ftrongeft, the moft affecting and moving Lights. Poetry hath its Advantages above Painting and Painting hath its Advantages above . Poetry. But without entering into a very idle Queftion about the Precedency of thofe two excellent Arts, which naturally go hand in hand with Philofophy, and mutuallv aflift and fet off one another to great advantage; it is evident that both have this mani-feft pre-eminence in teaching human Nature above Philofophy itfelf, as it proceeds in the dry way of mere Definition and Diviiton, that they find eafier accefs into the Mind and take firmer hold of it. And which is yet more, whereas Philofophers moft commonly have fome favourite Hypothefis in view, the Imitators of human Life, Poets and Painters, exhibit AffeCtions and Characters as they conceive, or rather as they feel them, without Buffering themfelves to be biaffed by any Scheme. They follow the 1 Impulfe Digefled into a Regular Summary. jmpulfe of Nature itfelf, and paint as Ihe dictates to them, or rather as ihe moves them. How proper Samples moral Pictures are in teaching moral Philofophy, that is, in exhibiting human Nature to view, and in recommending Virtue, and difcountenancing Vice3 Win be evident, if we call to mind the noble Effeds of feveral excellent Pictures’; or the Influence which thofe have naturally and neceflarily on every Mind: Raphael’s Cartoons in particular, and his Parnaffus, School of Athens, and Battle of Constantine See. - ’ P‘ *49* Hence"we may fee, that the Liberal Arts ought not to be fever’d, from Philofophy in teach-in0- it. In whatever View Education is conlidered, the Afiiftance of the Arts of De-jwn is ufeful nay neceflary: whether we confider it as intended to improve our Reafon, our Imagination, or our Temperall the liberal Arts combine naturally together to effectuate any of thefe excellent Purpofes in the belt, that is, the moft agreeable and fuccefsful manner. And the reafon is, becaufe, as hath often been obferved by the Ancients, Beauty, Truth and Greatnefs are the fame in Nature, in Life, and in Arts. Virtue is’every where the fupreme Charm or Beauty : And the moral Venus dreft by the fine Arts (which are properly the Hand-maids to Philofophy, or its bell Minifters) Zlo-jos with double Charms. Whilft ancient Philofophers taught and recommended Vi r-t’ie taking the Arguments of their moral Difcourfes from moral Pictures, the living LefTon ft ole into ihe Heart with more prevailing Force than dwells in Words } and round Vuch fage Inftrudors theBreafts of their noble Difciples glow’d with an ardent Flame, Philofophy not animated by living Examples cannot kindle. p. I yo. This Scheme of Education, as comprchenfive as it appears, and really is, may be eafily put in practice. It only fuppofes the Principles of Defign to be early taught; which, as Arifiotle wifely obferved, is not more neceflary to liberal Education than to the Improvement of mechanick Arts. _ P - I5'1- The Education of the ancient Greeks is well worth our Confideration and Imitation in ever- refped: Their Mufick was quite a different thing from what now paffes under that name. And with the Liberal Arts and Sciences they conjoined in Education certain manly genteel Exercifes abfolutely neceflary to the Formation of truly fine Gentlemen } or to fortify again!! Effeminacy ; to give Grace and Vigour at once to the Body and to the Mind; and thus to qualify Youth early for the Service of their Country in the Arts of War or Peace. 1 /• if 2. But I have accomplifhed my principal Defign if what I have faid of the Ufefulnefs of the Arts of Defign in Philofophy and Education, be found in any degree conducive either to give a jufter Notion of the fine Arts than is commonly entertained even by their profeffed Admirers ; or to give a more comprehenfive View of the Ends Education ought to afpire at, than is generally apprehended, or at lea!! purfued. p. i y2. Chap. VIII. Contains fome Obfervations on the particular Genius, Cha~ raSiers, Talents, and Abilities of the more confider able modern Painters ; and the commendable Ufe they made of the ancient Retrains in Painting as well as Scidpture ; and upon the Pieces of ancient Painting now publijhed\ in the following Order. It is plain from what hath been faid of the Analogy between Painting and Poetry, and the Foundations of a good Tafte of either in our Natures, that a juft Notion of Truth of Compofition is the principal thing in both thefe Arts. And that it is as eafy to become a good Judge of the one as of the other. ------- /•1 y2, 1f And there is indeed no ufeful Enquiry with regard to Poetry, to which there is not fome analogous or correfpondent Refearch with refped to Painting. There is the like Character with relation to the later, as that of the mere verbal Critick in the former : And it mult be no lefs agreeable to obferve what good Ufes modern Painters have made of ancient Works ; than to enquire into the happy and laudable Imitations of ancient Poets by modern ones. —--------------------------- p.155. It muft likewife be very entertaining to obferve the peculiar Genius of a Painter dilco-vering itfelf in his Works, in the fame manner as it is to trace that of an Author, of a Poet in particular, in his Produdions. ■----------------------------- p. 1 y^. Servile Imitators in both Arts are equally defpicable. And Painters ought to borrow Afliftances from ancient Works, in the fame way that a good Poet imitates an ancient one ; that is, as Virgil imitated Homer. Painters as well as Poets ought to ftudy their own Turn and Genius, and give free and fair play to it. But as there is a remarkable difference between the Poets who are not acquainted with the Ancients, and thofe who are; fo there is a no lefs fenfible difference between the Painters who ftudied the Antique, -and thofe who did not. Raphael, the beft of modern Painters, formed himfelf into his beft manner by ftudying the Antique; and aferibed all his Perfedion to the Afliftances he received from thefe excellent Models. He not only ftudied and held in great Admiration the ancient Statues and Bas-reliefs, but likewife the ancient Paintings : He was at great pains to make or get good Drawings after all the Pieces of that kind PRINCIPAL CONTENTS, &c. kind that were difeovered any where; And we may juftly aferibe his laft and beft Manner to the Inftruttions and Helps he received from thefe exquifite Remains. Nicolas Touffin likewife ftudied and imitated the ancient Paintings; that incomparable Piece in particular commonly called the Nozze Aldobrandine; fo did the Carr aches, Guido, and all the great Maliers. * — /. iyy, iyö. Lornazzo gives a very high Character of the ancient Remains of Painting difeovered in Italy. But thole excellent Mailers were not fervile Copills of the Antique : Though they all ftudied and imitated the fame Models 5 yet the peculiar Genius of each of them appears in all his Imitations. The beft way of difeovering the peculiar Genius and Character of a Mailer is by ftudying his Drawings, as T>u Tile juftly obferves. And the beft way of becoming able to diftinguifh the Hands of Painters, is by ftudy-in, 160. Michael Angelo, who is compared with the Poet Dante. Francefco Sebafliano del Tiombo, Andrea del Sarto.------------------------------- ’ Correggio, “Titian.-------------- ■■ Taolo Veronefe, Tintoretto, Hannibal, Lowigi and Auguflino Carr ache. Guido, Alb am, Tdominichino, Salvator Rofa, Tietro da Cortona, Reubens. ---------- ------------- ——. p. 161 p.161. p. 164. p. 16 f, 166. Vandyck, Carlo Marratti, Nicolas Touffin. ■---------- " The Methods Lomazzo takes to deferibe the different Charaders of feveral Painters arc taken notice of.---------------------------------------------------- 1 p.167. Another Method is attempted, by alfigning to each of them a Subjed fuitable to his peculiar Genius. “ “ p. 167, 168,169. Hence it appears that Painting admits the fame variety with Poetry, and may be employed to many very noble and ufeful Purpofes. • • p.169. This Chapter concludes with fome Remarks upon the ancient Paintings annexed to this Eftay, fhewing the Sizes of the Originals, where they were found, where they now are, &cf ------------------- -------- — — P- 170. Several Rcafons are given for publifhing them. And a few Obfervations are offered, in order to fhew the Ufe that may be made of fuch ancient Remains in explaining ancient Authors, the Poets in particular. ---- ----------- from/. 170, to 179. In the Conclufion, the chief Principles are recapitulated, which it is the Delign of this Eftay to confirm and illuftrate; or upon which all the Reafoning in it depends : That is, the Fitnefs of combining together all the Liberal Arts and Sciences in Education, in order to gain its Ends, which are to produce early a good Temper and a good Tafte, is urged from feveral Confiderations: from the natural Union and Dependence of all the Arts and Sciences 5 from the natural Union and Dependence of thofe Faculties, Capacities and Dilpofitions of our Alinds, which it is the chief Scope of Education to improve and per led. ------------ • ~ p- ^79-> 180181. From the Confideration of our natural Delight in Copies ; and of the double Satisfaction of the Mind in comparing Imitations with Originals : Imitations by Painting and Poetry being Copies of Nature, are ufeful as Experiments or Specimens in the Study of Nature. /. 181,182. And laftly, from the Confideration of the Advantages that are allowed to Poetry in re-fipect of hiftruäing or moving 5 all which do equally belong to Painting, p. 182,183. The Conclufion aimed at throughout this Eftay is briefly this. That Virtue is the fu-preme Charm in Nature, in Affections, in Manners, and in Arts. ERRATA. AG. 25, in the Notes (2;) read dixiffe. 51. 1 5. inftead of nevi read young. 59. in the laft Quotation from Virgil read fpelunca. 87. in the Notes (71) inftead of Hefiodum read Hefiodium. 126. in the Notes (76) read dubitas inftead ofdabitis. 104. in the Notes (50) read aufas inftead of aujus. ic8. l.ult. read have in confequence of our Frame and Conflitution a very great Influence upon our Minds, and all our intelleilual or moral Powers. And in the Notes (60} read contagia inftead cf contagim. And 1.5. read primum ilia r.ata funt: arrogantia qure, &c. 112. after fo Manilius, read ----- cujufque ex ore profufo. 143. l.pen. read argues inftead of writes. 171. l.i. read Volupia. Read in feveral places thofe inftead of thefe, and vice versa. And be pleafed to excufe feveral other fuch-like Errors. essay On the Rife, Progrefs, and Decline or PAINTING Among the Gveeks and Rom ms. C H A P. I. Obßrvations upon the Antiquity of the Arts of Design Particular;and the juft Notions which we are led to form of the y ^and Ufefulnefs, by many Defcriptions 0/Sculptures and in Homer and Virgil. T HAT the Art of Painting was in high repute, and brought to a considerable degree of Perfection in very ancient Times, is the unanimous pinion of VoJfius, a Virgine vero inventa eft Coroplaf-tice; fiquidem amore alicujus capta, circumfcripfit dor-mientis quafr umbram in pariete ; pater deinde multum obleftatus fimilitudine, ufque adeo indifereta (figulinam enim exercebat) lineamenta exculpta opplevit argillä: Is typus etiam nunc affervatur Corinthi. His fuccedentes Dfedalus & Theodorus Mileftus, Statuariam & Plafticen adinvenerunt. Athenagoras Legat, pro Chri/hams, & Fran. fun. de pidiura veterum in Catalago. Grata pic.or. (2) Differtation de Yanciermete de la Peinture, par M. l’Abbe Fraguier, dans l'Hißoire de Y Academu Royale des Infcriptions & Belles Lettres, tom. 1. p. 75 ■“E hornrne qui eft ne imitateur, & dans qui l’inclination a muter n’eft, peut-etre, pas une vertu, fe porta naturellement a l’imitation. Tout aidoit en luy ce penchant. L’lgrio-rancele fortifioit, comme eile le fortifte encore aujourd’huy dans les enfans.—Les Objets qu’il avoit fous les yeux fem-bloient l’inviter au plaifir de Fimitatipn, & la nature elle-mefme, qui par le moyen des jours & des ombres, peint toutes chofes, ou daqs les eaux, ou fur les corps dont la furface eft polie, luy apprenoit ä fatisfaire fon gouft pour 1’imitation. II le fatisfaifoit doublement tout a. la fois, puifqu’en imitant les corps & les retracant, il imitoit auffi la nature, qui les retrace & les imite en tant de facons differentes. Ainfi le Soldi, que Platon nomme ingenieufement le plus habile de tons les peintres, apprit aux hommesles commencements de la peinture. On dit, B Pav From the Nature of things. An E ssay on the Rife, Progreß, their common End arc extremely like. But which is eldcft ? Tis natural (faith he) to imagine that a certain rude way of delineating Objects, preceded the Invention of thofe arbitrary Marks by which Writing is form’d; and Writing is not improbably fuppofed to be more antient than Poetry. It was not to draw Letters that the Pencil was hr ft taken up: Men had certainly eifay’d to reprefent Objects by tracing their Forms; that is, to paint them, before they thought of combining Letters into Words in order to fignify Ideas. Nature leads ftrft to that which is cafieft and moft obvious; it advances by "flow Steps to what is more remote from Invention. We may therefore pronounce in favour of Painting, and give the precedence to it; but fuch a Precedence (as often happens in great Families) is only due to it in point of Antiquity. For Poetry, according to the nature of things, muft have been the Fruit of gradual Refinement, of Politcnefs cultivated by means of Writing; whereas Painting might have taken its Rife in very unimproved times, and while Mankind had no notion of Letters." il I T O this effect the Abbe Fraguier reafons. And what appears fo probable in Theory and is, as he obferves, not obfeurely intimated to us by feveral ancient Apologues many curring Teftimonies of Hiftorians put beyond all doubt (3). 0 J y con- Frrn Hiß ory. A S far asHiftory reaches back, it prefcnts us with manifeft Proofs of the Antiquity of all the Arts of Defign. The firft Writers of Hiftory were not a little indebted to thefe Arts for their beft Materials and fureft Vouchers in compiling their Records: Painting, Sculpture and other Monuments, having been employed in the moft ancient Times to°preferve the Memory of Facts, and likewife to reprefent religious and philofophical Opinions. BUT not to dwell long On Arguments from which nothing can be learned but barely the Antiquity of a ruder fort of Painting ; I lhall only add, that one of our own beft Authors feems to be of the fame Opinion with refpect to the Antiquity of that Art. “ Defcription “ faith he, runs further from the things it reprefents than Painting, for a Pidure bears a “ near refemblance to its Original, which Letters and Syllables are wholly void of. Colours “ fpeak all Languages; but Words are underftood only by fuch a People or Nation For “ this reafon, though Mens Necefiities quickly put them on finding out Speech Writing “ 1S probably of a later Invention than Painting; particularly we are told that in America “ when the Spaniards firft arrived there, Expreßes were Lent to the Emperor ’of Mexico in “ Paint> and the News of this Country delineated by the Strokes of a Pencil • which was a more natural way than that of Writing, though at the fame time much more im perfed; becaufe it is impoffibie to draw the little Connedions of Speech or to mve the *1 Pidure of a Conjundion or an Adverb (4)," J 0 } T wil1 be m°re inftrudive as well as entertaining, to give my Readers a View of fome other Reafonings on this Subjed; which, at the fame time that they prove the very ancient Pradice and Eftcem of Painting, afford no inconfiderable Infight into its chief Rules and Beauties. And fuch are the Arguments brought from the Writings of Homer the beft and moft antient of Authors; and who is likewife very juftly called by Cicero (<) Lucian (6) and others, the beft of Painters. J h ‘PLINT par exemple, qu’une bürgere, &c. il y a mille petits contes femblables, qui, vrais ou faux, ne fervent qu’a confirmer ce qu on vient de dire, & ne font que des applications particulieres d un principe generale, & comme des apologues inventez pour Fexplication d’une verite, Piduram, C*laturam,Statuariam ab infima Antiquitate repeti pofie oftendi, cumSeruch Abrahami avus Statuarius & AvJ'eic/VToTioioi fuerit. Memnon fuit antiquillimus in Algypto Pidor & Statuarius. Vid. Diodor. Siculum, lib. 2. de Simandii Regis /Egyptii Sepulchre, cujus ambitus milliare unum amplexus ejl.--bculptus deinde eminens ceteris Rex variis coloribus, erant deinceps Asgypti deorum omnium Imagines. Sequebatur Bibliotheca in qua inferiptum, Animi Medicamentum ; poft quam Domus erat in qua 20 Ledifternia Jovis & Junonis. Ibi pida Animalia fä-cris apta. Bulengerus de Piclura, &c. lib. I. cap. 9. (3) Afierunt ^Egyptii, literas, aftrorum curfus, Geo-artefque plurimas ab fe fuiffe inventas ; non-nulli has m /Egypto inveniffe quendam nomine Memnona a rmant: fed apud eos Animalium Effigies loco literatim erant. Diod. Sic. lib. 1. See twoDiffertations in the Memoires de Litterature tirez dt dp? de l Acadcrme Royale des Infcriptions, &c. par M 1 Abbe Anfelme The firft is in the 4th tome, p.380. eot er, tome 6, page firft. Sur les monumens qui ont fervide memoires aux premiers Hiftoriens ; where he fays Les evenemens fameux eftoient reprefentez fur les bafes des ftatues, des trepieds, des autels, dans les portiques, dans les temples : & 1 on peut dire que les anciens ont peint fuc-ceffiyement toute l’hiftoire, d’abord groffierement, & dans la fmte avec plus de dehcatefTe. Many Teftimonies are brought from Herodotus, Diodorus Siculus, and other ancient Authors, to prove the Antiquity of the defining Arts ;—and likewife from the facred Writings, the Command of God forbidding the Worlhip of Images._____The r 5 employed to work about the Tabernable in Gold, and Silver, and Brafs, Exod. xxxi. 2. And the account that is given of the Origin of Images and Ido-latry m the Book of Wifdom, chap. xiv. ver. r5, r6, t k n JK°r,a Father afflided with untimely mourning when he hath made an image of his ChildfoonTakfn S7 Ma7 a T7rd ß 38 " G°d’ wh,ch was then a dead Man, and delivered to thofe that were under him Ceremonies and Sacrifices. Thus in procefs of time gra- Kings VV hom Men could not honour in prefence be- Äf fey took the counterfeit“f Tis V iiaöe from far, and made an exprefs Image of a Kino- tzfifßrfßfthe fingular ««w °f tfe Artihcer did help to fet forward the Ignorant to more Superftition: for he — forced all his Skill to make the Refemblance of the beft fafhion. guhmerus, in his üf. dvuycgzi,, feems to have given the fame account of the Origin of Superftition, in order to'prove its abfurdity; according to the accounts given of his Work by Heathen Writers, compared with what is faid by the Fathers of the Church. See a Dif- 9tWorks in * n°-416- - *** * • ^ . Jradltum eft etlam> Homerum caecum fuiffe, at ejus pifluram non poefim videmus. Qu* regio, quae ora, qu. locus Gr*c.*, qu* fpecies form*, qu* pugna, qu* acies, quod remig.um, qui motus homing, qui ferarum, non ita expiftus eft, ut, qu* ipfe non viderit, nos ut videremus effecent ? Tufc. Quad. (6)r Miwi* J ri,’r£, *omeSv, Eujwest % AmMce, AJfypeS*. Imagines. Chap. T. and beeline of Painting. cp T rvrexprefflv fays, that the Art of Painting was unknown in the times defcribed by the Iliad But' acording to that Author, the Art of Carving was in ule at the Siege ol 7% | Vronfenuentlv Dcfrm, which is the mod effential part ot Painting, was then underftood : And when he obferves, that Painting does not appear to have been known at that tune, he wonders how an Art (7), beginning fo late, came fo foon to its 1 erfccuon. TTCiMF R is reckoned fo rigidly exact in deferibingthe Cuftoms, Manners, and Practices of Times and Countries, that ancient Hiftorians pay a very great regard to his Authority, and fcruoTe not to build upon it (8). And therefore we can hardly doubt but that Painting was practifed even at that early Period, fince he reprefents it, or fomething equivalent to it, to hive been then in ufe. But whether this Art was arrived to any degree or Excellence at LTtime of the Trojan War or not, Homer himfelf muft be allowed by every one who underftands the many lively and elegant Defcriptions of S Pries Pictures and Ornaments of all kinds, that occur in that divine loet to na\ a verv perfect Ideas of all the Arts of Defign, not only of Statuary and Sculptuie but of Painting Tho’ the Name of the Art is not to be found in his Writings, yet the Art 1 c fs pkinfv defcribed as it confifts in Defign and Colouring. So highly was he charmed with thefe Arts that he has enriched his Poems with an infinite variety of Beauties derived from that ddiCThtful Source. Itisindeedimpoffibleto give amore perfeft Notion of their End, Ufe, Power and Excellence, than he hath done by his Defcriptions of feveral Works of an exquifite, mafterly Tafte. Hence as he is univerfally owned, by all Cnticks, ancient and moo cm to be the Father of Poetry and Oratory, infomuch that all the Precepts and Examples ot thefe Arts are taken from him; fo he was likevvife regarded by the belt ancient Painters as their Infpfter Teacher and Director. Were certain ancient Treatifes on Painting ftill m be-iw of which we hardly know any thing but their Titles, it is highly probable we Ihould find their Authors paying no lefs Homage to his Authority than the belt Cnticks on Elo-ouence and Poetry hive always done. For this we are fure of, that the belt ancient Statuaries and Painters ftudied him conftantly (9) : from his Writings they took almoft all tneir Ideas and Subjects: whatever Affections, Paffions, Virtues, Vices, Manners, Habits or Attitudes they drew ; whatever Characters of Gods, Dcmi-Gods, or Men and \\ omen they reprefented they had Homer always in their view as their beft Pattern to copy after. Zeuxis was confidered by the Painters as their Legiflator with rcfpect to Divinities and Heroes, be-caufe he had followed Homer as his; fo a very good Author tells us (10). It was Homer s Paintings fay feveral other Writers (11), that awakened and kindled the Conceptions of the moft eminent Sculptors and Painters, while they ftrove to keep up to the Truth, Beauty, and Grandeur of the Ideas he had impreffed on their Imagination. His Defcriptions became the Characters which were purfued by the great Matters, and in all Works ot a good Tafte. Now what the Roman Orator fays of Homer (12) with refpect to Poetry and Rhetonck, holds*equally good with regard to Painting : All thefe Arts muft have been greatly improved, and in hi°h efteem, before, or in his time, otherwife he could not have had fuch a confum-mate Idea of them in all their Parts and Qualities. No Art or Science ftarts all at once into Perfection : all things, natural or moral, advance to Vigour and Maturity by gradual fteps. Can therefore thefe Arts, of which Homer {hews fo perfect a Tafte and Knowledge, be fup-pofed to have been but in embryo and hardly known in his time; or to have as yet produced nothin»- truly beautiful and elegant? Can any one confider his Defcriptions of Minervas^ JEzis °Achilles's Shield, the Buckler of Agamemnon (13), and feveral other fuch Works ot Pliny fays it wast'd known at the time of the Trojan War I Bui owns that Sculpture was, and therefore Defgn was. Me wonders at its quick Prcgrefs on that fuppofition. Homer makes it fo old, and is rigidly exaCi in his Accounts of Manners and Arts. Whatever be as to that, he himjelf certainly had very perfekt Ideas of the Arte He was regarded by ancient Criticks as the Father of Poetry and Oratory. And by ancient Painters as their Infpirer and Legiflator. Cicero’r Argument with regard to the other Arts, will hold equally goodwills re-fipeSt to Painting. Several Defcriptions in Homer referred (7) Nullam artium celerius confummatam cum Iliads temporibus non fuifle earn appareat. Plin. 35. (8) Strabo in the firft Book of his Geography, year the beginning, has thefe Words, os Coyn&s) i flovov iv to na.'A. rib Trailmv *f£7> x.- t- a ) Qui non folum univerfos priores ac pofteriores virtute poetica fuperavit ; fed etiam ipfa ferme rerum civilium, quse ad vitam fpedant, ex-perientia. And in the fame Book, afterwards, he adds, T«|/ yap ««hot/ Train07V piAoarirt««. ntems *■ t. X ) Illius enim poefin fapientiae ftudium effe, ac Philofophiam univerfi seftimant, non ut inquit Eratofthenes, qui, ad intellioentiam & mentem poemata judicari non debere, jubet,°nec ullam ex Poetis Hiftoriam efle petendam. So Paufanias in feveral places. (9) Strabo, lib. 8. ’AtnstAvnuoKvovoi o oi <5>uSlav- x-t.x-) Unum de Phidia memoriae proditum eft, ab eo Pandaeno refponfum, qui cum Phidiam interrogaret, quodnam ad exemplar Jovis ftatuam fadurus effet, ad Homeri refpon-dit Imaginem, quam hifee verfibus expheavit : rH, xj xvasviitffU’ ior oppvoi vsueri *Ay-ßfjvat ayS 0f ffomer. They tell us of one Painter, that he was the firft who begun to fhadow, “ and of another, that he fill’d his Out-lines only with a fingle Colour, and that laid on « every where alike : But we may have a higher notion of the Art, from thofe Defcrip-'« tions of Statues Carvings, Tapeftries, Sculptures upon Armour, and Ornaments of all « kinds, which every where occur in our Author; as well as from what he fays of their « Beauty, the Relievo, and their Emulation of Life itfelf. If we conftder how much it is « his conftant practice to confine himfelf to the Cuftom of the Times whereof he writ, it “ will be hard to doubt but that Painting and Sculpture ffiuft have been then in great praftice “ and repute* “ the Shield is not önly deferibed as a piece of Sculpture, but of Painting : the Out-“ lines may be fuppofed engraved, and the reft enamel’d, or inlaid with various-colour d “ Metals. Within its Concave hung a fiver Phong, On which a mimick Serpent creeps along. His assure Length in eafy PVaves extends, nil in three Heads th’ embroider'dMonß er ends. Ib. 1-43’ W. See alfo his Defcription of Paris’s Armour, II. in. 1. 4IG- O’er her bread Shoulders hangs his horrid Shield, Dire, black, tremendous ! round the Margin roll’d, A Fringe of Serpents hifing guards the Gold : Here ail the Terrors of grim War appear. Here rages Force, here tremble Flight and Fear. Here form’d Contention, and here Fury frown’d. And the dire Orb portentous Gorgon crown’d. II.v. 1. 911. Two rows of fately Dogs, on either hand. In fculptur’d Gold and labour’d Silverfand. Thefe Vulcan form d with Art divine, to wait Immortal Guardians at Alcinous’ Gate; Alive each animated Frame appears. And f ill to live beyond thepow’r of Years. Od. B.vii.l. X18,&c. Meantime, to beauteous Helen, from the Skies The various Goddefs of the Rainbow flies : Her in the Palace, at her Loom Jhe found ; The golden Web her own fad Story crown’d, The f rojan Wars floe weav’d (herfelf the Prize) Andthedire Triumphs of her fatal Eyes. Iliad B. iii. 1.169. Around her next a heav’nly Mantle flow’d. That rich with Pallas’ labour’d Colours glow’d; Large Clafps cf Gold the Foldings gather’d round, A golden Zone her fwelling Bofom bound. Far beaming Pendants tremble in her Ear, Each Gem illumin’d with a triple Star. Then o’er her Head floe cafl a Veil more white Than new-fall’n Snow, and dazzling as the Light. Laß herfair Feet celeflial Sandals grace. II. B. xiv. 1. 207. While Jhe with Work and Song the time divides. And thro’ the Loom the golden Shuttle guides. Odyf.B.vd.7 8, -----------------------With earnefl gait Seek thou the flhteen along the Rooms of State; Her royal Hand a woncCrous Work deflgns. Around, a Circle of bright Damfels Jhines, Part twift the Threads, and part the Wool difpefe. While with the purple Orb the Spindle glows .Odyf B.vi.l.365. (14) This Author fuppofes the Buckler to have been perfectly round : He divides the convex Surface into four concentrick Circles. The Circle next the Center contains the Globe of the Earth and the Sea in miniature : he gives this Circle the Dimenfion of three Inches. The fecond Circle is allotted for the Heavens and the Stars : he allows the Space of ten Inches between this and the former Circle. The third fhall be eight Inches diftant from the fecond. The Space between thefe two Circles fhall be divided into twelve Compartiments, each of which makes a' Picture of ten or eleven Inches deep. The fourth Circle makes the Margin of the Buckler : and the Interval between this and the former, being of three Inches, is fufficient to reprefent the Waves and Currents of the Ocean. All thefe together make but four Foot in the whole in diameter. The Print annex’d to it will ferve to prove, that the Figures will neither be crouded nor confufed, if difpofed in the proper Place and Order. See Mr. Pope’s Obfervations on the Shield. The Argument for the Antiquity of Painting from Homer’s Defcription of this Shield, is thus Fated by Bu-lengerus, lib. 1. cap. 3. dePiclura, &c. Nulla ars celerius confummata eft, cum Iliads tem-poribus non fuiffe appareat, inquit Plinius. Imo Iliads temporibus fuiffe apparet, ex clypeo Achillis apud Ho-mertim. Excipies Homerum aequalem non fuiffe Iliaco excidio. Metals The varietv of Colours is plainly diftinguifh’d by Homer, where he fpeaks of the Blacknefs of the new-open d Earth, of the feveral Colours of the Grapes and Vines; and in other places. The different Metals that Vulcan is feign d to call into the Furnace, were fufficient to afford all the neceflary Colours : But if to thofe which are natural to the Metals we add alfo thofe which they are capable of receiving from the Operation of Fire we fhall find that Vulcan had as great a variety of Colours to make ufe of as any modern Painter. That enamelling or fixing Colours by fire, was F^lfed very anciently may be conjedurd from what Diodorus reports of one of the Walls of Babylon, built by Semiramis, that the Bricks of it were painted before they were btirnd fo as to reprefent all forts of Animals, lib. 2. chap. 4. Now it is but natural to infer, t at Men had made ufe of ordinary Colours for the Reprefcntation of Objeds, beioie they learnt to reprefent them by fuch as are given by the Operation of Fire; one being much more eafy and obvious than the other, and that fort of Painting by means ot file ein0 but an Imitation of the Painting with a Pencil and Colours. The fame Inference wi e farther enforc'd from the Works of Tapeftry, which the Women of thofe times inter-weaved with many Colours ; as appears from the Defcription of that Veil which Hecu a offers to Minerva in the fixth Iliad, and from a Paffage in the twenty-fecond, where Andromache is reprefented working Flowers in a Piece of this kind. They mm cer-: tainly have known the ufe of Colours themfelves for Painting, before they could think of dyine Threads with thofe Colours, and weaving thofe Threads clofe to one another, in order only to a more laborious Imitation of a thing fo much more eafily performed : by a Pencil." This Obfervation I owe to the Abbe Fraguier. « jy may indeed be thought, that a Genius fo vafl and comprehenfive as that of Fiomer, « mi°ht carry his Views beyond the reft of Mankind ; and that in this Buckler of Achilles « he °r at her defin’d to give a Scheme of what might be performed, than a Defcription of « what really was fo : Änd fince he made a God the Artift, he might excufe himfelf from “ a ftrid Confinement to what was known and pradiled in the time of the Trojan War. “ Let this be as it will, it is certain that he had, whether by Learning, or by Strength of Genius, “ (though the latter be more glorious for Fiomer) a full and exad Idea of Painting in all its « parts t that is to fay, in the Invention, the Compofition, the Expreilion, &c. “THE Invention is fhewn in finding and introducing in every Subjed, the greateft, the « moft frmificant, and moft fuitable Objeds. Accordingly in every fingle Pidure of the « Shic\d,°Homer conftantly finds out either thofe Objeds which are naturally the principal, « thofe which moft conduce to fhew the Objed, or thofe which fet it in the livelieft and « moft agreeable Light: Thefe he never fails to difpofe in the moft advantageous Manners, “ Situations, and Oppofitions. « NEXT, we find all his Figures differently charaderized, in their Expreflions and At-“ titudes, according to their feverai Natures : The Gods (for inftance) are diftinguifhd in « Air, Habit and Proportion, from Men, in the fourth Pidure > Maliers from Servants, in “ the eighth; and fo of the reft. “ NOTHING is more wonderful than his exad Obfervation of the Contraft, not only “ between Figure and Figure, but between Subjed and Subjed. The City in peace is a “ Contraft toÄhe City in war : Between the Siege in the fourth Pidure, and the Battle in “ the fixth, a piece of Paifage is introduced, and rural Scenes follow after. The Country « too is reprefented in war in the fifth, as well as in peace in the feventh, eighth, and ninth. “ The very Animals are fhewn in thefe two different States, in the tenth and the eleventh. “ Where the Subjeds appear the fame, he contraftes them fome other way : Thus the firft “ Pidure of the Town in peace having a predominant Air of Gaiety, in the Dances and “ Pomps of the Marriage ; the fecond has a Charader of Earneftnefs and Sollicitude, in the “ Difpute and Pleadings. In the Pieces of rural Life, that of the Plowing is of a different “ Charader from the Harveft, and that of the Harveft from the Vintage. In each of thefe “ there is a Contraft of the Labour and Mirth of the Country People : In the firft, fome “ are Plowing, others taking a Cup of good Liquor ; in the next, we fee the Reapers “ working in one part, and the Banquet prepar’d in another ; in the laft, the Labour of « the Vineyard is reliev’d with Mufick and a Dance. The Perfons are no lefs varied, old “ and young. Men and Women : There being Women in two Pidures together, namely « the eighth and ninth, it is remarkable that thofe in the latter are of a different Charader « from the former ; they who drefs the Supper being ordinary Women, the others who “ carry Baskets in the Vineyard, young and beautiful Virgins : And thefe again are of an “ inferiour Charader to thofe in the twelfth Piece, who are diftinguilh’d as People of Con-“ dition by a more elegant Drefs. There are three Dances in the Buckler ; and thefe too “ are varied : that at the Wedding is in a circular Figure, that of the Vineyard in a row, that “ in excidio. In ipfo clypeo Vulcanus fecit feientef artificiofa multa. Terrain, Ccelum, Mare, Solem indefeffum, Lu-nam orbiculatam. Idem apud Hefiodum ex clypeo Her-culis apparet, fi enim erat Caelatura, erat & Pictura, quae utrasque pedetentim, & per gradus, non uno tempore abfolutionem confecutae funt. Excipies Pidruram fuifle aetate Hefiodi non Herculis. Sed ante Herculem pldlura fuit fub Mofe, & ante Mofem fub Abrahamos c An Essay on the Rife, Progreß, and that the Oak under which was fpread the “ Banquet of the Reapers, ftood apart. What he fays of the Valley lprinkled all over with “ Cottages and Flocks, appears to be a Defcription of a large Country in perfpedive. And “ indeed a general Argument for this may be drawn from the number of Figures in the “ Shield ; which could not be all expreß, cl in their full Magnitude : And this is therefore “ a fort of proof that the Art of leffening them according to Perfpedive was known at “ that time. “ WHAT the Criticks call the Three Unities, ought in reafon as much to be obferved “ in a Pidure as in a Play ; each fhould have only one principal Adion, one Inftant of “ Time, and one Point of View. In this Method of Examination alfo the Shield of Homer “ will bear the teft : He has been more exad than the greateft Painters, who have often “ deviated from one or other of thefe Rules; whereas (when we examine the Detail of “ each Compartiment) it will appear, “ FIRST, that there is but one principal Adion in each Pidure, and that no fuper-“ numcrary Figures or Adions are introduced. This will anfwer all that has been faid of SECONDLY, that no Adion is reprefented in one Piece, which could not happen in the fame inftant of time. This will overthrow the Objedion againft fo many different Adions appearing in one Shield 5 which, in this cafe, is much as abfurd as to objed againft fo many of Raphael's Cartons appearing in one Gallery. “ THIRDLY, it will be manifeft that there are no Objeds in any one Pidure which could not be feen in one point of View. Hereby the Abbe Ter raff oris whole Criticifm , r . — ,----c. wuxu never De leen all at once. Homer was incapable of fo abfurd a Thought, nor could thefe heavenly Bodies (had he intended them for a Pidure) have ever been feen together from one Point • for the Conftellations and the Full Moon, for example, could never be feen at once with the Sun. But the celeftial Bodies were placed on the Bofs, as the Ocean at the Margin J- ,T VM.AAJ' ail VAlild- ment to the Projedion in the middle, and the latter a Frame round about it: In the fame manner as the Divifions, Projedions or Angles of a Roof are left to be ornamented at the Difcretion of the Painter, with Foliage, Architedure, Grotefque, or what he pleafes: However his judgment will be ftill more commendable, if he contrives to make even thefe extrinlical Parts, to bear fome allufion to the main Defign. It is this which Homer has done, in placing a fort of Sphere in the middle, and the Ocean at the border of a Work, which was exprellly intended to reprefent the Univerfe. “ I proceed now to the Detail of the Shield; in which the Words of Homer bein«- firft “ tranflated, an attempt will be made to fhew with what exad Order all that he deferibes “ may enter into the Compofttion, according to the Rules of Painting." The Shield of Achilles divided into its several Parts. The Bofs of the Shield. 1. Vcrfc 4.83. xEv fxsv yx7a.v, &c.J “ HERE Vulcan reprefented the Earth, the.Heaven the Sea, the indefatigable Courfe of the Sun, the Moon in her full, all the celeftial Si ’ 1 “ THERE was fecn a number of People in the Market-place, « tZLMen rfpudngwarmly : The occafion was the payment of a Fine for a Murder, « tvhich one affirm* before the People he had paid, the other deny d to have receiv d; bom « demanded that the Affair Ihould be determin’d by the Judgment of an Aibiter The Ac-« clamations of the Multitude favour’d fometimes the one Party, fometimes the other. HERE is a fine Plan for a Mafier-piece of Exprefiion ; any Judge of Painting will fee our Author has chofen that Caufe, which, of all others, would give occafion to the greateft variety of Exprefiion : The Father, the Murderer, the Witnefles, and the different Pafllons of the Aflembly, would afford an ample Field for this Talent even to Raphael himfelf. Third Compartiment, The Senate. 3. KWs f Wr epvmer, &cj “ THE Heralds rang’d the People in order : The tc reverend Elders were feated on Seats of polifh’d Stone, in the facred Circle ; they role “ up and declared their Judgment, each in his turn, with the Sceptre in his hand : Two Tact lents of Gold were laid in the middle of the Circle, to be given to him who fhould pro-« nounce the moft equitable Judgment.” THE Judges are feated in the Center of the Picture ; one (who is the principal Figure) handing up as fpeaking, another in an Adion of riftng, as in order to fpealc : The Ground about them a Profped"of the Forum, fill’d with Auditors and Spectators. Fourth Compartiment. ATown in IVar. 4; Tw R steptiv 7roÄir, &CJ “ THE other City was befieged by two glittering Armies : “ They were not agreed, whether to fack the Town, or divide ail the Booty of it into two cc equal parts, to be (hared between them : Mean time the Befieged fecretly arm d themfelves “ for an Ambufcade. Their Wives, Children, and old Men were polled to defend their “ Walls : The Warriors march’d from the Town with Ralias and Mars at their head : The “ Deities were of Gold, and had golden Armours, by the Glory of which they were diftin-« guifh’d above the Men, as well as by their fuperiour Stature, and more elegant Proportions. THIS Subjcd may be thus difpofed : The Town pretty near the Eye, a-crofs the whole Pidure with the old Men on the Walls : The Chiefs of each Army on the Fore-ground : 5 Their I. Two Cities radiant on the Shield appear, The Image one of Peace and one of IVar, Here facred Pomp and genial Feaß delight, And folemn Dance, and hymenczal Rite ; Along the Street the new-made Brides are led, TVith Torches flaming, to the nuptial Bed : The youthful Dancers in a Circle bound To the foft Flute, and Cittern's fiver Sound: Thro’ the fair Streets, the Matrons in a row, Stand in their Portions, and enjoy the fhow. 1. There, in the Forum fwarm a num'rous Train : Toe fubjeSi of Debate, a Townfman fain : One pleads the Fine difeharg'd, which one deny d. And bade the Publick and the Laws decide : The IVitnefs is produc’d on either hand ; For this, or that, the partial People fand. 3. 77/ appointed Heralds fill the noify Bands, And form a Ring with Scepters in their bands ; On Seats of Stone, within the facred place, The rev' rend Elders nodded o' er the cafe ; Alternate, each th’ attefiing Scepter took, \ And rifng folemn, each his Sentence fpoke. Two golden Talents lay amidf, in fight. The Prize of him who bef adjudg'd the right. 4. Another part (a Prcfpeä differing far) Glow'd with refulgent Arms, and horrid IVar. Two mighty Hofs a leaguer’d Town embrace. And one would pillage, one wou'd burn the place. Meantime the Townfmen, arm'd with filent care, A fecret Ambufh on the Fee prepare : Their iVives, their Children, and the watchful Band Of trembling Parents on the Turrets fand. They march ; by Pallas and by Mars made bold ; Gold were the Gods, their radiant Garments Gold, And Gold their Armour: Thefe the Squadron led, Auguf, divine, fuperiour by the head. An Essay on the Rifey Progreß, Their different Opinions for putting the Town to the Sword, or fparing it on account of the Booty, may be exprefs’d by fome having their Hands on their Swords, and looking up to the City, others hopping them, or in an action of perfuading againft it. Behind, in prolpecl, theTownfmen may be feen going out from the Back-gates, with the two Deities at their head. HOMER here gives a clear inltancc of what the Ancients always pra&ifed ; the diftin-guilhing the Gods and Goddelfes by Characters of Majefty and Beauty fomewhat fuperiour to Nature ; we conftantly find this in their Statues, and to tins the modem Mailers owe their grand Talle in the Perfection of their Figures. Fifth Compartiment. An Ambufcade. f. O/' Sr’ ore $ri p’ 'Uxvov, d?r.] “ BEING arrived at the River where they deligned their “ Ambulh (the place where the Cattle were water’d) they difpofed themfelves along the Bank “ cover’d with their Arms : Two Spies lay at a dillance from them, obferving when the Oxen “ and Sheep fhould come to drink. They came immediately, followed by two Shepherds “ who were playing on their Pipes, without any apprehenfion of their danger." THIS quiet Picture is a kind of Repofe between the lall, and the following adive Pieces. Here is a Scene of a River and Trees, under which lie the Soldiers, next the Eye of the Spectator ; on the farther Bank are placed the two Spies on one hand, and the Flocks and Shepherds appear coming at a greater dillance on the other. Sixth-Compartiment. The Battle. 6. o; ia.Iv Tat 7r£piFoi"m, <&c.~\ “THE People of the Town rufh’d upon them, carried off the Oxen and Sheep, and kill’d the Shepherds. The Befiegers fitting before the Town heard the Outcry, and mounting their Horfes, arrived at the Bank of the River ; where “ they Hopp’d and encounter’d each other with their Spears. Difcord, Tumult, and Fate raged in the midll of them. There might you fee cruel Delliny dragging a dead Soldier thro’ the Battle 5 two others fhe feiz’d alive; one of which was mortally wounded ; the “ other not yet hurt: The Garment on her Shoulders was llain’d with human Blood : The “ Figures appeared as if they lived, moved, and fought, you would think they really draped “ off their dead.’’ 05 THE Sheep and two Shepherds lying dead upon the Fore-ground. A Battle-piece fills the Picture. The allegorical Figure of the Barca or Delliny is the principal. This had been a noble Occafion for fuch a Painter as Rubensr, who has, with moll Happinefs and Learning, imitated the Ancients in thefe fiCtious and fymbolical Perfons. Seventh Compartiment. Tillage. 7. cc *Ev E&et viiov fixXaxhv, &c.~] “ THE next Piece reprefented a large Field, a deep “ and fruitful Soil, which feem’d to have been three times plow’d; the Labourers appear’d “ turning their Plows on every fide. As foon as they came to a Land’s end, a Man pre-“ fented them a Bowl of Wine; cheared with this, they turn’d, and worked’down a new1 “ Furrow, defirous to hallen to the next Land’s end. The Field was of Gold, but look’d “ black behind the Plows, as if it had really been turn’d up ; the furprizing effeCt of the Art “ of Vulcan!’ THE Plowmen muH be reprefented on the Fore-ground, in the aCtion of turning at the end of the Furrow. The Invention of Homer is not content with barely putting down the Figures, but enlivens them prodigioully with fome remarkable Circumllance : The giving a Cup of Wine to the Plowmen mull occafion a fine Exprelfion in the Faces, 5. A place for Ambuß fit, they found, and fiood Cover'd with Shields, befide a filver Flood. Two Spies at difiance lurk, and watchful feem If Sheep or Oxen feek the winding Stream. Soon the white Flocks proceeded o'er the Plains, And Steers flow-mowing, and two Shepherd-Swains ; Behind them, piping on their Reeds, they go. Nor fear an Ambuß, nor fufpect a Foe. 6. In Arms the glitt'ring Squadron rifing round, Ruß fudden ; Hills of fiaughter heap the Ground, Whole Flocks and Herds lie bleeding, on the Plains, And, all anudfi them, dead, the Shepherd-Swains. The bellowi?ig Oxen the Befiegers hear ; They rife, take horfe, approach, and meet the War ; They fight, they fall, befide the filver Flood ; The waving Silver feem’d to Muß luith Blood. There Tumult, there Contention flood poffifs' d ; One rear'd a Dagger at a Captive's Breafi • One held a living Foe, that frefily bled With new-made Wounds ; another dragg'd a dead; Now here, now there, the Carcaffes they tore : Fate fialk'd amidfi them, grim with human Gore. And the whole War came out, and met the Eye ; And each bold Figure fierid to live, or die. 7. A Field deep furrow'd, next the God defigrid, The third time labour'd by the fweating Hind The fining Shares full many Plowmen guide. And turn their crooked Yokes on ev'ry fide. Still as at either end they wheel around. The Mafier meets 'em with his Goblet crown'd; The hearty Draught rewards, renews their Toil; Then back the turning Plow-fares cleave the Soil: Behind, the rifing Earth in ridges roll’d. And fable look’d, tho' form’d of molten Gold. 8. Another Eighth Compartiment. The Harvefl. 8. Eighth Reapers Supper. CC Ninth Compartiment. The Vintage. 9. T Ir&et “ HE then cn§raved a Vineyard loaden with its Grapes: « The Vineyard was Gold, but the Grapes black, and the Props of them Silver. A Trench ££ of a dark Metal, and a Palifade of Tin encompafs’d the whole Vineyard. There was one ££ Path in it by which the Labourers in the Vineyard pafs’d : Young Men and Maids carried “ the Fruit in woven Baskets : In the middle of them a Youth play’d on the Lyre, and charmed ££ them with his tender Voice, as he fung to the Strings (or as he fung the Song of Linus :) ££ The reft ftriking the Ground with their Feet in exaft time, follow’d him in a Dance, and ££ accompanied his Voice with their own.” THE Vintage fcarely needs to be painted in any Colours but Homers. The Youths and Maids toward the Eye, as coming out of the Vineyard : The Enclofure, Pails, Gates ,&c. on the Fore-ground. There is fomething inexpreflibly riant in this Piece, above all the reft. >'£(. £ dyixnv Tolwe BoZv, &c.J “ HE graved a Herd of Oxen, marching with their t£ Heads erected; thefe Oxen (inlaid with Gold and Tin) feem’d to bellow as they quitted ££ their Stall, and run in hafte to the Meadows, thro’ which a rapid River roll’d with refound-££ ing Streams amongft the Rufhes: Four Herdfmen of Gold attended them, follow’d by “ nine large Dogs. Two terrible Lions feized a Bull by the Throat, who roar’d as they ££ dragg’d him along ; the Dogs and the Herdfmen ran to his refeue, but the Lions having torn ££ theBull, devour’d his Entrails, and drank his Blood. The Herdfmen came up with their « Dogs, and hearten’d them in vain ; they dürft not attack the Lions, but Handing at fome ££ diftance, bark’d at them, and fhun’d them.” W E have next a fine Piece of Animals, tame and favage : But what is remarkable, is, that thefe Animals are not coldly brought in to be gazed upon : The Herds, Dogs, and Lions are put into action, enough to exercife the Warmth and Spirit of Rubens, or the great Tafte of Julio Romano. THE Lions may be next the Eye, one holding the Bull by the Throat, the other tearing out his Entrails : A Herdfman or two heartening the Dogs : All thefe on the Fore-ground. On the fecond Ground another Groupe of Oxen, that feem to have been gone before, tofting their Heads and running ; other Herdfmen and Dogs after them: And beyond them, a Pro-fpcct of the River. Tenth Cömpartime;nt. Animals. 10. Eleventh 8. Another Field rqfe high with waving Grain ; With bended Sickles ßand the Reaper-train : Here flretch’d in Ranks the level! d Swartbs are found, Sheaves heap’d on Sheaves, here thicken up the Ground. With f weeping Stroke the Mowersflrow the Lands j Vise Gath’ rer s follow and colie ft in Bands', And laß the Children, in whofe Arms are born (Too ftsort to gripe them) the brown Sheaves of Corn. The rußiek Monarch of the Field deferies W.th Jilent Glee, the Heaps around him rife. A ready Banquet on the Turf is laid. Beneath an ample Oak’s expanded Shade. The Viftim-Ox the ßurdy Youth prepare-. The Reapers due Repaß, the Womens Care. To this, one Path-way gently winding leads. Where march a Train with Baskets on their Heads, (Fair Maids, and blooming Youths) that fmiling bear The purple Produft of th’autumnal Year. To thefe a Youth awakes the warbling Strings, Whofe tender Lay the Fate of Linus fings ; In meafur’d Dance behind him move the Train, Tune foft the Voice, and anfwer to the Strain. IO. Here Herds of Oxen inarch, ere ft and bold. Rear high their Horns, and feem to lowe in Gold, And fpeed to Meadows on whofe founding Shores A rapid Torrent thro’ the Rufhes roars: Four golden Herdfmen as their Guardians ßand, mo lucli \juuruiuns jiuriu? And nine four Dogs compleat the rußiek Band. Two Lions rußing from the Wood appear’d. 9. Next, ripe in yellow Gold, a Vineyard fnines. Bent with the pond’rous Harveß of its Vines A deeper dye the dangling Clußers ßow. / Injuns^ j i uf/i trye rr uuu uyyeuj u9 And feiAd a Bull the Maßer of the Herd: He roar’d, in vain the Dogs, the Men withflood. And curl’d on fiver Props, in order glow : A darker Metal mix’d, intrench'd the place ; And Pales of glitt’ring Tin th’ Enclofure grace. They tore his Fleß, and drank the fable Blood. The Dogs (oft’ chear’d in vain) defert the Prey, Dread the grim Terrors, and at dißance bay. D 10 An Essay on the Rifey Progrefs, Eleventh Compartiment. Sheep, it. uEv vofx.ot, ejrc.J “ THE divine Artift then engraved a large Flock of white Sheep, “ feeding along a beautiful Valley. Innumerable Folds, Cottages, and enclos'd Shelters, “ were flutter'd thro' the Profpedl." THIS is an entire Landskape without human Figures, an Image of Nature folitary and Ündifturb'd: The deepeft Repofe and Tranquillity is that which diftinguifhes it from the others. Twelfth Compartiment. The 'Dance. 12. vEv M %opoV, &c.J “ THE skilful Vulcan then dclign’d the Figure and various Mo-££ tions of a Dance, like that which Dxdalus of old contrived in GnoJJus for the fair “ Ariadne. There the young Men and Maidens danced hand in hand 5 the Maids were “ drefs'd in linen Garments, the Men in rich and fhining Stuffs : The Maids had flowery ££ Crowns on their heads; the Men had Swords of Gold hanging from their Tides in Belts “ of Silver. Here they Teem to run in a ring with adive Feet, as fwiftly as a Wheel runs e£ round when tried by the Hand of the Potter. There, they appeared to move in many ££ Figures, and fometimes to meet, fometimes to wind from each other. A multitude of ££ Spedators flood round, delighted with the Dance : In the middle two nimble Tumblers ££ exercifed themfelves in Feats of Adivity, while the Song was carried on by the whole ££ Circle.” THIS Pidure includes the greateft number of Per Tons : Homer himfelf has group'd them, and mark'd the manner of the Compofition. This Piece would excel in the different Airs of Beauty which might be given to the young Men and Women, and the graceful Attitudes in the various manners of dancing: On which account the Subjed might be fit for Guido, or perhaps could be no where better executed than in our own Country. The Border of the Shield. 13. vEy V ItISrsi Troret^o, &c.J “ THEN laftly, he reprefented the rapid Courfe of the £C great Ocean, which he made to roll its Waves round the Extremity of the whole Cir-t£ cumference.” This Shield was con-fidered in the fame View by the Ancients : And this kind of Sculpture was very ancient. THIS (as has been faid before) was only the Frame to the whole Shield, and is therefore but lightly touch'd upon, without any mention of particular Objeds.” TIS not improper to add to this beautiful Differtation, that the Shield of Achilles was confidered by the Ancients in the fame light, as a M after-piece of pidurefque Sculpture. This appears from a Paflage of the eldeft Philofiratus in his Life of Apollonius Tyaneus (14) : And the fame Author tells us, that this kind of Painting was very anciently pradifed. In a Pidure defcribed by the youngeft Philofiratus, called Pyrrhus or Myfi (iy), ‘Pyrrhus’s Shield is painted according to Homers Defcription, becaufe Vulcans Armour was yielded to him by UlyJJ'es: On which occafion Philofiratus {hews us its feveral Beauties confidered as a Pidure. How right an Idea the- Ancients had of Homers grand and comprehenfive Deiign, which was no lefs than to draw the Pidure of the whole World in the compafs of this Shield, may be judged, as Mr. Pope obferves, from that Verfe of Ovid-, where he calls it ---Clypeus vafto calatus imagine mundi. Met. 1.13. and 11. Next this, the Eye, the Art of Vulcan leads Deep thro' fair Foreßs, and a Length of Meads; And Stalls, and Folds, and fcatter'd Cots between ; Andfieecy Flocks that whiten all the Scene. 12. A figur'd Dance ftcceeds: Such one was feen In lofty Gnoflus, for the Cretan fiueen. Form’d by Daedalean Art. A comely Band Of Youths and Maidens, bounding hand in hand; 'The Maids in foft Cymars of Linen arefl ; The Youths all graceful in the glojfy Vefl ; Of thofe the Locks with flow'ry Wreaths inrolFd, Of toefe the Sides adorn’d with Swords of Gold, That glitt ring gay, from filver Belts depend. Bow all at once they rife, at once depend, With well-taught Feet: Now fioape, in oblique ways, Confus'dly regular, the moving Masse: Now forth at once, too fwifi for Sight they fpring, And undiflinguifif d blend the flying Ring : So whirls a Wheel, in giddy Circle tofl. And rapid as it runs, the fingle Spokes are lofl. The gassing Multitudes admire around ; Two aäive Tumblers in the Centre bound; Now high, now low, their pliant Limbs they bend. And gen’ral Songs the fprightly Revel end. 13- Thus the broad Shield complete the Artifl crown’d With bis laß Hand, and pour’d the Ocean round; In living Silver feem’d the Waves to roll. And beat the Buckler’s Verge, and bound the whole. (14) Lib. 2. cap. 22. TOAlft 3 a Adf/.!. x.. T. x.) Ifla. autem, O Dami, Pori juffu artificiofe elaborata opera, non aerariae artis folum efie dicemus, nam pidorum inftar habent; neque picEPa duntaxat, quoniam arte aeraria funt concinnata. Verum induftrie ea ftatuamus unum virum, ärtis picloriae juxta & aerariae peritum, quale apud Ho-merum Vulcani opus in Achillis clypeo reprasfentatur. Plena enim & ifta interficientium atque interfcclorum, terramque madere fanguine diceres, quamvis aere fit elaborata. Ibid. cap. 20. Ta 3 TofitKa. /AyCoos uiv £,cii -gfi rp mvov. K- t. a.) Taxila urbem magnitudine ab an-tiqua Nino non multum differre, See.—Tabulte senes in quovis pariete erant defixae, piduras exhibentes. Pori nempe & Alexandri gefta delineata erant orichalco, ar-gentoque & auro, atque aere nigro, elephanti, equi, mi-lites, galeae & clypei, haftae & tela, gladiique ex ferro omnia. Et quae egregia piflurae eft indoles : verb! gratia, li a Zeuxide vel Polygnoto, aut Euphranore aliquid fit profedum, qui in umbris rite exprimendis, & animandis quafi piduris, redudis item & eminentibus repraefen-tandis operam pofuere; earn hie quoque apparere inqui-unt. Material autem varia genera colliqUefcendo coaluere permde atque colores. Suaviflimi vero etiam mores, Pidura exprelfi funt. (15) Philofl. leones 10. 1 A xrn if is indeed aftonifhing, (faith he) how, after this, the Arrogance of fome Modems co^mformnately chufe the nobleft Part of the nobleft Poet for the Ob,eft of their blind Cenfures Their Criticifms, whatever effect they may have on iome other parts, yet when aimed againft this Buckler, are quite weak and impotent. Toftquam arma dei ad Vulcania vent um eft Mortalis macro, glacies ceu futilis, icla Diftiluit. TAT R GIL has imitated Homer in every thing, and abounds no lefs m beautiful De-fcriptions of Statues, Sculptures, Carpets, Veftments, and other Pieces of curious Defign and exquifite Workmanfhip (16). He was charmed with thofe ot Homer, and therefoie would live the fame Ornaments to his Poem. And ’tis no fmall Confirmation of the r-cumcntfor the Antiquity of Painting taken from Homers Writings that I irgil, who is fuftlv faid by Criticks to be the moft exact and judicious of all Poets, fpeaking of the lame Times, has not fcrupled to fuppofe Painting as well as Sculpture to have been then at its higheft Perfection. THE Armour of zyEneas; his Shield particularly, with all its prophetick Sculptures, re-prefenting the future Annals of Italy, are defcribed with the greateft Elegance; and thejDe-fcriptionls with good reafon introduced by the Hero's Admiration and Joy at the fight of them (17).^^ ^ ^ Gift, he rowl’d his greedy Sight Around the Work, and gaz’d with vaft delight, He lifts, he turns, he poizes, and admires The crefted Helm, that vomits radiant Fires : He Jhakes the pointed Spear s and longs to try The plated Cuifhes, on his manly Thigh, But moft admires the Shield’s myfterious Mould, And Roman Triumphs rifing on the Gold s For thofe, embofsd, the heavenly Smith had wrought (Not in the Rolls of future Fate untaught) The Wars in order, and the Race divine. Of Warriors ijfuing from the Julian Line, Dry den, xEn. 8. « ’TIS (18) happy that Virgil has made a Bucklet for tftEneas as well as Homer for cc Achilles. The Latin Poet, who imitated the Greek one, always took care to accom-“ modate thofe things which time had chang’d, fo as to render them agreeable to the Pa-“ late of his Readers; yet he hath not only charg’d his Shield with a great deal more work, « fmce he paints all the Adions of the Romans from Afcanius to Auguftus; but has not « avoided any of thofe Manners of Expreflion which offend the Criticks. We fee there « the Wolf of Romulus and Remus, who gives them her Dugs one after another. They fuck’d fecure, while bending back her Head, She lick’d their tender Limbs, and form d them as they fed. « The Rape of the Sabines, and the War which followed it: Met in s torn by four Horfes, and « Tullus who draws his Entrails thro’ the Foreft: Borfenna commanding the Romans to “ receive Tarquin, and befieging Rome: The Geefe flying to the Porches of the Capitol, “ and giving notice by their Cries of the Attack of the Gauls. We fee the Salian Dance, “ and the Pains of the Damn’d; and farther off, the Place of the Blels’d, where Cato pre-“ fides : We fee the famous Battle of A cl him, where we may diftinguifh the Captains : “ Agrippa with the Gods, and the Winds favourable; and Anthony leading on all the “ Forces of the Eaft, Egypt, and the Baclrians. The Fight begins, the Sea is red with “ Blood, Cleopatra gives the Signal for a Retreat, and calls her Troops with a Siftrum. “ The Gods, or rather the Monfters of Egypt, fight againft: Neptune, Venus, Minerva, “ Mars and Apollo : We fee Anthony s Fleet beaten, and the Nile forrowfully opening “ his (16) Arte laloratts veßes, oßroque fnperbo : Ingens argentum mcnßs ; ceslataque in auro Fortia facia patrum, feries longißima rerum Per tot duäa vires antiques ab origine gentis, &c. Aln.l. 641. ViCiori chlamydem auratam, quam plurima circum Purpura Mceandro duplici Melibcea cucurrit Intextufque puer, frondosd regius Ida, Veloces jaculo cervos curfuque fatigat, Acer, anhelanti ßmilis ; quem prapes ab Ida Sublimem pedibus rapuit Jovis armiger uncis. Longa-vi palmas nequicquam adßdera tendunt Cußodes, fceviique canum latratus in auras, cAc. Ain.5. 250. Shiinetiam veterum effigies er. ordine avorum Antiqua e cedro, IialufqUe paterque Sabinus Vitifator, curvam fervans fub imagine falcem ; Saturnufque ßenex, Junique bifrontis imago Veßibulo aßabant: aliique ab origine reges, Martiaquiobpatriampugnandovulnerapaffi,&c.IEii 7.177. Virgil likewife a-bounds in Dejcrip-tions of Sculptures and Pictures: And ufcribes the fame Antiquity to Paint-ing as Homer. Some of Virgil's Defcriptions referred to Sculptures, &c. Vid. ibid. lib. 7. ver. 657, & 785. (17) llle dcce donis (A tanto latus honore, Expleri nequit, atque ocuks per ßngula volvit: Miraturque, interque manus (A brachia verfat Verribilem crißis galeam ßammafque vomentem, Fatiferumque enfem, Loricam ex are rigentem, Sanguineam, ingentem : qualis cum carula nubes Solis inardefcit radiis, longeque refulget. Turn lev es ocreas eleCtro auroque recoSto, Haflamque And with an empty Picture fed his Mind. For there he faw the fainting Grecians yield. And here the trembling Trojans quit the Field, Pur fil’d by fierce Achilles through the Plain, On his high Chariot driving o’er the Slain. The Tents of Rhefus next, his Grief renew. By their white Sails betray’d to nightly View. Änd wakeful Diomede, whofe cruel Sword The Centries few; nor fpard their fiumb’ring Lord. Then took the fiery Steeds, e’er yet the Food Of Troy they tafte, or drink the Xanthian Flood. Elfewhere he faw where Troilus defy d Achilles, and unequal Combat try d. Then, where the Boy difarm d with loofend Reins, Was by his Horfes hurry d o’er the Plains : Hung by the Neck and Hair, and dragd around. The hoftile Spear yet /ticking in his Wound j With tracks of Blood inferib’d the dufty Ground. Mean time the Trojan Dames opprefs’d with Woe, To Pallas’ Fane in long Procejfion go. In hopes to reconcile their heav’nly Foe : j They, Chap, r. and Decline of Pain ting. i % They weep, they beat their Breafts, and rend their Hair, And rich embroider d Vefts for Brefents bear : But the fern Goddefs fiands unmov’d with Brayr. Thrice round the Trojan Walls Achilles drew The Corps of Hector, whom in Flight he flew. Here Priam flues, and there, for Sums of Gold, The lifelefs Body of his Son is fold. So fad an Objecl, and fo well exprefsd. Drew Sighs and Groans from the griev’d Herds Breafl ■: To fee the Figure of a lifelefs Friend, And his old Sire his helplefs Hand extend. Himfelf he flaw amidfl the Grecian Train, Mix’d in the bloody Battel on the Blain, Andfwarthy Memnon in his Arms he knew His pompous Enflgns, and his Indian Crew, Penthifilea there, with mighty Grace, Leads to the Wars an Amazonian Race : In their right Hands a pointed Dart they wield; The left, for Ward, fuflains the Lunar Shield. Athwart her Breafl a golden Belt Jbe throws, Amidfl the Brefs alone provokes a thoufand Foes ■, And dares her Maiden Arms to Manly Force oppofe. Thus, while the Trojan Brinee employs his Eyes, Fix’d on the Walls with Wonder and Surprize 5 The beauteous Dido, with a numrous Train, And Bomp of Guards, afeends the facred Fane. IF thofe charming Defcriptions do not fully prove, that the defining Arts were arrived Thefi Defcriptions at a very great pitch of Beauty, and PerfeXion, in the mod ancient Times ; they fhew at 4kgil ieaft Homer’s and Virgil’s cxaX Knowledge, and thorough good Tafte of them ; what high idea of the Vf, Conceptions they had form'd of their Power and Dignity, äs well as Agreeablenefs. And Power, and End of Indeed thefe mafterly Paffages have been quoted here, not merely to prove the Antiquity Painting. of the ingenious Arts, but chiefly to give a juft View, in the beginning of this Difcourfe, of their End, and Extent; or of what they are able to perform and ought principally to aim at. 1 Every one who is capable of underftanding and relifhing thofe delightful Defcrip- Thus we are led to tions, muft be naturally led by them, to many pleafant, and ufeful Reflexions, upon the anticipate the main Beauty and Ufefulnefs of Painting and Sculpture. He will immediately refleX upon the iTthuEffay.^ Elegance, Grace, and Tafte, thofe Arts, when duly improved, muft give to human Society. Not flopping there, he will enlarge with pleafure in his own fancy, upon the many happy EffeXs they would produce, if skilfully employed in Education, at once to form and enrich the Imagination, and to humanize and improve the Heart. And thus he will anticipate the Conclufion, which it is the main Delign of this Eflay to confirm and illuftrate by feveral Confiderations, * * I ARTS, that are able to produce fuch Works as have been defer ibed, muft certainly be The Tafle and acknowledged capable of furnifhing the moft worthy Amufements to reafonable Beings, and huflre thefe Arts the moft becoming graceful Ornaments to human Life. 'Tis indeed thefe Arts alone, that, SIW t9 Society~ taking a right turn, and being duly promoted, can effeXually difcountcnance, and banifh all that brutifh Senfuality, which is the Difgrace and Bane of Mankind. A rich Soil, if not fown with good and wholefome Seeds, and duly cultivated, will foon be over-fpread with the moft noxious Weeds 5 and in opulent States, if the elegant Arts are not carefully cherifhed and encouraged, grofs Voluptuoufnefs will fpring up in their room, and they will quickly be over-run with Vices not more pernicious than abominable. BUT this is not all: Thofe Defcriptions of Paintings and Sculptures Ihew us, that the Arts of Dcfign ought not to be confidered merely as ornamental: There is hardly any ufeful Truth, or important Leffon in Philofophy, which may not be moft agreeably infinuated into young and tender Minds by good PiXures. For what is it that this Art cannot re-prefent, in the moft expreffive, touching manner ? Cities delightful in peace, or formidable in war 5 the Labours of the Country, or the Fruits of thofe Labours in the Harvefts and Vintages ; the paftoral Life in its Pleasures and Dangers ; and in a word, all the Occupations, all the Ambitions and Diverfions of Mankind, were painted on Achilles’s Shield : For, all this, the Poet well knew, the Art was able to perform. And what a variety of CharaXers, PafTions, and AXions in like manner doth Virgil reprefent, as painted in Dido’s Temple, or engraved on the Buckler and Armour of cyyEneas ! There is no Beauty in the natural World, no Paffion in the human Breaft, no Viciflitude in Life, no Bleffine;, no Calamity, no Virtue, no Vice, which thofe ingenious Arts, Painting in particular, cannot exhibit to our Sight, the moft powerful of our Senfes, in tire moft lively alfeXing manner. E IF 14 An Essay on the Rife? Prögrefs, IF therefore our Schools for Education were fuitably furnifhed with good Paintings and Sculptures, what equally profitable and delightful Lefl'ons might be given from them, on the moft philofophical, momentous Subjects, and, at the lame time, upon the real Ufeful-nefs and Excellence of the fine Arts! We are told, that the Schools at Athens, in which the Youth were inftruded and formed, being adorned with Sculptures and Paintings, the Philofophers often took the Arguments of their Lectures from them 5 and fo at the lame time explained feme moral Truth, and pointed out the Beauty and Elegance of the ingenious Picture or Sculpture reprefenting it. Thus Zeno (19) and fcvcral other Philofophers are faid to have taught moral Philofophy > Or to have ftrongiy inculcated upon the Youth, who flock’d to hear them with Delight, Benevolence, Fortitude, Temperance, the Love of Society, Liberty, Mankind, and every truly ennobling Virtue, with all their happy Con-fequences, and Effects in the Breafts which they adorn, and in human Society. To this manner of teaching Perfius alludes : Hand tibi ine Xpert um curves deprendere mores, Ppu£que docet Sapiens braccatis iltita Medis ‘Portions, infomnis quibus & detonfa juventus Invigilat, filiquis, er grandi paß a pollenta. Et tibi qua Samios diduxit liter a tamos, Surgentem dextro monflravit limite callem. Sat. 3. S O Cicero, when he tells us that the philofophical Portico, (fapiens Portions) taught, that Virtue and Virtue only is true Happinefs. We find Socrates (20), the belt ofPhiio-fophers, who had been a Sculptor in his Youth, frequently giving Leffons to the Painters and Statuaries, upon the Knowledge of human Nature, that is requifite, in order to imitate Manners, and exprefs Paflions in their Works; and often making ufe of thole Arts, for inftruding the Youth in Virtue, correcting their Manners, and giving them juft Notions of moral Beauty. He was wont to fay, that, from hewing and polifhing a Block of Marble into the Figure of a Man, he had learned what mull be done in order to reform and polifh Mankind into their becoming, lovely Shape. In fine, one of the moft agreeably inftrudive Pieces of Morality left us by the Ancients, is an Explication of a Picture, the allegorical Picture of Cebes. ’Tis exceeding pleafant to obferve, in reading the Hiftory of thofe times, with what eagernefs and iatisfadion the noble Grecian Youth followed and heard a Socrates; and perhaps one of the chief reafons why Philofophy now-a-days hath fuch a forbidding and rugged Afpect, and doth not produce the fame happy Effeds it is faid to have done in thole ancient Times, is, its being now fever’d in Education, by a fatal Error, from the ingenious Iprightly Arts, as if they were too light and airy to bear it company. Hence thofe heavy Complaints of the Dronifhnefs and Infipidity of Philofophy, which formerly was wont to delight and charm as well as to inftrud. Whence elfe is it, that philofophical Education is found to Hand fo much in need of Redrefs, and Amendment from that excellent School we call the World, and from the polite Arts ? Nor have the Arts fuffer’d lefs by this unnatural Separation, for if they do not receive their Subjeds and Rules, their Materials and Inftrudions, from true Philofophy, they muft become infipid, and trifling, if not corrupt, mere Tinfel; they may flatter the Senfe, but they cannot give any Employment, nor confequently any Entertainment, to the Reafon and Underftanding. ONE who has not been a little converfant in Pidures, Statues, and Bas-reliefs, will hot be able to enter fully into the Beauties of thofe deferib’d by Homer and Virgil, and far lefs to underftand this Conclufion. But let any one, who doubts of the Power ofthole Arts to inftrud and move, or to awaken pleafing and ufeful Refledions in the Mind, make the Experiment on himfelf at Hampton-Court 5 let him but give that attention to Raphael’s Raphael’* Cartons Cartons, which it is hardly polfible to with-hold, if one chances to call his Eye on them : a prorf of this. for however unacquainted he may be with Pidures, if he is not an utter Stranger to Na- ture, to Humanity, he fhall foon feel fuch noble and virtuous Sentiments arife in his Mind as may fully convince him of the Aptitude of this powerful Art to tell an inftrudive or moving Story, in the moft agreeable and lively manner, and to infpire Men with the beft Ideas and Dilpofitions. The excellent Refledions (21), which are naturally, and, as it were, ne-ceffarily called up, by thofe beft Performances of the beft of Painters, in the Breaft of every heedful Beholder, are elegantly deferibed by an excellent Author, in one of the Spedators, to prove the fitnefs of the Art to teach Morals, move the Affedions in a wholcfome way* and to inftil the beft Principles into the Mind, with the moft lafting Impreilioft. • AND, left any One, whether Virtuofo, or Philofopher, may have rafhly Conceived a prejudice againft my Intention, of fhewing the Ufefulncfs of the Arts of Defign in Education, as a whimfical Angular Conceit, imagining that they are quite remote from Philosophy, (19) See Diogenes Laertius in Zenone. there is a long Account of the Pacil'e at Athens, and its . Ornaments, where the Philofophers often taught. (20) 1 his Paifage rrom Xenophon is given at full length in the beginning outlie fourth Chapter. (21) Thefe Reflections are ouotei in the feventh bee Joannts Meurfti Athena Attica, lib. 1. cap. where Chapter, fhe ancient Pbilofo-phers made uje of them in teaching Morals. Zeno, Socrates, Ceb£s. fnnhv nP(i merely for Amufcment: It may not be improper to mention here two other modern Authors, who feem to have had the very fame Ideas of the Ufefulnefs of all the liberal Arts in Education, which, as it hath already appeared, and will be more dully proved afterwards, the bell ancient Poets and Philofophers had conceived ot them. THE tieft I (hall mention is Milton, who, in M> molt intouflivc Dialogue on EÄ-,ion fi2> clearly proves the abfolute neceflity of uniting the fine Arts and the manly Ex- thJ?hisNoJ„;s ereifes with Philofophy, in order to render the Education of young Gentlemen truly fibera. not whimßcal or and complete.. J ° THE nther is my Lord Shaftesbury (23). He is univcrfelly acknowledged to have had a verv mafterlv Tafte of all the polite Arts, and to have treated the molt important Subjefe in moral Philofophy, in the rnoft agreeable manner ; and how often do we hna hint, in his Writings rem-etting the unhappy Confcquences that ante from feparating the mgemom Arts, Zihe iibemlExcrdfcs, from Philofophy in the Formation of our Youth. Both thole treat Men had formed thernfclvcs by the Study of the belt Ancients whofe conftant Doctrine it was, that all the liberal Arts and Sciences are clofely bound andi connected together by a ftried, natural relation; that they have all one Objed, one End one Rule and Meafure ; and that good Tafte in them all muft be the lame, becaufe the Principles upon which Beautv and Truth in Nature, in moral Conduct, and in every Art depend, are the Ernie1 ^They have but one common Enemy, Luxury, or a falfe Tafte of Pleafure; and to 539-Edit. Steph. It belongs not to my prefent purpofe to infill: long on this Subjedt ; but the Logick delineated by Plato in his Books de Republican and his other Treatifes, well deferves the mature Confideration of thofe who are concerned in Education, and teaching the Sciences ; fo very different is it from that Science which commonly takes the name of Logick. See what Milton fays on this Subject in his Treatife of Education, vol. 1. of his Works, p. 13g. “ And now laftly will be the time to read with them f‘ thofe organick Arts, which enable Men to difeourfe “ and write perfpicuoufly, elegantly, and according to “ the fitted Stile of lofty, mean, or homely. Logick “ therefore, fo much as is ufeful, is to be referred to this “ due place, with all her well-coucht Heads and To-« picks, until it be time to open her contradled Palm into “ a graceful and ornate Rhetorick taught out of the « Rule of Plato, Arißoile, Phalereus, Cicero, Hermo-“ genes, Longinus. To which Poetry would be made “ fubfequent, or indeed rather precedent, as being lefs “ fubtle and fine, but more fimple, fenfous and paffion-“ ate, &c.” (27) Ac, nequis a nobis hoc ita did forte mireturi quod alia quaedam in hoc facultas fit ingenii, neque haec dicendi ratio, aut Difciplina : ne nos quidem huic cundii ftudio penitus unquam dediti fuimus. Etenim omnes Artes, quae ad Humanitatem pertinent, habent quoddam commune vinculum, & quafi cognatione quadam inter fe continentur. Cicero pro Arcbia Poeta ab initio. Eft etiam ilia Platonis vera, Et tibi, Catule, certe non in-audita vox, omnem Dodtrinam harum ingenuarum, & humanarum artium, uno quodam Societatis vinculo con-, tineri, ubi enim perfpeefa vis eft rationis ejus, qua caufa; rerum, atque exitus cognofcuntur, mirus quidam omnium quafi confenfus Doctrinarum, concentufque repe-ritur, Cic. de Or at, lib. 3. 6/ F 'The Defign of this £f«h is, to collect and difpofe into proper Order the Ob-fervations that lie fcatterd thro’ many ancient Treatifes on Painting, and to add thefe to Pliny’r Account of the Art. Ä Parallel propofed between two Ages of Painting, as the moß agreeable way of ßsewing to zvhat Perfection the Art was brought in both. Apelles and Raphael compared. A Ltkenefs of Genius. An Essay on the Rife, PrcgreJ's, änd in this manner do Tint arch, cDionyfius Halicarnajfeus, Lucian, and feveral others alfo write on various Subjekts. N OW hence it comes about, that, tho’ none of the more ancient Treatifes on Painting are extant, yet we may gather a great deal concerning the Perfection to which that Ait was brought amongft the Ancients; and the Opinion which the greateft Men of Antiquity had of its true Dignity and Excellence, from Authors who have, not expreflly, written of it. It is therefore by difpofmg under proper Heads, the Obfervations with relation to Painting, which are fcatterd thro’ many Authors, and adding them to ‘Pliny’s fhort Hiftory of this Art, that it is now propofed to give a juft Idea of it, of its Connexion with Poetry, Oratory, and Philofophy, and of its Ufefulncfs in Education ; a fair Reprefentation of the Perfektion it had arrived at amongft the Greeks, and of the Efteem in which it was held by the beft Judges in ancient Times. CHAP. II. Obfervations upon the PerfeSlion to which Pa i anting was brought in Greece. and fome of the Means and Caufes of its Improvement. LET us then inquire a little into the State of Painting in Greece, while the Arts flourifhd there, and into the principal Caufes and Means by which it was fo highly improved in the moft ancient Age of it deferibed to us. ° 3 NOW perhaps it may not be a difagreeable way of purfuing that Defign, to attempt it by way of parallel 5 that is, by comparing the Characters, Talents and Accomplilhments of the chief Maliers in Greece, about the time of Apelles, with thofe of the more diftin-guifh d Painters about that of Raphael: Or in general by comparing the Accounts that are given of the Progrefs and Perfektion of the Art in that latter Period of it, with thofe that are tranfmitted to us, of its Improvements and Advances in the other. Nothing is more entertaining and profitable, than to compare Men with Men, and Times with Times; or the State of an Art at one Period, with its Condition and Circumftances at another. Similarity-in moral Effekts, is not lefs agreeable and fatisfaclory to the Mind than in natural ones • Nor is it more the natural Philofophers Bufinefs, to trace Analogies of Appearances in the one, than it is the moral Philofophers, to obferve them in the other. There is indeed a Likenefs between thefe two Ages of the Art in many Circumftances, which is very furprifin»-and it is by itfelf for that reafon a Phenomenon well worth the Philofopher s Attention! It cannot be unpleafing to fee two Ages of the Art at one view. And there is yet another Advantage that arifes from giving this Hiftory by way of Parallel, for it being Ver7 difficult to convey clear Ideas of the Talents of Painters merely by Words, fuch as are at a lofs to underftand any of the ways of fpeaking about the Abilities of ancient Mailers may be fatisfied by having recourfe to the Pictures (or good Prints of them) of modern Mailers, to whom the like Qualifications are aferib’d. FIRST of all, there is a very remarkable Likenefs in Genius, Abilities and Chärakter between the two noted Chiefs of the Art, Apelles and Raphael, by whole Works it hath acquired its higheft Glory. For this reafon, the lall is commonly called the fecond Apelles or Apelles revived. They are deferib’d to have been of the fame Temper Turn and" Difpofition of Mind (i). And therefore his not to be wonder d, that thePiklures of "the former, are faid have been of the fame Character with thofe of the latter or to have had the fame diftinguilhing Excellencies. « Effects are always proportional and fimilar to their Gaules. Like Caufes will produce like Effects in the moral as well as in the natural World> and therefore as Works are to one another, fo are their Authors Or in other Words, if Authors are of a like Temper and Genius, their Performances will likewife bear a very ftrong refemblancej for the Character of the Author will always difeover itfelf in his Productions. fAPHAEL and Apelles had both graceful Perfons; and yet more graceful Minds I hey were: both humane, open, free, eafy, well-bred Men. They both throughly under-hood Good-Manners, or Beauty and Decency in Life and Behaviour, and had great Souls * J.nd thole good Qualities eminently diftinguifh’d their Works. Beauty, Sweetnefs Spirit’ ‘ recdonh £aiC> Truth, Grace and Greatnefs gave inimitable Charms to every thing that , I1) J ;ne Hi echapoit jamais rien de ce qui pouvoit lerv ir a 1 embelliliement & a la perfection de les peintures. 11 favoit ü bien mettre les figures en leur place, que dans .a compolition de fes tableaux, on y voit une beaute d’ordonnance qui ne fe rencontre point ailleurs. II peut bien etre qu’il n’ait point deffine un nud plus doftement que Michel Ange; mais fon goüt de delfiner ell bien meilleur & plus pur. Je trouve que celui qui a dit que leshommes fe peignent eux-memes dans leurs outrages, a parfaitement bien ren- , , „ came contre a egard de Raphael. Car on rapporte de lui qu d fembloit qu a fa naiffance les Graces fuffent defeen-dues du Ciel pour le fuivre par tout, & lui fervir de fide-les compagnes pendant fa vie; ayant toujours paru 2ra-c.eux dans fes adions & dans fes mceurs auffi-bien que dans fes tableaux : de forte que la douceur, la politefle & la civilite ne rendoient pas fa perfonne moins chere ä tout le monde, que fes peintures rendoient fon nom celebre par toute la terre. les Vies de Peintres. Felibien. came from their Pencils. They are called the two greateft Painters that ever were, becauie no other ever poflefs’d fo many of the excellent Qualities belonging to a perfect Painter, m fuch a hi°ti decree as thofe two did, almoft equally 5 that is, in the fame Senfe that Homer and Vtrfil are°faid to have been the belt of Poets. Tis for the fame, molt eflential, excellent Talents of a Painter, that they are both fo greatly celebrated. Modern Writers fpeak of the Accompiilhments of the one, in the fame terms, as ancient Authors, of the other They both excelled in a fine Tafte and Choice of Nature (2); an Idea of Beauty and Grace beyond the power of Words to exprefs; a copious, rich Invention a refin’d Imagination, a correct Judgment, and an elegant, fweet and gracious, yet bold fiibiime, and^mafterly Manner of Painting. They both knew what to chufe, and how tar to go ; what to emulate in Nature, and when to ftop or give over. They both knew howto imitate Nature, without following it too clolely, or copying after it too ftriCtly 5 well knowing that the Art allows not the Imitator to bring all Nature into his 1 lece, but a part only. They underftood how to take their Notion of Beauty, not from one particular Object but from the various Parts of Nature; and thus they were capable to compo.c coherent, great, and beautiful Pictures. This is the Sum of what is laid in praTe of either; and thefe are the higheft Endowments of a Painter. ’Tis this Intelligence and Tafte, which alone can form Pictures that never cloy a skilful Eye, but grow in Beauty and Excellence, in proportion as the Underftanding of their Admirers refines and improves. So the Works of Apelles are faid to have done; and fo thofe of Raphael arc known to do. ’they excelled In Beauty, Grace and Ufefulnefi. BUT as their Excellencies were the fame, fo likewlfe, (very nearly at leaft) were their h what they were Imperfections. Apelles yielded to Afclepiodorus in the exact Obfervance of Symmetry and both deficient. Proportion; and to Echion, in what is called, by Painters, the Ordonnance, that is, in the Ordering and Diipofition of the Figures. Now Raphael, as he was thought fomewhat inferiour to Michael Angelo in the Part of Defign, fo he was to Titian in the Union and Harmony of Colouring. ARE LEES not only performed divinely with his Pencil, but his Pen was equally ingenious and elegant: For the three Volumes he wrote on the principal Beauties and Secrets ot?the Art were highly efteem’d : Rliny probably had received great afiiftance from them, in this part of his miiverfal Hiftory of Nature and Arts. But we may form a juft Notion of his Temper and Genius, from the Ingenuity and Greatnefs of Mind, which appear’d Ills Humanity, equally in doing juftice to himfelf, and to his Rivals ; in acknowledging his own DefecTs, and in cenfuring others. He treated all his Competitors with great Candour, Modefty, and Good-humour ; he was exceedingly communicative ; never found fault without a reafon, and ever in the mildeft way ; he feem’d to be more quick and ready in deferying Beauties than Defects, and more willing to commend than to condemn. He was not afhamed to acknowledge frankly in what he came fhort of any one; nor was he fo narrow-minded and invidious as to grudge others their due praife : But at the fame time as he could not but know his own Excellence, fo he fcrupled not to claim his right, with an unarrogant Aflurance that well becomes true Merit, and that can never offend thofe who are con-feious of any of thofe good Qualities in which theMind naturally exults (3). The truly virtuous Satisfaction Apellesfi Character. (2) Sio doveffi paragonare ad Apelle alcuno de’ mo-derni, non cambierei Raffaello ; parendomi di riconof-cere in lui non tanto l’eccellenza dell’ ingegno, quanto la finezza dell’ arte : ma di piii quelle medefnne mamere, e quegli fteffi coftumi, die refero l’uno, e i’altro grati oltremodo a’ Principi dell’ eta loro. Amendue cortefi, arguti, graziofi, di grande inventiva, e fantalia, amici della gloria, e inclinati agli amori. rutti due premiati, onorati, amati, ammirati. Dati, vlt. ddpollc, Felibien, tom. 1. p.182. At in Ttione, Nicomacho, Protogene, Apelle, jam perfecta funt omnia. Cic. de Clar. Orat. Apellececuperent te fcriberecerte.Stzt.Sylv.l. J.inequoDomit. Clarus fronde Jovis, Romani fama Cothurni, Spirat Apellea redditus arte memor. Mart. 1.2. Ep.IO. .-----0 dpella, O Zeuxis piSior, Cur numero eßis mortui ? hint exemplum ut pingeretis : Nam alios Pitlores nihil moror huiufmodi tradiare exemplar. Plaut, in Poenulo. Fuit Apelles non minoris fimplicitatis quam artis. Prae-cipua Apellis in arte venuftas fuit, cum eadem aetate maximi Pidores effent ; quorum opera cum admiraretur, collaudatis omnibus, deeffe iis unam illam Venerem dice-bat, quam Graeci vocant : Caetera omnia conti- giffe, fed hac folä fibi neminem parem. Idem h aliam gloriam ufurpavit, quum Protogenis opus immenfi laboris, ac curae fupra modum anxiae, miraretur : Dixit enim, omnia fibi cum illo paria, aut illi meliora, fed uno fe praeftare, quod manum ille de tabula non feiret tollere : Memorabili praecepto, nocere fepe nimiam Diligentiam. ------Fuit enim Comitas illi, propter quam & gratior Alexandro Magno, frequenter in officinam ventitanti : Nam, ut diximus, ab alio pingi fe vetuerat Edido Comiter fuadebat—tantum erat Audoritatis viro in regem alioqui iracundum.------Apelles & in fiEmulis benig- nus. Plin. lib. 35. Ingenio & Gratia, quam in feipfo maxima jadat, Apelles eft praeftantifiimus. Ppuintil.lnß, lib. 12. c.IO. Elegans formarum fpedator. Atheneeus, lib. 13. c. 6. See /Elian. Hift.var. 12. 41. Plut. inDemetrio Poliorcete. Cum primis illud Alexandri praeclarum, Quod Imagi-nem fuum, quo certior pofteris proderetur, noluit a mul-tis Artificibus Vulgo contaminari: fed edixit univerfo Orbi fuo, nequis Effigiem regis temere allimilaret, sere, colore, cselamine ; Quin folus eum Polycletus aere du- ceret, folus Apelles coloribus delinearet.-----Eo igitur omnium metu fadum, folus Alexander ut ubique Imagi-num fummus elfet: Utque omnibus Statuis, & Fabulis, &Toreumatis idem Vigor acerrimi Bellatoris, idem Ingenium maximi Honoris, eadem Forma viridis Juventae, eadem Gratia relicinse frontis cerneretur. Apuleius in Florid. Plin. Hifl. Natur, lib. 7. c. 37. Apelli fuit perpetua confuetudo nunquam tarn occupa-tam Diem agendi, ut non Lineam ducendo exerceret Artem : Quod ab eo in Proverbium venit.--------Amphioni de pofitione cedebat; plura folus prope quam ceteri om-nes contulit ; voluminibus etiam editis, quae Dodrinam earn continent. (3) Of this Self-Confidence there is a Saying of Me-lantbius the Painter, recorded by Diogenes Laertius, lib.4. in Polemone. MsActi'.'jios 0 lyoyep/ooc ev Ttif 7rse} BU Litv aiidddiitv ma. v.ctli (SKMfJ-nrm rmc toyot; i-Tinf'i'yjtv, oy.oias Ji yfiv nue hZftcn'j ■ Val. Max. lib.%. c.7. gives an Inftance of this in Zeuxis. This and other Instances are brought by Arißides, tom. 3. Orat. 5. de Pa-raphthegmate; In which he alferts, Magnam fui fiduciam non Satisfaction with one’s felf on the account of real Merit, is diftinguifh’d from ill-founded Vanity, Pride, and Self-Conceit, by this agreeable Charactcriftick which always attends it, that while it looks with a friendly encouraging AlpeCt on any valuable Accomplishment in others, it never allows one to lit down contented, as if there were no higher Attainments to be purfued than thofe he is already mailer of; but is on the contrary the kccnell ln-His Diligence to centive to Progrcfs and Improvement. And accordingly, Apelles, far from imagining improve bimfelf. himfelf at the Top of Perfection, continued, after all the Advances he had made, and the Glory he had juftly acquired, indefatigably to afpire after greater Excellence in his Art. He was thus an Example to Painters of the earned and pcrlevering, emulous Zeal that alone can perfeCt the Artift and the Arts, of Diligence and Care to improve one’s Ideas and Tafte of Beauty and Greatnefs; Diligence and Ambition to excel one’s felf as well as all His excellent Advice others: And, at the fame time, lie, by his modelt Cenfure of A r otogenes, has left ©ne of to Painters. the bell and molt inftruCtive Leflons to Painters, with regard to that Over-carefulnefs and too rigorous, anxious ExaCtnefs in correcting and finishing, by which Pictures are deadned, difpirited, and lofe all Grace (4). He well knew the Difference between Nicety or Con-cinnity, and true Elegance; how neceflary to Grace and Beauty, and the Perfection of Works of Genius and Fancy, Eafe, Freedom, and the Hiding of Art and Labour are : And therefore he owned that he only had the Advantage of Pr otogenes in this refpeCt, that he had found out the Secret of discerning when to Stop and lay afide his Pencil; whereas ‘Protogenes not knowing when to give over, his Works appeared too laboured, and had not the Spirit, Eafe, and Grace, that are the great Charms in Painting: An important Leflon in all the Arts, and often applied by Cicero and Quintilian to Oratory (y). Raphaels Charac- NOW Raphael is praifed for the fame Courteoufnefs to his Rivals, Affability and Corner. municativenefs to all; the fame readinefs to commend whatever is excellent, and to learn from every one; the fame Ambition to be ever improving, without which any degree of Self-confidence is infufferable Arrogance. And what that Grace means in which Apelles fo greatly excelled all his Competitors, can only be underftood and learned from Raphael or Corregios Works. For that Je-ne-fgay-quoi of Sweetnefs duely mixed with Freedom and Greatnefs, that at the fame time touches the Heart and fooths the Imagination, cannot be defined by Words or taught by Rules ; it is in a peculiar Senfe the Gift of Nature, and can only be diftinguifh’d by the Eye, and felt within one. ONE Circumftance more is well worth our Obfervation with regard to thofe two greateft Painters, that as Apelles is highly praifed for hitting the beft Likenefs of Perfons, and exhibiting their Minds as well as their Bodies (6); fo Raphael’% Portraits have always been exceedingly admired on the fame account, and judged exprefiive of the Souls of the Perfon-ages they reprefented, and not merely of their outward Forms. How Apelles was formed by Pamphi-lus. PAINTING then had arrived to fuch a pitch of Perfection and Excellence amongftthe Greeks in Apelles, that none hath ever been able to come near him but Raphael, who had the fame Temper, Genius and Turn of Mind. BUT how came it to fuch a height of Perfection? Pamphilus the Matter of Apelles had joined to the Art of Painting, the Study of all the Liberal Arts and Sciences, which enlarge, elevate, and enrich the Mind; of Mathematicks efpecially, without the Help of which, he ufed to fay, that it was impoflible to bring Painting to Perfection. And thus he contributed exceedingly to the Improvement and Reputation of the growing Art. He had the Intereft to procure certain valuable non dedecere magnas Animas, neque Artificibus eximiis crimen fuperbiae protinus impingendum, cum fibimet ipfis non plus quam aequum eft tribuunt. This is the Scope of the whole Oration. (4) ’Tis thus Pliny himfelf deferibes the bad Effect of Over-diligence in the Character of Callimachus, Nat. Hiß. 34. 8. Callimachus femper Calumniator fui, nec finem habens Diligentiae, ob id Cacizo-technos appellatus, me-morabili exemplo adhibendi curae modum. Hujus funt faltantis Lacaenae, emendatum opus, fed in quo gratiam cmnem diligentia abftulerit. Hunc quidem & PiCtorem fuifle tradunt. (5) In omnibus rebus Videndum eft quatenus: etft enim fuus cuique modus eft, tarnen magis offendit nimium quam parum. In quo Apelles Picfores quoque eos pec-care dicebat, qui non fentirent quod efiet fatis. Cic. Orator, n. 22. Et ipfa emendatio finem habet. Quint. Inß. lib. 10. c 4. Utiliflima eft diflimulata fubtilitas, quae effeCtu appa-ret, habitu tatet. Senec. in Pro. lib.i. Contro. (6) Apelles pinxit imagines fimilitudinis adeo indif-cretae, ut (incredibile di&u) Apion grammaticus feriptum reliquerit, quendam a facie homines addivinantem, quos Privileges (7) and Advantages to its Students and Metopofcopos vocant, ex his dixifie, aut future mortis annos, aut prsteritae. Pinxit & Antigoni Regis imagi-nem altero lumine orbam, primus excogitata ratione vi-tia condendi. Obliquam namque fecit ut quod deerat Corpori, Pidturas deefle videretur, tantumque earn partem e facie oftendit, quam totam poterat oftendere. Plin. lib. 35. N. B. Once for all ’tis proper to obferve with regard to the Chronology of the ancient Painters, That Zeuxis, Parrhafius, Melanthius, and Pamphilus were contemporary. They are placed in the 95th Olympiad, A. M.3604. Apollodorus was likewife contemporary with Zeuxis. Before them were Phidias, Pananus and Polygnotus. This laft in the 90th Olympiad, A. M. 3582. The two former were Brothers, and flourifh’d in the 84th Olympiad, A. M. 3560. Arßides and Protogenes were contemporary with Apelles.^ Euphranor was Scholar to Arßides, Pauftas to Pamphilus, &c. (7) Eupompus docuit Pamphilum Apellis praeceptorem. ; * pie (Pamphilus) Macedo natione, fed primus, in Piftura, omnibus literis eruditus, pnecipue Arithmetice & Geometrice, fine quibus negavit artem perfici pofle, Docuit neminem minoris talento, annis decern ; quam mercedem ei Apelles & Melanthius dedere. Et hujus audioritate effedtum eft, Sicyone primum, deinde & in tota 1 Chap. 2. jTki Profeflbrs which greatW ennobled the Art in the Opinion of the World; and fo were no inconftderable Incentives 'to thole to apply themfelves to it who are mod likely to fucceed in Paintin" or indeed to improve any ingenious Art : But, which is of principal moment, he firft introduced the Cuftom at Sicyon, that was foon followed throughout all Greece, of teaching the Elements of Deftgn very early in the Schools amongft the Liberal Arts ; by which means no doubt. Painting became in a little time generally underftood by all who had a liberal'Education, and consequently was very highly reliftfd and efteemd. We may eaiilv conceive, that the Art muft have gained very great Improvements from a Painter fo univerfally weil acquainted with all the Parts of polite Literature, with Philofophy, and every other ufeful Science; and who imployed every Branch of his Scholarship towards nerfedino- his favourite Pröfeffion. For this, like every other Art, can only be advanced, and improved, in proportion as its Scope, Extent, Power and Excellence are fully comprehended ; and in confequence thereof all neceflary Aids from the other Sciences are called uDon to afilft, and perfect it. This uncommon Genius not only p radii fed the Art with o-reat -Succefs but taught it and wrote of it with equal Applaufe (8). And to his InftruChou was owiiw an Apelles in a great meafure; fo true it is, that the belt natural Genius, as well as the belt Soil, requires proper Culture ; and that Art and Nature muft conlpire together to produce truly beautiful, generous Plants (p). So Horace fpeaking of Painting as well as Poetry, ____Ego nec Studium fine divite vena Nec rude quid profit video ingenium. Alterius fic Altera poficit opem res, & conjurat amice. Hor. Art. Poet. His Character and Accomplißments. NOW fuch a Genius was Leonardo da Vinci in the latter Age of Painting ; and to his like Abilities and Accomplilhments is the Improvement of the Art at that Period aferibed. He was one of the compleateft Scholars and fineft Gentlemen of that Age ; a Perfon of very extraordinary natural Endowments, and of vaft acquired Parts; he was particularly well-skilled in the Mathematicks; in thofe Parts of that Science at leaf; which relate more imme-diatelv to the Arts of Deftgn. He not only {hewed the Ufefulnefs of that Science to a Painter by his Performances and Writings; but gave in the general, by his Works and Lefions, a larger Notion and a higher Idea, than had been hitherto conceived, of the Grandeur, Truth, and Sublimity the Art is capable of attaining, and ought to afpire after. And thus he had fo great a {hare in kindling the Ambition and Emulation of Painters; in directing them to the right Method of improving the Art, and in procuring juft Efteem to its Students and Profeflbrs; that he is juftly faid to be one of thofe who in any Age have contributed the greateft {hare towards the Advancement of Painting to its true Dignity and Glory. By his Intereft an Academy of Painting was founded at Milan, which was under his Dircdlion for a long time ; and conduced not a little to promote the Knowledge, Tafte, and Love of the then growing Art. He pradifed it, taught it, and wrote of it with great Approbation. And to him we are chiefly indebted for the Per fed ion of a Raphael, who foon learned from his Inftruclions to quit Perugino his firft Matter’s dry, ftiff, infipid Manner, to form greater and nobler Ideas, and to paint with more Spirit and Strength: To which good Qualities his own natural Genius quickly added that Grace, in which no other ever came fo near to Apelles. Leonardo daVinci* by whom Raphael was formed, had the fame Talents with Pamphilus. -They were both Ma-thematicians, &c. THE chief Excellence of Pamphilus, and Leonardo da Vinci, feems to have confifted in giving every thing its proper Character ; in the Truth of their Delign, and the Grandeur of "their Conceptions. And it is obfervable, that, as Pamphilus ftudied under Eupom- Afidt^ l°fh hfad pus, who valued himfelf upon ftudying Nature, the great Miftrefs of Painters, imitating jffifiddGemus!* her with Tafte and judgment, and not fervilely following any Artift (io); fo Leonardo da Vinci, tota Graecia, ut pueri ingenui, omnia ante, Graphicen, hoc eft, PiCturam, in Buxo docefentur, recipereturque ea ars in primum gradum liberalium. Semper quidem honos ei fuit, ut ingenui exercerent; mox ut honefti ; perpetuo interdido ne fervitia docerentur, &c. Plin. Nat. Hiß. 35. Floruit circa Philippum, & ufque ad fucceffores Alex-andri Pictura praecipue, fed diverfis virtutibus. Nam cura Protogenes, ratione Pamphilus ac Melanthius, &c. tfuin. hiß 12. io. (8) Saidas mentions him as a Writer on Painting. (9) Ut ager quamvis fertilis, fine cultura fru&uofus efie non poteft, fic fine Dodlrina animus ; ita eft utra-que res fine altera debilis. Cic. Tnfc. fpucef lib. 2. (10) Tradunt Lyfippum primo serarium fabrum, au-cendi rationem cepille Pidtoris Eupompi refponfo: eum enim interrogatum, quern fequeretur antecedentium ? dixifie, demonftrata hominum multitudine, naturam ipfam imitandamelTe, non artificem. Plin. 1.34. c. 8. Of Andrea Verrocchio, Mailer to Pietro Perugino, and Leonardo da Vinci, Vafari thus fpeaks — Fu ne tempi fuoi Orefice, profpettivo, fcultore, intagliatore, pittore, e mufico. • Ma in veto nell’ arte della fcultura, e pittura, hebbe la maniera alquanto dura, e crudetta : cöme quello ehe con infinito ftudio fe la guadagnb piü ehe col bene-ficio, ö facilitä della natura — in giovanezza attefe alle feienze, e particolarmente alia geometria-----fono alcuni difegni di fua mano nel noftro libro, fatti con molta pa-cienza, e grandiflimo giudicio, in fra i quali fono alcune tefte di femina con bell’ arte, & acconciature di capelli, quali per la fua bellezza Leonardo da Vinci fempre imito : fonui ancora dua cavalli con il mododelle mifure, e cen-tini da fargli di piccoli grandi, ehe venghino proportio- nati e fenza errori.-------Andrea dunque usb di formare, con forme cofi fatte, le cofe naturali, per poterle con piu commodita tenere inaftzi, & imitarle, cioe mani, piedi^ ginocchia, gambe, bracchia, e torfi. Dopo ft comincio al tempo fuo a formate le tefte di coloro, ehe morivano con poca fpefa ; onde ft vede : ogni cafa di Firenze fopra i camini, ufei, fineftre, ecornicioni infiniti di detti ritratti, tanto ben fatti, e naturali, ehe paiono vivi. Vit.de Pit-tore di Gio. Vafari. See II Ripofo di Borghini. See likewife Leonardo da Vinci on Painting, the Er.glifo Tranflation, what he fays of Nature, p. 32. A Painter ought to have his Mini continually at work, and to G make / 2*2 An Essay Rifei Progrefey Vinci, who hath very ftrongly recommended by his Writings the Study of Nature's Laws and Beauties to all who would arrive at any Perfection in Painting, had a Mailer [Andre Verrocchio) who was very well skill'd in Opticks and feveral other Sciences, and a very alliduous Student and Imitator of Nature. Thus it was by funilar Talents of its Profelfors that the Art was brought to fo equal Perfection in thofe two Ages of it. * Zeuxis the befl Colouriß amongß the Ancients. From whom he learned the Art. ZEUXIS is elteemed the bell Colourift amongft the ancient Painters 5 but Apollo dorm had opened the Door by which he enter'd into the profoundeft Secrets of the colouring Art Vlmy tells us (11), the famous Statuaries who flourilhed before his time mull certainly have been great Mailers of Drawing, if the Painters were not: But he was the firft, it feems who remarkably excelled in mingling, or laying on Colours, or in both; and in the Di* ftribution of Lights and Shadows. He is celebrated for his good Choice of Nature and for giving Beauty, Strength, and Relief to his Figures, far beyond what any Painters before him had been able to do. He underltood how to give every thing the Touches which are moll proper and fuitable to them, fuch as diltinguifh them from each other and for the fake of which, DefeCts in Colouring will be eafily forgiven and over-looked by the moft underftanding; that is, by thofe who feek from Pictures not merely Gratification or Pleafure to the Senfe, but Employment and Entertainment to their Underftanding, and agreeable wholefome Exercife to their AfFeCtions : In order to gain which great Ends of Painting, Pictures muft be animated by Minds 5 they muft have Souls 5 Characters and Manners muft be painted. TfPat Painting properly fo called is, and its Excellence. O N the other hand, however, it is owned, by the fame Ancients, to be by the skilful Management of Colours, that the fpecious Appearances of ObjeCts are reprefented, and that the Pencil afpires after compleat Deceit, and a full Command over our very Senfe : And confequently, it is not mere Drawing, however correct, and expreffive, but Painting, by the united Force of different Colours, that can be called the throughly imitative and illufive Art (23). THO’ Apelles could not have given Beauty and Grace to his Pictures, nor have deferved the high Praifes that are bellowed upon him by the confenting Voice of all ancient Writers, had he not underftood Defign, Proportion and Expreflion extremely well; yet he was excelled in Symmetry and Proportion by Afclepiodorus, as he himfelf generoufly acknowledged : And Ariflides feems to have furpafled him in reprefenting the Pallions. As for Symmetry and Proportion, it was Parrhafius the Contemporary of Zeuxis who firft fully underftood and obferv’d it. Parrhafius’j Skill in Symmetry, in Rounding off the Extremities, and in painting Characters. HE is highly commended for the Softnefs, Delicacy,and Elegance of his Out-line. Pliny expatiates with delight upon his excelling eminently in rounding off his Figures, fo as to detach them from the board, and to make them Hand out with great Strength and Relief. This (21) See this Divifion explained at large, Sh.int. Inß. I. 10. c. 2. (22) Fecit & Penelopen, in qua pinxifle mores vide- tur ; & Athletam ;-------Et Hercules infans, Dracones ftrangulans, Alcmena matre coram pavente & Amphitry-one. Plin. lib. 35. As for the reading amores in Head of mores in Pliny, it not only implies that Zeuxis did not paint the Penelope of Homer, (but another Penelope of a lafeivious proftituted Character: which cannot be admitted.) But it fuppofes Amoroufnefs and Lafcivioufnefs painted, and yet no Manners expreffed, which is manifeftly abfurd. Mores in Poetry is always underftood in a general Senfe, comprehending not only the good Affe&ions and Manners, but all the AfFeCtions and Manners of whatever kind, whether good or blameable. A Character either in Painting or Poetry is faid to be bene morata, or to have Manners, if it is a probable, confiftent, well-drawn Character, whether it be moral or immoral, as we call it. See Cicero de Off. lib.x. c. 28. Sed turn fervare illud Poetas dicimus, quod deceat, cum id quod quaque per-fona dignum eft & fit, & dicitur. So Horace, Interdum fpeciofa locis, morataque retie, Fabula.------- Art. Poet. 319. (23) EV 3 X.IVi177KU72£p'J £C/ yet ypi/uuns, Sid TO d.vS'ftnuKov va,i dim-TY:Aov. Phut, de Poet. Aud. Apol-lodorus is called the firft great Light among the Painters, becaufe tbofe before him only underftood Drawing; he is the firft who began to colour agreeably. Praifed,. He may be compared with Corregio in fame refpetts, thd the latter was not equal to the former in Correilnefs of Defign. Corregio’.! Excellence\ , , , /lp-u n.irt-. and as ‘Pliny fays of the ancient Painters, fo it may This is indeed a vcr^ma^U « xhcy many have fuccceded very well in Painting the "a«s V«; fcXe been aWe to co LuP to the throughly Ulufivc way of tetmt-middle 1 arts, % cry rew Roundnefs, and make them fly :: » «-* whhat „ fl Sail- But this wonderful Art ought rather to be called the Subtifity than the e H Lr of'plintiiwfa,-). which laft belongs more properly to the poetical Part of it co““Z ' in SSUof invention and Compofirion, Noblenefs of Ideas i Energy of Expreflion, and a grand Tafte joined with Beauty and Grace. Tut fame Parrhafius is alfo much commended for the fprightly, %n^cant Airs of amon^ the Moderns excelled in many o t e e Qu . charmin°- • He painted with hut his Pencil was wonderfully foft, tender, beautiful, and cirarmm • F He great Strength and Heightening, and there was fomething tru y gi which °ave Snderllood-.how to tribute dark Shadowings ^ch he p^ without our being able to perceive from whence filch his Pictures fo gre pieafure to the fight: “And in this part the reft of the Lorn- W School cop/d him His Manner of defigning Heads, Hands, and Feet, (fay they) is School copy d md Imita,ion : He had alfo found out certain natural and mSh£leddGraces for his Madonna's, Iris Saints, and little Children, which were proper to them, and are wonderfully pleafing. IN feveral other Circumftances there Is a great Affinity and Likenefs between this emi- . Painter and Protogenes, Contemporary of Apelles, and one of the greateft ßted by his Conver-rMafters a“ wc^ tolldftertards obferve. But with regard to it is worth So- our'attention that Socrates the Philofopher was often with him (17); and, no doubt, this a»«-?l nrer had received very great Inftruffion and Affillance from one, who together with his Knowledge of Nature, that of human Nature in parncular muft tove had avegjood I ea of Defnn having been bred to Sculpture in his younger Days (28). To his Conferences with this Philofopher, it is not unreafonable, in fome meafure to afcribe his Skill of Symmetry and exact Obfervance of. it 5 but more efpecially Ins admirable Dexterity in Painting fuch a variety of Ihreud, fly, quaint, entertaining Looks : Form this he isfaid to have made oroficiency (29) and to have fhewn a vaft Fertility of Genius and Imagination. This ap-fears ftilS from the Defection that is given of his Pidure of the People of Athens, reprefentin- by7 feveral well-diftributed and judicioufly-managed Groupes in one liece, a very confiderable Diverfity of Humours, Tempers and Characters. NOW Socrates is famous for his deep Infight into Human Nature, and his vaft Com-prehenfion of Men and Manners ; for his ironical humorous Turn and the wondeiful Facility with which he could aflume any Mien, or put on any Charader in order to accompli more fuccefsfully, his truly philofophical Defign of flapping all falfe Appearances of Wit, Learning or Virtue, of their artificial Varnifh, and expofing them in their name^Co- (24) Primus (Parrhafius) fymmetriam Pidurse dedit: Primus argutias vultus, elegantiam capilli, venuftatem oris ; confeflione artificum, in iineis extremis palmam adeptus. Et hac eft in Pictura fumma fublimitas. Corpora enim pingere & media rerum, eft quidem magni operis ; fed in quo multi gloriam tulerint : Extrema cor-porum facere & definentis pictura modum includere, rä-rum in fucceflu artis invenitur : ambire enim debet fe extremitas ipfa & ftc definere, ut promittat alia poft fe ; oftendatque etiam qua occultat. Flirt. 35. Ludovicus Demontiofeus fays. Sic malim legere (extrema corporum facere, & definentis Pifturae modo illudere ramm in fucceffu artis invenitur.) Nam definentis Pic-turse modum includere quid fit nefcio, fed definentis Pic-turse modo fpedtantibus illudere, hoc artis eft. Lud. Demont. Comment, de Sculp, ist Pitt. Antiq. (25) This is called by others Subtilitas. Parrhafius ex-aminaffe lineas fubtilius, traditur. guint. Inf. lib. 12. c. 10. Tanta enim fubtilitate extremitates imaginum erant ad fimilitudinem pnecifte, ut crederes etiam ammo-rum effe pitturam. Petron. Arb. Satyr. And Pliny him-felf afterwards, Ferunt artificem protinus, contemplatum fubtilitatem, difeiffe, &c. The bublime in Painting is that which he deferibes afterwards in the Character of 1Timanthes, and what Varro aferibes to Euphranor. (26) See Felibien and Mr. Graham’s Lives of the Painters. (27) Xen. Apom. cap. 10. Prxterea fiquando cum ali-quibus colloqueretur, qui artificia noffent, etiam his proderat. There follows a Converfation of Socrates with Parrhafius, and another with aStauary. (28) Socrates filius erat Sophroniffi lapidarii, & Phx-nareteS obftetricis, (quemadmodum & Plato in Theseteto ait) genere Athenienfis, Pago Alopecenfis. Duris vero & ferviffe eum ac lapides fculpfiffe tradit: Effe vero illius etiam gratias illas qux funt in arce, veftiDus indutse. Timon in Syllis dicitur eum vocaffe Kitti^oov. Ding. Laer. Ub. 2. in Vita Socratis. In ipfoarcis Athenienfis introitu, Mercurium, quern Propylxum vocant, & gratias feciffe dicunt Sophroniffi filium Socratem, cui inter homines Apollinis Delphici oraculum fapientix primas _ detulit. P auf an. Ub. I. Suidas in Socrat. Maximus Tyrius, Dif-fert. 22. (29) §>uas aut Parrhafius protulit, aut fcopas ; Hie faxo, liquidis ille coloribus Solers nunchominem ponere,nuncDeum.Hor.].^.Od.8. Et cum Parrhafii tabulis, fignifque Myronis, Phidiacum vivebat ebur.— Juvenal. Sat, 8. Date mihi Zeuxidis artem, & Parrhafii Sophifmata, Hymmerius apud Photium. Pliny commends Myron for the fame Quality, Myron numerofior in arte quam Polycletus & in fymmetria diligentior. Plin. lib. 34-cap. 8. H Socrates and Par-r bafi us had the fame Talents, Parrhafius fiurpaf-fed by Timanthes. His Character, He excelled in what may be called the Sublime in Painting, It is defcribed by Pliny as Longinus defines it inWriting. An Essay on the Rife, Progreß, lours (30). Tarthaßuss Houfe being much frequented by the People of the firft Diftindioit was often, we are told, the Scene of Socrates s Difputes, Conferences, and Lectures' JThere he frequently took occafion, in his noted, peculiar manner, to give found and whole” lome Advices, or fevere Rebukes; and to hold Converfations on the profoundeft Subjects in Phdofophy and Morals, under the fpecious Appearance of only intending to critici7o a Picture, and unfold the Beauties and Excellencies of the Arts of Defign. It is not there fore to be doubted, but the Painter muft have been confiderably beholden to this molt witty, ingenious Philofopher, for the Advances he had made in one of the moft difficult moft ufefui, and molt philofophical Parts of the Art; in reprefenting, truly and naturall/ a great variety of Manners and Characters. Socrates’s chief Talent and peculiar Excellence confuted in the very fame Dexterity which diftinguiftfd this Painter, with whom he was fn converfant, that is, in being able to paint Mankind, the Men of Athens in particular with Truth and Spirit; in giving due Propriety, Force, and Relief to the Characters and Per ionages he had a mind to exhibit; or in making, either the Faults and Imperfections or the Beauties and Excellencies he drew, fo evident, fo palpable, that they could not'buj itnke, and make a very deep Impreffion. c IF we look into the Lives of Raphael, Leonardo da Vinci, of the Carraches Domini-chin, and all the Painters who excelled in reprefenting the Paffions and Manners we fhal? find ,hem all to have been „0 left obliged to the Initaftions and Converfidon of ophers, than Tarrhafius was to Socrates: Being perfuaded that the grand Ufefulnefs of Fain,mg nonfilled in that Art, they ,00k all neceffary pains to underftand human Na ure and to be able by a skilful Imitation of its various Workings and Motions to touch the Heart, and make inftructive Impreffions upon it. 7 le TARRHASIUS tho he greatly excelled in painting human Paffions and Manners was however out-done by Timanthes in a trial of Skill betwixt them ; the Subject of which wasiAjax and Uly fifes contending for the Arms of Achilles. Timanthess Picture was ^feTa' e been^T/. ty °f f° a Mafter ofExpreffion muft he like- THE latter is chiefly renowned for the wonderful Invention and perfect Tud-ment that appeared in his Works It was not the mechanical, but rather the poetical Part in which he was fo eminent. For tho he had a very light, and, at the fame time, a bold Pencil; vet there was more Genius,. Invention, Spirit and Compafs of Thought in hisPidures, than Ability of Hand. It was his Ideas and the Talents of his Mind, that were chiefly admired in confluence of that mafterly way he had, of awakening great Thoughts and SenSn^f by hts ingenious Works in the Breafts of Speakers; UÄ“ rfSSSS nheim imKgl?atlSna and kadms them to conceive in their own Minds more tha/was ex^ ftontf rh 7 1S Pktures‘ Z113!1 ks Works, fays Tliny, there was fomething more under-ftood than was feen ; and tho there was all the Art imaginable vet there was ftili r genuity than At, (3». This is the true Sublime in P°ai„tta| 'as «1“^ ^ Oratory. Longinus in giving an account of the reafon why the true Sublime hath that our Mind is wonderfully exalted « J the ue .?ub!™ u f raifes ltfelfj Slones and triumphs with high delight in fuch Sen timents, as if itfelf had invented what it hears. If therefore any thin* is pronounced hJ « °ne, nerver fo. wekverfed “ the A«s of Eloquence, that feems grand andmwerffi? but at the fame time does not fink deep into the Mind, awaken and elevate it °Jt “ itm0re t0be contemplated than is exfir ejfed; but on the contrary, being pondefed'faffi num hunc ^mifianum dicit & eumVerbo Grseco lislft vite&Tratif “Sl^ideo dfa ft* ^ appellat : Sed, uti ferunt, qui melius hfec norunt, imperitumr& admirato”allomt^ P*'* ? ?agens Socratem, opinor, in hac ironia diffimnlantiaque longe ut quemadmodum aALSI ■!:anqua.m M^ntium, lepore, & humamtate omnibus praeftitifie. Genus eft fic hoc Schema facit tmZ Clt continua Ms™pse? perelegans, & cum gravitate falfum, cumque Oratoriis libq 2 S S 'lle^extus. %int. Infi. - s “a r ÄS mero primus eft aufus Leondnas Georgias in conventu pof- KTEätecSC- cere quaeftionem, ,d eft, juberedicere, qua de re quisvellet quum mceftos oppinxiffet omniS nrl ““ PentUra audire. Audax negotmm; dicerem impudens, nifi hoc in- triftitiae omnemPLaSem rnnf P rTC patruum’ poftea tranflatumad philofophosnoftrosellet. Sed voltum veLvIr n„ASJ:l confumpfiffet, patns ipf.us n- n ^ ^ —x-wwii liijuuuciis« mil hoc m- mtutum poftea tranflatum ad philofophos noftros effet. Sed & ilium, quern nominavi, & ceteros Sophiftas, ut e Pla -tone mtelligi poteft, lufos videmus a Socrate. Is enim percunttando, atque interrogando elftere folebat eorum opmiones quibufcum differebat, ut ad ea qus ii refpon-aiflent, fiqmd videretur, diceret. Cic. de fin. lib. 2. ab initio. voltum velavit quern digne non pote^oftÄ S! vaL (32) In unius hujus operibus intelligitur plus Temper “ from its firft Appearance of Loftinefs 5 fuch Sayings have no right to be called Sublime, “ fmce the Effbft pcrifhes with the Sound that conveyed them. For that alone is truly « CTreat and fublime which tranfports the Hearer into a lading Admiration : It is over-« powering and cannot be withftood, but entering into the Mind with irrefiftible Force, « ,-akes fom hold of it, and makes an indelible Impreflion upon it (33)" THIS is the bed Explication that can be given of the Talent of Timanthes, of expref-ftn°- more than he painted : It is hardly to be underdood by a Ihorter Commentary, 'or without comparing it with what is defined to be the Sublime in the other Arts. But how fagkpaintinfi: can go, or what it can do in this fublime way, will be bed conceived by means of Raphael’s Pictures, and thofe of Nicolas Rouffin, who of all the modern Painters podeded that extraordinary Sublimity of Genius in the highed degree. In feveral of their Pieces there is a Force and Energy which wonderfully creeds and ennobles the Mind, inflames the Imagination, and lights up the Underflanding, calling up great and elevated Conceptions which make fo much the more forcible Impreflion on the Mind, becaufe the Spectator really imagines them entirely his own Produd, and, as it were, only hinted to him occafionally by the Pictures he admires. Let any one refled on what it is that lo hio-hlv pleafes, and tranfports him, when he confiders any of Raphaels Cartons, or of Rouffins Sacraments, and he will immediately refolve it principally into this furprizing Art of affordin'* an inexhauflible Source of true and great Thoughts to the Spedator, in which the Mind exults as its own, more being fuggefled by thefe fublime divine Pieces than is fully expreffed. The fame in Paint* ing. It may he heß underflood from Raphael and Pouflin’j Pictures, ROUSS IN was fo great a Matter of Expreflion, that he is juftly reckoned among the chief if not the greateft, for Painting the inward Sentiments, Affedions, and Movements of the human Heart (34)- Tho he failed like Ariftides in his Colouring, and fell as far fhort of Raphael as the other is faid to have done of Apelles ; yet he deferves the fame Charader that is given of that great ancient Matter; who, as Rimy and others tell us, was the firft who by Genius and Study attained to the compleat Science of exhibiting Manners and Paflions of all forts. They both excelled in painting all kinds of Affedions, not only the foft and tender, but the ftrong and impetuous. As defedive as Arißides was in his Colourin'*, for it was dry and harfh, yet his Pidures were eagerly fought after, highly efteemed and purchafed at very high Prices (jf) ; fo greatly was his Skill in difplaying human Nature, and in touching the Heart valued ; and fo will Roußn’s, likewife for ever be by all Men of true Tafte : The reafon is obvious; nothing affeds the Heart like that which is purely from it-felf, and of its own growth. “ The moft delightful, the moft engaging, and pathetick of « all Subjeds which Poets fing or Artifts form, is that which is drawn from moral Life or « from the Affedions and Paflions.” Other Imitations may pleafe, but thefe intereft us. This is the Excellence that is likewife aferibed to 'Dominichin amongft the Moderns. While Guido’s Pidures, by the Beauty and Sweetnefs of his Pencil, charm the Eye; the natural* and ftrong Expreflion of Paflions in the other s violently move and agitate the Heart, which (as Felibien juftly obferves) is one of the nobleft Effeds of Painting (36). Pouflin praifedfor his Skill in expreffing the Paffums. And this the Talent of Ariftides. RR OTOGENES was Contemporary with Apelles and Ariftides, and he is claffed amongft the beft ancient Painters. Ariftotle, that excellent Judge of all the fine Arts, and whofeTalent indeed was more towards polite Learning and the Arts, than the more profound, abftrufe Parts of Philofophy, highly efteemed the Genius and Abilities of this Painter. He out of his regard to the Dignity and Excellence of the Art, as well as to the Reputation of this Painter, would gladly have perfuaded him to have employed his Talents more worthily than in painting mere Portraits, Hunters, Satyrs, and fuch inferiour Subjeds (37); to have try’d nobler Arguments, fuch as the Battles of Alexander, which the Phi- lofopher {33) oou yd.p 7mt—77?.ti?ss7tt/ yo.fl.s xj utycthav/iois, ut &.\hii ysviiioctott oorsp tiris&w i tw tocvoix oitiüov 7ü KiyofApk 70 Seft. 7. (34) This is the Charader Felibien, Bellori, &c. give of Nicolas Pouflin. Je l’ai dejä dit, que ce fjavant homme a meme furpaffe en quelque forte les plus fameux Peintres & Sculpteurs de l’antiquite qu’ils’eft propofe d’imiter, en ce que dans fes ouvrages on y voit toutes les belles expref-fions qui ne fe rencontroient que dans differens maitres. Car Timomachus qui reprefenta Ajax en colere, ne fut recommendable que pour avoir bien peint les paflions les plus vehementes. Le talent particulier de Zeuxis, etoit de peindre des affedions plus douces & plus tranquilles, comme il fit dans cette belle figure de Penelope, fur le vifage de laquelle on reconnoiffoit de la pudeur & de la fageffe. Le fculpteur Ctefilas fut principalement confi-dere pour les expreffions de douleur. Mais le Pouflin les pofledoit toutes. Felibien. (35) Is omnium primus animum pinxit & fenfus hu-manos expreflit, quae vocant Graeci > idem pertur-bationes : durior paulo in coloribus. Plin. 35. Pliny’s Diftindion is explained by Quintilian, and in what he places the Excellency of Oratory, the Ancients made that of Painting likewife chiefly to confift ; as it is well expreffed by Martial : Ars utinam mores animumque effingere poflet: Pulchrior in terris nulla tabella floret. Hue igitur incumbat orator, hoc opus ejus, hie labor eft, fine quo cetera nuda, jejuna, infirma, ingrata funt. Adeo velut fpiritus operis hujus atque animus eft in af-fedibus. Quint, lib. 6. c. 3. (36) Si la Beaute de pin^eau & la Grace qui paroit dans les tableaux du guide charmoit les yeux : les fortes & naturelles expreflions du Dominiquin touchoient beau-coup l’efprit, & emouvoient davantage les paflions de ceux qui les confideroient: ce qui eft un des plus beaux effets de la Peinture. Felibien tells us, that Nicolas Pouflin fpoke in this manner of Guido and Dominichin, tom. 4. p. 16. (37) --------Et matrem Ariftotelis philofophi; qui ei fuadebat ut Alexandri Magni opera pingeret, propter aeternitatem rerum. Impetus animi, & qusedam artis libido Protogenes Con-temporary with Apelles. His Character and Turn, and how Ariftotle endeavoured to perfuade him to paint high and noble Subjects. Protogenes brought into Reputation very generoußy by Apelles. At Corregio was by certain Painters cf eßabliflid Fame. Protogenes and Corregio had no Maßens, and lived in a poor obfcure way. The Tranquillity with which Protogenes painted in the Camp of the Enemy. And a Tike Inßance in Parmegiano, who had likewife a fweet tranquil Pencil. An Essay on the Rife? Progrefs, lofopher thought more fuitablc to the Art, giving it occafion to exprefs a great variety of lofty Ideas, inftruftive Characters, and interefting, moving Paffions and Addons. But it items his natural Genius and Inclination led him to other Subjects. What he moft delighted in appears to have been of the paftoral kind, things of a quiet and gentle Character. He lived at firft in great Poverty and Obfcurity, and for a long time only painted Galleys and Ships, and mere Still-Life (38) : But afterwards he applied himfelf to higher Subje&s, with fuch good Succefs, that tho’ he had ftill but little Reputation in his own Country, yet his Merit had come to the knowledge of Apelles, who being thereby induced to' vifit him, was the firft who raifed him a Character at home (35)). Apelles be-ii>o- charmed with his Works, payed him greater Prices for them than he asked ; and then gave out that he defigned to pals them for his own. This, as it was faid, on purpofe to procure a Name to one who fo well deferved efteem, fo it had the defign’d Effect. The Rhodians then be »an to value him and his Works, and to be jealous of their Honour; and therefore were glad to keep his Pictures in their own Country upon any terms. Thus was Rrotogenes very generoufty brought into Reputation by Apelles, who faid of him that he was equal to himfelf in every refpedt, excepting only jthat not knowing when to oive over, by too nice Corre&nefs, and too laborious Finifhing, he flattened his Pieces, and rendered them ftiff, lifelefs, and ungraceful. WHAT is very remarkable with regard to Rrotogenes is, that he feems to have had no Mafter; or at leaft it is not known whofe Difciple he was (40). He appears to have arrived at the high Attainments Apelles fo much admired, by mere Strength of natural Genius, and that under a Load of Poverty and Obfcurity that naturally finks and dilpirits one (41); juft as Corregio did in the latter Age of Painting, under the fame difadvanta-geous Circumftances; who is however univerfally acknowledged to have come the neareft of any to the modern Apelles, in his peculiar Talents and Excellencies : He was in like manner brought into Reputation at home by thePraifes his Works received from Painters of eftablifhed Fame, fo foon as they faw them. All the Writers on Painting, and of the Lives of the Painters, juftly admire the Force of thofe natural Parts in Corregio, which with little or no help from any Matters, and without any opportunity of ftudying the antique Remains of Painting and Sculpture ; without the Afliftance of a liberal Education, and in a Situation the moft unfavourable to the Improvements of Imagination and Genius, could arrive to fuch a pitch of Perfection, and produce Works but a very little inferiour to thofe of Raphael-, who with the beft natural Genius for Painting, had all the Advantages and Encouragements that are moft conducive to cultivate it, and make it per fed : This is likewife the very Language of Antiquity with refpect to Rrotogenes. TO mention but one Circumftance more in Rrotogeness Character and Life; the Tranquillity with which he poffefs'd himfelf at Rhodes, continuing to work while it was befieged; and the ingenious Reply he gave to thofe who were fent by 'Demetrius to ask how he had the Courage to paint even in the very Camp of the Enemy, are much celebrated (42) : He anfwefd with an eafy Smile, that he knew very well the Prince was not come to make war againft the fine Arts. Now we have almoft a parallel Inftance of the fame Command of Temper in a modern Painter (Rarmegiano) who likewife had one of the gentleft, fweeteft, and moft gracious Pencils in the World. When Charles the Fifth had taken Rome by ftorm, fome of the common Soldiers, in Packing the Town, having broke into his Apartments, and found him, like Rrotogenes of old, intent upon his work, were fo libido in haec potius eum tulerunt. Phn. 35. Upon which Paflage Mr. Durand well obferves, Le confeil etoit bon, il faifoic honneur a Alexandre, a Ariftote, a Protogene, a la Peinture, & e’etoit le moyen d’immortalizer un auffi beau pinceau que le lien. Cependant, (continue notre auteur) impetus animi & quaedam artis libido in htec potius eum tulere, c. a. d. li je ne me trompe, que Protogene, au lieu de luivre l’avis du Philofophe, fe fen-tit plus de penchant, ou plus de gout pour les fujets men-tionnez ci-deflus, comme le Parale, l’Hemionide, l’lalyfe, le Satyre, ÖV. See his Notes on this Book of Pliny. (38) Summa ejus paupertas initio, artifque fumma in-tentio ; & ideo minor fertilitas—quidam & navis pinxilfe ufque ad annum quinquagefimum. Plin. 35. (39) Septem annis dicitur Protogenes hanc picturam (Ialyfum) perfeciffe ferturque Apelles, opere confpedto, tarn vehementer obftupuifle, ut vox eum deficeret : Tandem vero dixifle, grandem laborem atque opus admiran-dum efle, non tarnen habere gratias, propter quas a fe picta ccelum contingerent. Haec tabula unä cum pluri-bus aliis Romam deportata, ibi quoque cum reliquis ab-fumpta eft incendio. Plutarch, in Apoph. Regum, &c. Ö' in Demetrio. Mlian. variceHfl. lib. 12. c.4.1. Aldus Gel-tus Nod. Att. lib. 15. c. 3. Floruit circa Philippum, &c. ---nam curä Protogenes, ßuint. Inß. lib. 12. c. 10. Protogenis rudimenta cum ipfius naturae veritate certan-tia non fine quodam horrore traclavi. Petron. Arbit. Satyric. Cum culpandus non fit medicus, qui e longin- qua mala confuetudine aegrum in meliorem traducit; quare reprehendendus fit, qui orationem minus valentem, propter malam confuetudinem traducit in meliorem ? Pictores Apelles & Protogenes, fic alii artifices egregii non reprehendendi, quod confuetudinem Myconis, Dio-ris, Arymnae, & aliorum fuperiorum non funt fecuti. Farm, lib. 8. de L. L. (40) Quis eum docuerit non putant conftare. Plin.3$. (41) Summa ejus paupertas. Plin. ibid. Hunc, qualemnequeo monßrare, & fentio tantum, Anxietate carens animus facit, omnis acerbi Impatiens, Cupidus Sylvarum, aptufque bibendis Fontibus Aonidum : neque enim cantare pub antra Pierio, Tbyrfumve poteß contingere moeßa Paupertas, atque eeris inops, quo node dieque Corpus es get.-- Juv. Sat. 7. (42) Accitus a Rege, interrogatufque, qua fiducia extra muros ageret ? Refpondit, feire fe cum Rhodiis illi bellum eile, non cum artibus. Difpofuit ergo Rex in tutelam ejus ftationes ; gaudens quod polfet manus fer-vare, quibns jam pepercerat: & ne faepius avocaret, ultro ad eum venit hoftis, relidtifque victoriae fuae votis, inter arma & multorum ictus fpedtavit artificem : fequiturque tabulam illius temporis haec fama, quod earn Protogenes fub gladio pinxerit. Plin. ibid. See Felibien's Account of Parmegiano. 2 n,, , i t ,-mi n o- ■Reautv of his Pieces, that inftead of Plunder and Deftm&ion* Bufrnds, Ay xcfolvcd to protect him, as they afterwards did, from all manner of Violence. and from the Writings of Leonardo da Cinci, and other Authors upon this Art. I fhall only obferve farther upon this Subject, that Annibal Carr ache vv as wont to fa), as Nietos That Painting ought not be called merely mute Poefy, becaufe as Poets paint by Words and he is the beft Poet who draws the beft and moft lively Pictures 5 fo Painters ou"ht to fpeak with their Pencil and Colours, and he is the beft Painter whofe Pictures fpeak moft powerfully to the Heart (by). Now this Painter faved the Art from being quite corrupted and loft, by his juft Notion of its real Beauty and Perfection. For tiro’ Raphael had raifed the Art to the higheft Pitch of Tafte and Sublimity, it foon began to decline. About the time of the Carr aches it was already fadly degenerated in all the Schools, becaufe they no longer ftudied and purfued that which is neceflary to the Perfection of Painting. THERE were then two Parties at Rome that divided all the Students of the Art, and which of them wandered fartheft from Truth and Beauty is hard to determine ; the one following Nature too clofcly, and lervilely imitating her juft as they found her, without any Choice or Tafte 5 and trie other without ftudying Nature at all, abandoning themlelves entirely to the Conduct of their own capricious Imaginations. It was then that the Car raches appeared. (61) Ars magna, ficut flamma, materia alitur & mo-tibus excitatur & urendo clarefcit. Crefcit enim cum ampiitudine rerum vis ingemi: nec quifquam darum & illultre opus efficere poteft, nili qui materiam parem in-venit. fpuint. Dialog, an fui fascu. Orat. Sec. Impetus ex digmtate rei cujuique concipitur ; perinde remiiTus acriorve prout ilia digna eft peti. Senec. Epif. 89. (62) The Paflage hath been often referred to, and is given at full length at the beginning of the fourth Chapter. (63) Maximus Tyrius, Differt. 7. So Plato, Pidtorum facultas nullum in pingendo termi-num habere videtur, fed femper inumbrando, & deum-brando, vel quomodocunque aliter a pidtoribus id voce-tur, nec cefl'at unquam ; non enim poteft fieri ut ad pul-chriora expreffioraque incrementum non habeatur. Plato de Leg. lib. 6. (64) Cic. Rhet. lib. 2. ab initio. “ Praebete igitur mihi, ‘£ quaefo, ex iftis virginibus formofiffimis, dum pingo id, “ quod pollicitus fum vobis, ut mutum in fimulacrum ex “ animali exemplo veritas transferatur.” He adds the reafon why a Painter ought not to take his Idea of Beauty from one particular part, but from many Objects of Nature. “ Ille autem quinque delegit; quarum nomina “ multi poetse memorise tradiderunt, quod ejus eftent “ judicio probatae, qui veriffimum pulchritudinis habere “ judicium debuiflet. Neque enim putavit, omnia, qus “ quaereret ad venuftatem, uno in corpore fe reperire “ pofle, ideo quod nihil, fimplici in genere, omni ex “ parte perfedtum, natura expolivit. Itaque tanquam “ ceteris non fit habitura quod largiatur, ft uni cundta “ concefferit, aliud alii commodi aliquo adjunfto incom-“ modo muneratur.” And then he goes on to fhew that the fame muft be done in Oratory : Quod quoniam nobis quoque voluntatis accidit ut artem dicendi perfcri- beremus, non unum aliquod propofuimus exemplum,------- ac ft par in nobis huj'us artis, atque in ilio pidturse, feien-tia fuiflet, fortaffe magis hoc fuo in genere opus noftrum, quam ille in fua pidtura nobilis eniteret, &c. (65) So Bdlori in his Life of Annibal Carr ache. See Felibien and Du Pile their Lives of the Painters, and il Microcofmo della Pittura di Francifco Scamielli da Forth 1. x. p. 57. \ appeared, and fo happily found out, and revived the true Genius of Painting, by their juft Ideas of’the Art, and of the beft way of ftudying and imitating Nature ; joining with the Study of Painting the other Sciences that are neceffary to form a good Tafte, and tofur-nilh Ideas and Rules to the Pencil. The Carr aches poflefled amongft them all the various parts of ufeful polite Learning, as well as all the Beauties and Excellencies of the Defigning Arts 5 and it was by uniting their different Forces and Talents that they reftored the Art, and brought it again to fuch an eminent degree of true Beauty, in oppofition to the falfe Tafte thatwas already far fpread, and had aimoft entirely corrupted and deftroyed it (66). T O them we owe Guido, Albano, *Dominichino, and feveral other excellent Maliers. What is told to this purpofe at great length by all the Writers of the Lives of the famous Painters, is well worth being repeated. Lewis Carr ache (67) when he had well examined the Works of Carravagio, was not a little lurprized to find them in fuch vogue; there being nothing in them but a bold Contrail of Lights and Shadows, and fervile Fxactncfs in imitating the moll common Nature 5 no Decorum, no Grace, no Elegance of Choice or Judgment. As for Annibal, he could not refrain from complaining of thofe, who by encouraging this new Manner, greatly contributed to the Ruin of good Tafte in Painting. I fee nothing, faid he, in thofe Pictures which are fo highly praifed but a new manner, that, far from deferving Applaufe, is truly blameable. I don t know but any other Novelty would °uin equal Approbation : And I think one might take a very effeaual way to mortify the Author of this new Tafte, which is fo highly cried up at prefent. For that effeft I would paint in a quite oppolite manner to Carravagio ; I would oppofe to his ftrong and fierce Colouring, one quite tender and languid ; and inftead of confined Lights falling upon Objects from on high, I would paint all the Figures in open Air, and fully enlightened: Far from hiding in Darknefs, as he does, the Parts that are moll difficult to paint, by very black Shades; I would expofe my Figures in full light, and fhew every part performed xvith perfect Skill and Tafte. He only aims at copying Nature as it appears in more common Objects, without felecting from Nature what is mod exquifite and beautiful; and, on the contrary, I would make choice of what is 1110ft perfect in Nature; only paint agreeable, fine Parts, and compofe of thefc a pleaftng, beauteous Whole, giving my Figures a charming Union and a Greatnefs which is but rarely feen in Nature itfelf. Whilft Annibal Carr ache difeourfed in this manner of Carravagio's Works, Guido iiftened to him with ox cat attention; and having well digefted thefe Advices, he immediately fet about to put them in execution, which he did with fuch fuccefs, that his Manner from this time, which was quite the reverfe of Carravagio s, was foon preferred to it, being found far more fweet and agreeable. Carravagio oppofed him with all his Power and Intereft ; but Guido continued to paint in his more enlightened, gracious manner, in fpite of all his oppofition; being perfuaded, that it would quickly meet with general Approbation, and be univerfally cllcemcd more pleafing than the oppolite, obfeure, and aimoft deformed Manner of Carra-vagio. And fo it happened, for in a very fhort fpace of time after Guido betook himfelf to that manner of Painting, he came into high Reputation, and was employed in the greateft Works. TAUSIAS of Sicyon was Scholar to Tamphilus, but he chiefly painted in the En-cauftick Way : For Ramphilus his Mailer had likewife p radii fed and taught that other Art (68). He was chiefly famous for adorning Vaults, Ceilings, and Walls in that manner, and excelled in doing Fruits and Flowers ; the laft particularly, for he was in Love with Glycera, who it feems firft introduced into Greece the Cuftom of young People’s wearing Garlands or Chaplets of Flowers, and compofed them with great Dexterity and exquifite Tafte. She was continually contriving new Models for them; and he being frequently with her, ufed to imitate her Defigns, and vie with her by his Art. He was excellent at Fore-fhortening his Figures, a difficult Task that feldom has a pleafing effedt. His moll renowned Picture was the Portrait of his Miftrefs in a fitting Pofture, making a Garland of Flowers; for a Copy of which L. Lucullus gave a very high Price. THIS Painter feems to have had much the fame Tafte as Giovanni d’Udina, one of Raphael’s Difciples, who by the agreeable Variety and Richnefs of his Fancy, and his peculiar (66) See Felibien and Bellori. tiquitus genera conftat : Cera, & in Ebore, ceftro, id eft, , veruculo, donee claffes pingi coepere. Hoc tertium ac- (67) See Felibien, tom. 3. p. 495, &c. ceffit, refolutis igne ceris, penecillo utendi; quae pidlura v ' in navibus nec foie, nec fale, ventifque corrumpitur. (68) Pamphilus quoque, Apellis praeceptor, non pinx- Ceftrum eft veruculum, feu fealprum ignitum, a ku'iu iffe tantum Encaufta, fed etiam docuifle traditur Paufian uro. Cerae tabulatis navium, aut liminibusjanuarumaf- Sicyonium primum in hoc genere nobilem.----Ceris pin- figebantur, extendebantur, deinde igne refolvebantur, & o-ere ac pidturam inurere, quis primus excogitaverit, non veruculo ignito inurebantur, incidebantur, pingebantur, conftat. Quidam Ariftidis inventum putant; poftea ut fpecies quaelibet pictura exprimi poffent. Cera; illae confummatum a Praxitele. Sed aliquanto vetuftiores En- variis coloribus erant incodtae, tandem penecillus adhibe-cauftae pidturae extitere, ut Polygnoti & Nicanoris & batur, ut cerae liquefadlae diffunderentur, & coloribus im-Arcefilai, Pariorum. Lyfippus iEginae piclurae fuae in- buerentur. Bulengerus de PiStura, esfe. lib. I. cap. 6, feripfit ’Evi^vjir: Quod profedto non feciffet, nifi En- and 7. See likewife P. Hardouiris Pliny upon this place, caufticä inventä. Plin. lib. 5. cap. 20, 21. Ratio inu- the French Notes upon this Book of Pliny, and the Com-rendae cerae hodie nos fugit. Earn tarnen diferte exponit. mentary on Boileau dans VArt Poetique, le Commencement Plin. lib. 35. cap. 11. Encaufto pingendi duo fuiffe an- du Chant. 3. Paufias Scholar to Pamphilus, painted chiefiy in the Encau-ßick Way, (this explained in the marginal Notes.) He had much the fame Fuße with Gio. d’Udina for grotefque Decorations. Äthenion greatly praifed by the Ancients for bis Erudition. As Giulio Romano among Adoderns. Pyreicus painted low Subjects like the Baffans. Callicles. And Calades. ’Their Talents for Comedy and Tragedy in Painting. An Essay on the Rife? Progrefs? peculiar Happinefs in cxprcfllng all forts of Animals, Fruits, Flowers, and the Still-Life, both in Baflo-relievo and Colours, acquired the Reputation of being the belt Mailer in the World for Decorations and Ornaments in Stucco and Grotefque (dp). ATHENION, Difcipleto Glaucion aPainter of Corinth, is likewife highly praifed by the Ancients, and by fome equalled to Nicias. Tis faid that in all probability he would have been left behind by none, if he had lived to improve thofe Talents, which the Works he did when very young difeovered. His Colouring inclined rather to the harfh and difagree-able 5 but he is greatly celebrated for his Learning and deep Science, for the Erudition that appeared in his Pictures. So is likewife Giulio Romano amonglt the Moderns, who not underftanding exactly the Lights and Shadows, or the Harmony of Colours, is frequently harfh and ungraceful, and had a harder and drier manner than any of Raphaels School. They were both very converfant in the Poets, affiduous Students and Imitators of Homer in particular> and great Mailers of the Qualifications required in a grand Dc-itgiicr (jo). AMONGST the Ancients Tyreicus got the nick-name of Rhyparographus, from the fordid and mean Subjects to which he applied himfelf, fuch as Barbers or Shoe-makers Shops Kitchins, Animals, Herbage, and the Still-Life (71) : Like the Baff ans amongll the Moderns, whofe Performance is alfo admirable, tho’ the Subjects are low. Such Pieces in all Ages have had their Admirers. The fmallelt Pictures of Tyreicus were more elteemed by fome, and bought at higher Rates, than the nobler Works of many other Mailers. Tyreicus chiefly painted little Pieces. CALLICLES alfo excelled fo exceedingly in Mignature Works, that he was reckoned but little inferiour to the great Mailers. And tho’ the Invention of Calades was more noble, he too preferred Comedy to Tragedy $ that is, he chofe rather to paint mean, common Subjeels than great Events. But Antiphilus, who likewife painted final 1 Pieces’ only knew how to reprefer t both high and low Life. He had a delicate Pencil, and a very ^reät command of it (72): When he attempted Tragedy, orfublime and elevated Subjects • or to move Pity, Horror, or the greater Pallions, he had excellent fuccefs. And the comical Humour he fhewed on other occafions in painting fantallical, ludicrous Ideas, hath made him very famous, for having amufed himfelf in painting one very ridiculoully drelfed • he was highly delighted with that Figure, and called it hisGryllus ; whence ever afterwards grotefque Figures, and Chimxras were called amongll the Painters by that Name It is the fame Antiphilus who was jullly puniflied by Ttolemy for calumniating the innocent and generous Apelles (73); He was originally of Egypt, but bred up under Ctefidemus an excellent Greek Painter. BUT not to take notice of any others at Mignature, I fhall juft mention a few more, (69) Pinxit & ipfe penecillo Parietes Thefpiis, cum reficerentur; quondam a Polygnoto pidti: multumque comparatione fuperatus exiftimabatur, quoniam non fuo genere certaftet. Idem &Lacunaria primus pingere infti-tuit & cameras ; nec ante eum taliter adornare mos fuit. ---Amavit in juventa Glyceren, municipem fuam, in- ventricem coronarum ; certandoque imitatione ejus, ad numeroflifliimam flqrum varietatem perduxitartem illam. Poftremo pinxit ipfam fedentem cum corona, qua; e no-biliflumis tabula, adpellata eft ab aliis Xtiex'/oTioKK quoniam Glycere coronas venditando fuften-taverat paupertatem. Hujus tabulae exemplar, quod Apographon vocant, L. Lucullus duobus talentis emit Dionyiiis, Athenis Paufias autem fecit & grandis tabulas, &c. Phn. lib. 35. 21. In the ancient grotefque Paintings at Rome upon the Vaults and Walls, Girls with Garlands of Flowers, or carrying Balkets of Flowers in their Flands were common ; and other Figures like thofe Athenian Virgins called the Canephcra, often mentioned by Paufanias, and called by Pliny, lib. 36. Cißifcra ; Brafs Statues of which Virgins, by Polycletus, are thus deferred by Cicero. TEnea praeterea duo figna, non maxima, verum eximia venuftate, virginaii habitu atque veftitu, quae mambus fublatis fäcra quaedam more Atbenienfium virginum repofita in capitibus fuftinebant. Canephorae lpfse vocabantur. Cic. in Verrem, lib. 4. 3. There are feveral fuch Figures in the Collection of Drawings after the antique Paintings at Rome, by the elder Bartoli, that formerly belonged to the Majfimi Family, and is now in Dr. Richard Mead’s Library. . (l°) NC35 comparatur & aliquando praefertur Athe-rnon.^ -Auflerior colore, & in aufteritate jucundior, ut in lpia pictura eruditio eluceat. Qui nift in juventa obi-liiet nemo ei compararetur. P//V.35. 21. See the Notes m trench ; and with regard to Giulio it is faid : Julius a puera mufarum eduSlus in antris, Aonias referavit opes, graphicaque poefi prefent amongft thofe who only painted in who did great Works, and excelled in the o • bell fuas non vifa pnus, fed tantum audita poetis, Ante oculos fpeClanda dedit facraria Pheebi: tpuofque coronalis complevit bella triumphis Met oum fortuna pot ens, cofufque decor os, Nobilius reipsä antiqua pinxiffe videtur. c n -NT , Frefnoyde Arte Graphica. See Du Pile s Notes on that Paffage, where he fays “ It appears, that Julio Romano form’d his Ideas, and’ made his Gufto from reading Ho?ner, and in that imi-“ ta(ed and Polygnotus, who (as Maximus Trim “ relates) treated their Subjects In their Pictures as “ Homer A id in his Poetry.” He painted feveral parts of Homer m the St. Sebaßian Palace. , ^71) ~~ Minori pidtura celebres in penecillo, e qui-bus fuit Pyreicus, arte paucis poftferendus. Is propofito nefcio an deftruxerit fefe quoniam humilia quidem fecu-tus, humihtatis tarnen fummam adeptus eft gloriam. I onftrmas, futrinafque & pinxit fimilia : Ob hoc cogno-minatus- pJ,tneßypzf a truly Liberal Education, and the many excellent Qualities that are requi-Ete to cSmpleat the ChaHÖer of one duly qualified to inftmft and form the Youth of Birth a^d Formne (87). It is one of fuch a great and amiable Charafter, that theEdueat.on of Per-fons of hi'di Rank and Diftindion ought to be intended and calculated to foim, one fit to ferve his Country in peace and war ; one of an heroick Mind ; a fincere Lover of his CotStrv and of a benevolent generous Difpofition s utterly abhorring \ Many, Effeminacy, and all vicious Pleafures; one who loves the Liberal Arts, underftands them, and flights in them and in ufeful Converfation j one whofe Amufements and Recreations, as well as Occupations, are manly and ingenious; and who, next to the Glory of great an virtuous Deeds hath higheft fatisfadion in thofe Arts which are fo fitted to recommend them and perpetuate their Memory. To fuch Inftrudion and Education Philofophy and all the fine Arts, mull concur with the manly genteel Exercifes, as they did m that of Scipo . Any one of thefe being wanting. Education is deficient; nor will the reft be able to pio-duce that compieat Effed a liberal one ought to aim at. Tho’ this be no Digreffion from my main Subject, yet to return to what is now more immediately under Confideration, we may fee by this fhort Sketch of Characters that the Art was arrived to as great Dignity and Perfedion amongft the ancient GrgLr in and about the time of Apelles, as amongft the Romans in and about the time of Raphael,; or at leaft that Ariflotle, Socrates, Varro, Cicero, Rliny, Quintilian, and others who have mentioned the ancient Painters and their Works, underftood, as well as the beft Judges anion«ft the Moderns, in what the Beauty and Excellence of this Art lies ; and what are the requifite Talents and Perfedions of a great Painter. There is no Accomphfhment aferibed to any of the great modern Mailers, which is not to be found in the Charader of fome ancient Painter in a very eminent degree, whether relating to Invention, Defign, Difpofition, Proportion, Colouring, Clair-obfcure, Rounding, Relief, Beauty, Swcetnels, Strength, Boldnefs, Majefty, Grace, or any other Excellence in the Pidures which the greateft modern Hands have produced. And we find it was the fame Idea of the Art, and the fame Method of Study, that formed the great Painters in every Age. BUT were there no confiderable Painters amongft the Greeks before Apollodorus, and thofe others named as the moft perfed Mailers ? Quintilian names fome that were more ancient, and at the fame time makes a fevere Refledion upon certain pretended Virtuofi in his time, who, it feems, were fondeft of the Pidures which had nothing to recommend them but merely their Antiquity, having been done when Painting was in a very low State, in companion of the greater Beauty and Perfedion to which it was afterwards advanced. They preferred, fays he, the Works of certain old Mailers, to much nobler Pidures; either out of a fuperftitious Veneration for what is very ancient; or through a ridiculous Affeda-tion of appearing profounder Judges than others, and capable of difeerning Beauties where lefs learned Eyes could find none (88). But this Cenfure cannot fall on thofe who are curious in colleding Drawings and Pidures now-a-days, as far back as they can go, in order to .have Examples of the Progrefs of the Art , nor on thofe who are inquilitive about the Rife, Origin, and Progrefs of any Art whatfoever. For the Invention and Improvements of ingenious Arts will always be juftly efteemed one of the moft important Branches of Hiftory, by all who have juft Notions of the true Dignity of Mankind, and of their beft Employments. And it Lis only by a Colledion of Drawings and Pidures ranged hiftorically, [as in a Cabinet in London I have often vilited with pleafure (85))]; fo that one may there fee all the different Schools, and go from one to another, tracing the Progrefs of each, and of every Mailer in each : It is only by fuch a judicioully difpofed Colledion, (87) P. Scipio iEmilianus, vir avitis Publii Africani, fine humanitate, fine ingenio, fine literis, intelligis, & paternifque Lucii Pauli virtutibus iimillimus, omnibus judicas ? Vide, ne ille non folum temperantia, fed etiam belli ac tog* dotibus, ingeniique ac ftudiorum eminen- intelligentia, te, atque iftos, qui fe elegantes dici volunt, tiflimus feculi fui, qui nihil in vita nifi läudandum aut vicerit. Nam quia, quam pulchra effent, intelligebat fecit, aut dixit ac fenfit.---Neque enim quifquam hoc idcirco exiftimabat, ea, non ad hominum luxuriem, fed Scipione elegantius intervalla negotiorum otio disjunxit: ad ornatuin fanorum, atque oppidorum elfe fa&a, ut po- Semperque aut Belli aut Pacis ferviit artibus, Temper inter fteris noftris monumenta religiofa effe videantur. Cic. arma ac ftudia verfatus, aut corpus periculis, aut animum in Ver. lib. 4. 44. difciplinisexercuit. Vel. Paterc. lib.l. f.12, &13. Vid. Excerpta Polybii. Itaque temper Africanus Socraticum (88) Primi quorum quidem opera non vetuftatis modo Xenophontem in manibus habebat, cujus imprimis Iauda- gratia vifenda funt, clari pictores fuiffe dicuntur Pclyg-bat illud, quod diceret, eofdem labores non effe aeque notus atque Aglaophon, quorum fimplex color tam fui graveis imperatori ac militi, quod ipfe honos laborem le- ftudiofos adhuc habet, ut illaprope, rudia ac velut futune viorem facit imperatorium. Cic. Tufc. Quaf- lib. 2. fub mox artis primordia, maximis, qui poll eos extiterunt, fin. Tu videlicet folus vafis Corinthiis deleclaris ? Tu au&oribus praeferant proprio quodam intelligendi, ut meä illius seris temperationem, tu operum lineamenta folertif- opinio fert, ambitu. Quint, lib. 12. c. ic. fime perfpicis? Haec Scipio ille non intelligebat, homo dodtiffimusj atque humaniffimus ? Tu fine ulla bona arte, {89) Mr, Richardforts. IVhat Education ought to aim at. Was accomplifioed in his by uniting together thefineArts and the genteel manly Exercifes. j But were there m) Painters before Apollodorus ? Quintilian names fome. Bat cenfures thofe pretended Virtuofi who valued Pieces more upon account of their Antiquity than their Excellence. On whom this Cenfure does, and does not fall. L 38 An Essay on the Rife? Progreß, lection, that the Hiftory of the Art of Defigning and Painting can be fully reprefented o* learned. Defcription is not fufficient; the belt Writer cannot polllbly exprels all that is to be obferved and read in Inch a Series of Examples and Monuments. Afln iff if QUINTILIAN’S Sarcafm is only levelled againft thofe who are fo blindly devoted UJ ar' to Antiquity, that they can fee no Charms but in that which is very old; and fondly boating on Ruft, Ruins, or bad Workmanfhip, becaufe it hath a certain degree of Antiquity, negleft Works that have real Merit, and from which fomething that is ufeful may be learned ; on ftich, in a word, as meafure things by any other Standard than their Perfection and Ufefulnefs. Monuments of a rude, beginning, or declining Art, deferve their place nay are neceffary in the Hiftory of an Art > but merely to collect its firft grofs, imperfect’ abortive Attempts, or its Dregs and Refufe, without Peeking after Examples of its higher Improvements, is a Tafte that juftly provokes to cry out with Cicero on the like occafion Qua eft autem in hominibus tanta perverfitas, ut, inventisfrugibus, glande vefcantur ? ’ A few Obfervations on the firft rude Painters in both Ages. The Moderns from Citnabue to Maf-faccio. 7he Art began the fame way in Greece. cIhe firft rude Painters or rather De-figners in Greece. I fhall therefore but juft make a few Obfervations upon the firft and earlieft Notices that we have of Painting amongft the Greeks, and compare them with the Accounts that are given of its Progrefs when the Art was revived in Italy; that is, from Cimabue to Maf-faccio, Mantegna, Antonello of Meffina, and fome others, who are reckoned the firft whole Works deferve attention, on any other account than as Specimens of the low and mean Beginnings of Painting, during all that Period which we may call the Infancy of modern Painting. Hitherto not only Painters work'd in Diftemper, the Secret of preparing Colours with Oil not being found out; but their Colouring was fo imperfeft, that they are only Paid to have marked their Lines with Colours, and are rather reckoned Defigners than Painters, and but very indifferent Defigners too. Maffaccio was the firft who began to ob-ferve Pcrfpeftive, draw with fome degree of Correftnefs, give any Relief, Life or Motion to his Figures, or colour them agreeably. But after him, efpecially when the part of paintiiw with Oil-colours was generally known, the Art in all its parts improved very faft, and went on daily gathering new Strength, till at laft Colouring was perfected by Titian, and De-fign by Michael Angelo ; and Raphael, as it were, infufed its Soul into this fine^Body, by fuperadding Beauty and Grace to what they had formed and fhaped in perfection. As’ for Cimabue, he was of the fame kind with the grofs and ignorant Painters, Pent for by the Government of Florence, under whom he ftudied. Giotto began indeed to fhake off fome-what of the Rudenefs and Stiffnefs of thefe Greeks : He endeavoured to give better Airs to his Heads, and more of Nature to his Colouring, with fomething like Aftion in his Figures * He attempted likewife to reprefent the Paffions ; but he fell far fhort, not only of true Ex-prellion, but of that Livelinefs of the Eyes, that Tendernefs of the Flelh, and that Strength of the Mufcles in real Life, which was afterwards attained to by the great Maliers in their Pictures. ^ This was the low State of Painting in his time; and all the Mailers after him (till Maffaccio) made but finall Improvements ; fo that the Art continued almoft at a Hand for a Century, or at leall it advanced but llowly. Now as it is natural to think that the Art mull have begun, and advanced in like manner (90), very llowly at every Period of it -when it was firft found out; or when at any time, after having been loft and buried, it rofe again as it were from the dead : fo we have almoft the fameAccounts of a certain Succef-fion of Painters in Greece from Ardices to Cimon Cleonams, who is deferibed to have been the bell of them. And it is only in the Characters given of thefe Artifts, that we find the Beginnings of Painting deferibed by ancient Writers. They alfo feem to have been rather Defigners than Painters, and but very indifferent Defigners too. Nay the Art appears to have been in a more imperfeft State in their time, than in that of Giotto and his immediate Succeffors : For before Ardices of Corinth (91), Telephanes of Sicyon, and Crato of the fame City, Painting was no better than what ferved juft to reprefent the bare Shadow of a Man, or any Animal 5 which was done by circumfcribing the Figure they intended to exprefs, whatever it was, with a Angle Line only ,• a Ample manner of Drawing called Sciographia. They began to add new Lines (by way of Shadowing to their Figures) which gave them fome appearance of Roundnefs, and a little more Strength. And this manner was called Graphice: But fo imperfeft Hill was this way of delineating Objefts that they found it not unneceffary to write under every Piece, the Name of what it was defigned to reprefent. It was Cleophantus a Corinthian who firft attempted to fill up his Out-lines : But that he did with one Angle Colour laid on every where alike 5 whence his Pieces and thofe of Hygiemon, Dinias and Charmas got the Name of Mono-chromata, or (9°) A muft be fo with refpect to all Arts. So Lucretius obferves: Na-vigia, atque agriculturas, mcenia, leges, Aima,' vias,' vefteis, & ccetera de genere borurti, Prcstnia, delicias quoque vitce funditus omneis, Carmina, piSiuras, fcf dadala fignapolire Ufas, if impigris fimul experientia mentis Paulatim docuit pedetentim progredientis. Sic unum quidquid paulatim protrahit atas In medium, ratioque in luminis emit oras. Piftures Namque aliud ex alio clarefcere corde videbunt Artibus, ad fummum donee venere cacumen. Lucret. L. 5. fub finem. (91) Primi exercuere Ardices Corinthius, & Tele-phanes Sicyonius, fine ullo etiamnum hi colore j jam tarnen fpargentes lineas intus ; ideo b quos pingerent ad-feribere inftitutum. Primus invenit eos colores, tefla ut ferunt, trita, Cleophantus Corinthius. 3 r r Al W Some little Improvements were made by Eumarus; but he was Pictures of one Comm (9-y - , Am to have found out the Art of Painting hiftoncally, excelled by Ctmon Cleon*■ , N of Poftures : He was the firft who diftinguilhed and to have defigned h s Fi0u ^ attempted to imitate the Folds in Draperies; yet the Joints and Mui^e ’ , . , jßHan and others, is, that he found Painting the higheft weak impelled State, and brought it to feme (mail degree of St^gS“»d^ftaion. And thus we fee how the Art hath always begun and advanced. r „ c . nf thefe Painters or Defigners. For Pananus Al “1,“ “ilS Co°urfc of mt■"'"ftewehtr wot“ ÄÄÄ Hiftory as the fitft SS the A or who iSd not arrived at very conf.derable Perfeftion. It is upon Eila>ers ot > invented and perfected at once, and that according to the tms Piincipa lik h Arts, muft have advanced gradually, and from very Pitch of E-ellence: Tis upon this Principle, ImaLl Be => difoute that Pliny blames the Greeks for not being more exaft in then which can painters’; fmee it is impoffible that Pananus could have been fo good f Ser or tW “lould have beefs in fo great a degree of Perfektion in his rnne, a Pamte , becn if it had not been very much cultivated before him. What aS ^nrt we are told by Pliny and others, that there were very excellent Painters long heZI Pananus There is mention made of a celebrated Battle-piece by Bularchus a Painter ibr which Candaules King of Lydia, the laft of the Heraclides gave a very high Price foT And Pliny fpeaks of excellent Piftures in Italy, which tho frefh in his time were older than the Foundation of Rome, and painted by Grecians (97). From all which he very juftly concludes, that thefe very rude imperfeft Painters, or rather Monochromatifts, muft have been long before thole good Painteis. WHAT then can we with any probability infer from all this, but that, fetting afide the Arguments which have been brought from Homers exaft Knowledge of Painting, to prove its verv -real Antiquity, that Art muft have been very anciently in great Reputation and Perfection * and that it may have undergone many Revolutions in Greece, or have been loft and revived again there, perhaps more than once: But this I leave to others to determine. It is diffident’to our purpofe to obferve, that at whatever time it begun to be cultivated, it muft in all probability have begun and proceeded, as it did when it was revived in Italy in the latter Age of it, by very ordinary low Greek Painters, from Cimabue their Difciple to Maffaccio ; or as it did in the time of the Greek Monochromatifts that have been mentioned. And we find it advancing from a Maffaccio to a Raphael, in the lame manner that it did from Pananus to an Apelles, with wonderful Celerity. ’Tis difficult to fix the Age of thefe Greek Painters. But Panxnus feems the firß of a Succef-fion of Painters a-mong the Ancients, equal to Maffaccio among the Moderns-. Pliny mentions very old good Pictures. What it is reafinalle to conclude from all this. The Art at whatever Perioditbegait^ or revived, advanced to Pcrfeßion very gradually. (92) Quod fi recipi necefle eft, fimul adparet multo vetuftiora principia effe; eofque, qui Monochromata pinxerint, quorum xtas non traditur, aliquanto ante Liffe Hygiemonem, Dineam, Charmadem, & qui primus in pidtura Marem Feminamque difereverit, Euma-rum Athenienfem, figuras omnis imitari aufum ; quique inventa ejus excoluerit, Cimonem Cleonxum. Hie Ca-tagrapha invenit, hoc eft, obliquas imagines & varie for-mare vultus, refpicientes, fufpicientefque, vel defpicien-tes : Articulis membra diftinxit; Venas protulit ; prx-terque in Vefte Rugas & Sinus invenit. Plin. 35. Ci-mon Cleonxus artem adhuc rudern plurimum provexit, eoque difcipulos fuos majorem popofeit mercedem quam priores artifices. Ml. var. Hiß. I. 8. c. 8. In the Anthology there are two Greek Epigrams on him 5 one of which is thus tranflated by Grotius : Ißa Ctmon pinxit minime rudis ; omne fed efl qui Culpet opus: Nec tu, Dadale, liber eras. ’Tis in allufion to thefe Monochromata that Cicero plea-fantly calls Epicurus’s Gods Dii Monogrammi, non enim venis, & nervis, & offibus continentur,----Nec iis cor- poribus funt, ut aut cafus aut ictus extimefcant, aut mor-bos metuant ex defatigatione membrorum. Quae verens Epicurus Monogrammos Deos & nihil agentes commen-tus eft. Cic. de Nat. Dear. lib. 2. (93) Panaenus quidem frater Phidiae, etiam praelium Athenienfium adverfum Perfas, apud Marathona fadtum, pinxit : adeoque jam colorum ufus increbuerat, adeoque ars perfedta erat ut in eo praelio Iconicos duces pinxiffe tradatur,-----Primufque omnium certavit cum Timagora Chalcidenfe---alii quoque, poft hos, clari fuere, ficut Polygnotus Thafius, qui primus mulieres lucida vefte pinxit: Capita earum mitris verficoloribus operuit; plu-rimumque pictura primus contulit. Plin. 35. (94) In confeflo perinde eft Bularchi picioris tabulam in qua erat Magnetum praelium, a Candaule rege Lydiae Heraclidarum noviflimo, qui & Myrcilus vocitatus eft, repenfam auro. Tanta jam dignatio picturx erat, id circa xtatem Romuli acciderit necefle eft : duo enim de vicefima Olympiade interiit Candaules ; aut, ut quidam tradunt, eodem anno quo Romulus, nifi fallor ; mani-fefta jam turn claritate artis, atque abfolutione. Quod ft recipi necefle eft, fimul adparet multo vetuftiora principia effe, &c. Plin. 35. (95) Hunc, (Cleophantum Corinthium) aut eodem nomine alium fuiffe, quern tradit Cornelius Nepos fecu-tum injltaliam Demaratum Tarquinii Prifci regis Romani patrem, fugientem a Corintho tyranni injurias Cypfeli mox docebimus. Jam enim abfoluta erat pictura etiam in Italia. Extant certe hodieque antiquiores upbe picturx, Ardex in xdibus facris : quibus equidem nullas xque miror tarn longo xvo durantis in orbitate tedti, veluti recentis, &c. Plin. 35. When he comes to mention the Roman Painters in the fame Book, he fays, De-cet non fileri & Ardeatis templi pictorcm, prxfertim ci-vitate donatum ibi, & carmine, quod eft in ipfa pictura his verfibus : Digneis. Digna. Loca. PiClureis. Condecoravit. Regina. Junoni. Supremi. Conjugi. Templum. Marcus. Ludius. Elotas. Mtolia. Oriundus. Sfuem. Nunc. Et. Roß. Semper. Ob. Artem. Hanc. Ardea. Laudat. Ea funt feripta antiquis literis Latinis. See fulii Bulcn--geri de PiClura £s? Statuaria lib. 1. c. 9. All that hath been faid confirmed from Cicero and Quintilian/« their Accounts of the likeProgrefs of Oratory to that of Statuary and Painting. T O confirm the Truth of all 'that hath been faid of the gradual Improvements that were made in Painting, and of the various Talents of its chief Improvers amongft the Greeks, I fhall bring fiomc Paflages from Cicero and Quintilian, which contain the Subftance of what hath been faid on that Head, and' that will ferve to prove, at the fame time, the Truth of the Obfervation, upon the manner in which thefe Authors have treated Oratory, premifed to this Difcourfe. “ IT remains [fays Quintilian (pd)] to fpeak of all the feveral kinds of Oratory, that “ being the third Branch of my firft Divifion; for I promifed to treat of the Art, the Artift, and the Work. Oration is the Orator's Work : And there are many Forms of it, as I fhall prove; which, tho' the Art and Artift appear in them all, are very diftind, “ not only in Species, as one Statue or Pidure is from another; but even in kind, as the Quintilian. “ Tufcan and Grecian Statues ; or the Afiatick and Athenian Orators. Thefe however “ which I call Works of a different kind, as they have their Authors, fo likewife they have “ their Lovers 5 and there is no fuch thing yet as a perfed Orator, nor perhaps any per-“ fed Art of whatever fort 5 not only becaufe each kind hath fome peculiar Excellency, “ but becaufe one Manner is not equally agreeably to all 5 and that partly on account of “ the various Genius’s of Times, and partly becaufe each particular Perfon hath his own “ proper Tafte and Aim. The firft Painters whofe Works are vifited not barely for Anti-“ quity’s fake are Polygnotus and Aglaophon, whofe impeded Colouring fome, thro’ an “ Affectation of appearing more than ordinary Judges, prefer to the Works of the great “ Maliers who came afterwards, tho’ their Pictures were but the Prefages, the firft Dawning of a riling Art. After them flourifhed Zeuxis and Parrhafius, both about the Pe-loponnefian War; for Xenophon gives us a Conference between the latter and Socrates. Thefe Artifts greatly improved Painting; the firft having found out the Art of diftribu-ting Light and Shade with Truth and Agreeablenfs ; the other excelling in thePrecifion of his Out-line, and the Elegance of his Colours. Zeuxis copied Homer, and fo became to the fucceeding Painters a Model, whom it was neceflary to imitate in drawing -the Forms of the Gods and Heroes. The Art of Painting was in its higheft Perfedion “ about the time of Philip, and to the Succeffors of Alexander ; but the various Qualities “ requifite to its Perfedion were divided amongft many Profefiors. To Protogenes is “ aferibed Exadnefs in finifhing, or rather Over-diligence. To Pamphilus and Melanthilts “ a thorough Intelligence and Obfervance of Symmetry and due Proportions in their Fi-“ gures j to Antiphilus Facility or Eafe 5 and to Theon the Samian a vaft Fertility of Ima-“ gination even to Capricioufnefs. To Apelles is unanimoully allowed what he claimed “ Ingenuity and Grace far fuperiour to all that went before him : And Euphranor was “ highly admired for what is indeed very rare; for he was not only an excellent Painter but a great Malier of many other Arts; a Sculptor of the firft Rank, as well as a fub-“ lime Painter. THE fame Progrefs, with the fame Diverfity of Talents happened in Statuary. For the firft Profelfors of that Art, Calon and Egefius did not far furpafs the Tufcans, but were almoft as Hilf and hard: The Statues of Calamis were not fo cold and dead; but thofe of My con were ftill much fofter and nearer to Life : Polycletus added at once Correct-nefs and Grace to his: To him is the Pre-eminence given; but that he too might not pals uncenfured. Force and Energy is faid to have been wanting to make his Works perfed. He reprefented Men with more Grace than is to be found in Nature : But he could not come up to the Majcfty of the Gods 5 not daring to attempt any thing but foft and beard-“ lefs Cheeks, he avoided imitating venerable Age. But what was wanting in Polycletus is aferibed to Phidias and Alcamenes. Phidias excelled whether in exhibiting Gods or Men: None rivalled him in working in Ivory, as his Minerva of Athens and his Olym-“ pian Jupiter fufficiently prove; the lall of which is faid to have increafed the religious Awe of the People, fo fully was the Authority of the God exprefled. Lyfippus and Praxiteles were the bell Copiers of Nature, for 'Demetrius ftudied Truth more than “ Beauty; he followed Nature too Hr icily. (96) Supereft ut dicam de genere orationis. Hie erat propofitus a nobis in divifione prima locus tertius : nam ita promiferammedearte, deartifice, deoperedidturum. Cum fit autem rhetoris atque oratoris opus oratio, plurefque ejus forma, ficut oftendam, in omnibus his & ars eft, & artifex, plurimum tarnen invicem difterunt, nec folum fpecie, ut fignum figno, Sc tabula tabulae, & actione a Clio, fed genere ipfo, ut a Grsecis Tufcanicas ftatuae, & Afianus eloquens Attico. Suos autem haec operum genera quae dico, ut autores, fic amatores habent, atque ideo non-dum eft perfedfus orator, ac nefcio an ars ulla, non folum quia aliud in alio rnagis eminet, fed quod non una omnibus forma placuit, partim conditione vel temporum, yel locorum, partim judicio cujufque ac propofito.----- Similis in ftatuis differentia : nam Sc duriora. Sc Tufca-nicis proxima Calon atque Egefias ; jam minus frigida calamis ; molliora adhuc fupra didtis Myron fecit. Diligentia ac Decor in Polycleto fupra caster os, cui quan- “ NOW quam a plerifque tribuetur palma, tarnen ne nihil detra-hatur, deeffe pondus putant. Nam ut humanse formte decorem addiderit fupra verum, ita non expleviffe Deo-rum autoritatem videtur, quin aetatem quoque gravio-rem dicitur refugifle, nihil aufus ultra leves genas. At quas Polycleto defuerunt, Phidias atque Alcameni dan-tur. Phidias tam diis quam hominibus efficiendis melior artifex traditur. In ebore vero longe citra temulum vel fi nihil nifi Minervam Athenis, aut Olympium in Elide Jovem feciflet, cujus pulchritudo adjecilfe aliquid etiam receptae religioni videtur, adeo majeftas operis Deum asquavit. Ad veritatem Lyfippum & Praxitelem accepiffe optime affirmant. Nam Demetrius tanquam nimius in ea reprehenditur, & fuit fimilitudinis quam pulchntudims amantior. In oratione vero fi lpecies in-tueri velis, totidem pene reperies ingeniorum, quot coV-porum formas, fed fuerunt quasdam genera dicendi conditione temporum horridiora, alioquin magnam jam vim ingenii. Chap. 2. and Decline 0/ Painting. 41 « NOW Oratory advanced in like manner: If we examine the different Kinds or Quintilian. “ Forms of it, we {hall find almoft as many Genius’s and Turns of Mind as of Features and “ Complexions : Some forts of Oratory, as well as of Painting and Statuary, were more “ unformed in confequence of the Rudenefs and Unpolitenefs of the times; but even thefe “ {hewed great Strength and Vigour of Genius. Such were amongft us {Romans) the « Lalii, the African!, the Catos, the Gracchi. Thofe may be called the Tolygnotinss, « and thcCalones: Let L.Craffus and §f_Hortenfius be placed in the middle Rank. After tc them arofe avail: Growth of excellent Orators; but who had each his difiincl Talents and “ Perfections, tho’ they flourifh’d much about the fame time.---In Cafar we admire the “ Nervous, in Brutus the Severe, in Callidius the Subtile, mCaffius the Bitter, in A* ollio Cor-“ rectnefs, in Sulpitius Smartnefs, in Meffala Dignity, in Calvus the Pure and Venerable. xi’s not to be doubted but there were Poets before Homer, whom none afterwards « could rival.____Our own firft Productions in Poetry were as rude and ftiff as the Statues « of LOadalus.----And fo it was likewife with regard to our Oratory.” IN another place Cicero remarks, that there is the fame Diverfity in the Arts of Speak-Wand Painting (97) : And that in either of thefe, amidft a great variety of Forms and Manners each of which is very commendable in its kind, or hath its particular Excellence, it is not eafy to determine which is the beft. Painting, faith he, tho’ the Art be but one vet like every Art and every Thing in Nature, admits of a great variety of Beauties and Perfections (98) : And therefore Painters, as well as Orators, may be very different from one another; and yet all of them may deferve high praife, and be juftly pronounced admirable each in his own peculiar Sphere and Excellence. There is indeed a beft, a higheft Perfection in every Art, a fupreme Beauty to which it is extremely hard to reach; and which was never compaffed by any Orator, Poet, or Painter, in any Production however Cicero, ingenii prse fe ferentia. Hinc funt Laelii, Africani, Catones, Gracchique, quos tu licet Polygnotos vel Ca-lones appelles. Mediam illam formam teneant L. Craf-fus, Qi Hortenfms. Turn deinde efflorefcat non multum inter fe diftantium tempore, oratorum ingens proventus, hinc vim Csefaris, indolem Ccelii, fubtilitatem Callidii, gravitatem Bruti, acumen Sulpitii, acerbitatem Caffii, diligentiam Pollionis, dignitatem Meffalse, fanctitatem Calvi reperimus. In his etiam quos ipfi vidimus, copiam Senecae, vires Africani, maturitatem Afri, jucunditatem Crifpi, fonum Trachali, elegantiam Secundi. At M. Tullium non ilium habemus Euphranorem circa plurium artium fpecies prseftantem : fed in omnibus qua in quo-aue laudantur,’ eminentiffimum, quem tarnen & fuorum temporum homines inceffere audebant ut tumidiorem ; & Afianum, & redundantem, & in repetitiombus minium, &c Quint I 12. Quis enim eorum, qui haec minora animadvertunt, non intelligit, Canachi figna, ng.diora efle quam ut imitentur ventatem ? Calamidis dura ilia quidem, fed tarnen molliora, quam Canachi. Nondum Myronis fatis ad veritatem addufta, jam tarnen quae non dubites pulchra dicere. Pulchriora etiam Polycleti, & iam plane perfefta, ut mihi quidem yiden folent. bimi-lis in piaura ratio eft, in qua Zeuxim, & Polygnotum, & Timantem, & eorum qui non funt ufi plus quam qua-tuor coloribus formas & lineamenta laudamus. At in jEtione, Nicomacho, Protogene, Apelle, jam perfefta funt omnia, & nefcio an reliquis in rebus omnibus idem eveniat. Nihil eft enim fimul & mventum, & perfec-tum. Nec dubitari debet quin fuerint ante Homerum poetse, 5cc. Cic. de dar. Orat. 18. (97) Cicero ad Brutum. n.---Fac alium Attio, varia enim funt judicia, ut in Graecis : nec facilis explicatio, quae forma maxime excellat. In piiSturis alios horrida, inculta, abdita. Sc opaca : contra alios nitida, laeta, co^“ luftrata deledat. Quid eft, quo praefcriptum aliquod, aut formulam exprimas, cum in fuo quodque genere praeftet, Sc genera plura fmt ? Hac ego religione non fum ab hoc conatu repulfus : Exiftimavique, in omnibus rebus elfe aliquid optimum, etiam ft lateret. ldque ab eo poffe, qui ejus rei gnarus eflet, judicari. Sed quo-niam plura funt orationum genera, eaque diverfa, neque in unam formam cadunt omnia, &c. (98) Natura nulla eft (ut mihi videtur) quae non ha-beat in fuo genere res complureis dillimileis inter fe, quae tarnen confimili laude dignentur. Nam & auribus multa percipimus, quae etii nos vocibus deleiftant, tarnen ita funt varia fepe, ut id quod proximum audias, jucundif-fimum efle videatur : & oculis colliguntur pene innume-rabiles voluptates, quae nos ita capiunt, ut unum fenfum diffimili genere deleftent, & reliquos fenfus voluptates ob-leclent difpares, ut fit difficile judicium excellentis maxime fuavitatis. At hoc idem quod eft in naturis rerum^ transferri poteft etiam ad arteis. Una fingendi eft ars, in qua praeftantes fuerunt Myro, Polycletus, Lyfippus : qui omnes inter fe diffimiles fuerunt : fed ita tarnen, u£ neminem fui velis effe diffimilem. Una eft ars, ratioque pifturae, diffimillimique tarnen inter fe Zeuxis, Aglao-phon, Apelles : neque eorum quifquam eft, cui quidquam in arte fua deefle videatur. Et, u hoc in his quafi mutis artibus eft mirandum, Sctamen verum : quanto admirabi-lius in oratione, atque in lingua ? See. Cicero de Urat, lib. 3. 7. 5 ' M Cicero. Cicero and Columella. Cicero. An Essay on the Rife, Progreß, perfect, to fuch a degree as came up fully to the Idea of it in the Mind of the Author or Artift. But the ingenious Arts flourilh, profper, and bring forth a goodly rich Hat-vcft of various Fruits, all exceeding beautiful, and pleafant, though of different Hues and Qualities, when due Honour is render’d to every Perfon of Merit, and to every Advancement toward Perfedion of whatever fort 5 not to thofe of the firft Clafs alone, but to the fecond and third, to each kind. Order or Rank of Ability and Excellence (99). Thus every Genius, every Virtue, every Power in the Soul is quickened to exert itlelf, and every one ftrives tohisutmoft, giving all diligence to excel in fomething truly praife-worthy. The genuine Spirit, that alone can animate and frudify the Arts, is by fuch means ftirred up, and maintained in due Warmth and Vigour. Every one becomes emulous of furpaf-fmg the reft in fome Perfedion: No one fatisfies himfelf with his Attainments, and the honour thefe may have already acquired him ; but takes a higher Mark, and imagining fomewhat of a more perfed kind than he hath hitherto produced, fets himfelf with all his colleded Talents to furpafs his own moft admired Works. Succefs duly honoured redoubles the Force and Ardour of the Mind. THIS is the Pidure Columella, Cicero, and other ancient Authors have drawn, of the Temper and Spirit by which alone the Virtues and Arts can be promoted and animated (loo). And thus it was, they tell us, with refped to Painting, Poetry, Oratory, and all the ingenious Arts, when they flourifhed in Greece. Hence it came about, that tho’ Tdemofihenes far excelled all the Orators, as Apelles all the Painters 5 yet there were a great many other juftly renowned Orators and Painters, befides thefe two, who had very great and peculiar Abilities and Excellencies. The fame happened in the latter Age of Painting s the like Spirit pufhed it on to its Perfedion at that Period; fo that tho’ Raphael was fuperiour to all, yet there were many other Painters who deferved high Praifes, and had each very great and diftinguifhing Qualifications. C1CE R O tells us what that fupreme Beauty and Excellence in all the Arts is, which it is fo difficult to explain, and yet more to acquire (101) : It is called by the Greeks 'ro TTftirov; and we may call it with the Romans the Decorum. It is the chief Excellence (faith he) in Life and Manners, as well as in the Arts. But of this afterwards. What is now under Confideration is the equal and analogous Advancement of Painting, in two different Ages of it, and the: principal Means and Caufes by which it was promoted to fo great Perfedion in both. And doubtlefs the Emulation among Painters arifing from the Love of the Art, and the Encouragement given to every Kind and Degree of Merit in it, by the Rewards and Honours that were chearfully conferred on all who excelled in any part of the Profeffion, was one chief reafon of its Improvement in both thefe Periods. (99) Quod flquem aut natura fua, aut ilia praeftantis ingenii vis forte deficiet, aut minus inftru&us erit magna-rum artium difeiplinis : teneat tarnen eum curfum quem poteric. Prima enim fequentem, honeftum eft in fecun-dis, tertiifque confiftere. Nam in poetis, non Homero foli locus eft (ut de Graecis loquar) aut Archilocho, aut Sophocli, aut Pindaro : fed horum vellecundis, vel etiam infra fecundos. Nec vero Ariftotelem in philofophia de-terruit a feribendo amplitudo Platonis : nec ipfe Ariftote-les admirabili quadam feientia, b copia, caeterorum ftudia reftinxit. Nec folum ab optimis ftudiis excellentes viri deterriti non funt, fed ne opifices quidem fe artibus fuis removerunt, qui aut Ialyft quem Rbodi vidimus, non potuerunt, aut Coae Veneris pulchritudinem imitari. Nec ftmulacro Jovis Olympii, aut Doryphori ftatua deterriti, reliqui minus experti funt, quid efficere, aut quo progredi poflent: quorum tanta multitudo fuit, tanta in fuo cujufque genere laus, ut, cum fumma miraremur, inferiora tarnen probaremus. In oratoribus vero, Graecis quidem, admirabile eft quantum inter omneis unus excellat. Attamen, cum eflet Demofthenes, multi ora-tores, magni, b clari fuerunt, & antea fuerant, nec poftea defecerunt. Quare non eft cur eorum, qui fe ftudio eloquentiae dediderunt, fpes infringatur, aut lan-guefcat induftria. Nam neque illud ipfum, quod eft optimum, defperandum eft: & in praeftantibus rebus, magna funt ea, quae funt optimis proxima. Ad Brut. 2. (100) Re&iffime dixit M. Tullius in oratore, par eft eos, qui generi humanct res utiliffimas conquireie, b per-penfas exploratafque memoriae tradere concupiverint cunc-ta tentare.——Summum enim culmen affectantes, fatis honefte vel in fecundo faftigio confpiciemur. An Latiae mufae non folos Adytis fuis Accium b Virgilium rece-pere, fed eorum b proximis, b procul a fecundis facras conceffere fedes ? Nec Brutum, aut Ccelium, Pollionem-que cum Meflala & Catulo deterruere ab eloquentiae ftudio fulmina ilia Ciceronis. Nam neque ille ipfe Cicero ter-ritus ceflerat tonantibus Demoftheni Platonique. Nec parens eloquentiae, Deus ille Maeonius, vaftiffimis flumi-nibus-facundiae fuae pofteritatis ftudia reftinxerat, ac ne minoris quidem famse opifices per tot jam faecula videmus PAINT- laborem fuum deftituifle, qui Protogenem & Apellem cum Parrhafio mirati funt: Nec pulchritudine Jovis Olympii Minervaeque Phidiacae, fequentis aetatis attoni-tos piguit experiri, Bryaxin, Lyfippum, Praxitelem, Po-lycletum, quid efficere aut quoufque progredi poflent. Sed in omni genere feientia, b fummis admiratio vene-ratioque, b inferioribus merita laus contingit. Cohan, in Brief lib. imi. de Re Ruß. Nequeo temperare mihi, quin rem faepe agitatam animo, neque ad liquidum ratione perduebam, fignem ftylo. Quis enim abunde mirari po-teft, quod eminentiffima cujufque profeffionis ingenia, in eandem formam b idem artati temporis congruant fpa-tium, & quemadmodum clausa capsa, alioque fepto, di-verfi generis animalia, nihilominus feparata alienis, in unum quasque corpus congregantur ; ita cujufque clari operis capacia ingenia, in fimilitudinem b temporum b profeciuum, femetipfa ab aliis feperaverint ? Hoc evenifle tragicis, comicis, philofophis, hiftoricis, grammaticis, plaftis, pieftoribus, iculptoribus, ut quifque temporum in-ftiterit notis, reperiet eminentia cujufque operis artiffimis temporum clauftris circumdata. Hujus ergo praeceden-tifque faeculi ingeniorum fimilitudines congregantis b in ftudium par b in emolumentum, caufas cum femper re-quiro, nunquam reperio quas veras efie confidant, fed for-tafle verifimilis, inter quas has maxime. Alit aemulatio ingenia ; b nunc invidia, nunc admiratio incitationem accendit; matureque, quod fummo ftudio petitum eft, afeendit in fummum, difficilifque in perfedto mora eft ; naturaliterque quod procedere non poteft, recedit. Vel. Pat. Hiß. lib. 1. cap. 16, 17. (101) Sed eft eloquentia, ficut reliquarum rerum fun-damentum, fapientia. Ut enim in vita, fie in oratione, nihil eft difficilius, quam, quid deceat, videre. erfwor appellant hoc Grseci: Nos dicamus fane decorum. De quo praeclare, b multa praecipiuntur, b res eft cognitione digniffima. Hujus ignoratione non modo in vita, fed faepiffime b in poematis, & in oratione peccatur. After fome Explication of this Decorum, he remarks how much Apelles and Timantbes obferved it, Cic, ad M. Brut. Or at. 21. t Pliny» Chap. 2. and Decline of Painting» PAINTING flourifhed (faith Tliny) and produced truly noble and excellent Works, ,-t the Art was duly countenanced and recompenfed; being in high requcft amongft Princes Rulers, and all great Men (102). And was it not fo likewife in the latter Age nf Paintin«- was not the Art in high Reputation amongft Popes, Princes, Cardinals, and all the Great Sid Powerful of that Age ? What Honours and Rewards were not rnoft willingly paid to all the great Matters ; to the Art in general, and to all its Students and Profeflors? Honour (faith Cicero) enlivens and cherifhes the Arts: They droop and languifh when rhev are not duly efteemed and encouraged (103). Ambition and Emulation are the very Soul of the Arts, without which they are timid, fluggifh, inaftive, and dare not look up towards Perfection. OF Emulation and its happy Effects, in confequenCe of the Honours bellowed upon ingenious Artifts, we have many Pittances in both the Ages now under our Examination (104). There was not only an ardent Rivallhip and Competition amongft all the greateft Malters, each exerting his utmoft to be the firft, or at leaft not to be the laft; but, which is a Cir-cumftance well worth obferving in this Parallel, in both thefe Ages of Painting, there were different Schools of that Art, each of which had its particular Tafte, and favourite Excellence upon which it valued itfelf, and for which it claimed fuperiour Fame to all the idh And this Emulation amongft different Schools had a ftronger and more extenfive Influence, to promote the Art in all Its Qualities and Parts, than Rivallhip betwixt particular Perfons could poflibly have had. The Honour and Name of the School to which each Matter owed his Education, and was particularly attached, became an additional Incentive to him, and confpirinoCH rationem Artis in-“ telligunt, Indocii Voluptatem.” WHAT regard the beft modern Painters likewife paid to the Sentiments and Feelings of the VuUarf in whom Nature expreffes herfelf juft as fhe is moved, without any Affectation or Difguife, we learn from feveral Stories in theif Lives, of their clofe and careful Attention to the EffeCts which their Pidures had even on ordinary Women and Children; fhe extraordinary Generofity of Mon -fieur Colbert. (no) De la Maniere d’Enfieigner, &c. par Mr. Rellin, p. 420. With regard to the Effedt of Encouragement and Emulation in modern Times, I need only put my Readers in mind, how, after the Death of Pope Leo X, the Arts were in danger, when Adrian fucceeded, who had no Tafte, infomuch that he had fpoke feveral times of deftroying the fine Paintings of Michael Angelo in the Chapel of the Vatican ; but not living long, the Arts revived again under Clement VII. (in) Utenim pi&ores, & ii, qui figna fabricantur, & vero etiam poets, fuum quifque opus a vulgo confide-rari vult: ut, fiquid reprehenfum fit a pluribus, id cor-matur : hique & fecum, & cum aliis, quid in eo pec-catum fit, exquirunt : fic aliorum judicio permulta nobis & facienda & non facienda, & mutanda, & corrigenda funt Cic. de Of. lib. 2.41. Apelles perfedta opera pro The ancient Cußom of expofing Pictures to publick View and, Cenfiure. What the Ancients fay of the difference between the Learned and the Vulgar. Phidiam femet concludentem correxiffe, atque ad mul-torum opinionem, & judicium imaginem emendaflL Ne-que eniin mediocre aut contemnendum effe exiftimabat populi tarn numerofi Confilium, fed hoc fibi perfuaferat neceffario fore, ut multi femper plus quam unus pervide-rent: Tametfi ipfe femet Phidiam effe non ignoraoat. Lucian, de Imag. Rhodiis in admiratione fuere Ialyfus & Satyrus, columnae adftans, cui columnse perdix adfifte-bat atque adeo tabula ifthac primum pofita, perdix tant-opere traxit hominum oculos, atque in fe defixos tenuit, ut Satyrum nemo admiraretur quanquam elaboratiffimum. _____Videns igitur Protogenes ipfum opus fadtum effe quoddam quafi additamentum ad opus, perdicem delev it. Strabo, lib. 14. p. 652. (112) Illud autem nequis admiretur, quonam modo hrec vulgus imperitorum in audiendo notet ; cum in funt Cic. de Ut. lib. 2. 41. Apcuo picuu r . , . r , n • nonebat in pergula tranfeüntibus, atque ipfe poll tabulam omm genere, turn in hoc ipfo magna quaedam eft vis. Liens vitia quae notarentur aufcultabat, vulgum diligen- incredibil.fque naturae. Omnes emm tacito quodam fenfu, tiorem iudicem quam fe praeferens: feruntque a futore fine ulla arte aut ratione quae fint in art.bus ac ratio-deprehenfum quod in crepidis una pauciores mtus feciffet nibus _re Progreß, Children: I fhall only mention one Bellori and Coy pel tell us (113) of Annibal Car rache ; he had obferved an old Woman mightily moved by a famous Picture of Dominichin, reprefenting the Flagellation of St. Andrew, and deferibing all the Paflions in it to her Child with great Emotion; but having remark’d, that a Picture of Guidos, in the fame Church, of another Martyrdom, did not equally touch her; when a Difpute happened afterwards about thefe two Pictures, he only told this Story, leaving it to every one to judge to which the Preference was to be given on fuppofition, that touching and moving the Affections was the chief End and Excellence of the Pencil. BUT hovever that be, this is certain, that all the Arts in Greece were polifhed, and brought to Perfection chiefly by means of Criticifm. This is acknowledged with regard to Poetry and Oratory : And it was no lefs fo with rcfpect to the other Sifter-Arts. The good Performers in each Art found their account in encouraging fair Enquiries into the Truth and Beauty of every Art: They cordially fell in with fuch a proper Method of procuring juft Efteem to themfelves. They who were true and faithful to their Arts were naturally moft deftrous of improving and refining the publick Tafte, that in return they might be rightly and laftingly applauded ; and therefore they not only encouraged the criticizing Art, but joined themfelves in this moft effectual way of preventing the Publick’s being impofed on by the falle Ornaments and affected Graces of mere Pretenders. Cri-ticks are, as it were, the Interpreters to Artifts, who unfold and explain the Excellencies of their Works to the People, and thus lead them to a thorough Intelligence of T ruth and Perfection in Arts: And therefore it is the Impoftor only that is afraid of them, or endeavours to diferedit their Pretenfions to correct and inftruct. Accordingly, in ancient Times, whilft the graveft Philofophers, (who were Cenfors of Manners, and Criticks of a higher degree) difdained not to exert their Criticifm on the inferiour Arts, and claimed it as the indifputabie right of true Philofophy to give Laws to them all 5 Criticifm was held in due repute; it gained a Hearing; did juftice to every degree of Merit; taught to diftin-guifh the true from the falfe; and quickly made good Tafte univerfal: And no wonder that it did fo, for as it is in Life, fo it is in Arts ; it cofts much greater Labour and more violent Struggling to vitiate and corrupt our Tafte, than to improve it. IT is indeed a remarkable Circumftance in thofe two Ages of Painting we are comparing, that, in both, feveral Artifts were capable of doing juftice to their own Arts by their excellent Pens. In the firft Age of it, whilft the Art was duly cultivated in Greece, had Reputation, and produced Works of exquifite Tafte and Genius, not only did fome Artifts write Treatifes onPainting which were highly efteemed ; but feveral other great Men thought it not below them to difplay the Beauties of this Art, and to recommend it to the publick Efteem, by celebrating the Praifes of the great Maliers, their excellent Works, and of the Art itfelf. Apelles (114), Afclepiodorus, Eamphilus, Melanthius, Euphranor, Eafiteles, Er otogenes, Theomneßus, Hypficrates, all of them renowned Painters, arefaid to have wrote on the Art, or to have explained its Rules and Principles, and criticized its Productions with great Judgment and Elegance : And thus they added no lefs to the Honour of the Art by their Writings, than by their Pictures. But not only thefe and other Painters, but feveral Philofophers, and others of diftinguifhed Reputation for Science and good Tafte, are likewife reported to have wrote the Lives of the famous Painters and Statuaries, and Treatifes upon the deftgning Arts : Such as Democritus the Philofopher, of whom ‘Diogenes gives fo great a Character, comparing him to the Olympian Vidors in the Eancrafm, for his univerfal and extraordinary Abilities in all the Liberal Arts and Sciences. He was Contemporary with Socrates, whom we find in Xenophons Memoirs of him, not {infrequently converting with Painters and Statuaries about Matters equally relating to Philofophy and the fine Arts. Elato not only loved the Art, but painted him-felf, and was often with the famous Artifts. Diogenes Laertius in his Account of Democritus the Philofopher, mentions another of that Name an Ephefian, who alfo wrote upon the Temple of Diana of the Ephefians, and its Ornaments; amongft which were feveral Pictures by Apelles and other great Matters, and the famous Diana by Timareta, the firft of the few Ladies who gained Fame by Painting. Duns is alfo highly praifed’for two Works, one on Sculpture, and the other on the Art of Painting. ~ Diogenes Laertius mentions him in his Life of Thales. Menechmos of Sicy on wrote of the famous Artifts, as we are told by Athei}y rfa.[J.om \v OM-ra xai dtj.uS^d ovra ati takes notice of an ingenious Conjecture about one of his Pieces mentioned by Pliny (28). Pliny (according to the ordinary Reading) fays, he painted a Nurfe with a Child in her Arms. (“ Nutricem Crejfam, infantemque in manibus ejns.”) But that Critick mentioned by P)ati inclined to read Infantefque in mammis ejus. “ A Nurfe with a Child at each Breaft?” agreeable to a Paffage in Virgil, which may poffibly allude to thisPicture j his Defcriptionof the Slave prefented to Sergeflusi Olli ßrva datur, operum hand ignara Minerva, Crejja genus, Pholoe, geminique fub ubere nati. Virg. 1.7. 284. THIS is certainly a more piCtorefque SubjeCt, than a Woman with a Child in her Arms Hs Pi/Jure of the and the is deferibed by Pliny to have been painted as a Nurfe. His moft famous Picture People of Athens. (arid he was very probably aflifted in it by Socrates,) reprefented the People of Athens. This Piece Carlo PDati thinks difficult to comprehend, or to form a diftinCt Idea of imagining that it was one Angle Figure; whereas it probably confifted of feveral judicious well-underftood Groupes: In it he had painted to the Life all the Viciffitudes of Temper t-o which this jealous, fpiritous People were liable. They were reprefented as of a fluctuating inconftant Humour ? apt to be provoked and angry, yet very exorable? cruel, yet compaffionate and clement? unjuft and outragious, yet mild and tender, fmooth and equitable? haughty, vain-glorious, and fierce, yet at other times timid and fubmiffive (251). All thefe Varieties of Temper and Genius were nobly and perfpicuoufly expreffed ? fo that the Athenians might fee their own Image in it as in a Mirror : With fuch a Lookino-glafs, the Philofopher already named, and fome of their Poets, ufed frequently to prefent them. Paufanias mentions a Picture very nearly of the fame Genius, and Extent of Art and Invention, upon the Walls of the Square at Athens, called Ceramicos, reprefenting The-feus in the midft of the People, founding the Democracy, and eftablifhing its Laws and Conflitutions (30.) For in fuch a Picture, doubtlefs a very great variety of Humours, Dif-pofitions and Characters muff have been painted. His olfeene Pieces eenfured. PLINT gives no account of his little c by Suetonius ? but on this, and every other (24) Pinxit & heroa abfolutiflimi operis, artem ipfam compiexus vires pingendi. (Vires is the true Reading, not viros; fee the French Notes, where it is very well tranflated, la vigueur, la preftance d’un heros & d’un de-mi-dieu.) (25) ---Factum hoc imprimis fecit illuftre : Timan- thes vero pictor univerfam pugnam evidentiflima difpo-fitione reprsefentavit. Pint, in Arato. (26) So Pliny in his Character of him (Elegantiam ca-pilli). .So Lucian in Imaginibus. Pliny commends a Statuary for the fame Talent, Leontinus primus nervös & venas expreflit, capillumque diligentius. Lib. 34. (27) ~ Et pueros duos in quibus fpedtatur fecuritas oc iimplicitas aetatis:—Laudantur & TEneas, Caftorque ac Pollux in eadem tabula : Item Telephus, Achilles, Agamemnon, Ulyffes. Fsecundus artifex, &c. Plin. 35- (28) Carlo Dati in his Life of Parrhaßus. (29) Pinxit & Demon Athenienfium, argumento tjuoque ingeniolo: Volebat namque varium, iracun- bfeene Pieces, fome of which are mentioned occaflon, condemns the vile Proftitution and Abufe dum, injultum,------Et omnia pariter oftendere. Plin. ibid. (30) In extremo pariete Thefeus pidus eft, & Demo-cratia unä cum populo. Haec pidtura probat Thefeum sequabilem reipublic2e adminiftrationem Athenienfibus conftituifle. Pauf. lib. 1. p. 6. The People of Athens were frequently reprefented by Statuaries. Leocharis Jupiter & populus fpedtabatur in piraeo retro porticum ad mare. Pauf. lib. 1. p. 2. In quingentorum curia a Ly-fone effidtus videbatur populus. Ibid. p. 6. Such a Miracle of Art was that of Euphranor. Euphranoris Alexander Paris eft: In quo laudatur, quod omnia fimul in-telligantur. Judex Dearum, amator Helenas, & tarnen Achillis interfedtor. Plin. 34. 8. The Talent Parrhaßus was fo much matter of, may be alfo learned from another Performance of his, deferibed in the Greek Epigrams. Vidit Lj hunc, credo, miferum Paante creatum Parrhaßus, forma eft tain bene pi/Ja viri. ßhiippc fubeß oculis arentibus abdita qua:dam Lachryma, feque dolor tarn ferus intus agit. Eximium nemo te, pitior, in arte negabit : Definere illius fed mala, tempus erit. Anthol. Graec. Ep. 1. 4. c. 8. verf. Hug. Grot. 3 Chap. 3. änd Decline of Pa i n t i n g. Abufe of an Art, Co capable of giving found Iriftru&ion and wholefonie Exercife to the Mind (31). SENECA the Rhetorician, and other Dcclaimers, have harangued upon a Story of this Parrhafius, as if he had tormented an old Man 1110ft cruelly, that he might be able to paint the Tortures of ‘Prometheus with greater force. But Carlo Dati very juftly holds that Story for fuch a Calumny, as that very falfe one of the fame kind, with which fome have defamed Michael Angelo (32). AC HI LLES TATIU S has deferibed two Pictures by Evanthes (3 3); the firft is Andromeda chained to a Rock, and Perfeus coming down from Heaven to deliver her from the Monfter ready to devour her. The Rock to which fhe is chained is faid to have been fo natural, that it appeared really hollow, juft fufficient to hold Andromeda: Her Fear was finely exprdfed, and nothing could be more frightful than the Monfter, with all the complicated Windings of his Tail and expanding Jaws; his Head only was out of the Water, which feemed in motion by the Monfter s raifing himfelf up : But the Parts under the Water were alfo difcernible. Per-ßus defeends, with great Vigour and Bravery, to her relief, with his Faulchion, and his Shield terrible with the Medufa’s Head, that fhaking her Hair entwined with Serpents, threatned irrefiftible Dcftruction. ANOTHER in the fame Temple reprefented Prometheus likewife tied to a Rock with iron Chains, and Hercules juft coming to his Deliverance. Prometheus feems in the oreateft Agony, the Eagle having already fixed her Pounces on him, and made a terrible Wound; but' at the fame time Hope begins to dawn, for he fees Hercules coming. His Eye, as Tatius exprefles it very pidorefquely, has, at the fame time, a Caft outward to Hercules, and inward to his own Pain; and he adds, that twas impoffible to look at this Picture without being moft deeply moved and affected (34). HE likewife deferibes an ancient Picture of Tereus (3 y), Philomela, and Progne, which was full of Expreflion and Motion. It reprefented a Maid-fervant holding a Veil in her Hand fully expanded, and Philomela pointing out with her Finger to Progne, the obfeene and barbarous Treatment fhe had Buffered from Tereus, which was wrought upon it. Progne is violently enraged and feems ready to tear the Picture; Philomela being painted on the Veil in the moft moving Circumftances; juft as Ovid tells the Story : -------------Pajjfos fpicimus, dehoneftaretur. Ita pulchro timore puellam Pictor decoraverat.---Adverfum puellam cetus ab imo mari emergens undas capite, quo una extabat, findebat. Nam corporis major pars aquae contegebatur : non tarnen adeo quin humerorum umbra, fquamarum ordines caudae fiexiones profpicerentur. Sanna ingenti St profundo hiatu ------inter cetum ac puellam Perfeus e ccelo devolans in Belluam ferebatur----laeva manu Gorgonis caput fuf- tinebat, & pro feuto projiciebat horrible fane afpedtu. Nam Sc torve intueri. Sc comam concutere, Sc ferpentes vibrare, ac minitari obitum e pidtura videbatur. Dextra ferro e-jufmodi armata erat, ut & falx Sc gladius fimul erat, Sec. Lucian, in his Book de Domo, deferibes two Pictures of Perfeus and Andromeda, in which two different points of time are exactly obferved. In one, Perfeus a {lifted by Minerva cuts off the Medufa’s Head : In the other with his Shield, upon which the Medufa’s Head was now engraved he attacks the Monfter, and delivers Andromeda. Two circumftances, fays Lucian,'were remarkably touched by the Painter in this laft Piece, Multa imitatione ex-preffit artifex ille, verecundiam puta virginis & metum. Spedlat enim & pugnam defuper ex rupe, Sc adolefcentis audaciam amatoriam. Sc Belluae vifum intolerabilem.-• Perfeus autem finiftra quidem oftendit Gorgonem, dextra vero enfe ferit. Et rurfum, quantum quidem Belluae il-liusMedufam afpexit jamfaxum eft. See Ovid. Met.l. 85. (34) Ipfe fane pidturam quafi doloris fenfum habentem miferatus fuifles.-Prometheus ipfe fpe metuque plenus erat, ac partim quidem vulnus, partim vero Herculem in-tuebatur : quern fane totis oculis contemplari volebat. Sed obtutus partem alteram dolor ad fe rapiebat. Achilles Tatius, ibid. (35) Achilles Tatius, ibid. lib. 5. p. 280. Capillis evul-fis, cingulo foluto, vefte difeifla, feminudum pedtus, o-ftendebat ; dextraque oculis admota Tereum vehementer incufabat; finiftra vero lacerae veftis parte mammas obte-gere nitebatur : Mulierem Tereus totis ad fe viribus tra-hebat, ardleque complexabatur. The fame Author, lib.i. deferibes a charming Pidture of the Rape of Europa ; of which afterwards* (31) See what Pliny fays on this Subject, lib. 33. Heu prodwiofa ingenia! quot modis auximus pretia rerum. Acceffit ars Pidfurae ad aurum & argentum, quae cae-lando cariora fecimus. Didicit homo naturam provocare. Auxere& artem vitiorumirritamenta. In poculis libidines cselari jubet ac per obfeaenitates bibere. SoiA 14.C.22. Vafa adulteriis caelata, tanquam per fe parum doceat libidinis temulentia. Cicero diftinguilhes very well between duo jocandi genera, Unum illiberale, Petulans, flagitiofum, ob-fcamum: Alterum, elegans, urbanum, ingeniofum, fa-cetum. Quo genere etiam philofophorum Socraticorum libri referti funt. Cic. de off. lib. 1. 29. And Pliny calls Parrhaftus’s lafeivious Pidtures, (eo genere Petuiantis joci.) Propertius moralizes charmingly on this Subjedt. Templa Pudicitia quid opus pofuiffe puellis. Si cuivis nupta quidlibet effe licet ? tffua manus obfeanas depinxit prima tabellas, Et pofuit caßa turpia vifa domo: Ilia puellarum ingenuos corrupit ocellos, Nequiticsque Juee nolu.it effe rudes. Ah ! gemat in terris ißa qui protulit arte furgia fubtacita condita Leetitia. Non ißis olim variabant teSla figuris, Cum paries nullo crimine pitlus erat, Sed non immerito velavit Aranea fanum, &c. Prop. lib. 2. Eleg. 6. (32) See Carlo Dati in his Life of Parrhaftus. (33) Achillis Tatii Alexandrini ’zpavxf five de Clyto-phontis & Leucippes amoribus, Edit. Salmaf lib. 3.^.1606. 1_____sane pro puellae magnitudine faxum excavatum erat ita, ut non arte aliqua fabrefadltum, fed fponte natum cavum Pictura teftari videretur, illud enim afperum, quo-modo terra producere folet, Pidtor effinxit. In illo fe-debat puella eo afpeftu, ut ft pulchritudinem tantum con-ftderare voluifles ; admiratione dignam imaginem : fin vero vincula etiam, Sc Cete;-------In vultu pulchritudini pallor admiftus erat, hie genas occupans, ilia ex oculis ef-fulgens : Non tarnen eo ufque genae pallebant, ut fuus iis rubor deeffet: nec oculorum fulgor adeo corufcabat, quin languore quodam, qualem in violis paulo ante fuccifts con- A falfe Story about him refuted. Some Pictures by Evanthes deferibed by Achilles Tatius. Perfeus and Andromeda. Prometheus, and Hercules coming to deliver hitn. Philomela and Progne, P An Essay on the Rife, Progreße •---------Pa/Jos I am at a capittos, {Lugenti fimilis, ccefis plangore Lacertis) Intendens palmas, pro dir is, Barbar e, fatiis, Pro crudelis, ait I &c. Ovid. Met. 1. 6. ver. 531. Ariftides'sPisiures. ARISTIDES (36), who was fo famous for exprefllng the PafEons, painted a Subject Jdying Mother. of the moft moving kind, a dying Mother, whole wounded Breaft the hungry undifcern- ing Infant greedily fnatches, even in her laft Moments interefting herfelf with the greateft Tendernefs, left-her dear Child Ihould fuffer by fucking her Blood. A Battle-piece. Perfons expiring. HE likewife painted a Battle-piece, in which there muft certainly have been a vaft variety of Ideas, Paflions and Attitudes; for it conftfted of a hundred Figures, and was highly eftcemed. There was, it feems, no Confufion in this complex Piece, the Figures were fo ju-dicioufly aggrouped and contraftcd: And what Force of Expreffion, and Truth muft have been in it, we may judge from the Charader of the Painter, all whofe lingle Figures appeared to live, move and fpeak. One was done by him in the Attitude of a Supplicant, which had as it were, a moving Voice. Another represented By bits dying of Love to her Brother:’The Charader of which Pidurc, together with the Subjcd, is very elegantly exprefied by Tliny in one Word, as Gronovius remarks, (elyxircivopevTiv.) ------pattes, audita, Bybtt, repuls a, Etpavet obfejfumglacialifrigorepeclus. Ovid. Met. 1. 9. ver. y8o. ^ HE could, it feems, exprefs with the greateft truth the Languifhrftg of Body or Mind (37); for Attains gave a great Sum of Money for a Pidure by him, of a Perfon quite exhaufted' and juft expiring. Apelles delighted in this Subjcd (38); and fo did likewife feveral of the belt ancient Sculptors and Statuaries. Pliny mentions a wounded Man by Cteßlaus in whom one might fee how much Life remained (35»), He alfo painted an old Man with a Lyre in his Hand, teaching a Boy to play; and an Ador of Tragedy inftruding a Pupil jn that Art (40). Strabo fpeaks of a Hercules done by him in the fatal Veft, that 'Deiantra had prefented to him, diftradedand out of himfelf with Excefs of Rage (41). The mofl celebrated. Pictures of Protogenes. His Jalyfus. THE two moft celebrated Pidures of Tr otogenes are his Jalyfus, and his Satyr both exceedingly praifed by a great number of ancient Authors. It was his Jalyfus that charmed Apelles. It is faid to have been the Labour of feven Years, and Tr otogenes took care to give it a very good Body of Colours, that it might be a lafting Memorial of his admirable Pencil. The Painter while he was about this excellent Piece was exceeding abftemi-ous, and lived chiefly on Roots, to preferve his Fancy clear, lively, and unclouded (42). We have many Inftances of the Severity of the ancient Painters in their way of livin°- A parallel Story is told of Nicias-, and Horaces excellent Rule extends not only to p’oetc but to Painters, and all Authors: * * tyni jtuaet opcaiam curju contmgere metam, Mult a tulit fecitque puer, fudavit Jr alfit, Abfiinuit Venere & Vino, &c. Hör. de Art. Poet. There was a Dog in this Pidure warm and foaming, like one juft returned from Hunting; in exprefling which, fortune is faid to have favoured the Painter exceedingly: For being quite angry that he could not, by all his Art and Pains, come up to Nature in painting the Foam about the Dog s mouth, he threw his Pencil againft the Pidure and’ by this accidental ftroke, was done to his fatisfadion, what, by all his Labour, he’had not been able to perform. Let that Story be as it will, Apelles thought this Pidure very beautiful ; but rather too much laboured: whereas Protogenes, on the other hand, could hardly ever be contented with any of his own Works, or think them fo near to Nature as he wifned to make all he did. As much as this Pidure is commended by the Antients, not one of them has . (3^) Hujus pidura eft ; oppida capta; ad matrismo-rientis e vulnere mammam adrepens infans, intelligitur-cjue fentire mater & timere, ne e mortuo ladle, fangui-nem lambat------Idem pinxit praelium cum Perils, centum homines ea tabula complexus-------pinxit & fuppli- cantem pene cum voce : & Anapauomenen propter fra-tns amorem. Plin. 35.17. The firft is thus deferibed in one or the Greek Epigrams : Sugemifer ! nunquam qua poßhac pocula fuges : Ultima ab exanimo corpore poc’la trahe. hxpiramt enim jam faucia : Sed vel ab orco infantem novit pafeere matris amor. Anthol. I. 3. tit. 12. (3/) Pinxit & aegrum fine fine laudatum ; qua in arte tantum valuit, ut Attains Rex unam tabulam ejus centum talentis emiLe tradatur. Plin. ibid. & lib. 7. c. 38. P 3't *nter 0pera eius & exP>rantium imagines. (39) This is the very Charader, and chief Excellency of the dying Gladiator at Rome. Ctefilaus vulneratum deficientem, in quo poffit intelligi quantum reflet Animse* lib. 34. » (40) Speclata eft & in aede fidei in capitolio, imas;o ferns cum lyra puerum docentis. Tragcedum cum puero in Apoll inis, &c. Plin. 35. (41) Strabo Geogr. lib. 8. p. 381. (42) Palmam habet tabularum,ejusjalyfus, quieftRoma: dicatus m templo P^cis : Quern cum pingeret, traditur madidis lupims vixifie quoniam fimul famem fuftinerent & fitim ; ne fenfus nirnia cibi dulcedine obftruere*- Huic piduraequater colorem induxit fubfidio injurise &Vetufta-tis ut decidente fuperiore inferior fuccederet. Carlo Dad explains this, Vclendo dare un buoniffimo corpo di colori aqueft opera, nell abozzarla, e nel finirla la ripaffaffe, e fopra vi tornafte fino a quattro vole fempre miglioran-dola, e pm moroida nducendola, come fe proprio di nuovo la diffignefie Eft in ea canis mire fadUS uf quam pariter cafus pinxent, &c. Plin. 35, S Chap. 3. and Decline of Painting. has o-iven a particular Account of it. But if it was a View of a part of the Rhodian Country, as fome imagine, there muft have been the Image of fomc beautiful Youth in it, for which it was chiefly eftccmed, and whofc Name it took. For AulusGellius calls it a moft wonderful Image or Picture'of Jalyfus (43), and Cicero joins it with the Venus of Apelles (44), and fpeaks of it as a Picture reprefenting fome beautiful Youth: It therefore very probably reprefented Jaly fus the Founder of Rhodes as a very comely Youth, in the Attitude of a Hunter returned from the Chafe, with his Dog fweating and foaming by him. And not improbably, the Scene was fome beautiful part of the Rhodian Country, with a Profpeft of "the City of Rhodes perhaps at a little diftancc. All the different Conjefturcs about it, and all the various ways of fpeaking of it amongft the Ancients, being laid together, this feems to be the moft probable Opinion that can be formed of that celebrated Piece 5 by which, chiefly, Rhodes was faved, and by which the Painter gained the Favour of ’Demetrius Doliorcetes (the Bcftegcr) to a degree that hath added not a little to the Reputation of both (47). THE Satyr is more particularly deferibed ; which Dr otogenes feems to have been paint-in°- when the Siege was laid. It was a Satyr called Anapauomenos (46) ; becaufc he was in°a reclining Pofture. He held a Flute in his Hand, like a Shepherd refting himfelf at the* Foot of "an old Oak, and Pinging the Charms of his Miftrefs, or the Pleafures of a Country Life. He feems to have chofen this Subject which required great Tranquillity and Quietnefs* of Mind to fucceed in it, on purpofe to be a Monument of the Undiftnrbed-nefs with which he poflefled himfelf, and applied to his Work, in the midft of Enemies and Arms. Strabo fays, it was a Satyr refting upon a Pillar, on which was painted a Partridge } that, being more admired than the Satyr, was afterwards effaced by the Painter, that"the principal Subjeft might be attended to as it deferved (47). THERE is likewife fome Difpute amongft Criticks about two other Works of his, one called Daralus, and the other Hemionida or Nauficaa. The^ greater part of the Learned (48) Carlo Dati, Hardouin, and others, underhand by thefe Names given to the Pictures the Names of Ships he had painted. But, befides that even the fineft Ship is but one of the loweft Subjects of Painting; it is plain that the principal Subject reprefented in thefe Pieces was not a Ship, fince Dliny fays, “ That the Painter had added in thefe Pic-“ tures by wav of Parerga, or accidental Ornaments, feveral little Galliots to preferve the “ Memory of the fmall Beginnings from which his Pencil had rifen to luch Glory and « Honour. For he had for a long time painted only Ships and Galleys." Cicero expreifiy fpeaks of Daralus as a human Figure (49). And when it is called to mind, that, according to Dliny and other ancient Writers, Daralus palled for the firft Inventor of Ships (70); or"the firft who had the Courage fo celebrated by Poets (71), to venture to Sea, we can no longer be at a lofs to find out what this famous Picture of Drotogenes muft have been and why it is called the noble Daralus. It certainly reprefented this firft and noble Sailor; and in fuch a Picture where the Sea and Ships muft have been reprefented, other little Boats were very properly painted : As they were likewife in the other Picture called Hemionida or Nauficaa; becaufe the SubjcCd was Nauficaa with her attendant Maids driven by Mules, (according to Homers Defcription) to the River, to waih the Robes of State in preparation to her Nuptials (72). Now mounting the gay Seat, the filken Reins Shine in her Hand: Along the founding Dlains Swift fly the Mulesnor rode the Nymph alone, Around, aBeavy of bright Damfels Jhone. (43) Nodes Mica, lib. 15. f. 3. In his sedibus erat mernoratiffima ilia imago Jalyfi, Protogenis manu fafta, illuftris piCtoris : cujus operis pulchritudinem, &c. So Plutarch and Milan in Paflages already cited. (44) Orator, ab initio.--Qui aut Jalyfi quem Rhodi vidimus, non potuerunt, aut Cote Veneris pulchritudinem imitari, lib. 4. in Verrtm, N° 60. Quid Thefpienfeis ut Cupidinis fignum, propter quod unum vifuntur Thelpn ? Quid Cnidios utVenerem marmoream ? Quid ut pictam Coos? Quid Ephefios ut Alexandrum ? Quid Cyzicenos ut Aiacem, aut Medeam ? Quid Rhodios ut Jalyfum . Epif. ad Att. lib. 2. Ep.2i.-Et ut Apelles, fi Venerem, aut ft Protogenes Jalyfum ilium fuum cteno oblitum vide-ret, magnam, credo acciperet dolorem. (43) Carlo Dati gives us the various Opinions about this Picture in the Poftille to his Life of Protogenes, chap. 5, 6, and 7. where he obferves, that, according to Suidas, it was a Figure of Bacchus* We have given the oum of all their Conjectures. (46) Satyrus eft, quern Anapauomenon vocant ; & nequid defit temporis ejus fecuritati tibias tenens. Phn. 35. See the French Notes on this Paffage, and CauQ Dati’s Poftille, &c. (47) Strabo, lib. 14. p. 652. (48) See Carlo Dati as above, and the French Notes. Pliny’s Words are, Ubi fecit nobilem Paralum & Hemionida, quam quidam Nauftcaam vocant; adjecerit parvulas navis longas in iis, quae piefores parerga appellant : ut adpareret a quibus initiis ad arcem oflenta-tionis opera fua perveniffent. (49) Cic. in Verrem, lib. 4. 60. (50) Plin.lib. 7. c. 56. Longa nave Jafonem primum navigaffe Philoftephanus auCtor eft; Egefias Paralum. (51) Illi robur & as triplex Circa pedtus erat, qui fragilem truci Commifit pelago ratem Primus, &c. Horat. Carm. lib. 3* Oeg 3. Juv. Sat.12. ver.57. Claud, de Raptu. lib. 1. ab initio. (52) This PiCture was czWe&Naufcaa, becaufe the young Princefs of that Name was the principal Figure in it ; and Hemionida is ufed (as Hermolaus Barbaras obiervea upon this Paffage of Pliny) as a Term of Art to exprefs a Virgin riding upon, or more properly drawn by i/luie^, ion niAi'waV’ This His Satyr„ His Nauficaa from Homer. Jn Essay on the Rife, Progreß, They feck the Cifierns where Pheacian Dames JVafb their fair Garments in the limpid Streams j Where gathering into Depth from falling Rills The lucid Wave a fpacious Bafon fills. Odyffey, B.6. Pope’s Tranfl. ver. ioo. BAUS ARIAS, in his fifth Book of his Eliacks, fpeaks of a Bas-relief reprefent-mg two Virgins drawn by Mules, of whom one guides the Reins, and the other had her Head covered with a Veil ; which was faid to reprefent this very Subject Nauficaa going with one of her Virgins to the River. Here is indeed a very pleating Subjeft for a Picture, and very fuitabie to the Genius of this Painter : And the fame Story of Nauficaa in Homer affords feveral Subjects equally calculated for fuch a Genius to paint. As when after walking the Robes, fhe is Iporting with her Nymphs: r The Müles unharnefs’d range befide the Main, Or crop the verdant Herbage of the Blain. And while the Robes imbibe the folar Ray, O’er the green Mead the fp or ting Virgins play : {Their fhining Veils unbound) along the Skies Tofs’d and retofs’d, the Ball inceffant flies. They fport, they feaft j Nauficaa liftsher Voice And warbling fiweet, makes Earth and Heav’n rejoice. The Sequel of that Story was painted by Poljgnotus. AS for the Sequel of the Story, Uly fifes furprizing Nauficaa and her Damfels it was painted in the various Gallery at Athens by Rolygnotus, who it feems had done almoft all the more beautiful pictorefque Parts of Homer. So Baufanias tells us in his Atticks And what a charming Subject is it for a Matter of Expreflion and Grace ? Wide o er the Shore with many a piercing Cry To Rocks, to Caves, the frighted Virgins fly s All but the Nymph : The Nymph flood fix d alone, By Pallas arm d with Boldnefs not her own. ' * fileantime, in dubious Thought, the King awaits> And, felf-confidering, as he ftands, debates, Diftant his mournful Story to declare. Or proftrate at her Knee addrefs the Bray’r. But fearful to offend, by Wifdom fway’d At awful Difiance he accofts the Maid. Horner’j- Compart-fon taken from Drana painted by Apelles. HOMER’s Comparison taken from Diana, attended by her Nymphs, is exceedingly beautifui: And yet Apelles is thought to have out-done the Poet in painting that Sub- ject /• Afy Ivan Train the Huntrefs Queen fur rounds. Her rattling Quiver from her Shoulder founds: Fierce in the Sport, along the Mountain-brow They bay the Boar, or chafe the bounding Roe : high o er the Lawn, with more majeftick Race, Above the Nymphs floe treads with ftately Grace , Diftinguifh d Excellence the Goddefs proves j Exults Latona as the Virgin moves, &c. AND it is not improbable that Virgil had this Picture of Apelles, as well as the On. ginal whence it was taken, in his Eye, in his Defcription of the fame Goddels. Qualis in Eurota rip is, aut per juga Cynthi Exercet Diana choros j quam mille fecuta Hinc at pie hinc glomer antur Or cades; ilia Bharetram Fsrt burner o7 gradienfque Fie as fupereminet oiwies Latona taciturn pertentant Gaudia petius. JEn. lib. i. ver. 5-04. As well as in that other equally beautiful Defcription of Venus. Virginis os habitumque gerens, & virginis arma Spart ana $ vel qualis equos Thre'iffa fatigat Harpalyce, volucremque fuga pr avert it ur Hebrum. Eamque humeris de more habilem fufpenderat arcum Venatrix, dederatque comam dijfunder e vent is Nuda genu, nodoque firms collect a fluent es. An. 1.21. ver. 328. n ^ thCo E?PI,CV10n of Hermolaus adopted bi Mad. Tact er. See her Remarks on the Odyffey. Pope’ Notes, ibid. And the French Notes on P/in. 35. Se< hkewile Carlo Dan. THE (53) EtDianam facrificantium virginum choro mix-tam, quibus vicifle Homeri verfus videtur id-ipfum delcri-bentis. Plin. 35. 17. 3 Chap. 3. änd Decline of Painting. 57 THE mod celebrated Pieces of that great Mafter Apelles, was his Venus Anady'omene, Other Works of or Venus coming out of the Sea (5-4). Lucian in his beautiful Dialogue entitled. The /^Venus Ana. Images, where, in order to draw the Portrait of a Woman more charming than any he dyomene. found exifting, he borrows from all the beft Sculptors and Painters their moft mafterly Strokes fays, Euphranor fhall paint her Hair; Polygnotus her Eye-brows, and the Vermilion of her Cheeks; but Apelles fhall do all the reft of her Body after the Model of his Pane aft e 5 that is to fay, of his Venus which was done chiefly after the Life, from Pancafte the Thejfalian Beauty, Alexanders firft Miftrefs; whom he afterwards gave to Apelles upon his falling deeply in love with her (yy). This Venus was a confummate Beauty ; fo perfeft a Piece, that, in Auguftus s time, this Picture being then at Rome, and a little fpoifd in fome of the inferiour Parts, no Painter would adventure to repair it. It was in like manner, with the greateft difficulty, that Carlo Marratti, as fweet and gracious as his Pencil was, and as fine an Idea of Beauty as he had, was perfuaded to retouch fome parts of Raphael’s Paintings in the little Farnefe at Rome. Apelles had alfo begun another Venus, which not living to finifh, no Painter would ever undertake to compleat> fo elegant were the Out-lines and Contours of this unfinifh’d Piece (yd). For that he had perfected the Head, and upper part of the Breaft with admirable Art, Cicero tells us (57). THESE charming Beauties are often celebrated by the Poets : Formoße peri ere coma: quas v eilet Apollo, Quas v eilet capiti, Bacchus inejfe fuo. Illis contulerim, quas quondam nuda Dione Pingitur humenti fiußinuijfe manu. Ov. Am. 1.2. El. 14. A^ain, Sic madidos ficcat digit is Venus uda capillos : 0 Et modo maternis teäa videtur aquis. Trift. 1.2. pd. 0 VIE) there deferibes feveral Pictures in the Palace of Auguftus. Ao^ain, Ut Venus artificis labor efl & gloria Coi tyyEquoreo madidas qua premit imbre comas. Ov. Ep. de Ponto, 1.4. Ep.l. AND there is an Epigram of Aufonius on the fame Subject. Emerfam Pelagi nuper genitalibus undis Cyprin Apellei cerne laboris opus j Ut complexa manu madidos falis aquore crines Humidulis fpumas flringit utraque comis. Jam tibi nos Cypri, Juno inquit & innuba Pallas, Cedimus, & forma pramia deferimus. Auf. Ep. n. 104. inVen. Anady. ÄND another in the Greek Epigrams by Antipater Sidonius; thus tranflated into Latin by Grot his: Maternis primum de fluElibus emergentem Cyprin Apellei cerne laboris opus: Ut manibus mulcens rejperjos aquore crines* De madidis fpumam cogit abire comis. Non tibi de forma pofthac certabimus, ipfa Dicent, fi vide ant, nata for or que Jovis. Anthol. I.4. tit. 12. HE painted the Image of War, with its Hands tied behind, led in triumph s and Alex- Img,,/JFer *. ander riding in a triumphal Car (y8). To the firft of which Virgil feems to have had an VugU. eye in thefe charming Lines (79)1 Dir a (04) Venerem exeuntem e mari D. Auguftus dedica-vit in delubro patris Caefaris, quae Anadyomene vocatur; verftbus Graecis, tali opere dum laudatur, vifto, fed il-luftrato : Cujus inferiorem partem corruptam qui refice-ret, non potuit reperiri. Verum ipfa injuria ceilit in gloriam artificis. Plm. ibid. (55) Athen aus, lib. 13. e. 6. fays it was done after Pbryne. Erat utique Phryne magis pulchra in 11s partibus quae non videntur quamombrem haud facile fuit earn confpicere nudam : Induebatur enim tunicam arete car-nes adftringentem neque publicis utebatur Balneis. f re" quentiflimo tarnen Eleufiniorum conventu feriatifque Nep-tuno diebus, in Gracorum omnium confpedtu, depo-nens veftes & folvens comas, ingrefta eft mare * adeo ut Venerem e mari emergentem ad hoc etiam exemplum pinxerit Apelles. (56) Venerem Cois, fuperaturus etiam fuam lllam priorem : Invidit mors, peradta parte ; nec qui fuccede-ret operi ad praeferipta lineamenta inventus eit. rhn. j7 Ad praferipta lineamenta, this properly figmfies the Contours in Sculpture and Painting. Tu videlicet folus vafis Corinthiis deledaris ?—Tu operum lineamenta folertiffime perfpicis. Cic. in Ver. I■ 4-So a Poet contemporary with Pliny fpeaks : Artificum veteres agnofeere du£lus. And a little afterwards : Linea qua veterem longefateatur Achillem. Stat. inHercul. lib. 4. (57) ty'fi- adPamil. lib. I. Ep. 9. Nunc ut Apelles Veneris caput, & fumma pe&oris politiflima arte perfecit, reliquam partem corporis inchoatam reliquit. (58) Item belli imaginem reftridlis ad terga manibus, Alexandro in curru triumphante : Quas utrafque tabulas D. Auguftus in fori fui celeberrimis partibus dicave-rat, Stc. (59) Alludit, juxta Turnebum, ad imaginem belli hoc habitu pi&am ab Apelle, &c. Q. An Essay on the Rifey Prog refs, ----- Dir re ferro & compagibus arctis Claudentur belli port£ : Furor impius intus, Sava fedens fuper arma, & centum vichis ahenis Pofi tergum nodis, fremet horridus ore cruento. Virg. JEn. 1.1. 2 5>8. His Alexander with Thunder in his Hand. Hero and Leander. And the Graces. uj. jurnuui x of Calumny deferibed by Lucian. HIS Alexander is alfo famous, with Thunder in his Hand, which he feemed ready to dart j fo ftrongly did the Hand and Thunder Hand out from the Board (do). Flut arch tells us in his Life of Alexander, that, on account of this wonderful Pidure, it was commonly faid there were two Alexanders, the unconquerable Son of ‘Philip, and the inimitable Alexander of Apelles (61). The fame Author fays (62), that in this Picture he had given Alexander a ruddier, or rather browner and more fwarthy Complexion than his natural one. This the Painter probably thought might be done without dim ini thing the Likenefs ; and it was more agreeable to the Character of the Picture than a fofter fairer Colour. He is faid by Pliny to have painted Thunder and Lightning, and thofe other marvellous Appearances of Nature which it was thought impofilble to imitate, and that none before him had dared to, attempt (63). Julio Romano was able amongft the Moderns to rife to this marvellous Force of the Art> to thunder and fet the Heavens on fire with his Pencil. This he did in his famous Paintings at Mantua, which are elegantly deferibed by Felibien (Cf). BY Apelles likewife was painted the beautiful Hero, receiving her Leander at the Sea-ftde, and drying him with her fair Hands (dy). He had painted the Graces, Paufanias tells us (66), in their true Character; and that feems to have been the proper Subjed for this Painter to exert his peculiar and diftinguifhing Talents upon. But I fhall only men-A'famous Pifure tion one more celebrated Work of this Painter, his famous Picture of Calumny, one of the moft noble moral Pictures that ever was attempted. This he did upon his being accufed, to Ptolemy, by a Painter who envied his Merit and juft Fame. On the right hand, in this Pidure, fits a Perfon of Diftindion and Authority ; but with the Ears of Midas, reaching out his Hand to Calumny, who haftens to addrefs herfelf to him, attended by Ignorance and fufpicious Jealoufy. Calumny appears grand and magnificent in her Drefs, but her Face and Gait bewray the Fury and Malice that boil in her Heart. She holds a Flambeau in one Hand to kindle Difcord and Strife j and with the other drags a young Man by the Hair, who, with Hands uplifted to Heaven, implores the Gods to defend his Innocence. Before her marches Envy with a pale ghaftly Vilagc, a meager confumptive Body, and piercing Eyes. A Croud, of young Women follow in her Train as her Servants and Mi-nifters ; in whofe Countenances appear Guile, Cunning, Artifice, and falfe, deceitful, traitorous Smiles. Repentance comes up behind with a very lugubrous Air and Drefs j who with great Confufion, and all in Tears, prepares to receive Truth, whom fhe difeerns coming up to her, but at a confiderable diftance. Lucian (6j), who deferibes this Work of Apelles, afterwards gives us an excellent Difcourfe upon not rafhly believing Calumny, which is nothing elfe but a fine philofophical Lecture upon this truly moral Pidure : And here we have a plain proof of the Inftrudion that may be given by the Pencil, and the excellent LTe that might be made of the Art in Education, or in reading moral Leflons 5 rendrin" them more infinuating and impreffive, as it would make them more pleafing and enten taming. All the Virtues (68) and Vices, with their Effects and Confequences, were painted and carved by the Ancients with proper Symbols : Hence the Origin and true Meaning of the Epithets given to them by the Poets, as Mr. Addifon has fhewn in his Dialogues on Medals, after Augufiini, Ofellius, and other Writers on thefe Subjects. - ° The Subjeßs of Nicomachus’r Pictures were poetical. NICOMACHUS, who had a very fweet, light, and delicate Pencil, was, it feems a great Lover of the Poets and their Fables, and took almoft all the Subjects of his Pictures from them. Plutarch gives him a very great Character, and at the fame time mves us a very inftrudive Leffon in the Art, and a juft Idea of the intimate Alliance betweenPainting and Poetry. The Verfes of Antimachus, faith he, and the Pictures of Phony fins though they are ftrong and mafeuiine, and have Nerves and Vigour; yet they are conftrained and forced 5 too much Labour and Affectation appears in them : But the Paintings of Nicoma-chus, like Homers Poefy, with all then Grandeur, Force, and Beauty, have this additional Charm, (60) Alexandrum magnum fulmen tenentem-—-digit! eminere videntur & fulmen extra tabulam eile. Plin. ibid. (61) Apelles pinxit fulminigerum Alexandrum, atque aueo accurate atque adtemperate, ut diceretur duos effe exandros : Unum Philippi filium infuperabilem ; alte-rum Apelhs immitabilem. Plutarch, de Fortu, vel. Firt. Alex. (62) In Alexandri vita. (63) Pinxit & quae pingi non po/Tunt, tonitrua, ful-gura, fulgitraque. Plin, ibid. (64) Tom. 2. p. 118. (65) Pinxit & hero nudam, eaque pidtura naturam infam provocabat. Plin. ibid. v (66) Paufanias, lib. 9. p. 596. (67) Lucian, de Calum. non temere creden. (68) See Lomazzo Trattato della Pittura, p. 662 See where he fhews how Difcord was painted by Ari/iides as deferibed by Virgil; Envy, as it is deferibed by Ovid • and, in one word, how the Virtues, the Vices the Blef fings, the Calamities of human Life, the Graces the Furies, (Ac. were painted agreeably to the Defections of them ,n the beft Poets He treats at great length of arrf°, t ^ Subjedh and Compofitions, and gives very ufeful Lelfons to Painters. ’ Chap. 3. and Decline of Painting. Charm, that they feem to have been done with extreme Eafe and Facility (69). His Rape of Froferpine was highly efteemed, fo poetically was it reprefented (70). He likewife painted a Vidory drawn in a triumphal Chariot by four fprightly Horfes that feemed to cut the Air. So is Ceres, or perhaps Fortune, reprefented in one of the Pieces annexed to this Difcourfe. But one of his mod famous Pieces is Ulyffes at the Gate of his own Palace in difguife, in the very point of time that his faithful Dog came and expired at his Feet thro' excefs of Joy (71). UlyJJ'es was painted as a fimple Peafant in the Difguife Minerva had given him, which no Painter had attempted to do before; fo accuftomed were they to fee UlyJJ'es always in the Habit of a Hero, with his Cafque, or his Head quite uncovered. Nicomachus had emulated Homer in this admired Piece, and painted the Story as charmingly as he hath told it: A Figure defpicable old and poor In fqualid Vefts, with many a gaping Rent, Fropt on a Staff, and trembling as he went s Then refling on the Threjhold of the Gate, Againft a Cyprefs Fillar leand his Weight. Thus near the Gates conferring as they drew, Argus, the Hog, his ancient Mafter knew ; He not unconfcious of the Voice, and Tread, Lifts to the Sound his Ear, and rears his Head, Bred by Ulyfles, nourijb’d at his Board, But, ah ! not fated long to pleafe his Lord I He knew his Lord; he knew, and flrove to meet, In vain he flrove to crawl, and kifs his Feet s Tet (all he could) his Tail, his Ears, his Eyes Salute his Mafter, and confefs his Joys. Soft Fity touch'd the mighty Majler’s Soul s Adown his Cheek a Tear unbidden ft ole. Stole unperceiv’d y he turnd his Head, and dry d The Drop humane : ■ ' 1 ■■* ~« The Hog whom Fate had granted to behold His Lord, when twenty tedious Tears had roll'd. Takes a loft Look, and having feen him, dies So clos'd for ever faithful Argus' Eyes ! Odylf. If. THERE are Medals with this Story upon the reverfe, as is well known by the Curious. HE had likewife painted an Apollo and Hiana, that were extremely beautiful, juft as they are defcribed by the Poets ; and the Mother of the Gods upon a Lion's Back furrounded with her Priefts: A very gay Bacchanalian Piece with Satyrs rufhing upon the Bacchantes whüe they were employed about their Sacrifice, with luftful Rage (72). The true Character of a Satyr is admirably exprefied in one of the ancient Paintings now publifhed. He painted the Monfter Scylla defcribed by Homer, and afterwards by Virgil. Perhaps it is owing to Virgil’s, having feen this Performance, that he is thought to have excelled Homer in the Defcription of this Monfter. At Scyllam crecis cohibet fpelunca latebris Ora exertantem, & naves in faxa trahentem. Frima hominis facies, & pulchro peElore virgo Fube tenus, poflrema immani corpore Friftis, Helphinum caudas utero commiffa luporum. JEn. 3. ver. 42 j. (69.) Vlilt arch, in Timoleonte. Verfus Antimachi & Picture Dionyfii Colophoniorum ut ut vim habeant & infig-nem eximii fplendoris vigorem (i\ Kcci rev o’. It is the fame word [tcvoj] that Pliny himfelf makes ufe of in deferibing the Improvements in Colouring made by the Ancients, and which he tranflates Splendor.) Plurimum tarnen laboriofae, coadteque affeclationis prae fe^ ferunt. Nicomachi vero tabulis & carminibus Homeri, praeter reliquam vim Veneremque, etiam hoc adeft, quod expedite & cum eximia facilitate faff a videantur. There is a famous Saying of his, with a judicious Reflection upon it in Stobaus, Serm. 61. Ex Plutarcbo de amove. Non eft idem judicium videndi, quemadmodum neque guftandi . Etenim vifusvifu, & auditus auditu,' natura magis con-formatur H arte coexercitatur ad pulchri explorationem. Ad harmonias nimirum & modulos, muficorum; ad formas vero ac fpecies, pictorum ingenia plurimum. valent. Quamobrem quoque tradunt Nicomachum aliquando re-fpondifle cuidam Idiotae, qui Helenam Zeuxidis minime fibi pulchram videri dixerat, fume oculos meos& dea tibi videbitur. Milan aferibes fuch another Saying to Ni-coßratus. Var. Hiß. lib. 14* 47- (70) Pinxit & raptum Proferpinse;-Victoria quadri- gam in fublime rapiens. Pirn. ibid. (71) Hie primus Ulyxi addidit pileum. See P. Har-douin, Monfaucori'i Antiq. and the French Notes on Pliny. (72) Pinxit & Apollinem & Dianam ; Deumque ma-trem in Leone fedentem : Item nobilis Bacchas, adrep-tantibus Satyris; Scyllamque quse nunc eft Rom* in templo pads. Plin. ibid* 19 His Rape of Pro» ferpine, and a Victory. Ulyfles acknowledged by his Dog Argus. Apollo, Diana, and other Pieces. The Scylla, Several Pictures Euphranor. ‘The twelve Gods. His Jupiter. His Thefeus, and ether Pieces. His Character, and wonderful Abilities. (yCydias’r Works. The Argonautick Expedition. The excellent Qualifications «/"Nicias. An Essay on the Rife? Progreß? IT is to be feen on Medals; and Antonio Auguflini mentions an ancient Statue at Rome of the Scylla reprefented in the fame manner (73). SEVERAL Pictures of Euphranor, that vaft Genius for Painting as well as Sculpture* are highly extolled. The twelve greater Gods, as they are called, with all their propef Attributes, and in the Charafters peculiar to each. An ancient Author fays, that he had made Neptune s Image fo juft, true, and grand, with fuch Characters of divine Majefty, and yet added fo much fuperiour Greatnefs to that of Jupiter, that his After-Labours did not come up to his Defign 5 but having, as it were, exhaufted his Imagination in thefe two, he fell frort in the reft. They are all however greatly praifed : And Euflat huts fays, that having meditated a long time in order to conceive a juft Idea of Jupiter; upon reading HomeTs Defcription of him in the firft Book of the Iliad, he cried out, that he had now a proper one to be emulated (74). He fipoke, and aw ful bends his fable Brows ■, Shakes his ambrojial Curls, and gives the nod\ The Stamp of Fate, and Sanil ion of the God: High Heavn with trembling the dread Signal took. And all Olympus to the Centre fhook. THE Hair of Euphranor’s Juno is much commended (7 7). His Pidure of Thefeus founding the Democracy in the midft of the People, has been already mentioned. It was of this or another Thefeus, painted by Euphranor, that he faid, on comparing it with one bv Bar-rhafius, that the latter looked like one fed with Dew, but his was ftrong and mafculine like one nourifh’d by more folid Food (76). His Excellence confifted in giving Heroes their proper Aipefts and fuitable Qualities of Body and Mind. He paintxd a Battle called the Cavalry-Battle, becaufe there were no Foot-Soldiers in the Piece: It was the famous Battle at Man-tinea againft Epaminondas. And this Picture, Blut arch fays, was wrought with a noble Enthufiafm (77) 5 it was full of Life, Spirit, and Exprefllon, The fame Picture is commended by Baufanias in his firft Book of Atticks, as well as the other of Thefeus. He did two Phi-lofophers deeply mufing; a General putting up his Sword ; and Uly fifes in his counterfeit Madnefs, yoking a Cow to the Plough with a Horfe (78). In all Euphranor s Pictures there was great Propriety, and Strength of Exprefllon; and they are nolefs extolled-for their excellence in the mechanical part. Bhiloftratus in hisLife of Apollonius fays (7p), his Pictures were alivey fo rounded that they appeared folid, fubftantial Bodies,- and that fuch was his Art and Skill in painting, that fome parts feemed to come out, and offer themfelves to be grafped, while others preferved their due Lontannezza as it is called by Painters 3 that is were duely diminifh’d, cblcured, and therefore appeared as if feen from far. AT the fame time flourifh’d another very great Painter, Cydias, who painted the Argonaut ick Expedition* for which the famous OratorHortenfius gave a great Sum (80) : It came afterwards into the pofleffion of Marcus Agrippa (81), who confecrated it in the Portico of Neptune, as a proper Ornament for a Monument erecled in Memory of naval Victories• and too noble a Work to be hidden in a private Villa. We cannot doubt of the Excellence of this Picture when we confider in what high efteem it was held by fuch intelligent Fudges; but have good reafon to conclude that fo noble and worthy an Argument, was*reprefented in a Stile fuitable to its Dignity. NIC 1 Ah is mentioned with high Encomiums by feveral excellent Writers. Blut arch fpeaks of him with great Applaufe, he clafies him with the beft Painters of the Athenian School; and we may form fome Notion of the diftinguifhing Character and Excellence ofthat School, by what he lays of the Athenian Painters he commends. Athens, fays he was a fruitful (73) Dialoghi di D’Ant. Agofiini, Dial. 5. p. icq. See Ovid. Met. I. 14. v. 60. & Silius Ital. I. 5. Scylla fuperfrafti contorquens pondera remi Injlabat, fsvofique canum pandebat hiatus. (74) Cal. Max, lib.8. c.ii. Exe. ext. 5. Macrobius in like manner fays, that Phidias having made his Olympian Jupiter, which pafs’d for one of the greateft Miracles of Art, was afk’d from what Pattern he had fram’d fo divine a Figure; and anfwer’d, from thole Verles of Homer juft quoted. Saturnal. 1.5. c. 14. So foon as ALmilius taw this Statue, he faid, there is indeed the Jupiter of Homer. Plut. in ALmilio. (lS) Lucian, in Imaginibus. (76) Thefeus in quo dixit, eundem apud Parrhafium rore paitum elfe fuum vero carne. PH„. 35. And Plutarch. Bellone an Pace, &c. (77) PLn. ibid. Pinxit etiam equeftre adverfus Epami- nondam praelium ad Mantineam, non fine quodam di-vino inflindtu Euphranor. Plut. Bellone an Pace. (78) Nobiles ejus tabulae Ephefi, Ulyxes fimulata ve-fama bovem cum equo jungens ; & Palliatae cogitantes -dux gladium condens. Plin. ibid. A Picture of Uly A in his counterfeited Madnefs is fully deferibed by Lucian de Domo. ,\ (7?) ploy A ZivfiJbc hn tt, « norvyAn, Sj EvapEogoe ot to pvmiovyomzoav-ni, >y to tvorw, Kai t'C UoUslfi KOU lib. 2. C. 20. A- (80) Eodem tempore fuit & Cydias, cujus tabulam, Argonautas, H. S. 144. Hortenfius orator mercatus ell eique aedem fecit in Tufculano fuo. PUn. 35 * (81) M. Agrippa porticum Neptuni dictam propter victorias navales extruxit, & Argonautarum pidura de-coravit. Dion. 6ajjiusy lib. 53. I fruitful and kindly Mother, and Nurfe to all the-fine Arts (82); fomc it fir ft conceived aitd brought to Light; and to others it added great increafe of Excellence and Honour. The Art of Painting was not a little promoted and improved by her. For Apollodorus who firft invented the^delicate Mixture of Colours, and found out the agreeable Diftribution of the Maffes of Lights and Shades, was an Athenian: Upon his Works it was infcribcd, it is eafier to carp at them-, than to cope with them. So were Euphranor, Nicias, Afclepiodorus and Tlifii-ncetus Brother to Ehidias, who painted Battles, and Generals leading Armies to W ar, and other great Subjects: He makes mention of the fame Nicias in another place, where he extols his indefatigable Diligence in improving himfelf and his Art, and the noble Enthufiafm with which he wrought (83). ‘Paufanias fpeaks highly in praife of his Paintings, in a fepulchräl Monument at Tritia, a city of Achaia; which tho’ finely adorned by feveral ancient Sculptures, was yet more diftinguilhed by Nicias s beautiful Pictures. There was painted, faith he (84), a beautiful, graceful Youth fitting in a Chair, with a Woman oh one fide holding a Parafol over his Head; and on the other a beardlefs Youth with a purple Robe hanging about him; near to whom is a Servant with a Spear in one hand, leading with the other feme Dogs to the Chace. He did a Picture of Hyacinthus, with which Auguflus was fo delighted and charmed, that he brought it with him to Rome, from Alexandria (8y). BY him was painted a charming 'Danae fporting with little Cupids, while the Shower of Gold begins to fall which was to enfnare her: And Ulyjfes’s Defcent into Hell as it is de-feribed in the Odyjfey. But thefe Pieces were in Miniature. His more capital Works were, the Story in the 'Odyjfey of Calypfo s detaining Ulyffes in her inchanted Wand, and endeavouring to confole him by her Careffes: The Metamorphofis of lo into a Cow: Juno enra-°-ed againft Jupiter for his unfaithful Gallantries: Per feus having killed the Monfter, hand-in0- down Andromeda from the Rock: An Alexander of exquifite Beauty; and another Picture of Calypfo in a different Attitude from the former, fitting on the Sea-fhore, and in the Aftion of looking after Ulyjfes, with great Grief mixed with Anger at his Departure (86). Thefe Pictures are praifed by feveral Authors, and fhewhow converfant Nicias was with the Poets, and his poetical Genius; that he delighted in employing his Art upon Subjeds which required a very fine Imagination and great Judgment; and could render Painting a Rival to her Sifter-Art. He was fo greatly efteemed at Athens, that after his Death he was honoured with a fepulchral Monument amongft thofe who had been reckoned worthy of having fuch a pub-lick Teftimony to their Merit (87). He is particularly commended for fhunning in his Pictures what is called the Triteria by Italians j or filling Pictures with many fmall Obje&s which fplit or diflipate the Sight, and deftroy the Unity of Compofition (88). TIMO MAC HUS (89) feems to have been a tragick Painter; he delighted and excelled moft in melancholy and horrible Subjeds: And fhewedthat the tragick Stile may be attained to in Painting äs well as in Poetry; or that the former is no lefs capable of moving, and. purging (as Anftotle calls it) our Pity and Horrour than the latter.- And therefore his Pidures are*highly celebrated by the Gteek and Latin Poets. He painted Ajax become frantick upon hisDifappointment in not having the Arms of Achilles adjudged to him by ^Greeks: (82) Plutarch. Bellone an Pace, ah initio. Cujus operibus inferibebatur m /Aewoe, ij &c. (83) Plutarch, an Senl gerendafit Re[publica. And in his other Treatife, Nonpojfe fuaviter vivi, &c. So /Elian, Var. Hiß. lib. 3. c. 31. Stobaus, Serm. 29. de Afgduitate. There we are told how fevere, temperate, and afliduous he was. (84) It is not .deferibed by Paufanias, as Junius and the Commentators on Pliny fay : For what he deferibes in his third Book is not Painting but a Piece of Sculpture, upon an Altar devoted to Hyacinthus. " Upon it were “ reprefented, faith that Author, in fine Relief, on one “ fide Neptune with Amphitrite, on the other Peris one of “ the Nereids ; on another Jupiter and Mercury in con-« ference, and near to them Bacchus, Semele and Ino ; «' on the fourth Ceres, Proferpine and Pluto, and in their « Train the Fates and the Hours: After whom follow “ Venus, Minerva, and Diana, carrying up Hyacinthus “ to Heaven, with his Sifter Polybaa, who died a Virgin.” The miftake feems to have been occafion’d by what Paufanias adds to this Defcription. “ As for the Statue « of Hyacinth, it reprefented him with a Beard, whether “ he had one or not. (Nicias in a Paflage, where he “ hints at Apollo’s being in love with Hyacinth, fpeaks of « his furpaffing Beauty.”) There is an Epigram in Martial upon the beautiful Hyacinth of this Painter : Hyacin-thus in tabula pittus, 1. 14. Up. 165. Flettit ab invifo morientia lumina difeo Oebalius, Phaebi culpa, dolarque puer. His Perfeus and Andromeda is thus deferibed in the Greek Epigrams. Anthol. 1.4. c. 9. Mthiopum regio eft -, qui fert talaria, Perfeus ; Heec adjuntta feris cautibus, Andromede : Gorgonis hoc fettum caput eft ; cert amen amoris Bellua : Caftiopis garrula fertilitas. Liberat ilia pedes longa torpedine fegnes * A fcopulo : potitur virgine victor amans. Again, Cepheus Andromeden, an pittor rupe ligavit ? Namque oculus non quit cernere, credat utrum Pitta fuper fcopulos oftenditur horrida Piftrix, An de vicino tollitur ilia man ? Agnofco vi • ftgna manus : 0! magnus in arte, Lumina qui potuit fallere, quique animos. (85) Paufanias Laconica, p. 101. Hyacinthus quem C. Auguftus, delectatus eo fecumdeportavit Alexandria captä; & ob id Tiberius Caefar in templo ejus dedicavit hanc ta-bulam & Danae. Pütt. 35. (86) Fecit & grandes picturas; in quibus funt, Calypfo, & Io, & Andromeda; Alexander quoque, in Pompei porticibus, praecellens ; & Calypfo fedens. Plin. ibid. (87) Paufanias, lib. 1. p. 57. Paflage quoted above. (88) Demetrius Phalereus de Elocutione. The Paflage was quoted above. The Words are remarkable, kui un KtneLY/ftMTi^itv thv ns See a Picture of Hyacinth in Philoftratus’s leones. (89) Timomachus Byzantius, Caefaris diftatoris Aja-cem & Medeam pinxit, ab eo in Veneris genetricis aede pofitas odtoginta talentis venumdatas.----Timomachi lau- dantur & Qreftes, Iphigenia, &e. Plin. 35, R His Danae, Calypfo. Timomachus a tragick Painters His Ajax. 6z His Medea. An Essay on the Rife? Progrefs5 Likewife Medea, who in killing her Infants is not able to reftrain her Tears, tho' tranf-ported to that barbarous Cruelty by the moft violent of all Paffions. Ovid alludes to both thefe: Utque fedet Vultu fulfils Telamonius, iram Inque oculis facinus bar bar a mater habet (89). Trillium J. 2. His Oreftes, Iphi-genia, a«^Medufa. Certain Subjects of Fainting cenfured. I here are Examples among the Ancients of allforts ofPaint-ing. Ariftophon’j An-caeus. HE painted Oreftes-, Iphigenia acknowledging her Brother, and faving him out of the Hands of the Barbarians •> a Medufifs Head, and feveral other Pieces. Fhilofilratus {\peak ing of his Ajax, very juftly obferves how well one mull be acquainted with the human Mind and Paffions in order to paint fuchSubjects (90). “ As one, (fays he) mull know a Horfe ex aftly, m order to reprelcnt it to the Life; fomuft one be intimately skilled in the Heart of “Man, in order to paint its Motions, Affections, Sentiments and Paffions and to be ffile to “touch and work them.” I cannot however chul'e but obferve on this occafionffiowreafonablv Flut arch cenfures thofe who delight in painting bafe, barbarous, or cruel and horrible Ac tions (91). It requires a great deal of Delicacy and Judgment to treat them rightly or with out being offenfive 5 and to deferve the Character which Lucian gives of a Picture of Fvlad (grefies killing Clytemneftra and t^yEgifthus, due in a great meafure to Timomachut\ Medea. He calls it a moft decent, virtuousPidure, becaufe what was barbarous and inhumane m the Action was not reprefented in it (92). The Slaughter of the Innocents even bv a Raphael will ever be a Subject too horrible to be beheld without fufferin» Horare\ r'„u is as neceffary in Painting as in Poetry: 0 S Kule Nec pueros coram popido Medea trucidet. WE find Examples of all the Variety of Painting amongft the Antients: Antiphilus did 3 BM7b!,fTing the Fire in a Houfe’ which is a11 enhghtened by the Reflection from it Cornu r m Phi loft rat us is an Image of Debauchery 5 it is likewife a Night-piece, where all is feen by the Light of a Torch. Fauftas, painted a muddled Woman drinkincr out of a Glafs in which her Image was feen diftinctly refkaed. Socrates is famous for having painted AZll culapms with his four Daughters; probably reprefenting fymbolically the different Rranrlffic of Medicine. He delighted in allegorical Pieces, and painted one to reprefent a too effV Husband ruin’d by an extravagant Wife. A Man is painted plaiting a Rope and a she Af eating it up as fall as he made it. The Piece was called (Ocnos). Such a Pidture with rh.it is deferibed by Faufianias (93), but he aferibes it to Folygnotus. thatName ARISTOFHON is greatly renowned for two excellentPiftures. The Subieft of nnn was Ancaus wounded by a wild Boar, and his Wife Aftypale condoling him and kindle fharing his Pam. The other is a much larger Piece, confifting of feveral Groupes • On thJ one fide is Fnam, Helen, and the reft of his Family, with Credulity flattering them - On the other Uly fifes, Detphobus and fome other Generals, with Cunning teaching them Expedients to (89) See Heinftus's Notes upon the place. There are two Greek Epigrams upon the Medea, both tranflated by Aufonius : Medeam vellet cum pingere Fimomachi mens Volventem in natos crudum animo facinus ; Immanem exhaufit rerum in diverfa laborem. Fingeret affe Cl um matris ut ambiguum : Ira fubeß lachrymis ; miferatio non caret irä, Alterutrum videas ut fit in alterutro Cunciantem fatis efi. Nam digna efi fanguine mater Natorum, tua non dextra, Timomache. Anthol. Ep. lib. 4. c. 9. Vertit Aufon. Ep. 122. Ahns te pitiorum fimulavit, peffima Colchis, In natos crudum volvere mente nefas ? Ufque adeone fitis pueroru?n haurire cruorem ' Ut ne pitta quidem parcere cade velis ? Numnarn te Pellex fiimidat ? numne alter Iäfm, Altera vel Glauce, funt tibi caufa necis ? Epuin ne pitta quidem fits barbara; namque tui vim Cera tenax zeli concipit immodicam. Laudo Titnomachum, matrem quod pinxit in enfem Cunciantem prolis fanguine ne maculet. Aufonius, Ep. 202. There are feveral other Greek Epigrams in the Anthol. upon this Medea. This Subjed, finely done in Marble, is deferibed by Califiratus. Califirati aupfpnis in fignum Medea 13. (9c) Quapropter dixerim ego, & eos, qui pidoriae ar-tis opera aipiciant, imitatrice opus habere facultate. Ne-mo enim laudaverit pidum equum, aut taurum, qui animal lllud mente non intueatur, cujus fimilitudinem re-fert : iSeque vero Timomachi Ajacem quifquam mire-tur, qui furens ab illo pictus extat, nifi aliquam mente, Ajacis, fpeciem complexus fuerit, utque eum verofimile fit, interemptis ad Trojam armentis concidifle fefliim, id- que ammo agitantem ut feipfum quoque interimat. tojt. de vit. Apol. lib. 2. c. 23. Phi- aalmas. Non tulit hanc fipeciem furiata mente Chorabus, Et fefe medium injecit moriturus in agmen. kEn. 2. vet.405- NOW we may fee from thefe Examples how nearly allied Painting and Poetry are and how they mutually aflilted one another. y J Verfie and Sculpture bore an equal part. And Art reflected Images on Art. Pope. 'Tis not in the kalt derogatory from Virgil’s Genius, to fuppofe him gathering beautiful Images from all the fine ancient Sculptures, Statues, and Pictures that were brought from Greece to Rome in his time, fince he has made an excellent ufe of them. We cannot chufe but conlider his Pictures in Didos Temple as Defcriptions of real Pictures For many ancient Painters, as well as Theodoras, had exerted their greateft Skill upon that noble Subject for Painting as well as Poetry. And no doubt thPRomans, who were acquainted with thefe fine Pictures, mult have had a double pleafure in comparing the De feriptions with the original Pictures. I fhall juft add to thefe other Examples of the ufe Virgil made of the defigning Arts, that the Cloak upon which was interwoven the Story of Ganymede (which is recommended by Dr. Trap as a beautiful Subject for Painting had been finely reprefented in Sculpture by Leocharis (103). He had reprefented the Earie carrying ?away Ganymede, as fenftble of his Charge, and for whom it was deign'd • and taking the tendered: Care not to hurt him. 0 5 'TIS not improbably that or fome other fuch Work, that Virgil had molt pictorcfqne Defcription : in his Eye in this -------Quem prapes ab Ida Sublimem, pedibus rapuit Jovis armiger uncis : Longavi, palmas nequicquam ad fidera tendunt Cuflodes, fievitque canum latratus in auras. Virg. riEn. y. 2^4. MARTIAL has delcribed the carrying up of Ganymede precifely, as Leocharis is faid to have reprefented it. ('NEtherias Aquila puerum port ante per auras Iliafum timidis unguibus hafit onus. Lib. I. Ep. 6. A S for the other part of Virgil’s Defcription : Intentufique puer frondofa regius Ida, Veloces jaculo cervos curfiuque fatigat Acer, anbei anti fimilis.------ WE have many Defcriptions of Statues and Pictures reprefenting young Hunters in that Attitude as it were, quite out of breath; and Rliny in particular fpeaks of a Picture by Farrhafius, of one who having laid down his Arms, feemed to pant for Breath (104.) 1 THEON had painted Orefies, who having killed his Mother through the violent Tranf-ports of his Vengeance, became mad 5 and the vain Thamyras, who had the prefumption (102) Theodorus vero & inungentem : idem, ab O-relte matrem & iEgyfthum interfici (e’eft une phrafe Crrecque, familiere a notre auteur. Je n’en alleguerai qu un example tire du livre 34. §. 19. n. 4. ou il s’agit d une antique de bronze de la fa^on de Pythagore le Sici-ien . Item, Apollinem, ferpentemque fagittis ejus con- ci.) I he French Notes.---Bellumque Iliacum pluribus tabulis, quod eft Romas, in Philippi porticibus ; & Caf-fandram quae eft in Concordia; delubro. P/in. 35. Di-,genes Laertius, Book 2d, in his Life of the Philöfopher Theodorus, mentions twenty of that Name ; Duodecimo eft ille Theodorus pirior, cujus meminit Polemon ; to decimus tertius eft Theodorus Athenienfis piefor, de quo feribit Menodotus: decimus quartus eft Theodorus pidor Ephefius cujus mentionem facit Theophanes in libro de pidhira. (103) Plin. I. 34. Leocharis fecit Aquilam fentien-tem quid rapiat in Ganymede & cui ferat, parcentem unguibus etiam per veftem. (104) Plin. lib. 35. Arma deponens ut anhelare fen- tiatur. Chap. 3. and Decline of Painting. to enter into a Competition with thcMufes j fo confident was he in his Skill and Voice (10?.) c /Eliantiefcribes another Pifturc by the famzTheon (106), which dcfervcs to be taken notice of, on account of an ingenious Stratagem the Painter employed, in order to fhew his Piece to the beft advantage at the Olyrnpick Prizes, according to the Cuftom of thole Times. He had painted a Perfon inArmour, who feems to fally out upon the Enemy with Fury : He flies to the Combat with Eyes flaming with Rage: He brandifhes his Sword, and lifts his Arm to reach a heavy Blow. Mean while there is no other Figure in the Picture ; he is Angle and ciuitc alone. Now the Method he took to difplay the Beauties of this Pi&ureto the People aflembled to judge of it, was this: He had hired Trumpets on purpofe, and ordered them to be founded on a private Signal; fo that when the People were furprized with that unexpected Noife, and their Imaginations alarmed with the Fears of fome hidden Irruption, he drew the Curtain and fhewed this Piece to the great Aftonifhment of all the Spectators, who by this means were exceedingly ftruck with its Beauties. Amther famous Picture by him, and his Stratagem to fhew it to advantage. STRABO commends Aregon for having adorned the Temple of ’Diana in the Apht- or 5 onian Grove facred to her, near to the River Alpheus, with feveral beautiful Paintings; amonvft which were the Burning of Troy, the Nativity of Minerva, and Diana carried up to Heaven upon a Gryphin (107) : All noble and poetical Subjects. TAUSANIAS (108) mentions Calyphon, who, in a Picture of the Combat of the Difcordly Caly-Greeks at their Ships, had painted a Figure of Dtfcord in a moft hideous Shape; but he f^hTwtfof had copied it from a Piece of Sculpture reprefenting her, Handing by Ajax and rlettor, another Artiß. in their ftnyle Combat, by the fame Hand that was celebrated for Boreas carrying off Orythia. He likewife painted The feus playing on a Lyre, and Ariadne by him holding a Crown 5 the Combat between Achilles and Memnon, with their Mothers for Witneffes of their Valour s and feveral other excellent Pieces. (pLIJSIT fpeaks of a Dionyfius who was called the Man-Painter, becaufe he only did Dionyfius called the Portraits. But there was another Painter of that Name, whom Arifiotle reckons amongft Man' ainter-thofe who underftood Manners, and expreffed them in their Pictures (105)). He fays, he Another Dionyfius. painted Men juft as they commonly are, in ordinary Life, neither better norworfe. Tlu- His Character, tarch fays, there was a great deal of Force, fomething very ftrong and nervous in Dionyfius s Pictures; but that they had not the Charm, which an Air of Facility and Eafinefs „ives (no). They had not, it feems, that great Beauty in Compofition, which Cicero fays fs fo charming, and fo difficult to attain in Oratory and every Art, in confequence of which a Compofition appears eafily imitable to every one but to him who tries it (hi). c/Elian ranks him with thofe who excelled in reprefenting the Affections and Manners, and in painting eafy pictorefque Draperies (112). Almoft all the great Aft ions recorded by Hiftorians, or fung by Poets, as we ftiall have occafton to obferve more particularly in another place* have likewife been celebrated by the Pencil. Taufanias names one Ona- jhe Battle of the tas (in) who had painted the Battle of the Argians and the Thebans, which, he fays, is ArgiansbyOnatas. the moft conftderable War amongft the Greeks, in thofe that are called the heroick Times. It coft fo much Blood, that a Theban Victory was become a Proverb, fignifying a very cruel and bloody one. This War, fays he, was fung by fome ancient Poet. The Poem is by fome aferibed to Homer; but for my part (continues he) I muft fay that I have not feen any Poefy comparable to the Iliad and Odyfey. In that Pifture this memorable Action was very well reprefented; the Heroes of both Aides were properly diftinguiffied, and a great variety of Bravery was admirably expreffed. THUS we fee that ancient Artifts delighted much in performing moral Pictures; that is all forts of judicious Reprefentations of human Paffions : In martial Pieces efpecial-lv in which were expreffed, in lively Action, the feveral degrees of Valour, Magnanimity Cowardice, Terrour, Anger, according to the feveral Characters of Nations and particular Men. Tis here that we may fee Heroes and Chiefs appear, even in the hotteit of Actions with a Tranquillity of Mind and Sedatenefs peculiar to themfelves, which is indeed (as a noble Author (114) obferves) in a direft and proper Senfe, profoundly moral. The Ancients delighted in martial Pieces, and thefe are truly moral Pictures. (10O Theon Oreftis infaniam ; Thamyram Citharte-dum. Plin.ibid. Plutarch, de aud. Poet, utfupra. (106) SEl.var. Hiß. lib. 2. cap. ult. (107) Strabo, lib. 8. 343. (108) Eliaca I. 166. (109) Arp. cap. 2. de re poet. (110) Plut. in Timol. utfupra. (111) Cic. ad M. Brutum Orator. He fpeaks of this Negligence in this manner——Non ingratam neghgen- tiam, de re, hominis, magis, quam de verbis, läbofan- tis.------Sed quaedam etiam negligentia eft diligens; nam ut mulieres dicuntur nonnullae inornatae quas idipfum deceat, fic haec fubtilis oratio etiam incompta delecftat. Fit enim quiddam in utroque quo fit venuftius, fed non ut appareat.----Again. Itaque eum qui audiunt, quamvis ipfi infantes ftnt, tarnen illo modo confidunt fe pofle di-cere : Nam orationis lubtilitas, imitabilis ilia videtur effe exiftimanti, fed nihil eft experienti minus. (112) Ml. var. Hiß. lib. 4. c. 3. (1x3) Paufanias, lib. 9. p. 48. (114) Tablat. of Hercules, CharaCt. 3 d vtd. s Bhere are a great many other Pitiures defcribed by ancient Writers. But thofe that have been mentioned fuf-f.ce to prove the Excellency of the Art, its relation to Poetry and Philofa-phy. What the Philo-ftratus’s fay on that Subjeß. THERE are a great many other ancient Pictures defcribed by feveral Authors: The two cPhiloftratus s have given us a particular Account of a great many. And feveral more Tallages from the antient Poets might be brought, which are probably Defcriptions of Pxdures (i i y). BUT thofe that have been mentioned are fufficient to prove, that the ancient Painters could not only defign correCtly, which is all that Mr. Per vault allows them; but that they had Genius and Invention, underftood all the Beauties of Difpoiition and Ordonnance, and could compofe truly generous and pleafing, or truly great, majeftick, and moving Pictures. And the Examples that have been brought do likewife fully confirm the Truth of the Obfervations, with which the two Philoflratas s begin their Difcourfes on Pictures, upon the Ufefulnefs of Painting, and its ItriCt Connexion with Poetry and Philofophy. “ He (fay the (i 16) Phi-“ loftratuss) who defpifes the Art of Painting is injurious to the Truth, and wrongs the “ Wifdom of the Ancients; he injures alfo the poetical Art, for the principal End of both “ thefe kindred Arts is to exhibit the great Virtues and great Actions of illuftrious Heroes. “ He mult likewife contemn the Symmetry and Truth of Compoiition in Oratory. If “ one had a mind to talk in the Stile of the Sophifts and Declaimers, one might truly fay “ not only that it is a divine Invention ; but that the Gods taught Men the Art by fo beau-“ tifully painting the Heavens with various Appearances, and the Earth with fuch innu-“ merable beautiful Forms varying with the Seafons; and if we look narrowly into the “ Origin of the delightful Art, we fhall find that Imitation is very natural to Men, and that all kinds of Imitation, or all the imitative and defigning Arts muft for that reafon “ be very ancient: Now all thefe, however claffed and divided, have the fame Founda-“ tion, and proceed upon the fame Principles. There is one kind, which whether mould-“ ing with Clay, calling in Brafs, or carving in Marble and Ivory, is properly called Plaftick: “ But Painting employs Colours, and with thefe is able to do more than any of thofe other Arts can do. Tho' working always in the fame way, or with the fame Materials; yet “ it is capable of a great variety : It marks the various Degradations of Lights and Shadows, a(f)lX7l env 71 elxam'a TUV OguyEVUV ; ra yxv xo7Xa x, T» mJ/jiAat, xj ra trxorerjd xj to, (puTsivd, x) Tix mcXvpoc x, Tat y.ccXaxd, xj ra rpc/.yEoi x} ra AEiot, x) ra. v£Av Sv ölAAa Trig yoalpog. *, r. A. At reliquae pidluras partes, propter quas non ubique accurata artis praeftantia nobis Id.ot.s comperere folebat, nihilo fecus tarnen fumma in-duftria erant elaboratae, videlicet linearum dudtibus atque extenfiombus redtiffimis, colorum commixtionibus feien-tiffimis, neque non tempeftivarum adjedfionum circum-dudrionibus. Infuper decentibus inumbrationibus, neque negledta magnitudinis ratione, & menfurarum totius ope- 9 ris aequalitate atque harmonia. Lucian. Zeuxis. Philof. Icon. lib. 1. 6. in Menoetio. Jucunda piftoris ars. Arma-tos enim viros poft msnia repraefentans, alios quidem to-tos oculis fiftit, alios vero crurum tenus tedlos, nonnul-los dimidiatos, quorundam pedfora & capita tantum & galeas folas, inde haftarum tantum extrema. Hoc eft pro-portionem obfervare, O puer. Oportet enim oculis fub-duci difparentes pro ratione ambientium eos murorum. See Junius de Piet. Pet. lib. 1. c. 3. See Pomponius Gau-ricus de Perfpettiva, c. 5. (9) The Paffage that the Abbe Sallier founds upon, is in Plato’s Sophijla, tom. 1. p. 235. Edit. Stepb. Tt f ; a TrixvTig o'( piAptvoj n. >t. r. A. Quid nonne omnesqui aliquid imitantur, id facere inftituunt ? Hoff. Nequa-quam fane ii quidem qui magna aliqua opera fingunt aut pingunt. Nam fi veram pulchrorum proportionem re-praefentarent, ita certö habe futurum, ut fuperiores quidem partes prater modum minores, inferiores vero ma-jores apparerent: quum aliae quidem eminus, alia cominus a nobis confpiciantur, &c. Compare what is faid upon Imitation, in his Book de Repub. p. 606. The Abbe Sallier takes notice, that Diminution and Degradation are very well obferved in feveral ancient en-graved Stones, that in particular which is well known by the Name of Michael Angelo’s Seal: And he likewife takes not.ee of what Frefnoy fays in his Poem de Arte Grapbica and Du Pile in his Notes on that Paffage. Regula certa licet nequeat perfpetliva did Aut cornplementum Graphidos ; fed in arte juvamen, Et modus accelerans operandi: at corpora falfo Sub vifu in multis referens, mendofa labafeit : Nam Geometralem nunquam ficut corpora juxta Menfuram depiSta oculis, fed qualia vifa. Du Pile in his Remarks confiders what is objedfed againft ancient Artifts, on account of the Trajan and Antonine Pillars. See what Lomazzo fays on the fame Subiedt rZtta\° dfaFHU7’,p- 29’ and A 247- I fhall only add, that Lord Shaftesbury has obferved to the fame our pofe in his Notion of the Tablature of the Judgment of Hercules: For the ordinary Works of Sculpture, fucJh “. Fhe L°w-re {eves, and Ornaments of Columns and Edifices, great allowance is made. The verv R,,Ua of Perfpective are here wholly reverfed, as neceLv re quires ; and are accommodated to the Grcumftances and Genius of the Place or Building, according to a certain Oeconomy or Order of a particular and diftindt kind : as will eafily be obferved by thole who have thoroughly ftudied them and of the Painters, Statuaries, and Sculptors in his time, as plainly {hews that the Art was then compleatly illufivc; and that they could moft accurately reprefcnt to the fight all the different Appearances of Objefts by which we judge of Magnitudes and Diftances in Nature. And feveral Pictures have been mentioned, in which thefe Qualities and Effe&s are commended by ancient Writers. IT would be but tedious to give an Account of the Colours the ancient Painters made ufe of (i o'. It is agreed on by all, that they knew nothing of the way of preparing Colours with Oil; But as feveral excellent Authors obferve (11), thole who have feen the many excellent Paintings of Raphael, Guido, and other great modern Mailers in Frefco, will not entertain any prejudice againlt the ancient Painters on that fcore. That their Colouring was very du- Their Colouring table is beyond all controverfy j ftnee Tetronms, Tliny, Tint arch, Taufamas and others Ußtdlmg. had feen Pictures of Zeuxis, Apelles and Rrotogenes that were as frefh as if they had been lately painted. Rliny mentions fome Pictures older than Rome, that were, in his days, not in the leaft or very little injured by age. And fuch Accounts will not appear incredible to thofe who have feen the better Remains of the Paintings of the Ancients at Rome, fome of which are Hill of a very furprizing Frefhnefs; notwithstanding the carelefs, not to fay bad, ufao-e they have met with. There will be occafion to fpeak of thefe afterwards j Prints of feveral of them being annexed to this Efiay. BUT what is well worth our Attention with regard to the Colouring of the ancient Greek The care they took Mailers is, what we are told of their Care not to difplay it too much. They avoided the to fubdue the florid. o-audy, lufcious, and florid; andftudied Challity and Severity in their Colours. It was not till Painting was in its decline, that Luxury and Libertinifm in Colouring, fo to fpeak, came into vogue! or that gorgeous, fplendid, expenfive Colours were elleemed, and the Pleafure arifino- Rom thefe preferred to Truth of Defign, Unity and Simplicity of Compofition, with due Strength of Expreflion (12). This imitative Art, in the Senfe of all the better Ancients, tho’ it requires help from Colours to execute its illufive Defigns; and ufes them as means to render its Copies of Nature fpecious and deceiving; Though it is indeed only by Colours, that Painting can attain to that Command over the Senfe, which is its high and diftinguifhing Aim; yet ithath nothing wider of its real Scope, than to make a fhew of Colours, or by their Mixture to raile a leparate and flattering Gratification to the Senfe. This Pleafure, lays an « Author well acquainted with the Ancients, is plainly foreign and of another kind, as “ havin'* no {hare or concern in the proper Delight and Entertainment which naturally arifes « from ^the Sub;eft. For the Subject, in refpeCt of rational Pleafure, is abfolutely com-“ pleated when the Defign is executed. And thus it was always bell, in their Opinion, « when the Colours were moll fubmitted, and made wholly fubfervient." MANY Authorities might be brought to prove this (13). Apelles is faid, by T?liny, to TheVamlJh of have invented a kind of Varnilh which ferved to preferve his Pi&ures neat and clean: It Apelles. could ftudied the Trajan and Antonlne Pillars. In the fame manner, as to Pieces of engrav’d Work, Medals or whatever (hews itfelf in one Subftance, (as Brafs or Stone) or only by Shade and Light, (as in ordinary Drawings, or Stamps) much alfo is allow’d, and many things admitted of the fantaftick, marvellous, or hyberbolical kind, 13 c. (10) See the SubjeA fully handled by Bulengerus, lib. 1. e. 4, & 5. (11) On ne fauroit former un prejuge contrele coloris des anciens de ce qu’ils ignoroient l’invention de detremper les couleurs avec de l’huile, laquelle fut trouvee en Flan-dres il n’y a gueres plus de trois eens ans. On peut tres bien colorier en peignant a Frefque. La meffe du Pape Jules, un ouvrage de Raphael dont nous avons deja vante le coloris, eft peinte a Frefque dans l’appartement de la fignature au Vatican. Reflex. Or. ibid. See what is faid by Loma%%o in his Idea del tempio della Pittura, of Oil and Frefco-Painting, p. 72, and 74. (12) See Pun. lib. 35. c. 2. Primumque dicemus quae reliant de pidtura : Arte quondam nobili----Nunc vero in totum marmoribus pulfa, jam quidem & auro,&c. r.15. Qua contemplatione tot colorum, tanta varietate, mbit antiquitatem mirari! Quatuor coloribus folis immortalia ilia opera fecere ; ex albis Melino; ex ftlaceis, Attico ; ex rubris, Sinopide Pontica ; ex mgns atranjento ; Apelles Echion, Melanthius, Nicomachus, clarillumi ricto-res: Quum tabulae eorum finguke oppidorum vemrent opibus. Nunc & purpuris in parietes migrantibus, &C India conferente fluminum fuorum limum, & Draco-num ac Elephantorum faniem ; nulla nobilis pidtura eft. Omnia ergo meliora tunc fuere, quum minor copia. lta eft, quoniam, ut fupra diximus, rerum non animi pretus excubatur. Quare vincat veritatem ratio falfa non ent alienum exponere. Quod enim antiqui infumentes labo-rem & induftriam probare contendebant artibus, id coloribus & eorum eleganti fpecie confequuntur ; & quam fubtilitas artificis adjiciebat operibus audloritatem, nunc Dominicus fumptus efficit ne defideretur. Quis enim antiquorum, non uti medicamenta, minio parce videtur ufus die ? At nunc paffim plerumque toti parietes indu-cuntur. Accedit hue Chryfocolla, Oftrum, Armenium. Hate vero cum inducuntur, etfi non ab arte funt poftta, fulgentes tarnen oculorum reddunt vifus; & ideo, quod pretiofa funt, legibus excipiuntur, ut a domino, non a redemptore, repraefententur. Vitr. lib. 7. c. 1. (13) To thefe juft mentioned may be added the famous Saying of Apelles. Cum vidiffet quendam ex fuis difei-pulis pinxifle Helenam multo auro ornatam : O adolef-cens, inquit, cum non poffes pingere pulchram, fecifti divitem. Cl. Alex.-----Sic haec fubtilis pidtura etiam in- compta deledlat. Fit enim quiddarn in utroque quo fit venuftius, fed non ut appareat. Turn removebitur omnis infignis ornatus quafi margaritarum. Ne calamiftri qu;-dem adhibebuntur. Fucati vero medicamenta candoris, & ruboris, omnia repellentur : Elegantia modo, & mun-ditia remanebit. Cic. Orat. 23. Virgo minime quidem fpeciofa, formofa tarnen, vera pariter atque antiqua pul-chritudine referta, qualia funt antiquae artis fimulacra, quae ad fui admirationem temporis moram atque accura-tiores oculos requirunt. Ahemiflii Orat. 3. de Amirit. Recentiores deorum imagines in admiratione funt propter operis dignitatem, veteres vero propter operis fim-plicitatem, magis vero Deorum majeftati congruentem. Porphyr, de Abfl. lib. 2. So Stilus Ital. lib. 14. circa fin. fpeaking of the ancient Images of the Gods : -------------------fimulacra Deorum Numen ab arte datum fervantia. Non ideo tarnen fegnius precor, ut quandoque veniat dies ; utinamque jam venerit; quo aufteris illis feverifque dulcia haec blandaque, ut jufta pofieffione decedant. Pita, jun. lib. 3. Ep. 8. See Cicero de Orat. lib.3. 25. Pjuint. lib, 8. C. 3. lib. 12. 10. An Essay on the Rife, Progreße 'could not be difcerned unlefs one came very near;, and looked narrowly to his Pictures: But it gave them a charming Tranfparency at a due diftance : It likewife render’d the Colouring wonderfully mellow: But it was chiefly intended by him to darken the too florid Colours, and to give them a certain Aufterity (14). Nicias had likewife difeovered a Varnifh which was of great ufe to Statuaries, as well as Painters (iy), and had much the fame efted in Painting, as hath been deferibed. The unfinifl?d Pictures of the Ancients how much they were eßeemd. Their Drawings were highly valued. THE Truth of this Obfervation is likewife evident from the high efteem in which the imperfed or unfinilh’d Pidures of the great Mailers were held by the Intelligent; when the Subjed was fo compleated by the Drawing, that the noble Ideas, the Invention, Genius, and Judgment of the Painters were as much feen in them, as in their finilhed Pictures (16). It was for the fame reafon that their mere Drawings were fo highly valued. Of this kind were the Monochromata of Apelles, the Rudiment a of Rrotogenes, and the Vefligia of Rarrhafius, that are faid to have contended with Nature in Truth and Beauty; and that were fo earneftly fought after by the Students and Lovers of the Art (17). Thclc Monochromata were very different, as Quintilian obferves, from the rude Drawings of the firft Defigners, called Monochromatifts, in which Objeds were very imperfedly delineated there being in them no Light and Shade, or Intelligence of the Clair-obfcure (18). “ On “the contrary, they were of that kind of Drawings which another Author deferibes, that “ might be very juftly called Pidures, (though, properly fpeaking, faith he, it is only Works “ executed with Colours that are fo denominated,) becaufe they exprefled not only outward “Likenefs, but inward Affedions, Charaders, Adions, and Manners : They conveyed tine “ Ideas and Sentiments, and were able to touch the Heart; which are the principal Ends of “ Imitation (19).” If Menander had reafon to fay, that he looked on his Work as finilhed, when he had concerted the Difpolition and Plan of his Drama (20); a Painter’s Work may with much better reafon be faid to be fo, when his Subjed is compleatly exprefled by his Defign. For though Painting and Poetry, being Sifter-Alts, are often very fitly compared together, and in this Comparifon the Language in the one is likened to the Colours in the other; yet in this refped the Comparifon manifeftly fails, that whereas the Sentiments of a Poet cannot be conveyed to others without Words, thofe of the Painter may be ftrongly exprefled without Colours. IN truth, Drawings, properly fpeaking, are the Originals, Pidures are but Copies after them. And for that reafon it is juftly obferved by good Judges, that the Genius of a Matter is beft learned from his Drawings. “ There is a Grace, (fly very good ones) a Delicacy, “ a Spirit in them, which, when the Matter attempts to give in Colours, is commonly “ much diminifhed. They are, in one word, generally fpeaking, preferable to Paintings; “ as having thofe Qualities which are moft excellent, in a higher degree than Paintings “ commonly have, or poftibly can have, and the others. Colouring excepted* equally with “ them (21). Thofe who have no relifh for Drawings, in which the Subjed is fully ac-“ complifhed, in refped of Invention, Difpolition, and Expreillon, certainly feek after fome Entertainment that muft be far inferiour to that which arifes to the Underftanding “ from truly poetick Compolition.” In what rejpecl Colouring may be compared with Stile ; and in what re-fpedts not. THOUGH the Analogy between Poetry and Painting does not hold in that refped which has been juft now mentioned; yet by comparing them together we fhall be led to form very juft Notions of Colouring in Pidures. For whatever is faid to make the Beauty of Language, will be found to conftitute, for the fame reafons, the Beauty of Colouring. If Simplicity be the Perfedion of Writing, it muft, for the fame reafon, be the Perfedion • of (14) Inventa ejus & ceteris profuere in arte: Unum imitari nemo potuit, quod abfoluta opera atramento in-linebat ita tenui, ut idipfum repercuftu claritates colo-rum excitaret cuftodiretque a pulvere & fordibus ; ad-motum intuenti demum adpareret : fed & turn ratione magna, ne claritas colorum oculorum aciem offenderet ; veluti per lapidem fpecularem intuentibus e longinquo ; & eadem res nimis floridis coloribus aufteritatem occulte daret. Plin. 35. (15) Hie eft Nicias, de quo dicebat Praxiteles, interrogate quae maxime opera fua probaret in marmoribus ? Quibus Nicias manum admoviflet: tantum circumlitioni ejus tribuebat. Plin. 35. See French Notes ad loc. (16) Illud vero perquam rarum ac memoria dignum, etiam fuprema opera artificum imperfedlafque tabulas, ficut Irin Ariftidis, Tyndaridas Nicomachi, Medeam Timomachi & quam diximus, Venerem Apellis, in ma-jore admiratione effe quam perfe&a : Quippe in iis line-amenta reliqua, ipfaeque cogitationes artificum fpeflantur, atque in lenocinio commendationis dolor eft: Manus, cum id agerent extinclae defiderantur. Plin. 35. 23. In Pinacothecam perveni vario genere tabularum mira-bilem. Nam & Zeuxidos manus vidi, nondum vetufta-tis injuria victas ; & Apellis, &c. Pctro. Art. Satyr, ut fupra. (18) Qui fmgulis pinxerunt coloribus, alia tarnenemi-nentiora, alia redudiora fecerunt, fine quo ne membris quidem fuas lineas dediflent. fuini. lib. 11. c. 3. (19) Pbiloß. devit. Apol. lib. 2. c. 22. Piduram enim non earn folum mihi videris putare, quae coloribus abfol-vitur, nempe unus etiam color veteribus illis pidoribus fatis erat, incrementa vero capiens ars, quatuor adhibuit inde plures etiam ; imo & linearum piduram, & quod coloribus deftituitur opus, quod ex umbra & luce com-pofitum eft piduram fas eft adpellare. In talibus em'm etiam fimilitudo cernitur, figura item, & mens, Sc pu-dor. Sc audacia, &c. 1 (20) Menander cum fabulam dipofuiffet, etiamfi non verfibus adornaflet, dicebat tarnen fe jam complefte. Commen. vet. ad illud Herat, de Art. Poet. Verbaque provifam rem non invita fequuntur. (17) Zeuxis pinxit & Monochromata ex albo.------ (21) Mr. Richardfon in his Difcourfe on Paimin- See Graphidis veftigia extant in tabulis ac membranis ejus likewife De Pile I9Idee d'un Peintre parfait (Parrhafii) ex quibus proficere dicuntur artifices. Plin. 35. t J Chap. 4. and Decline of Pa i n t i n g. of Colouring Whatever is faid againft the gaudy, the pompous, the florid, and luxuriant on the one hand ; or in praifc of the chafte, the pure, the fubdued, and unaffected on the other doth equally agree to Colouring and Difcourfe. And accordingly ancient Authors fpeak of the one and the other almoft in the fame Phrafes (22). PAINTING is frequently confidered, as a poetical Art, by ancient Writers. T hit arch tells us it was an ancient Apophthegm, that a Poem is a fpeaking Picture, and that good Painting is filent Poefy: And he adds, to confirm and illuftrate this Saying of Simonides, That the Adions which aredeferibed by Speech orWriting as paft, are reprefented by Painters as if they were done in our fight. Painters exprefs by Lines and Colours what Writers paint by Words: They therefore only differ in the manner of Imitation. They both propofe to themfclves the fame End which is to tell a Story well; that is, to exhibit the Adion or Event to our fight, as if it were really done before us. And therefore he is reckoned the beft Hi-ftorian, for inftance, who deferibes Perfons and Adions info lively a manner 1 and touches on fuch proper Circumftances in every Story, that his whole Defcription is an admirable Picture. His Reader thus becomes a kind of Spedator, and feels in himielf all the Variety of Pallions which are correfpondent to the feveral parts 6f the relation (23). IF we purfue this Comparifon a little, between good Writing and good Painting, it will The Compart fin be-lead us to form jufter Ideas of the Defign and Merit of Painting than are commonly conceived; or of the Ends it ought to propofe; and of the different Degrees of Merit, that different filfZdlrally had] Talents in the Art, and different Pidures ought to hold, correlponding to the refpedive Ex- to a jufi Notion of cellencies of various forts of Writing or Defcription. Painting and the different Qualities THE End of Defcription is certainly to convey a true and lively Idea into the Mind, reuint. lib. 8. c. 3. Sed hie ornatus virilis fortis Sc fandus fit, nec effoemina-tam levitatem, nec fuco eminentem colorem amet, fan- guine & viribus niteat.----Quare nemo ex corruptis dicat me inimicum effe culte dicentibus. Non nego hanc eife virtutem, fed illis earn non tribuo. An ego fundum cul-tiorem putem, in quo mihi quis oftenderit lilia, Sc violas, & amaenos fontes fcaturientes, quam ubi plena meffis, aut graves frudu vites erunt ?-------Ad afpergendam illam quie etiam in piduris eft graviffima, Vetuftatis inimita-bilem arti audoritatem, &c. See the whole Chapter, and likewife the Procemium to that Book, Namque & colo-rata, & aftrida, Sc lacertis expreffa funt, fed eadem fiquis vulfa atque fucata muliebriter comat feediffima funt ipfo forms labore. Et cultus concefius atque magmficus ad— dit hominibus ut grseco verfu teftatum eft, audoritatem. At muliebris Sc luxuriofus, non corpus exornat, fed detegit mentem. Similiter ilia tranilucida & verfico-lor quorundam elocutio res ipfas effeeminat, quae illo ver-borum habitu veftiuntur. Curam ergo verborum, rerum voio eife follicitudinem : Nam plerumque optima rebus cohaerent, Sc cernuntur fuo lumine, &c. Unumquidque genus cum pudice cafteque ornatur, fit illuftrius ; cum fu-catur atque praelenitur, fit praeftigiofum. Aul Gel.Noc.Att. 14. Grandis, Sc ut ita dicam, pudica oratio non eft maculofa, nec turgida, fed naturali pulchritudine exur-git. Nuper ventofa ifthsec Sc enormis loquacitas Athenas ex Afia commigravit, animofque juvenum ad magna fur-gentes veluti peftilenti quodam iidere afllavit, femelque corrupta eloquentia regula ftetit & obmutuit. Ac ne carmen quidem fani coloris enituit: Sed omnia quafi eodem cibo pafta non potuerunt ufque ad fenedutem canefcere. Pidura quoque non alium exitum fecit, poftquam jEgyp-tiorum audacia tarn magnae artis compendiariam invenit. Petr. Arb. Satyr. (23) Quamobrem etiam non ineleganter Simonides dixit, Piduram effe Poefin tacentem ; Poelin vero Pidu-ram loquentem. Quas enim res ac fi coram agerentur, pidores repraefentant, ese oratione ut prseteritae enarrantur, atque confcribuntur. Cumque pidores idem coloribus & figuris exprimant, quod feriptores verbis & vocibus, dif-ferunt tantum inter fe materia Sc modo imitationis. U-trifque autem idem propofitus eft finis: Et is habetur hiftoricorum optimus, qui narrationem perfonis Sc figuris animum moventibus, haud aliter ac piduram conformat. Pint. Bello an Pace. So Longinus fpeaks of Oratory, De Sublim.fi. 15. Rhetorica vero imaginatio ilia pulcherri-ma eft ac praeftantiffima, quae fibi res, voces, adus de-nique omnes evidentiffime Sc ad ipfam veritatem fingitj atque auditoribus ante oculos ponit. Turpis autem ac pravus, Sc plane, quod aiunt, extra lineas procurrenä error eft, quum in oratione civili ac pedeftri ad poeti-cas Sc fabulofas, atque impoffibiles fidiones progreditur. (24) See the Effays on the Pleafures of Imagination in the Spedator, vol. t. whence thefe Reflexions are taken. (25) De Poet. c. 4. Et gaudere omnibus rebus imita-tione expreffis, naturale eft ; veluti piduris, fculpturis & fimilibus. Cui quidem rei, figno eft idj quod contingit in operibus artificum : Quae enim ipfa per fe, non fine moleftia quadam cernimus, horum imagines exadiffirtie expreffas dum intuemur, gaudemus ; veluti belluaram formas immaniffimarum, Sc cadaverum ; in quibus niil imitatio gigneret voluptatem, nihil illic erat, quod ob- U ledare Socrates reafins this manner. His Conference with Ciito. An Essay on the Rife, Progreß, ncfs; the Adion of the Mind in comparing and perceiving Similitude- being made agreeable to us by Nature, becaufe it is ufeful, or rather neceflary to our acquiring Knowledge. But muft not a Picture of the fame nature pleafe, as he obferves it does, in the fame way, in the fame degree, and for the fame reafon 5 that is, on account of the Agreement of the Copy with the Original ? It is owing intirely to thePlcafure which Imitation and Similarity afford to the Mind, that Pidures or Defcriptions of fuch Objeds, as it is painful to behold in real Life, are capable of delighting us. But if fuch Defcriptions give a lower Entertainment to the Fancy, and are juftly reckoned of a meaner kind, than Defcriptions of more agreeable Originals ; Pidures of that fort muft likewife be accounted of the fame rank in Painting, as the other in Writing. It is when the Objeds themfelves deferibed, are great, furprizing, or beautiful, that Defcriptions are moft delightful: Becaufe in this cafe we are not only pleafed with comparing the Reprefentation with the Original 5 but we are highly delighted with the Original itfelf. The Ideas excited are in themfelves noble and elevating: They agreeably fill and employ theMind. Now if this be true, Pidures which reprefent great, noble, and beautiful Objeds j or convey fublime and pleafing Ideas, muft alfo necefiarily be more agreeable to the Fancy, and of a higher Order, than Pidures of mean and low Objeds, not to fay deformed ones. It will likewife be granted, that new and uncommon Objeds give greater pleafure than ordinary, common, and familiar ones. Nor is the final Caufe, or moral Fitnefs of this Effcd of Newnefs difficult to be found out. It is highly proper that a Being made for Progrefs and Improvement in Knowledge, fhould be fond of Novelty in fome degree, and be agreeably affeded by every frefh Acquifition that he may thereby be excited to take due pains to make new Improvements in Knowledge, and to add to his treafure of Ideas. BUT there is yet another Circumftance which will be owned to recommend a Defcrip-tion more than all the reft ; and that is, if it reprefents fuch Objeds as are apt to raife a fecret Ferment in the Mind, and to work ftrongly on the Paffions. In this cafe the Heart is moved, at the fame time that the Imagination is delighted : We are at once enlightened and warmed. Now muft it not be fo likewife with regard to Paintings, that touch and move the Heart by the lively Images they prefent to the Fancy ? Accordingly let any one make the Experiment, and he muft unavoidably obferve upon the firft trial, that, in Painting, it is pleafant to look on the Pidure of any Face, when the Refemblance is hit; but the pleafure increafes, if it be the Pidure of a Face that is beautiful ; and is ftill Greater if the Beauty be fofteifd by an Air of Melancholy and Sorrow. LET any one carry on in his own Mind this comparifon between Difcourfe and Painting, and he will foon be able to fatisfy himfelf with refped to the Ranks, the different Qualities of a Painter and various forts of Pidures deferve; becaufe he muft clafs them in the fame way as he does Defcriptions. This is the Gradation Socrates makes in his Defcription of Painting; from Truth and Likenefs to external Beauty ; and from thence to the Beauties of the Mind, and what moves the Heart and Affedions. And we find him con-verfing with Ciito, a Statuary, to the fame purpofe. “ I know and fee, Ciito, (fays (26) Socrates) that you make Runners, Wreftlers, thofe “ that play at the Gantlet, and all forts of Combatants. But that which is moft delightful to our Eyes, in your Works, is the Life and Spirit you exprefs in your Figures : Pray “ therefore how do you thus animate them ? Ciito not anfwering him readily, Socrates “ asks him again : Do you not inlpire your Images with much more Vivacity by affimila-“ ting them to living Forms, and ftudying real Life? Juft fo, faid the Statuary. Don't “ you therefore render your Imitations liker, and more conformable to Nature and Truth “ when you artfully exprefs all the Changes in the Mufcles and Nerves, that are occa-fioned by various Poftures and Attitudes; all their Contradions, Diftortions, Shortenings, Bracings, and Relaxations ? That is the very thing, replies Ciito. But when you “ exprels le&are poflet. Caufa vero etiam hujus rei eft, quod dif-cere, non folum philofophis (quod quidam cenfent) jucun-diffimum eft, fed etiam aliis, qui fimiliter quidem, tam-etft minus exacte, jucunditatis ?ejus participes fiunt. Ob hanc enim caufam gaudio afficiuntur, dum cernunt imagines rerum; quia contingit lpectando perdifeere, & quid unumquodque fit, ratiocinari ; veluti hanc imagi-riem, ilium effe: liquidem nifi tibi ilium prius contige-rit vidifle, tabula haec, non propter effigiem imitatione expreftam voluptatem feret, fed propter artificis feduli-tatem, aut colorem, aut ejufmodi aliquam aliam caufam. So Plutarch de aud. Poetis. Piftam Lacertam, aut Simiam, aut I herfitae faciem videntes deledamur Sc moramur; rton pulchritudinis, led limilitudinis caulä. Suapte enim natura id quod turpe eft, pulchrum fieri non poteft: imi-tatio auiem, five pulchra five turpis rei fimilitudinem exprimat, laudatur. See his Sympofiacon, I. 5. qu. 8. (2d) eft E.\htoivx tq'j xvj^ix'ijotroiou EiTiAfLv zro- T£, x) $nx.Xiyoyiv®> CCVTU, On l(pn, % KXilruv, «AAs/sf vroni; fyoy.i~; ri x) zrxKx»rd?, ■srixjce;, x) zsoc!>t(>xlnzfac, opa re x, 01 Ja ’ 0 Je y.i\iTu, i^vyrafayn J'ia r:j; 0 Jswf tx\ to palnsc^xi, zrw£ tsto ivigych^ti rote diijgidmii. Ewii Je asroguv 0 KXefrbiv £ Txynj clirexfimlo ‘ Af (spy) to7; tuv £ xj •BTiHavuTipH zsoiilf paijitsScci -IIxw yh Sv, lpt1. To' Je Xp TX ydih T&J zsoivvluv n Quydrav dtroyi-/Hio-Sxi, xzsois'l Ttvx Tiopiv Toff SsuyJvoic ; Eixof y gv lpt1. Odv tip TM y.h dvraXy'hyJ Td ojuyxrx dtmxxHov, TM Ts miKWOTuy iupoxivoyiuuu opt; [Myn-A- n Zßf“ Aff äg* fipv) dvfyxvlotrmi, T* T>5? pox*?. Wfontxagw. x. t. A. Mem. Soc, lib, 3. c. 10. fed. 6, Chap. 4. and Decline of Fa inti n g. « cxprefs the Paffions in your Figures, that are difcernibie in the Looks and Gcftures of “ Actors, proper to their different Characters and Circumftances, is it not that which « chiefly delights an intelligent Eye ? It is Co, laid Ciito. For that rcafon, replies Sott crates, the Eyes of Combatants ought to threaten ; and Conquerors fhould have cheer-tc ful Countenances. Very true. It is then, laid Socrates, the Statuary’s chief Bufinefs « anfl hiqheft Effort, to reprefent the Actions of the Mind by their outward Indications “ in the Face and Gcfturc.” I am not a little furprized to find the ingenious Author of the Reflexions on Roetry Observations cn the and Tainting, afferting, that it is to no purpofe to inquire, which is the moil cftimable ffflflffllfr (Quality or Part in Painting, Defign and Expreffion, or Colouring (27). For if it be not ßon, flinch A f-in vain to inquire what are the belt and nobleft Ends of Poetry, and what Parts of it are ferable. nioft agreeable and uleful; it cannot be fo to inquire into the beft Ends of Painting 5 or what are its nobleft and moft valuable Performances. And which-ever way the 011c Queftion is decided, the fame Judgment muft of neceffity determine the other; becaufe the Pleafures, which both are qualified to afford our Minds, proceed from the fame Sources, and are nearly of the fame kind. If thofe are the beft Pieces in Poetry, which entertain the Reafon. as well as pleafe the Fancy; which exprefs and convey great Sentiments and Ideas, and at the fame time move our Affedions 5 it muft be fo likewife with regard to Pidures. What are the nobleft, the moft pleafing, and at the fame time the moft ferious, and inftrudive Parts of Poetry ? Are not thofe pronounced fuch by Anftotle, and all Criticks, which ftir up our Pity and Horrour, in order to refine and dired them (28) : Or, in other words, which exercife our greater Paflions, in a way that hath a wholefome Influence upon the Mind ? And if this be true, whatever the reafon of it may be, thofe Pidures which are fitted to work upon the fame Affedions in a ftrong and proper manner, muft be the nobleft Pieces of Painting ; becaufe they are at the fame time the moft entertaining and the moft uleful. Accordingly we have found that Maftcr-Critick of all the fine Arts, giving the preference to fuch Pidures above all others, and cenfuring the fineft Colourift of Antiquity for not expreffing Manners in his Pidures (29.) THE Author of the Reflexions, &c. very juftly obferves in another place (30), “That “ a Painter may pafs for a confiderable Artift in quality of an excellent Defigner, or a beau-“ tiful Colourift, tho’ he be not able to reprefent affeding Objeds, or to animate his Pic- Progrefs? I am far from charging that ingenious Author with the abfurd Confequcnces which ne-teflarily follow from his Maxim. But certainly if it be falle, it is not in vain to dilpute whether the preference ought to be given to the mere Colourift, or to one who excels in Exprellion and Delign. And if the Maxim be true in one cafe, it mud be univerfally true; upon which fuppofition it would be ridiculous to lay down Rules about the Perfections and Faults of any Art; or indeed about a right Tafte of Life and Happinefs : Right Education which is nothing elfe but the Art of forming and perfecting good Tafte in Life, and in Arts, would be vain labour. In truth, when it is laid that Taftes may not be called in 'queftion, and examined, in order to their being amended, the propereft Refutation is that propofed by an excellent Author, which is to prefent thofc who maintain that Abfurdity, with a Picture of a Fly, or a certain großer Animal at its beloved Repaft, with this Motto" Lrahit fiua quemque voluptas. TIS true, ancient Authors have faid, that in Poetry, Oratory, Painting, or any Art ^ood Tafte can no more be communicated by Art and Teaching, than Tafte or Smell (32). And fo have the belt ancient Moralifts faid, that Virtue cannot be taught. But 'tis plain their Meaning is not, that the Beauties of Life and Arts cannot be explained; that the Nature of Virtue cannot be defined; or that Arts and Life do not admit of Rules, pointing out what is beautiful and excellent in the one or the other, and their contraries. For don't the fame Philofo-phers, who tell us that a moral Senfe muft be from Nature, and that it cannot be acquired ftiew us the Rules of Conduft, the Obfervance of which produces Flarmony and Confftency of Life and Manners; Numeros modofque vita ? Is it not the chief End of their excellent Writings, to correct and improve our Tafte of Happinefs and moral Beauty ? And in like manner do not thole Authors, who tell us, that good Tafte in any of the fineArts cannot be acquired by mere InftruCtion, but muft be fundamentally from Nature, fhew us, how good Tafte in the Arts may be cultivated, and brought to due Perfection; and point out the Perfections and Imperfections, or, to fpeak in their own Stile, the Virtues and Vices belonging to thefe Arts? All that is meant by them is indeed felf evident; namely, that Morality or right and wrong Conduct in Life, prefuppofes a natural Tafte of moral Beauty and Fitnefs in Actions: And°in like manner all the Arts prefuppofe a natural Senfe of Harmony, Beauty, Proportion Greatnefs and Truth; and that as neceflarily, in both cafes, as Taftes and Smells prefuppofe Faculties or Senfes fitted to receive thefe Senfations. As no Art can fupply the outward Senfes where they are abfolutely wanting; fo neither can Art produce the other internal ones where they are totally deficient. But in both cafes Art can cure and improve, reform and perfeCL It is in Morality and all the Arts, as Horace fays it is in Writing: Scribendi rette fapere efi principium & fons. Hor. Art. Poet. Good Senfe is the Source and Fountain of all; but good Diredions are ufeful to guide it into its proper Channels (3 3), and lead it to a proper place, where it may dilate and fpread it felf with Pleafure and Ufe. BUT not to infill longer upon what is fo evident, I would only fuggeft, that in the Dilpute about Colouring and Exprellion, which of the two ought to be preferred, Exprelfion is often confounded with Palfion; and hence arifes great Confufion and Jangling. Yet thefe, in truth, are very diftind things; every Pallion is Exprellion, but all Exprellion is not Palfion or of the pathetick kind. As it is in Writing, fo is it in Painting; there may be Loftinefs in Sentiments where there is no Pallion. The Pathetick, as Longinus hath obferved (34b may animate and inflame the Sublime; but is not eflential to it. And therefore, in comparing Painting with Defcription, I mentioned four forts of Exprelfion; which, tho'the diftin-guifhing Charader of the Objed deferibed may be clearly and ftrongly delineated in each are however very different in refped of their Excellence, or of the Pleafure they are qualifv'd to afford the Mind: The Exprelfion of low, mean, and vulgar Objects ; the Exprellion*of lofty, noble, beautiful and delightful Ideas; the Pleafure which arifes from theNewnefs or Uncommonnefs of the Ideas that are convey'd by Defcription and Pidures ; and the Expref-fion of Objeds that touch the Affedions. The laft Clafs is properly the pathetick fort. Ex-prelfion is a general Term, that fignifies reprefenting any Objed agreeably to its Nature; or giving it its true and proper Charader. Pallion denotes thofe Motions in the Face and Gefture, (32) Non magis arte traditur quam guff us aut odor. £htint. Infl. Whether Virtue could be taught or not, is a Queftion often handled by Plato, and other ancient Philofophers. This Horace tells us, Epiß. I. 1. Ep. 18. Inter cun£ia leges & percunSiabere docios Vertutern doSlrina paret, naturane donet. (33) So Longinus fpeaks, De Sublim, f. 2. men quo modo, loco, tempore, & ad quos & quatenus earn conveniat adhiberi, unumque adeo redtum illius at-que emendatam ufum & excercitationem ab arte ac me- thodo definiri proficifci.-----Adeo ut quod de communi vita Demofthenem pronuntiafle ferunt, primum omnium bonorum eile feheitatem : proximum vero huic ac tan-tum non par, fehcitate ilia fapienter uti; quo deficiente & illius hominibus fmet us intereat atque evanefcat; id ipfum quoque in dicendi ratione commode ufurpari poiTc j naturam quidem felicitatis vias fuftinere, artem vero pru-dentias. (34) Prima eaque luculentiftima prasftantiftimaque fub-limitatis fcaturigo, eft nobilis & felix in concipiendis grandibus ac excelfis fenfibus animi magnitudo________.__ Altera eft vehemens & ad concitandos perturbandofque animos efficax affectus : atque hae quidem duse fublimi-tatis fcaturigines maxima fui parte homini ingenita funt & naturales.------Qui ft fublimitatem & hanc animo- rum perturbationem rem unam efle cenfuit, & cum natura tum conftitutione eändem, vehementer errat. Narrt & affedtus aliquot inveniuntur a fublimitate remotiflimi immo humiles plane & abjeöi; quod genus miferatio* triftitia, metus: & vice verfa fublimia multa omni om« mno affedtu deftituta. Long. f. 8. Chap. 4. önd Decline of Paint ing. Gefture, by which Affections of the Mind areexprefled. Colouring therefore, as it is diftihguifh a from both, muft mean no more than the artful Imitation of the real Appearance of Objects in refped of Colour; as for inftance, in the human Body. Now without all doubt to be able by a thorough Intelligence of local Colouring, and of Light and Shade, as by a kind of Magick to imitate real Flefh and Blood, fo as to impofe almoft upon the Senfe, and deceive the Eye, is a wonderful Art. But let any one ask himfelf, whether it is not a yet higher and more entertaining Art, to give a Face a fagacious, graceful, or majcftick Air; to mark the diftimmifhing Character of a Jupiter, a E alias, or an Apollo : Whether, in one word, the moft perfect Refcmblance to Flefh and Blood, without any other Ideas fuggefted to the Mind, is the hi°heft pleafure (3 f) he can conceive aPicture capable of giving: Or whether he is not more delighted, when, tho' the Colouring is not fo perfect, a particular Charafter is fo marked, thathe diftinctly perceives what it is, and is natually led into pleafing Reflections in his own Mind upon it, and the Propriety with which it is exprefted. IT may therefore be laid down as a general Rule, which refped to Pidures, that they are proportional in Merit, to the Dignity of the Ideas they are qualified to convey to the Mind. If the Truth, Strength, and Propriety of the Reprefentation are equal, they are as the Ideas or Objeds that are reprefented: And if the Ideas or Objedsreprefented are the fame, or equal, they are as the Truth, Strength, and Propriety of the Reprefentation. SOCRATES and Ariftotle have not hefitated to pronounce the Talent of Imitating moral Life, and exprefling the Affedions of the Mind, the chief Excellence in all the imitative Arts (3 6). And the latter divides moral Imitation in Painting and Poetry into three forts. “ Men, faith he, are either good or bad; they are chiefly diftinguiflfd “ by their Manners, that is, by their Virtues and Vices. Thofe therefore who propofe “ to imitate human Life, muft either paint Men better or worfe than they are in the « ordinary Courfe of human Affairs; or fuch as they commonly are. There are but thefe “ three Kinds of Reprefentation. Now Eolygnotus excelled in the firft, exhibiting Men of “ great, iiluftrious, and uncommon Virtues; Eou/fi'n in the fecond, painting extraordinary « ^Scelevates, or the vileft and moft abominable Charaders; and Dionyfius drew the more “ common Manners, Difpofitions, and Qualities of Mankind (37).” THIS Paffage is mifunderftood by thofe who imagine the Stagy rite to be fpeaking of mere Face or Portrait-Painters. He is difeourfing of moral Imitation in Poetry; and is illuftrating it by fuch Painting as aimed alfo at the Reprefentation of Manners, Adions, and Charaders. He adds, that the Tragedies of fome young Men were like the Pidures of Zeuxis, in which Manners were not painted; not properly diftinguifhed or characterized. PROPRIETY and Truth of Charaders do therefore belong no lefs to Painting than to Poetry ; and according to Ariflotle and Socrates, it is the principal End of both to exprefs Manners and to touch the Mind. But whatever thefe Arts propofe to imitate, his Truth and Nature muft be their guide. Then is Art, fays Longinus, per fed when it is Nature (38). Socrates begins both his Difcourfes with obferving, that Nature is the Standard (35) What Felibien fays in the Life of Tintoret deferves our attention. Quoiqu’il eut toujours en vue le coloris du Titien & le deft ein de Michel Ange, il craignoit bien plus de manquer dans le deffein que dans la couleur, di-fant meme quelquefois, que ceux qui vouloient avoir de belles couleurs pouvoient en trouver dans le? boutiques des marc hands : mais que pour le deffein, il ne fe trouvoit que dans PEfprit des excellens Peintres.'-------Le blanc le noir font les couleurs les plus precieufes dont un peintre pouvoit fe fervir; parce qu’avec celles-la feules, on peut donner relief aux figures & marquer les jours & les ombres—il prefervit le feu de l’imagination & l’abon-dance des expreffions a tout ce que regarde l’achevement d’un ouvrage ; e’eft pourquoi certains peintres Flamands, qui venoient a Rome, lui ayant montre quelques tetes qu’ils avoient peintes & finies avec beaucoup defoin & de tems, il leur demanda combien ils avoient ete de terns a les faire ?--Il prit du noir avec un pinceau & en trois coups deffina, fur une toile, une figure qu’il rehauffa avec du blanc : puis fe tournant vers les Etrangers, voila, leur dit il, comme nous autres pauvres peintres Venitiens, avons accoutume de faire des tableaux—Un jeune peintre de Boulogne l’etoit alle voir, & lui demandant fes avis pour devener bon peintre, il ne lui dit autre chole, finon qu’il falloit deffiner-fon fentiment etoit qu’il n’y avoit que ceux qui etoient deja bien avancez dans le deffein, que devoient travailler d’apres la nature: parce que la plufpart des corps naturels marquoient beaucoup de grace & de beaute - que cet art eft tel, que plus on y avance, plus on y trouve de difficultes : qu’il reffemble a une mer qui n’a point de bornes, & qui paroit toujours plus grande a mefure que 1’onVogue deffus. Entret. fur les Vies, tom. 3. p. 154. (36) Ariß. de Poet. c. 6. Prima igitur pars, & velut anima tragoediae eft ipfa fabula. Proxima autem loco funt mores: His enim affimile quiddam eft etiam in re piöoria. Siquis namque tabulam pigmentis licet pulcher-rimis temere fufimque illeverit; non perinde fpeefantem obledtet, ac ft, albo licet colore imaginem delinearit certain : pari modo in trageediis abfque conftitutione rerum, magis valent mores quam morum expers fabula. Eft etiam omnis imitatio, proprie quidem, ipfius action is & per banc, eorum eft maxime qui agunt; quibus primitus haerent mores. So likewife Horace de Arte Poet. Non fatis efl pulchra ejfe poemata dulcia funto : Et quocunque volent animum auditoris agunto. Again. Si plauforis ages Aula a manentis & ufque Sejfuri, donee cantor, vos plaudite dicat ; JEtatis cujufque notandi funt tibi mores, &c. And again.Interdum fpeciofa locis, morataque re£ie Fabula nullius Veneris, fine pondere CA arte Valdius obleclat populum, meliufque moratur, Fhiam verfus inopes rerum, nugaque canora. (37) See Arß. de re Poet, the whole 2d Chapter, and compare it with the laft Paragraph of the i5Ih Chapter. Quoniam autem Tragoedia, meliorum imitatio eft: (ut Comoedia fequiorum) fictores imaginum bonos imitari debemus ; qui cum fingulis fuam propriamque dent for-mam, faciendo fimiles; quantum res patitur, pulchriores fingunt. Ita & Poeta, &c. (38) This appears from the Paffages of Xenophon and Ariflotle already quoted. So likewife Longinus.----Turn demum ars confummata eft atque abfoluta, quum natur® X fpeciem The Opinion of Socrates and Ariftotle. The latter’s Account , of moral Imitation. Painting Ought t& aim at Truth. 78 An Essay on the Rife? Progreße dard of the imitative Arts: And this is indeed manifeftly included in the very Idea of Imitation. But both Ariftotle and Socrates tell us, that the Imitators of Nature mud aim not Probability is the only at Truth but at Beauty : becaufe Probability is the Truth of Art (39), or with refpect Truth of Art. to Art, Nature and Probability mean the fame thing. This term Nature, not only compre- AndPainting ought hends what a&ually does exift, but whatever may exift or is eonfiftent: It includes, in its to aim chiefly at Meaning, not only what is called by fome Moderns Real Truth? but alfo what is called Beauty. by the fame Criticks, Ideal Truth. IN order therefore to paint agreeably to Truth, it is not neceflary to adhere too ftridly to Nature; but the Imitator may chufe and colled from various Parts of Nature, or from all her immenfe Riches, in order to make his Reprefentations more grand, beautiful, in-ftrudive or moving, than common Nature; and whilft he does fo, what he paints will be Nature. , Of the Liberty of THE Art, Genius, Tafte, and Judgment of Poets and Painters, difcovers itfclf in chu-Poets and Painters fmg well, in order to fet off their Subjeds to the bcft advantage. This, in Ariftotle s to mend Nature. Phrafe, is to know how to lye as one ought (40). When Poets or Painters are faid to have the Power or Liberty of heightening and mending Nature, the Meaning is, that they are at liberty to feled from the various Parts of Nature, and to combine Circumftances according to their Fancy, as may beft fuit their end (41). But their Compofitions muft be eonfiftent and probable : they muft be congruous Wholes. And whatever is luch, becaufe it may exift, is Nature, tho' it be not copied after any particular Object of Nature. All this is charmingly explained by Horace in his Art of Poetry. ---------------Pifforibus atque poetis fipuidlibet audendi femper fuit aqua pot eft as. ‘Henique fit quodvis fimplex duntaxat & unum Infelix operis fumma, quia ponere totum Nefcit:-------- Atque it a mentitur, fic veris falfa re mi feet Primo ne medium, medio, ne diferepit imum. It is on account of this extenfive Liberty of Poets and Painters, reaching as far as Probability extends, that the imitative Arts are faid by Ariftotle to be more Philofophical than Fli-ftory (42) : Becaufe the Hiftorian is tied down to a faithful Reprefentation of Fads as they really happened ; but the imitative Arts are more univerfal, having a greater Latitude in chufing and combining proper Circumftances, and therefore are better adapted for teach-/ ing and exhibiting human Nature : They are fitter to exhibit Men and Manners; and con- fequently to inftrud in the Knowledge of Mankind (43) and Morals. IT is almoft needlefs to obferve, that Truth or Probability of moral Reprefentation muft comprehend, not only regard to what may be called univerfal Truth, that is, to the Fabrick of the human Mind, or the Nature of human Affedions; but likewife regard to accidental or variable Truth, the Differences of Times, Countries, Climates, Cuftoms, Habits, and all that is properly denominated by the modern Painters, Coftume. He who draws Battles, or other Adions of any diftind and peculiar People, ought to draw the feveral Figures of his Piece in their proper and real Proportions, Geftures, Habits, Arms; or at leaf! with as fair Refemblance as poflible : Accordingly Nealces and feveral other ancient Painters are highly commended on this account, as hath been oblerved. Every Imitation ought to be performed with fuch Intelligence of human Nature, which is ever fubftantially the fame, that it may be univerfally inftrudive and moving. But every Imitation being particular, fpeciem induit; & viciffim natura tum denique felix & emendata dicenda eft, quum ab arte latenter adjuvatur. De Subl. fee. 22. So Vitruvius, particularly with regard to Painting, and the ancient Artifts, Quod non poteft in veritate fieri, id non putaverunt, in imaginibus factum, poffe certam rationem habere. Omnia enim certa pro-prietate, & a veris naturae deducta moribus, traduxerunt in operum perfedtiones ; & ea probaverunt, quorum ex-plicationes in difputationibus rationem poflunt habere ve-ritatis. Lib. 4. c. 2. & lib. 7. c. 5. Pictura fit imago ejus quod eft, feu poteft efie ; ut hominis, sedificii, navis, reliquarumque rerum, e quarum formis certifque corpo-rum finibus figurata fimilitudine fumuntur exempla. Ita-que in conclavibus vernis & autumnalibus, asftivis etiam Atriis & Periftyliis, conftitutae funt ab antiquis ex certis rebus certae rationes picturarum. Sed haec quae a veteri-bus ex veris rebus exempla fumebantur, nunc iniquis moribus improbantur ; nam pinguntur Tedtoriis monftra potius, quam ex rebus finitis imagines certae. At haec falfa videntes homines, non reprehendunt, fed deledtan-tur: Neque animadvertunt fiquid eorum fieri poteft, necne. Judiciis autem infirmis obfeuratae mentes, non valent probare quod poteft effe cum audforitate & ratione decoris: Neque enim pidturae probari debent, qua: non funt fimiles veritati. (39) Compare with the PafTages of Ariflotle already quoted, c. 9. ab initio. Manifeftum eft, non efie poets munus, ea quae fingulatim fiunt, dicere ; fed ea memo-rare, qualia fadtum iri contigerint, & quae poffibilia fue-rint, fecundum verifimile, vel neceflarium, &c. (4°) fiA'A-y.-p bl "O4 rs'j uXXuq xiyn'j ü; bst. "Erl bi tuto 7roigaXoyic-y.b;. (41) Compare with Ariflotle the Paflages from Vitruvius and Longinus above, and what the latter fays, SeSl.36 --------Praeftiterit, inquam, artem naturae auxiliatricem adjungere. Ubi namque hae duae amice confpiraverint fieri nequit, quin idipfum, quod communi opera effece-rint omnibus fuis numeris fit abfolutiflimum. (42) ^10 ^ (ppotroCpuTifoi, ^ (rmsSxdT^ot, oroitms irofag irw. /*» ydo irolrms pdxXov ra xocSlXx, n V Iroflx rd y.aS- Aas-w Xiye 1. De Art. Poet. c. 9. (43) Compare the Paffages in Ariflotle's Art of Poetry already quoted, with what he fays of Manners. Polit Ed. PVechel. p. 225. I Why Horace recommends the Chartse Socraticse to their ftudy. Chap.4. and Decline of Painting. nai-ticular or reprefentative of one certain Aaion; the Aftion painted ought to be told with fuch a ftri& regard to the accidental Cofiume, that the Subjed and Scene may be eafily diftinguilhed by thofe who are verfed in Hiftory. IT is then evident from what hath been faid, that there is no kind of Compofition re-latino to Men and Manners, in which it is not equally neceflary lor the Author to under- Mankind, and true ftand moral Truth. ’Tis not enough that the moral Painter hath ftudicd the Features, 1 to- moral Philofiphy. portions and Graces of the human Body; he mull be profoundly knowing in thofe of the Mind (44). How elfe can he juftly reprefent Sentiments and Characters ; diftinguilh the Beautiful from the Deformed; mark the Sublime of Tempers and Adions; and give a moral Whole its juft Body and Proportions ? How elfe can he note the Boundaries of the Paflions, and difeern their exad Tones and Meafures ? This therefore is the Study which Socrates recommended to Tarrhafius and Chto : This is the Study Horace recommends to all the Imitators of rational Life. Refpicere exemplar vita, monmque jubebo 'Doclum imitatorem, & veras hinc ducere voces. AND for this end he ad vifes them to ftudy the Charta Socratica, the Dialogues of Rlato, in which Socrates is the Hero or principal Charader (4f); becaufe thele Wrkings are Imitations which have the effential Quality of fuch Compofitions, Manners. The phnolo-“ phical Writings, (fays a noble (46) Author) to which Horace in his Art of Poetry refers, “ were in themfelves a kind of Poetry like the Mimes, or perfonated Pieces of early Times, « before Philofophy was in vogue, and when as yet dramatical Imitation was fcarce form d; “ or at leaft in many parts, not brought to due Perfedion. They were Pieces, which, be-« fidcs their Force of Stile, and hidden Numbers, carry'd a fort of Adion and Imitation, the « fame as the epick and dramatick Kinds. They were either real Dialogues, or Recitals oi “ fuch perfonated Difcourfes; where thePerfons themfelves had their Charaders preferved « throughout; their Manners, Humours, and diftind Turns of Temper and Undemanding “ maintained, according to the moft exad poetical Truth. It was not enough that thofe “ PiCCes treated fundamentally of Morals, and in confequence pointed out real Charaders « and Manners; They exhibited them alive, and fet the Countenances and Complexions of « Men plainly in view. And by this means they not only taught us to know others; but, “ what was principal and of higheft Virtue in them, they taught us to know ourfelves. The “ philofophical Hero of thefe Poems, whofe Name they carry d both in their Body and Front, « and whofe Genius and Manner they were made to reprefent, was himfelf a perfed Cha-« rader; yet in fome refpeds, fo veil’d, and in a Cloud, that to the unattentive Surveyor, iC he feemed* often to be very different from what he really was: and this chiefly by reafon o> Atop 'Tvoa.yy.v. 0 avvirww EJC Tivuv, ä pouov TotZra. rerocyy.ivx Ji» £X“V» d,XXx f i'iciayjiv y-n to Tiypv • to yxp kx- Aov, £» jusy&ii x) TctjEi irL Arift. de Art. Poet. c. 7. the fame reafon ; becaufe the fummary Beauty, the Whole itfelf, cannot be comprehended in that one united View; which is broken and loft, by the neceflary Attraction of the Eye to every fmall fubordinate Part. In a poetical Whole, the fame regard ought to be had to the Memory, as in Painting to the Eye. The dramatick Kind is confined within the convenient and proper time of a Spectacle. The Epick is left more at large. Each Work however, muft aim at Vaftnefs, and be as great, and of as long Duration" as polliblc ; but lo as to be comprehended (as to the main of it) by one eafy Glance or Retrofpect of Memory. And this the Philofopher calls evp-mplveuTov, Eafinefs or Unity of Comprehenfton The noble Author, who thus comments on Ariftotle, adds, “ I cannot better tranflate the “ Paflage than I have done in thefe explanatory Lines. For befides what relates to mere “ Art> the philofophical Senfe of the Original is fo majeftick, and the whole Treatife fo “ mafterly, that when I find even the Latin Interpreters come fo Ihort, I Ihould be vain “ to attempt any thing in our own Language. I would only add a fmall Remark of my “ own, which may perhaps be noticed by the Studiers of Statuary and Painting • That the “ greateft of the ancient as well as modern Artifts, were ever inclin'd to follo°w this Rule “ of the Philofopher; and when they err’d in their Defigns, orDrauahts, it was on the fide “ of Greatnefs, by running into the unfizable and gigantick, rather than into the minute and “ dehcate. Of this Michael Angelo, the great Beginner and Founder among the Moderns “ and Zeuxis the fame among the Ancients, may lerve as inftances (48)." The fame hath been already obferved with refpcct to Euphranor, and Nicias, and in general all the heft ancient Maliers. ’ Of Ordonnance and Eafinefs of Sight. THIS Beauty of Compofition, was likewife very emphatically called by the Ancients in one word, lucuvoirrov (49), Eafinefs or Unity of Sight. And it cannot be better defined, as it relates to Painting, than in the Words of the fame noble Author juft cited. When the Ordonnance is fuch, that the Eye not only runs over with cafe the feveral Parts “ of tlle De%n, (reducing ftill its View each moment to the principal Subject on which all “ turns) but when the fame Eye without the leaft Detainment in any of the particular Parts “ and refting, as it were, immovable, in the Middle, or Centre'of the Tablature may “ fce> at once, in an agreeable and perfed Correfpondency, all which is there exhibited to “ tde Sight (yo.) Thus alone can the Subordination be perfecd. And if the Subordination “ be not perfecd, the Order (which makes the Beauty) remains imperfect.” THIS Unity and Eafinefs of Sight and Comprehenfton, neceflarily requires Unity of Adion, Time, and Place } and that what is principal or chief fhould immediately fhew itfelf, without leaving the Mind in any uncertainty. BUT all that relates to Unity and Simplicity of Defign, and to the one Point of Time in hiftorical or moral Painting, are fully explained by my Lord Shaftesbury in his Notion of the hiftorical E)raught or Tablature of the Judgment of Hercules (yi) s where he indeed fhews moral Painting to be a truly profound and philofophical Art. WHAT (48) Char a Cl. vol. I. Effay on Wit and Humour, ^>.143. I ufe that noble Author’s Words. It is an excellent Commentary on that Paffage of Arifiotle. (49) 41ft S{i y.x$ according to Nature, might well fubfift or happen “ together in one and the fame inftant. And this is “ what we may call the Rule of Confiftency. Now <£ ’sJlftherefore pollible, fays one, to exprefs a Change u ^a®on *n any Subject, fince this Change is made by fucceftion ; and that in this cafe the Paffion which is underftood as prefent, will require a Difpofi-o°S.°f B?dy and features wholly different from the Paffion which is over and paft ? To this we anfwer, that notwithftanding the Afcendency or Reign of the principal and immediate Paffion, the Artift has power to leave ftill in his Subjects theTracks and Footfteps of its Predecefior : So as to let us behold not only a rifing Paffion, together with a declining one; but what is more, a ftrong and determinate Paffion, with its con- trary already dtfeharg’d and banifh’d. Asforinftance “ when the Plaln Tracks of Tears new fall’n, with “ other freffi Tokens of Mourning and Dejedlion re-“ mam ftill in a Perfon newly tranfported with joy at the fight of a Rektion or Fnend, who the moment before had been lamented as one deceas’d or loft. Again, by the fame means which are imploy’d to call to mind the paft, we may anticioate the future * “ as would be feen in the cafe of an able Painter, who fhould undertake to paint this Hiftory of Hemdes ac “ “rdit,g dle tld^ Date or Penod of Time pro’pos’d for our hiftorical Tablature, (when the Difpute be-“ rween the two Goddeffes Virtue and Pleafure is already far advanced, and Virtue feems to gain her Caufe ) “ for in this momentary Turn of Action, Hercules remaining ftill in a Situation expreffive of Sufpenle and Doubt, would difeover neverthelefs that the “ Strength of this inward Conflift was over, and that “ Victory began now to declare herfelf in favour of “ frtue. This Tranfition, which feems at firft fo my-“ fterious a Performance, will be eafily comprehended “ lf one confiders, that the Body which moves much “ flower than the Mind, is eafily out-ftripp’d by this “ latter 5 and that the Mind on a fudden turning itfelf “ fome new way, the nearer fituated, and more fprightlv “ Parts °f the Body, (fuch as the Eyes and Mufcles “ about the Mouth and Forehead) taking the Alarm “ and moving in an inftant, may leave the heavier and “ more d.ftant parts to adjuft themfelves, and change “ their Attitude fome Moments after.” The fame Author adds, that if this Queftion concerning the inftan taneous Action or prefent Moment of Time were applied to many famous hiftorical Pictures much admired in the Wor d, they would be found very defective ; as we may learn by that fingle inftance of Adeon, one of the commoneft in Painting. Hardly is there any where feen WHAT I chiefly propoied was, to mention fome of the more important Observations of ancient Philofophcrs on the Art of Painting. And, from what hath been faid, it mani-feftly appears 5 in what they placed the chief Excellence of Painting. A Picture mud be a true Imitation, a true Likenefs; not only the Carnation muft appear real, but even the Stuffs, Silks and other Ornaments in the Draperies. Without Truth no Imitation can pleafe. But the great Merit of Painting confifts, in making a fine and judicious Choice of Nature ; in exhibiting great, rare, Surprizing, and beautiful Objects in a lively manner; and thus conveying great and pleafing Ideas into the Mind. But becaufe rational is the higheft Order of Life the Source whence the greateft, the loftieft, as well as the mod inftructive and touching Sentiments are derived; the higheft Merit and Excellence of Painting muft con-fift in affine Tafte of moral Truth; in exciting in our Minds great and noble Ideas of the moral Kind, and in moving our Paffions in a found and wholefome way : For fuch is our Frame and Conftitution, that what hath a virtuous Effect is at the fame time moft pleafant and agreeable. CPARRHASIUS ask’d Socrates how this could be done; and the Philofopher an-fwers that if all that is vifible may be painted, all the Paffions and Affections of the Mind may be painted, for all thefe have their vifible CharaCterifticks. Whatever is great, generous, beautiful or graceful in the Mind, {hews itfelf by plain Marks in the Countenance, and Gefture: And fo likewife do mean, low, bafe, unworthy Sentiments and Affections. And therefore all thefe may be exhibited to the Sight by a Painter who hath ftudied Mankind, and is profoundly skilled in the human Heart, and the natural Language of the Paffions. So Horace: _ . 7 Format enim Natura prius nos intus ad omnem Fortunarum habitum: juvdt, aut impellit ad iram ; Aut ad humum mcerore gravi de due it, & angit: Pofl effert animi motus interprete lingua. De Art. Poet. And Pliny gives us a long and elegant Account of the Force of Expreffion in the Eye, that well cleferves the Confideration of Painters (p). BUT Socrate s, fpeaking of moral Painting, or of the Expreffion of Manners, goes farther, and leads Parrhafius to give the Preference to thofe Pictures which exprefs the Beauties of Virtue; amiable and worthy Characters; truly good and great Actions; pure and virtuous Manners. Thefe the Mind contemplates with the higheft Delight and Satisfaction: Thefe raife our Admiration, and infjpire us with the moft pleafing Sentiments and generous Difpofitions. Merely corporeal Beauty hath ä wonderfully charming Influence upon the Mind: But ’tis moral Beauty, the Graces of the Soul, the Fair, Lovely and Decent in Characters and Actions that moft highly ravifhes and tranfports us. We find this Philofopher often difeourfing to his Difciples inPlato and Xenophons Works, upon the Excellence of Virtue; often telling them. Each is the Force of its Charms that it appears in its higheft Glory when we fee its Behaviour in diftrefs. 'Tis then moft lovely and engaging when it is put to the fevereft Trials. Then do we fee all its Majefty and Firmnefs, all its Strength, Refolution, and Sublimity: Then is it we are moft deeply interefted in its behalf; our Hearts are then filled with the higheft Admiration and Aftönifhment, and at the fame time melted into the moft tender, generous Pity. So virtuous is our Frame, (according to the DoCirine of that moft excellent Moralift) that no Ad of the Mind yields it fuch a complicated Contentment, or fohigh a Reiifh of Pleafure, as the felf-approving Complacency and AfFedion with which it embraces fuffering Virtue and Magnanimity. Now the fame Philofopher, confidently with his conftant DoCirine, tells Par-rhajius and Clito, that in order to give us the higheft Satisfaction, and the moft delightful as well as wholefome Entertainment by Aft or Imitation, they ought to paint theBeauties of Virtue ; and for that end, that they fhould make a wife Choice of proper Circumftances, to exhibit its greateft Force and Excellence; or, in one word, that they fhould ftudy Human Nature and the Beauty and Sublime of Characters and AClions, in order to paint thefe truly amiable Virtues, the Contemplation of which exalts, enlarges and tranfports the Mind. SUCH, no doubt, were thofe Pictures amongft the Greeks, done in Memory of their Heroes and their glorious Atchievements for their Country and the publick Good. And tis Of fuch pictures Ariftotle fpeaks, when he juftly afferts that Painters ähd Sculptors may teach Virtue and recommend it, in a more ftriking, powerful, and efficacious Manner, than Phi- lofophers ä Defign of this poetical Hiftory without a ridiculous Anticipation of the Metamorphofis. The Horns of ABeon,which are theEffefts of a Charm, fhould naturally wait the execution of that Art in which the Charm confifts. Till the Goddefs therefore has thrown her Caft, the Hero’s Perfon fuffers not any change. Even while the Water flies, his Forehead is ftill found. But in the ufual Defigns we fee it otherwife. The Horns are already fprouted, if not full grown, and the Goddefs is feen wattering the Sprouts. (52) Neque ulla ex parte, majora animi indicia cunc- Socrates nprefents moral Imit ition as the chief End of Painting„ What may he inferred from his Con-verfation with Par-rhafius with regard to painting Virtue. So Ariftotle. tis animalibus, fed homini maxime, id eft, moderationis, clementiae, mifericordise, odii, amoris, triftitiae, laeti-tiae. Cöntuitu quoque multiformes, truces, torvi, flagrantes, graves, tranfverfi, limi, fummifli, blandi. Pro-feöo in oculis animus inhabitat. Ardent, intenduntur, humefeunt, connivent. Hinc illse mifericordiae, lacrymae, &c. Plin. Hiß. Nat. lib. 11. c. 37. So Seneca, Epiß. X06. Annon vides quantum oculis det vigorem fortitudo? Quantam intentionem prudentia ? Quantam modeftiam & quietem reverentia ? Quantam ferenitatem laetitia ? Quantum rigorem feveritas ? Quantum remiflionem hi-laritas ? See Sfuint. lib. 2. c, 3. An Essay on the Rife9 Progreße lofophers can do by their Differtations and Reafonings; and that Pictures are more capable of exciting Remorfe in the Vitious, and of making them enter into a ferious Converfation with their own Hearts, and return to a right Judgment of Life and Conduct, than the belt moral Precepts can do without fuch alliftance (f 3). TARRHAS1US\% led by Socrates to acknowledge that the Virtues are the moft agreeable Objects Pictures can represent; and that the Vices cannot be beheld without Abhorrence andDeteftation. Whence Tarrhafius might have learned, that the Deformity and Vilenefs of vitious Characters, is then moft pleafantly reprefented in Pictures, when the hateful Characters are introduced into aPiece, fo as to ferve by way of Contrail or Foil, to fet off and heighten the Beauty of the virtuous Action which is the principal Subject. At leaft this Conclufton naturally follows from what Socrates leads Tarrhafius to perceive and confefs with great Em-phafis (5-4). Nothing can be more inftruftive, with regard to Painting, than this fhort Converfation when it is duly attended to. “ Painting can give an Appearance of Reality to “ any Objed; but is this all it propoles ? Can it not paint more beautiful Objects than are to be feen in Nature ? And how is it able to do that ? Is it not by chufin«* out of “ the vaft Riches of Nature, and by combining difperfed Beauties with Tafte and jud»-“ tnent ? But does it aim at nothing higher than reprefenting merely fenftble and corpo-“ real Beauties and Proportions ? Can it not imitate the Motions, Adions and Affedions of the Mind ? Are not thefe likewife vilible, and if they can be difcerned by the Eye in real Life, may they not be painted ? But do all Sentiments, and Motions or Affedions “ °f the Mind equally pleafe ? Is there not a Beauty and a Deformity belonging to them ? What do you fay of a noble and heroick Mind ; and of a mean and groveling fordid one ? “ What do you fay of great, generous and lovely Adions 5 and of bafe, abominable and flagitious ones? Here indeed (faid the Painter) there is a moft fenfible difference between uint. Infi. 1.8. c. 3. Virtus Sc gratia in omnibus operibus efflorefcens, res eft prorfus admiranda, & quamvis difert® orationis vim ex-fuperans. Maxime quidem idonea eft confpici, omnibuf-que pariter idiotis, atque artium harum intelligentibus per-fpiciendam fe praebet; oratione tarnen earn explicari etiam its eft arduum, qui plurimum dicendo valent. Quifquis itaque qualemcunque hanc vim explicari fibi verbis requi-rit, plurimarum quoque aliarum infignium atque meffa-bilium rerum rationem pari jure poftulabit. ^ Quidnam videlicet in corporum pulchritudine vocamus ugoiv, Quid in mobili ilia modulatione ac flexu vocum tuupporov, quid in omni convenientia temporum fit 1 «£»r atque lufvOpov. In omni denique opere atque in omni re ge-renda, quifnam fit ille qui dicitur quemadmodum etiam to felßtov in quo confiftat. Senfu enim horum lingula, non oratione comprehenduntur. Dion. Halic. in Lyfia. (77) Dulce ridentem Lalagen amabo Dulce loquentem. Hor. Car. 1. I. Od. 22. Duke ridere. Hor, Ep. 7* ft* Tutatur favor Euryalum, lacrymaque decor is Gratior Gf pulchro veniens in corpore virtus, Virg. i£n. 5. ver. 313. In gremio vultum depofuitque fuum Hoc ipfum decuit : lücrymee cecidere pudi'ces Et facies animo dignaque parque fuit. Ovid. Fall. 1. 2. ver. 755. Invent es animo £3" dignas Jove concepit iras. Ov. Met. 1.1. 166. Et timor ipfe novi caufa decoris erat. Ov. Faf. 1. 5. ver. 608. _________pavit ilia ; metuque Et coins, Gf fufus digitis cecidere remißh. Ipfe timor decuit.---- Ov. Met. 1. 5. 229. Mifcetur decori virtus, pulcerque fevero Armatur terrore pudor. Claud, de Prob. See. Nefcia quid fit amor ; fed erubuiffe decebat. Ov. Met. 1. 4. 330. (78) Lomazzo in his frattato della Pittura of the Bel-lezza of the Antique, p. 291, 296. and of Draperies, p. 445- (79) Mr. Richardfon's. Difcourfe on Painting, A a j An Essay on the Rife5 Progrefsy " tbc faft sight of any particular Perfon, and this firft takes the Eye, and affefts the Mind when we ice a Picture, a Drawing, <&c. THE fame regard muft be had to every Action and Motion. The Figures muft not “ ollly do what is proper, and in the moil commodious manner, but as People of the bed “ Sente and Breeding (their Character being confidered) would or fhould perform fuch Ac-“ tions- The Painters People muft be good Actors, they muft have learned to ufe a hu-“ man B°dy well; they muft fit, walk, lie, falute, do every thing with Grace. There muft “ bc no auk ward or affefted Behaviour, no ftrutting, or filly pretence to Greatnefs 5 no “ horn baft in Aftion : nor muft there be any ridiculous Contorfion of the Body nor Cf even fuch Appearances, or Fore-lhortnings as are difagreeable to the Eye, fre THE Contours muft be large, fquare, and boldly pronounced, to produce Greatnefs • “ and delicate, and finely waved and contrafted to be Gracious. There is a Beauty in I “ Linc, in the Shape of a Finger or Toe, even in that of a Reed or Leaf, or the moft “ inconftidcrable things in Nature. I have Drawings of Giulio Romano of Yomethiiw of “ this hind; his Infects and Vegetables are natural, but as much above thofe of other Painters “ as his Men are, &c. 6 BUT this is not all; Nature with all its Beauties has its Poverties, Superfluities and “ Defects, which are to be avoided and fupplied, but with great Care and judgment’ that “ mftead of exceeding Nature, it be not injured. There Is (for example) great Beauty in a certain Squarenefs in pronouncing a Feature, or any part of a Figure 7 This forne 2 have carried to excefs, and have thereby difeovered they knew fomething^ but not enough “ which is the cafe in many other inftances. What is here laid of Drawing is applicable alio that Prevailed almoft univerfally at Athens. Their Orators could not have obtained a Hearing, far lefs have gained Honour and Reputation amongft them but bv the « and ,moft Perfea Eloquence. And all who feek Applaufe, naturally conform them-« 1 CrS 1 k thc JeiSPer and ^ade dlcd‘ Judges ; they exert themfeives to the utmoft to THE great modern Matters feem to have fallen fhort of the ancient Artifts not in Genius, but chiefly on this account, that they had not fuch noble living Form’s before n EJei.t0 raifeAand exalt their Conceptions. It is to the Study of the Antiques, that ne i ertedion the Art was brought to in Italy, is principally afcribed by the Matters them-lelves, as well as other Writers. The belt Ideas of the moft efteemed modern Matters if they are not entirely taken from the ancient Remains; it was thefe excellent Works certainly that elevated and inflamed their Imaginations, while they ftrove to keep up to their _ (82) So Felibien and De Pile tell us, who mention ; i reatile of his De ufu Statuarum in Pi aura. So the U T°r Reflea ions fur la Poefie lit fur la Peinture. 0m' * Rubens dans un petite traite Latin que nous avons e ui fur 1 ufage des ftatues antiques qu’on doil faire en Peinture, ne doute point que les exercifes en ufage chez les anciennes donaffent aux corps une perfection a laquelle ils ne parviennent plus aujourd’hui. (83) Semper oratorum eloquentis moderatrix fuit au- Truth, ditorum prudentia. Omnisenim qui probari volunt, vo-luntatem eorum qui audiunt, intuentur, ad eamque & ad eorum arbitrium & nutum totos fe fingunt & accom- modant itaque Caria, he.---Athenienfes vero funditus e- pudiaverunt quorum femper fuit prudens fincerumquelu-dicium, nihil ut poffent nifi incorruptum audire & ele-gans. Eorum religioni cum ferviret orator, nullum ver-bum infolens, nullum odiofum ponere audebat. Cicer» Orator. N° 8. ’ Truth, Grandeur, Beauty and Grace. This they themfelves acknowledged. If therefore they were not able to come up intirely to the Perfection of the ancient Artifts, to what Caufe is it more natural to aferibe it than to this, that the later had far fuperiour living Models before their Eyes to copy after and emulate, in the Pcrfons and Conduct of the great Men of thofe Times. RLiny (8y) gives this remarkable Reafon for the Decay of Painting in his Time, even the Decay of Virtue, or the Want of good Models to infpire the Artifts with noble Ideas, and to raife their Minds to great Thoughts. And Lomazzo makes the fame Obfervation about Painting in his time. NONE who are converfant in the Greek Hiftory will think this Obfervation is carried too far. For what Hiftory, what Times, afford fuch amazing Examples of every great, joined with every amiable Quality and Virtue? But not to in lift too long on what is fo well known 5 what a high Opinion does it ncceflarily raife in our Minds of Greece in its beft Eftate, when we confider that Rome, proud haughty Rome, long after the better Days of Greece, fent thither her moft illuftrious Youths to be formed, or at lcaft perfe&cd ! There they ftudied Philofophy and all the Sciences, moral Philofophy, juft Reafoning, and true Eloquence. Cicero, even after he had gained great Reputation, was confcious to'himfclf that fomething was wanting to make him a more complete Orator ; and was not afhamed to become a Scholar in Greece. It was from Greece, even after it was fadly degenerated^ that Rome derived its Philofophy and Oratory, all Sciences, all Arts, and all Politenefs. What then muft Greece have been in its better State (86) ? And it cannot. Purely, be thought to have been of fmall confequence to the imitative Arts, to have had the moft perfect Originals to copy. HAVING thus briefly confidered the more efiential Qualities of good Painting, mentioned by ancient Authors, have we not reafon to infer, that Socrates, Ariflotle, Cicero, Quintilian, and others, had a Very full and complcat Notion of that Art, and that it was indeed in very high Perfection amongft the Greeks ? From what hath been Paid, it plainly follows, that, according to their Ideas of it, a moral or hiftorical Picture ought to be con-lidered as a Poem, and ought to be examined in the fame way, or by the fame Rules and Queftions, to prove which is one of the Points chiefly aimed at in this Eflay. IS the Subject worthy of being reprefented; and doth the Reprefentation excite a lively and juft Idea of it? To what End is the Compofition adapted, and what Effect doth it produce on the Mind ? Doth it duly fill and employ it ? Have all the Parts a juft relation to the principal Defign ? Doth it clearly ftrike, or is the Sight fplitted, divided, and confounded, by Parts; either not efiential, or not duly fubordinated to the Whole ? Is the Colouring proper to the Subjed and Defign ; and is it of a proportional Charader throughout the whole, to that of the principal Figure ? Doth the fame Genius and Spirit reign throughout all the Work ? Is there a fuflicient and well-chofen variety of Contrails ? Is there too little or too much ? Of whatever kind it is, whether Landfcape or Hiftorical, doth it make a beautiful and great Whole ? Is it a true and compatible Choice of Nature? Is there nothing repugnant to Nature’s Laws and Proportions, her fixed and unalterable Connedions ? And above all, what Influence hath it upon the Mind ? Doth it inftill great, rare, beautiful, or delightful Ideas ? Doth it fpread the Imagination, light up the Under-ftanding, and fet the Mind a thinking ? Doth it fliew a fine Tafte of Nature; an exalted Idea of Beauty and Grace ; and raife the Mind to the Conception and Love of what is truly °rcat, beautiful, and decent in Nature, and in Arts ? ö ' ' BY thefe and fuch like Queftions ought Pidures, as well as Poems, to be tried and can-vaffed. And therefore the Examination of both is a truly philofophical (87) Employment, as (85) Ita eft profeiSto, artes Defidia perdidit, & quoniam ammorum imagines non funt, corporum negliguntur. Plin. I. 35- (86) Nothing can give us a higher Opinion of the Greeks in their beft Eftate, than the following Letter of Pliny the younger to Maximus, when Trajan gave him the Government of Achaia. “ Remember Maximus, that you are “ going to Achaia, the true Greece, the Source of all “ Learning and polite Tafte ; where even Agriculture it “ felf was firft found out. Suffer not yourfelf ever to force get that you are fent to govern Freemen, if ever any « deferved that Name. Men who by' their Virtues, their « great Actions, their Treaties, their Alliances, have ee preferved to themfelves the Liberty they received from « Nature. Revere-the Gods their Founders. Refpedt “ their Heroes ; the ancient Glory of their Nation, and “ the venerable, facred Antiquity of their Cities ; the Dignity, the glorious Atchievements, the very Fables . And the Artift is often called ijSwojtiT!^. See f uni us de Pi Slur a vet er um. (i) Excudent alii fpirantia mollius esra, Credo equidem: vivos ducent de marmore vultus j Orabunt caufas melius: Ccelique meatus Defiribent radio, Id furgentia Jidera dicent-. Tu regere imperio populos, Romane, memento : Hce tibi erunt artet----------JEn. 6. ver. 846. So Livy, Multas artes ad animorumcorporumquecultum nobis eruditiflima omnium gens Graeca invenit. L. 39. N° 8. (2) — Sed meum femper judicium fuit, omnia nof-tros aut invenifle per fe fapientius, quam Graecos : aut accepta ab illis, feciffe meliora, quae quidem digna fta- tuiflent, in quibus elaborarent----Dodrinä Graecia nos, & omni literarum genere fuperabat; in quo erat facile vincere non repugnanteis.-------An cenfemus, fi Fabio, nobiliffimo homini, laudi datum diet, quod pingeret, non multos etiam apud nos futuros Polycletos, & Parrhafios fuifle, &c. Cic. Tuf. Quafl. lib. x. N°. 1. id 2. (3) Hor. Epift. lib. 2. Ep. 1. ver. 161. Serus enim Gracis admovit acumina chartis. Et poß Punica bella quietus, quarere coepit : Quid Sophocles, Id Thefpis, id JEfchylus utile ferrent. (4) Compare what Pliny fays, lib. 35. 8. with c. 18. The Pafiages have been already quoted. (5) Apud Romanos quoque honos mature huic arti contigit: Siquidem cognomina ex ea Pidorum traxerunt Fabii, ciariffimae gentis; princepfque ejus cognominis ipfe, aedem falutis pinxit A. U. C. 450. Quae pidlura duravit ad noftram memoriam, media sede, Claudii prin-cipatu exufta. What Pliny fays here of the Honour paid AS to Fabius does not agree with the Paffage in Cicero juft now quoted, nor with what Valerius Maximus fays of him. Ilia vero gloria interdum etiam a Claris viris, ex humili-bus rebus petita eft. Nam quid fibi voluit C. Fabius, nobiliflimus civis, quicum in aede falutis quam C. Junius Bubalcus dedicaverat, parietes pinxiflet, nomen his fuum inferipfit ? Id enim demum ornamentum familise, con-fulatibus, & facerdotiis, & triumphis celeberrimas, de-erat! ceterum fordido ftudiodeditum ingenium, qualem-cunque ilium laborem fuum filentio obliterare noluit. Nor is it confiftent with what Pliny himfelf fays afterwards of Pacuvius, Antißius Labeo, he. See the French Notes on Pliny, 35. 9. where’tis juftly obferv’d : Ajoutez qu’ä l’egard des ouvrages de pictor, il ne pouvoit les avoir vüs que dans fajeunefle, puifque le temple en queftion fut brüle fous l’empire da Claude : au lieu que Ciceron avoit eü tout le loifir d’en bien juger, &c. (6) Proxime celebrata eft in foro Boario, aede Herculi?, Pacuvii poetae pidtura, Ennii forore genitus hie fuit, cla-rioremque earn artem Romae fecit gloria feenae. Plin. ibid. See what Cicero fays of this Pacuvius, lib. de Amic. c. 7. Qui clamores tot cavea nuper in hofpitis, & amici mei M. Pacuvii, nova fabula, he. See Quintilian, lib. IO. c. 1. Virium tarnen adfio plus tribuitur. Pacuvi-um videri dodtiorem, qui effe dodi affedant, volunt, he. Hor. Ep. lib. 2. Ep. 1. ver. 55. ------------------Aufert Pacuvius doSii famam finis.---- (7) Poftea non eft fpedata honeftis manibus : Nifi forte quis Turpilium equitem Romanum noftne aetatis, e Venetia, vellet referre ; pulchris ejus operibus, hodie-que Veronae extantibus. Laeva is manu pinxit, quod de nullo antea memoratur. Plin. lib. 35. The famous Holbein and Nicholas Mignard both painted with the left Hand. A S for the learned Antifiius Labeo, he ought rather to be number’d amongft thofe who lov’d and encourag’d the Art, than among the Painters j he ufed the Pencil only for his Diver-hon; and lb much was Painting even then defpifed, that this Amufement was laughed at by the Romans, and was reckon’d beneath his Rank and Dignity. He however, far from being afhamed of it (8), gloried in it as one of the bell and moll becoming Recreations for a Man of Learning and polite Tafte. 95 Antiftius Labeo eßeemed the Art. ABOUT this time the general Contempt of Painting as aProfellion, was a little dimi-niih’d among the Romans. For QdPedius (9), a young Gentleman of high Extraction being born dumb, Mejjala the Orator in a Confultation of this young Gentleman’s Relations about the propereft way of difpofing of him, urged ftrongly that he fhould be bred a Painter 5 which Advice was generally approv’d of by them all; and in particular, by Auguftus. When the general Contempt of the Art began to lejjen. time. PAINTING began to come into fome repute, after Valerius Meffala, whowasConful It came into fame with Ottacilius Crafus, U. C. 489, having defeated Hiero in Sicily, expofed a Picture of that rePutt m MelIala f Battle to publickView at the Curia Hoflilia (10). This Piece being admir'd, it conduced not a little to raife the Reputation of the Art. This warlike People began to have a higher Opinion of it when they faw how fit it was to celebrate the Glory, and perpetuate the Fame of heroick military Atchievements. After him L. Scipio made the fame ufe of Painting (11), and expofed in like manner a Piaure of his AJiatick Vidory in the Capitol. Hoftilius Man-cinus did the fame fome time afterwards. THE firft time that Painting began to be ufed in fcenical Decorations was at the publick When fcenical Entertainments given by Claudius Tulcher (12), U. C. 633. In which all the rare Pieces of Nature or Art that he could colled, were difplayed to publick View j and among other curious Pieces of Workmanfhip the famous Cupid of Praxiteles. Certain Buildings on this occafton were painted with fuch Dexterity that the Birds are faid to have been deceived, as much as they had been formerly by fome Paintings of Zeuxis, and to have perched upon the illuftve Tiles. BUT Painting came yet into greater efteem at Rome, when foreign Pidures were brought When the Art came thither. The firft who did fo was L. Mummius Achaicus (13), from Corinth, which was t0 be valued-razed by him the fame Year that Carthage was reduced by Scipio. From that time the Tafte and Love of Painting began to grow and fpread; and in what high regard it was held at laft by Varro, Cicero, Hortenfius, Atticus, Afinius Pollio, Agrippa, and all the greateft Men of that polite Age of Rome, is too well known to be long infilled upon. HOWEVER, we do not find any confiderable Painters amongft the Romans, mentioned even during the Reign of Auguftus. in Auguftus’r time.

they did what was in their power to reftoreLiberty, and raife again the perifhino-££ Arts, and decay’d Virtue of Mankind. But the Seafon was now paft! The fatal Form of Gc> « Jeri}^ent was become too natural 5 and the World, which had been under it, and was become ££ llavdh and dependent, had neither Power nor Will to help itfelf. The only Deliverance ir could expect, was from the mercilefs Hands of the Barbarians, and a total Diffolution ofthat (35) Plutarch, in Vita Phihpamen. ab initio. whilft he was Emperor, went to hear the PhiJorophen (36) So Dm. a*, «dis ***" (37) ’Tis well known that Marcus Aurelius, even (38) Shaft. CharaCi. Advice to an Author, p. 219. ’Tis evident from the Hiß ory of Greece. This ajferted hy ancient Authors. By Seneca, Chap. 5. and Decline of Pain ting. “ enormous Empire and defpotick Power, which the beft Hands could not preferve from being “ deftrudlive to human Nature. For even Barbarity and Gothicifm were already entred into Arts e’er the Savages had made any Impreflion on the Empire. All the Advantage which a fortuitous and almoft miraculous Succeffion of good Princes could procure their highly favour’d Arts and Sciences, was no more than to preferve, during their own time, thofe perifhiiw Remains, which had for a while with difficulty fubfifted, after the Decline of Liberty.0 Not a Statue, not a Medal, not a tolerable Piece of Architedure could fhew itfelf afterwards. Philofophy, Wit, and Learning, in which fome of thofe good Princes had themfelves been fo renown’d, fell with them; and Ignorance and Darknefs over-fpread the World, and fitted it for the Chaos and Ruin which enfu’d.” THIS is the very Language of ancient Authors themfelves concerning the Decline of Liberty, and Arts at Rome. SENECA in feveral Epiftles informs us, that Eloquence and all the Arts were fadly de-o-enerated in Nero s time; and that this could not but naturally, and of itfelf, happen after fuch a Corruption and Diffolution of Manners, conlequent to the Change of Government, and the horrid Luxury and Effeminacy of the Roman Court, even before the time of a Clau-diusor a Nero{ 39). There was no more poffibility of making a ftand for Purity of Tafte than for Liberty. The fine Arts in fuch a Relaxation of Manners became Minifters to Vice, Senfuality, and fervile Flattery. Being corrupted, they became in their turn Corrupters. WITH regard to Painting in particular, Tliny {hews it (40) to have been, while it By Pliny, flourifh’d amongft the ancient Artifts, not only fevere in refpeft of the Difcipline, Stile, and Defwn but" of the Characters and Lives of the noble Matters; and not only in the Effed but'in the very Materials of the Art, the Colours and Ornaments. The Art, he tells us was fadly declin’d in his time, and juft upon the point of being extinguifh’d and loft And" the deadly Symptom upon which he pronounces the fure Death of this noble Art not long Survivor to himfelf, was what belong’d in common to all the other perilhing Arts after the Fall of Liberty, the Luxury of the Roman Court, and the Change of Tafte and Manners enfuing upon fuch a Change of Conftitution and Government. This excellent Critick traces the falfe Tafte, that corrupted all the Arts, to its Source, and reprefents it fprinoftw from the Court itfelf; and from that Affectation of Splendour, Opulence, and Expence proper to the Place and Times. Thus in the Statuary, and Architecture then in vomie nothin0- could be admir’d befide what was fumptuous and coftly in the mere Materials of the Work : Precious Metals, glittering Stones, every thing that was merely ffiewy and glaring, and poifonous to Art, came every day more intQ requeft ; and were impofed as Ueceffary Materials on the beft Mailers. ’TWAS in favour of thefe Court-Beauties, and gaudy Appearances, that all good Draw-iiw juft Defign, and Truth of Work began to be defpifed. Care was taken to procure from diftant Parts the moft gorgeous fplendid Colours of the moft coftly Growth or Com-pofition; not fuch as had been ufed by Apelles, and the great Mailers who were juftly fe-* vere, (oq'j Quare quibufdam temporibus provenerit corrupti eeneris oratio quseris ; & quomodo in quaedam vitia in- clinatio ingeniorum fadta fit.----------Quemadmodum uniufcujufque adtio dicenti fimilis eft, fic genus dicendi imitatur publicos mores.--Si difciphna civitatis labora- vit, & fe in delicias dedit, argumentum eft luxuriae pub- licae, orationis lafeivia-non poteft alius effe ingenio, alius animo color.--Haec vitia unus aliquis inducit, ce- teri imitantur, Sc alteri tradunt.-Quomodo convivio- rum luxuria, quomodo veftium, aegrae civitatis indicia funt fic orationis licentia oftenditanimos quoque a quibus verba exeunt procidiffe,--Oratio nulli molefta eft, niff animus labat. Ideo ille curetur, ab lllo fenfus, ab ilio verba exeunt. 111° fano ac valente, oratio quoque ro-bufta, fortis, virilis eft : Si ille procubuit, & cetera fe-ouuntur ruinam. Rex nofter eft animus. Hoc incolumi cetera manent in officio, parent & obtemperant. Cum vero ceffit voluptati, artes quoque marcent, & omms ex languido fluidoque conatus eft.-Nimis anxium ehe te circa verba, mi Lucili, nolo: Habeo majora quae cures. Quaere quid feribas, non quemadmodum. Cujufcunque orationem videris follicitam & politam, fcito ammum quoque non minus effe pufillis occupatum. Magnus ille remiffius loquitur & fecurius : Quaecunque dicit, plus ha-bent fiduciae quam curae. Nofti complures juvenes, barba & coma nitidos, de capfula totos: Nihil ab illis fperaveris forte, nihil folidum. Oratio vultus animi eft ; fi circumtonfa eft, & fucata, & manufadta, oftendit ilium quoque non effe fincerum, & habere aliquid fratti. Senec. Epifl. 114? & II5’ (40) Ita eft profecto, artis Defidia perdidit. Plin. 35. 2, Wc. Haclenus dictum fit de dignitate artis morientis. Ib. c. 12. Qua contemplatione tot colorum tanta varie-tate fubit antiquitatem mirari, Quatuor coloribus folis immortalia opera ilia fecere, ex albis, Melino ; ex Sila-ceis, Attico ; ex Rubris, Sinopide Pontica ; ex Nigris, Atramento ; Apelles, Echion, Melanthius, Nicomachus, clariffimi pidtores: cum tabulae eorum finguhe oppidorum venirent opibus. Nunc Sc purpuris, in parietes niigran-tibus, & India conferente fluminum fuorum limum, Sc Draconum & Elephantorum faniem ; nulla ncbijis pic-tura eft. Omnia ergo meliora tunc fuere, cum minor copia. Ita eft, quoniam ut fupra diximus, rerum non animi pretiis excubatur. Et noftrae aetaiis infaniam non omittam. Nero princeps jufferat fe Coioffeum pingi, X20 pedum, in linteo: Incognitum ad hoc tempus, &c. Plin. 35. 15. Hie multis jam faeculisfummus animus in pidtura. Pingi autem gladiatoria munera atque in publico exponi ccepta a C.Terentio, Lucano, &c. c. 16. See the Dialogue de Oratoribus aferibed t.o Quintilian. See Lord Shaftesbury’s Comment on thefe Words of Pliny juft quoted : in his Advice to an Author, p. 340. To the fame purpofe is what Pliny fays, lib. 34. 2. Quondam aes confufum auro argentoque mifeebatur, & tarnen a/s pretiofior erat, nunc mcertum eft, pejor haec fit an materia : Mirumque, cum ad infinitum operum pretia creverint, audtoritas artis extindia eft. Quaeftus caufa enim, ut omnia, exerceri ccepta eft, quae gloria folebat. So Horace de Art. Poet. ver. 323. Gratis ingenium, Gratis dedit ore rotundo Mufa loqui, prater laudem nullius A-varis. Romani pueri longis rationibus ajfem Difcunt in partis centum diducere----- -----At hac animos arugo & cura peculi Cum ferr.el imbuerit \ fperamus carrnina fingi, D d By Tacitus. By Petronius. Haw civil and moral Liberty may be painted* Of the Phllofophy that produces the Arts. vere, loyal, and faithful to their Art. This newer Colouring Tliny calls the florid kind. The Materials were too rich to be furnifh’d by the Painter; but were befpoke or provided at the Coft of the Pcrfon who employed him. The other he calls the auftere kind. And thus, fays he, the Coft, not the Life and Art is ftudied. He fhews, on the contrary, what care Apelles ufed, as hath been already obfervd, to fubdue the florid Colours by a darkening Varnifh : And he fays juft before of fome of the fineft Pieces of Apelles, that they were wrought in four Colours only : So great, fo venerable was Simplicity among the Ancients; and fo certain was the Ruin of all true Elegance in Life or Art, where this Miftrefs was once quitted or contemned. TACITUS often fpeaks in the fame manner of the conjund Ruin of Liberty publick Virtue, and of all the Arts. He obferves, that foon after the fatal Change of Government an avaritious mercenary Spirit began to prevail; and that vile Senftualfty had quite extinguish’d every Spark of Generofity and Virtue, and by confequence of good Tafte. * And how virtuous and good were thofe Emperors, according to his Accounts, under whom the Arts began to revive, lift up their Heads, and even made very confiderable Progrefs ! Was not pub-lick Good their Aim ? Did they not rouze the dead Arts by awakening publick Spirit and a Senfe of the Dignity of human Nature ? Did they not, as it were, mix Liberty with De-fpotifm, as far as it is poflible to mingle things of fo contrary and oppofite a Temper (41) > IN fine, to what is it that the Decay and Ruin of all the fine Arts, of Painting in particular, is aflign d even by the diffolute Tetromus himfelf (42), but to the Lofs ofLiberty and the Corruption that naturally followed upon it; to the univerfal Prevalence of a mean corrupt, mercenary, fenfual Spirit: When all was Avarice, and Ambition was no more : When Men were quite immerfed iu grofs Voluptuoufnefs. LIBERTY therefore is very juftly reprefented, by an ingenious Author often quoted who well underftood the Genius and Tafte of the Ancients, as Ihe (very probably) was painted by them : In her Amazon Drefs, with a free manly Air becoming her ; her Guards the Laws, with their written Tables like Bucklers furrounding, her : Riches, Traffick and Plenty, with the Cornucopia, ferving as her Attendants 5 and in her Train the Ar4 4d Sciences playing. The reft of the Piece (fays he) is eafy to imagine,—her Triurnnft over Tyranny and lawlefs Rule of Luft and Paflion.----------But what a Triumph (faith he) would that of her Sifter and Guardian Liberty be ? What Monfters of favage Paffions would there appear fubdued ? There fierce Ambition, Luft, Uproar, Mifrule, with all the Fiends which rage in human Breafts, would be fecurely chain'd. And when Fortune herfelf the Queen of Flatterers, with that Prince of Terrors, Death, were at the Chariot-wheels as Captives how natural would it be to fee Fortitude, Magnanimity, Juftice, Honour, and all that Generous Band, attending as the Companions of our inmate Lady, Liberty ! She like fome new-born Goddefs would grace her Mothers Chariot; and own her Birth to humble Temperance, that nurfing Mother of the Virtues ; who like the Parent of Gods, (old reverend Lybele) would properly appear drawn by reined Lions patient of the Bit, and on her Head a Turret-like Attire; the Image of defenfive Power and Strength of Mind. THIS Topick hath often been infilled upon, and cannot indeed be too frequently or too ftrongly reprefented. For what is it that more nearly concerns Mankind > But TfRli only obferve farther on this head : THAT the Philofophy which prevailed in Greece, while the Arts were in their hRheft Glory, the Phllofophy of Socrates, is the only Philofophy than can infpire publick SDirft or fupport Virtue and Liberty, produce Heroes, Patriots, brave and worthy Men and Authors and Artifts of a fublime daring Genius. On the other hand, the Philofophy which (41) This is a Reflection of Tacitus: Quod fi vita fup-peditet, principatum Divi Nervae, & imperium Trajani, uberiorem fecurioremque materiem fenectuti fepofui : rara temporum faslicitate, ubi fentire quae velis, & quae fentias dicere licet. Hiß. lib. I. ab initio. And in his Life of Julius Agricola at the beginning : Scilicet illo igne vocem populi Romani & libertatem fenatus, & con-icientiam generis humani aboleri arbitrabantur, expulfis infuper fapientiae profefloribus, atque omni bona arte in exilium a£ta, nequid ufquam honeftum occurreret. De-dimus profetio grande patientiae documentum, & ficut vetus aetas vidit, quid ultimum in libertate diet, ita nos °u'd mfervitute, adempto per inquifitiones & loquendi audiendique commercio. Memoriam quoque ipfam cum \ oce perdidiflemus, fi tarn in noftra poteftate eflet obli-v.ici quam tacere. Nunc demumredit animus, & quan-quam primo ftatim beatiffimi faeculi orru, Nerva Csefar res ohm diflociabiles mifeuerit, principatum ac libertatem, augeatque quotidie facilitatem imperii Nerva Tra-janus ; nec fpem modo ac Votum fecuritas publica, fed lpuus voti nduciam, ac robur affumferit: Natura tarnen inhrmitatis humanas, tardiora funt remedia quam mala. —t ut corpora lente augefeunt, cito extinguuntur ; lie in- g . i . ----- 10, yudiu icvcjcaveris. Subit quippe etiamipfius mertiae dulcedo : & invifa primo Deiidia, pollremo amatur. (42) Coepi prudentiorem confulere aetatis tabularum &qu*dam argumenta mihi obfeura, fimulque caufam JJehdiae prafentB excutere, cum pulcherrima; artis pe-rillent, inter quas pidtura ne minimum quidem fui vefti-gium rehquiffet. Turn ille, pecunis, inquit, cupiditas hsc tropica inftituit. Prifcis enim temporibus, cum ad hue nuda virtus placeret, vigebant artes ingenuse Vum” mumque certamen inter homines erat nequid profu’turum fecuhs dm lateret. Verum ut ad Plaftas convertar Lv fippum, ftatuae umus lineamentis inhierentem inopia ex tinxit; & Myron, qui pcene hominum animas ferarum que aere comprehenderat, non invenit hairedem At nos vino fcortifque demerfi ne paratas quidem artes aude-muscognofcere ; fed accufatores antiquitatis, vitia tantum docemus & difc.mus Noli ergo mirari Ü pidura defe-cit, cum omnibus Dus hominibufque formofior videatur maffa aun quam quicquid Apelles, Phidiafve eraculi dehrantes fecerunt Petr Arb. Satyr. See Veil. Pat. I. 2. initio, id Saluß, Catil. 2. afterwards to gain a great Afcendant in Greece, and that was almoft univerfally re- . d at Rome, fo Toon as the Grecian Arts and Sciences were admitted amongft them, CCl of a quite contrary Nature and Tendency : A Philofophy, which reprefented an in-WTfted feiftfh Temper as Wifdom ; and taught Men to liften to the foft effeminating La»-of Pleafure; inftead of that which calls upon us to confider the Dignity of Human ^re to keep it always before our Eyes, and to accuftom ourfelves to ask our own Hearts; What is great and good, whatever it may coft; or what is bale and unworthy, whatever Pieafures it may bring. "WE are told by Cicero (43), That in his time the Image of Epicurus was not only in „ Houfc but on every Hand. So great was their Veneration for that Philofopher, whole pretended, falfe Philofophy feem'd to give a fort of Sanction and Authority, to their T uxurv Avarice and Senfuality, from Reafon. (Pliny (44) gives the fame Account of After-times. How earneftly and beautifully do we find Cicero (47) combating this poifon-ous corrupt Doctrine in his philofophical Works ? Were ever the Names (fays he) of Ly-curaus Solon, Leonidas, Epaminondas, and other ancient Heroes heard in the School of Emcunis ? Which however are the conftant Subject of the better Philofopher s Praifes : Did his School ever produce Men of a generous, noble, difinterefted Spirit ? Or can indeed that Philofophy ever animate and incite Men to truly laudable and glorious Actions ? Torquatuf, vou muft either quit the Defence of Pleafure, mere fcnfual Gratification, or give up all our own Patriots and Deliverers. Fortitude and pubiick Spirit, or Contempt of Riches and Pieafures and a generous Love of Mankind and pubiick Good, are of the very Effence of Virtue The very Arts themfelves which feem to be the molt nearly allied to Plealure, of an” tiling that hath any Communion or Partnerfhip with Reafon, have a higher View than Pleafure Can then that Philofophy be confiftent with Virtue, which teaches us folely * r,]ruutc the Advantages and Pains that an Action or Purfuit may occafion ; and not to think of the Honeflum, the fit, the becoming, the good, and the worthy part ? The Phi-lofoDhv that alone can produce a great Mind, muft teach us to chufe the Beautiful, the Pen Ion able the Virtuous and Laudable, whatever Confequences may enfue upon it; whatever Pieafures muft be facrificed to the Choice, or in whatever Hardships it may involve Thefe cannot alter the Nature of moral Good and Evil. And therefore, the firft Lef-fon of Virtue is to learn to abftain from inviting tempting Pieafures ; (46) and to contemn nincers and Dilafters, and to think only of the Goodnefs and Merit, or Bafenefs and De-formity of Affions, that is, of their Tendency to pubiick Good or Hurt Virtue confifts fnhd able to bear and forbear ; it looks beyond ourfelves, {for as fpeclat) and fteadily oves the Good of Society. Its Ways are truly, throughly pleafant, becaufe it brings no ■R p-norfc but fpreads Peace, Contentment, Satisfaction, Self-approbation, and pure unfa-dinfff-rpf. Doctores fapientise fecu- mata lua cAuniam.) ^ . * T r • ac circumferunt fecum : Natali ejus, decima Luna facn-ficant, feriafque omni menfe cuftodiunt, quas Icadas vo- cant. Plin. 35- 3* /,.% We learn from Cicero that this was the Philofo-«bv which prevail’d in Greece in its better days ; and he reasons agamft the contrary Philofophy m feveral parts of his Works, as I have here reprefented him. See particularly De fin. lib. 2. 21. Nunquam audivi in Epicuri fchola Lycurgum, Solonem, Miltiadem, Themiftoclem, Epaminondam, nominari: Qui m ore font ceterorum omnTum philofophorum-------At negat Epicurus (hoc emm Sum lumen eft) quenquam qui honefte non vivat ju-cunde poffe vivere. Quafi ego id curam quid ille aiat aut neget ; illud quaero, quid ei qui m voluptate fum- mum bonum putat confentaneum fit dicere.------Jam ft pudor, ft modeftia, ft pudicitia, ft uno verbo temperan-tia poense, aut infamise mem coercebuntur non fanfli-tate iua fe tuebuntur : Quod adulterium, quod ftuprum, quae libido non fe proripiet, ac projiciet, aut occultatione propofita, aut impunitate, aut licentia r--—faceres tu quidemTorquatehaec omnia. Nihil emm arbitror magna 1 1 1*___________ f/a nrcpf tus qui Tola bona quae honefta, mala tarnen quae tur-pia ; potentiam, nobilitatem, ceteraque extra animum neque bonis neque malis annumerant, dec. Tacitus Hifi. lib. 4. circa irutiurn. So Lucian in his Character of Cato. _____hi mores, hac duri immota Catonis Setfa fuit, fervare nudum, finemque teuere, Naturamque fequi, patriesque impendere vitam, Nec fibi, fed toti genitum fe credere mundo. Juftitia cultor, rigidi fervator honefii : In commune bonus, nullofque Catonis in alius Subrep/it, partemque tulit fibi nata voluptas. Lucan. 1. 2. ver. 300. (46) See how Socrates deferibes the good Man. Xenoph. Apom. c. ult. p. ult. EyxgxVi; £i, Sn pm£e orols Trpoa^sur-Sai to Uiov dvTi n ßt\Tioo&. See Epictetus, and Arrian upon him, his Divifion of Virtue into »ve^eiv and a7T£p££(ll. (47) Quemadmodum nihil in hac vita magnum eft, cujus defpedtus in rebus magnis numeretur.----Adeoque ^ CUm ea adfc‘rce°re fibi Po^untanimi adduefti laude J quseritur autem, quid naturae magnitudine refpuunt ac fpernunt, majorem fui concitare ff’pyq“m**“*ip&^ quam defendis; prsecepta, quae didicifti, quae probas, Sublim. Sett. 7. io4 'The true Philofophy brevaitd /^Greece, while the Arts were in their greateß Perfection. The true Philofophy bstv characterized by the Ancients. Jn Essay on the Rife, Progreße THIS was the prevailing Philoiophy in Greece in its beft and moft glorious Days. And \Vc may be very hare, from the nature of things, that where the contrary Scheme of Philofophy begins to prevail. Men will foon run headlong into Corruption; and even the Arts thcmfelve's will not only partake of the Infedion, but become Panders to Vice. Nothing can be more true than that Saying of the beft Philofopher of Antiquity, that is brought by Cicero as an Inftance of his manner of Reafoning. “ Such as the Man is, fuch will his " Difcourfe and Produdions be : His Adions will be like to his Speeches, and his whole “ Life will be of a piece with his Temper and Dilpofition.’’ A Man’s Deeds and Sayinsrs are the Image of his Mind. If therefore Men are not of a fublime and great Difpofition the Arts, amongft fuch, will very foon become low and groveling. THE Conclufion (48) with which this Reafoning ends, contains the very Subftance of •his Philofophy concerning Virtue and true Happinefs. The Affedions of a* good Man are truly noble, generous, and praife-worthy; they do not hide themfelves or fhun the LRht they are not afraid to Hand the Examination of Rcafon and Confcience: And therefore all his Adions will likewife be good and laudable. Whence it follows that the good Man alone can be happy, fmee fupremc, independent Happinefs confifts chiefly in that Satisfaction which the Confcioufnefs of a well-govern’d Mind, pure Affedions, and correfpond-ing Adions only can afford. AN excellent Author well obferves (49), that what Philofophy did for the Prefervation and Happinefs of Greece is almoft incredible. But why fpeak we of their Philofophers ? (faith he) the Poets themfelves, who were in every one’s hands, inftruded them yet more than they diverted them. HOMER hath delightfully reprefented the Reludance with which Poetry is dr awed into the Service of Vice; and the fame muff hold equally true with rclped to her Sifter-Arts. They cheerfully impart their Ornaments and Graces to Truth, Virtue, and found Philofophy ; but fervile Flattery and immoral corruptive Dodrines are not more contrary to true Worth and Greatnefs of Mind, than they are repugnant to the real Beauty and genuine Spirit of the elegant Arts. For dear to Gods and Men is facred Song, Self-taught I ßng by Heavn, and Heavn alone. The genuine Seeds of Foefy are fown j And {what the Gods beflow) the lofty Lay To Gods alone, aud god-like Worth we pay. That here I fung was Force, and not Hefire, This Hand reluhlant touch’d the warbling JVire s And let thy Son attefl, nor fordid Fay, Nor fervile Flat fry flaind the moral Lay. Odyflf. I.22. vcr. 382. THE Ancients have given an enchanting Voice and Air to the Syrens, that emphatical fignificative Emblem of falfe Pleafure. Sirenum voces & Circis pocula nofli, Qu£ fi cum fociis flultus cupidufue bibiffet Sub domina meretrice fuiffet: turpis & excors Vixiffet canis immundus, vel arnica luto fits. Hor. l.i. Ep. 2. BUT it was, according to them, the proper Bufinefs of the Mufcs to difeomfit the Syrens or falfe Pleafure, and accordingly they are faid to have fought the Syrens, and to have plucked their Wings (yo). And therefore, as Faufanias tells us, the Statues of the Mufes are often adorn’d with Crowns of Feathers, or carried Feathers in their Hands in memory of that glorious Defeat ; and there are Statues of them ftiil at Rome. And in this Colledion of ancient Paintings the Syren is moft beautifully reprefented, juft as the Poers deferibe her. THE Ancients have alfo charmingly pointed out to us, in their allegorical way, by fevcral Emblems, the true Charader of that Philofophy which ought to give Laws to all the fine Arts; and employ them as its beft Minifters in reforming, polifhing, and humanizing f j • Creece and produc’d its moft glorious Effects, every kind of Philofophy had fair Slav Truth and Virtue maintain’d the Afcendant over allfalfe, narrow Notions of human Nature Virtue and Happinefs by the mere Force of Reafon and Truth: Every Encroachment ??n Liberty of Examination, Wit and Argument, is diametrically oppofite to the Spirit Genius of true Philofophy. Truth and Virtue can only make Profelytes by perfixafion : ¥1 v defire no other Conqueft: ’Tis Reafon alone that makes rational: Tis true Philofophy Jonethat can deted the Abfurdity of the falfe: ’Tis by Teaching and Inftrudion alone that Men can be enlighten d and informed. ANOTHER pars modo aflecuta eftceteros. ASmuli lapides acjucundi, Muficseque obfequentes. Murus autem portis patet lep-tem, quot nempe lyrae fuere toni. See a like Picture of Orpheus by the younger Philoßratus, N° 6. fPhiloßratus Icenum, lih.i. 10 Amphion. Amphion '5 ..l/nrsr fe fert > Quid aliud quam cantum ? Et ^qqk^ ma^uJ — ad plectrum intendit ipfe-oue tantundem exerit dentium, quantum canenti fit fatis. Canit autem, ut puto, terram, quod omnium fit gene-trix atque mater. Ilia vero muros dat fpontaneo mo u confureentes. Coma autem jucunda etiam fine ornatu eft fronti quidem oberrans, una vero cum lanugine fe-cundum aurem defeendens eamque fulgore colluftrans. Gratiam autem majorem mitra quoque addit, quam gratia* eiSxuTffe ferunt.-—In tumulo autem fum edens cantui refpondentem, dextraque fides tradtans fallit: Et altera manus refla promiffos habet digitos quo folam fingendi artemexprimere aufuram crederem. Efto. Qua; vero ad lapides pertinent quomodo fe habent. Urn 5 al cantum'conclirrunt, & audiunt ac 6 pars quidem jam furrexit, pars in eo eft ut confurga , (52) Callißrati Statute, N° 7. in Orphei Statua. (53) Mic Orphea protinus videhis Udi vertice lubricum tluatri, Mirantefque /eras, avemque regis Raptum quee Pbryga pertulit tenants. Mart. 1.10. Ep. 19. (54) So Propertius, Saxa Citheeronis Thebas agitata per artem iiponte fua in muri membra coiffeferunt. Lib.3. El.2, (55) Dt Sapisntia veterum in Prafatione. The true Philofophy was not promoted ly force. Ee An Essay on the Rife, Progreß, ANOTHER. Obfervation with rcfpcct to the Progrefs- and Dcclenfion of the Arts is, that good Authors always have been and muft neccflarily be good Men. The learned and wife Strabo (y6) makes this Remark, and reafons upon it at great length. “THE Ancients (faith he) confider d Poetry as the 1110ft proper Art to teach Morals or to “ form the Youth early to the Love of Virtue, and to point out the Rules of Life and Con-“ duft to them; on account of its being capable of rendring its Lelfons at once fo agreeable “ and fo inftruclivc, or of giving Beauties and Charms to what is really ufeful and profitable. “ For this reafon anciently throughout Greece, the Youth were early inftrucled in all the Vir-“ tues and Duties of Life by truly philofophical Poetry ; not merely for Pleafure and Amufe-“ ment, but to form them early to a perfect Notion of Harmony of every kind, by one and “ the fame Labour; of moral Harmony above all others. And who can think’a true Poet “ when he introduces Orators, Generals, and other great Perfonages acting noble, con-“ fftent, and becoming Parts; a mere Trickfter or Babbler, who only propofes toaftonifh “ his Readers with pompous Talcs, or fpecious flattering Fables that have no farther or “ more ferious and ufeful Intent? Can we poffibly imagine, that the Genius, Power and’Excellence of a real Poet confifts in aught elfe, but the juft Imitation of Life’ in form’d Dif-“ courfe and Numbers? But how Ihould he be that juft Imitator of Life, whi 1ft he himfclf “ knovvs not its Meafures? For we have not furely the fame Notion of the Poets Excellence “ as ot the ordinary Craftfman’s, the Subject of whofe Art is fenfelefs Timber or Stone “ without Life, Dignity or Beauty; whilft the Poet’s Art turning principally on Men and “ Manners, he has his Virtue and Excellence as Poet, naturally annexed to human Excellence “ and to the Worth and Dignity of Man : Infomuch that it is impoflibie he fliould be a great and worthy Poet, who is not firft a worthy good Man.’’ CICERO and Quintilian obferve the fame with refpect to Orators: And according to all the Ancients it is impoflibie that true Judgment and Ingenuity fliould refide, where Har^ mony and Honefty have no Being; or where there is not a fufl and ftrong Senfe of the Excellence of Virtue, and of the Diflonance of Vice; of the noble End to which human Nature is framed to alpire, and of the Meannefs of all inferiour Purfuits. NOW what Strabo, and thefe other Authors fay of Poets and Orators, extends equally to all the Imitators of moral Life : For tho* the Artifts, who defign merely after Bodies and the Beauties of the corporeal kind, can never with all their Accuracy or Correftnefs of Defign, be able to mend their own Figure, or become more fhapely and proportion’d in their 1 erfons; yet as for all thofe \yho copy from another Life, who ftudy the Graces and Perfections of Minds, and are real Matters of thofe Rules which conftitute this moral Science ns impoflibie they fliould fail of being themfelves improv’d and reform’d in their better part. But this is no lefs the Study of the Painter, Statuary, and Sculptor, than of the Poet. For the Perfection of thefe Arts, as well as that of their Sifter Poetry, lies in re-prefenting or imitating the Fair and Beautiful of Sentiments and Affections, Adions and Charaders. THE noble Author (77) fo often already quoted, takes notice of this Remark with <>reat applaule. And he adds, that the Maxim will hardly be difproved by Hiftory or Fad either in refped of Philofophers themfelves, or others who were the greateft Genius’s or Matters in the Liberal Arts. The Charaders of the two belt Roman Poets are well known • Thofe of the ancient Tragedians are no lefs : And the great Epick Malier, though of a'far ob-lcurer and remoter Age, was ever prefum’d to be far enough from a vile or knavilh Cha-rader. The Roman as well as Grecian Orator was true to his Country ; and died in like manner a Martyr for its Liberty. And thofe Hiftorians, who are of higheft Value were either in a private Life approv’d good Men, or noted for fuch by their Adions ’in the pubhek. I06 An Obfervation of Strabo, and other Ancients, concerning good Authors and Artißs. AS for the belt ancient Painters, it hath already been remark’d, that they were not only faithfully attach’d to their Art, and to that moral Truth and Beautv in which its Excellence principally confifts; but that they were far removed from Senfuality, and a mercenary, unfocial, ungenerous Spirit; or at leaft not addided to any folitary, inhuman (5(0 Quamobrem Graecorum civitates, ab ipfo pri-mordio, eorum liberos in poetica erudierunt, non nudae utique voluptatis, fed caftae moderationis gratia.-Quae ab ineunte nos state ad vivendi rationes adducat quae res gerendas cum jucunditate praecipiat. A qua quidem ipfi muiici cantus, & lyrs, & tibiarum modos edocentes, anc lbi virtutem vendicant, feque morum magiftros, & emendatores effe profitentur. Hasc ipfa non modo a Py-■■aaponcis audire licet, verum etiam Ariftoxenus hujus e ententis. Et Homerus cantores, caftigatores appel-lavit, ficuti Clytemneftrs cuftodem ilium, &c. Strab. i . 1. p. 14. And again, p. 16. Quis igitur poeta, qui alios oratores, alios imperatores, alios reliqua virtutis opera demonftiantur decenter inducat, nugatorem quem- piam & hiftrionem effe putet, qui auditorem magnificis tantum miraculis afficere, & affentationibus demulcere va-leat, cum nihil afferre queat adjumenti? Num poet» virtutem aliam dixerimus quam quae verbis ad imitandum vivendi rationem excitaret ? Quonam vero modo is imi-taretur, qui vivendi rationis imperitus & infipiens foret ? Non enim ficuti vel fabrorum vel aedificatorum, ita & poetarum effe memoramus. Sed hanc quidem nihil boni nihil honefti continere. Ipfa vero poet» virtus & homi-nis bom conjunöa eft: Nec vero poetam bonum effe pone, nifi prius vir bonus exiftat. (57) Char. Vol I, p. 208. Chap. 5. and Decline ood Tafte, as the poifonous Sweets of Riches and profound Tranquillity : Thefe unbend foften and unman the Soul, and are therefore juftly called Corrupters; againft which every particular Perfon for his own fake; and every Society for its Prefervation (do) cannot keep too ftriri and fevere a guard. In fuchaState, Vice rufhes upas in its proper Soil; Indolence, Senfuality and Avarice are naturally engendred, and quickly fpread their Contagion far and wide. “ And what place is there amidft thefe Vices (faith an excellent (di) Author) for the good Arts? No “ more certainly than for wholefome Fruits and Grains in a Field over-run with rank and “ hurtful W eeds.” In fa X, the greateft Genius’s for any of the Arts have always appeared in times that tended to ftir up and awake the generous manly Temper, and to keep the Mind from linking into Sloth and Effeminacy. Hence it was an ancient Proverb, “ ‘Plus nocuere “ toga, cpnam lorica (62).” ’TIS well worth the Politician’s Thoughts to confider ferioufly this Tendency amongft Mankind to Corruption and Degeneracy, in confequence of, what on other accounts is fo highly defirable. Peace and Plenty; and to inquire if any effectual Remedy may be provided againft it. No Topick hath indeed afforded a greater Source of Railing againft human Nature, to thofe who delight to paint Mankind in the worft Colours; and°to gather together all that tends to blacken and reproach our excellent Frame. But was this the proper place for engaging in fo profound an Enquiry, I think it might be made appear, that even this Phenomenon, however ftrange and unaccountable it feems to be at firft fio-ht takes its rife from Principles and Caufes that are in themfelves exceeding good and ufefuf and that afford a moft convincing proof of our being made to be aXive and virtuous, and to be happy only in being fo. The Ancients have made feveral very deep and profitable Reflexions on this Subject: We are here in a probationary State; this Life is but the firftSchool of Virtue: And therefore not merely Adverfity, but chiefly Profperity is intended to be a Trier, an Explorer; and, by that means, the Occafion and Means of exerting, proving and perfecting many great and noble Virtues (63). ’ BUT not to leave our prefent SubjcX, the ingenious Author whofe Remarks I am now tracing and criticizing, hath laid together feveral very curious Obfervations to prove the Power of phyfical Caufes in producing Effects that may be properly called moral. He feems to think that the Differences of Character, whereby Nations are fo remarkably diftin THAT as dependent as the human Mind is upon the Body in its prefent State of Exiftence 5 and by confequence upon every thing that influences or affects the Body that is upon all the Laws of Matter and Motion; yet this Dependence extends not fo far as that Virtue and Genius can be faid to depend chiefly upon mechanical Caufes not within our power; ftnee we are confcious to ourfelves of being capable of improving 111 Virtue and in Knowledge, in proportion to our Zeal and Afliduity to improve and advance in every rational Quality and Perfection, without arriving at any unfurmountable Obftacle. THE chief or moft remarkable Dependence of Mankind in refpect of Caufes not entirely fubject to the fingle Will of every one, is our dependence on Education, and the rRht Frame of civil Government, which is in its Nature a focial Dependence. The Pro-refs of the Arts and Sciences, as well äs innumerable other Blefiings of Life, depend -ready on the Care of Society to encourage, aflift, and promote them; and par-ticulariy on its Care about Education. Nor can it be otherwife with regard to Beings made for Society, and fitted to acquire Knowledge, and to refine and polifh Life gradually, by united Study and Induftry. This is the Law of Nature with refpect to our Improvement in Sciences, and all ufeful or ornamental Arts : That Knowledge Ihall ) Shields how adorn'd ANCIENTLY Shieldswere adorn d withthe Images and Adions of their Pofleffors; fuch by the Ancients. were thofe ufed in the time of the Trojan War, fays 'Pliny: And this Cuftom, according to the fame Author, prevailed likewife among the Carthaginians (20). It was indeed very univerfal: fuch a one Marcius brought with him, with his other rich Booty, from Carthage, with Afdrubal engraved on it. The Poets often deferibe this Ufage, or allude to it. Et Sacrana acies, & pich feuta Labici. AEn. 7. Ver. j$<$. At Nileus, qui fe genitum feptemplice Nilo Ementitus er at, clypeo quoque flumina feptem Argent 0 partim, partim ca lav er at anro. Ovid. Met. lib. y. Ver 187 Flumineaque urna catalus Bragadaparmam, Et vafta Nafamonfyrtispopulator Hyempfal, &c. Sil. Ital. I. r. ver. 407. Ipfe tumens atavi Brenni fe fiirpe ferebat Chryxus, & in titulos Capitolia capta trahebat: Tarpeioque jugo de mens, & vert ice facro Tenfant eis aurumCeltas umbonefere bat. Sil. Ital. lib. 4. ver. 1 yo. At contra ardenti radiabat Scipio cocco, Terribilem oflentans Clypeum, quo patris, & und Calarat Tatrui fpirantes pralia dir a Effigies: flammam ingentemfrons alt a vomebat. Ibid. lib. 17. VCIV400. TLINT calls it a noble Ufe of the defigning Arts; a great Incentive to true Bravery and a Cuftom full of Glory. Hence the pradice in the firft Ages of Chriftianity deferibed by Trudentius. ' ’ a -----------Clypeorum infignia Chrifius Scripferat, ardebat fummis crux addita crifiis. THIS Subjed is fully handled in aDiflertation upon dedicated Shields, in the Memoirs of the Academy of the Belles Lettres: In which the famous Shield of Scipio is defcrib'd it was found in the Rhone, A. 1 y 66, and is now in the King of Frances Cabinet (21) it rc prefents that heroick Adion that hath been often painted by modern Mafters' and is indeed a moft noble Subjed, commonly called the Continence of Scipio. Tis beautifully (18) Philoßratus in Iconum lib. 2. in Antilochipitiura. Agnofcitur autem Ithacenfis quidem ex fevera & exci-tata facie. Menelaus vero lenitate, Agamemnon divina quadam majeftate, Tydidem fua libertas defignat: Te-lamonium vero dignofeas ex terribili, & Locrum ex prompto afpe&u.—Amphiarus ipfo afpedtu facer atque fatidicus. In Amphiar. Pitiura, tom. l.i. Quae eft Ilii He&oris ftatua, femideum refert hominem, multofque prae fe fert affect us, ft quis diligenter accurateque afpex-Ettnim elata eft ac terribilis, alacrifque & cum mollitie vigens, ineftque ei abfque ulli coma pulchritudo. Eft autem ufque adeo fpirans, ut ad fe tangendum fpec-tatores attrahat. In Heroicis. Iippo vera^t Alexandra adulationi nam & Lyfimacho, &c. related potius multitudinis. ' . ' . : “V““ ^ pugnarum < continebantur imagines ; unde & nomen habuere Cl peorum, non ut perverfa grammaticorum fubtilitas v luit, a cluendo. Origo ; plenam virtutis faciem red in feuto cujufque, qui fuerit ufus illo. Pceni & ex au fachtavere & Clypeos & imagines ; fecumque in caft vexere. Certe captis iis, talem Afdrubalis invenit cius, bcipionum in Hifpania ultor, &c Pli» o-For this Shield fee Livy, lib. 25. c. 39. ’ ^ (19} See Paufanias, lib, 1. particularly page 7. Phi- (21) Dijfertation fur les Botteliers votifs, par M VAbhf Maßen. Hiß. de I Academic Royale, tom. x. p. 11 Chap.6. and Decline of Painting. 115 related by Livy (22). And Mr. Thomfon, in his Sophonisba, hath told it with the höbld Fire virtuous Subjects always infpirc into him. Thefe votive or confecrated Bucklers were not only called in general Clypei, 'Difci, Cycli, but by the particular Name of {Pinaces) or Pictures, becaule they painted great Men and their glorious Actions. PHILOPLEMON, who is called by Livy the laft of the Greeks, made a fine ufe of this Cuftom of adorning Shields and other Parts of Armour (23); The young Men chaiTn Youth from in his time being exccfilvely effeminate, and fond to extravagance of rich Apparel, fump- Effeminacy tuous Furniture, curious Services at Table, and delicate Dilhes 5 this brave and publick-fpi-rited Achaian, in order to give this their Love of Finery in all fuperfluous unnecefiary things a good turn, and bring them to like things that were manly and profitable, endeavour’d to make them think of Ihining in the Field, and coming out for the Defence of their Country with magnificent Armour: And it had the defigned effect. For the fight of finely adorned Arms breathed a new Spirit into them, and fired them with an Emulation of trying who fhould moft diftinguifh himfelf in the Service of his Country. “ Indeed, faith “ Plutarch, Sumptuoufnefs and Finery inDrefs, Equipage and Table, do fecretly lead “ away Mens Minds from manly Purfuits, and allure them to feek after Vanities that ren-“ der them foft and inactive : Luxury melts and diflblves the Strength and Courage of the “ Mind; but the fumptuous Coft bellowed upon warlike Furniture, animates a noble « Heart; as Homer fays it did Achilles, when his Mother brought him the new Armour “ fhe had caufed Vulcan to make for him, and laid them at his Feet: For the moment « he fees them, he is fired with the fight, and impatient for fome Action to tty them, and « fhine in them. So when Philopamon had brought the Youth of Achaia to this good « pafs? to come thus bravely arm’d and furnifh’d into the Field; he begun then continually « to exercife them in Arms, wherein they did not only Ihew themfelves obedient to him, “ but did moreover ftrive to excel one another." THERE is indeed a Tafte of Beauty and Elegance in our Natures, that may eafily be improved to Very good ufes : This Defire will necefiarily be difeovering itfelf, if not in the Purfuit of the true, the real Beauty in Char afters, Affcftions, and Aftions, and in the Study of pure, chafte Arts> in a falle Affeftation and Defire of Symmetry and Elegance, in merely external Ornaments, in Equipage, Table, Drefs, and fo forth. Tis therefore of the higheft confequence to give a good Turn, by proper Education, to this natural Paffion (24.). TO name but a few more Iiiftances of the Honours paid to Virtue* we haVe an Ac- The Monument #f count from Cicero of the Monument erefted to Archimedes. How earneftly did Cicero Archimedes, fearch after it in Syracufe ! And how does he lament that it was over-grown with Weeds and fadly neglefted ! He found it out with great difficulty after much hunting and fearch-ino-. It was adorned with the Sphere and Cylinder; and he was probably reprefented drawing Diagrams upon the Sand (2 y). HOW naval Viftories and Triumphs were commemorated, wemay fee by that Monument in the Capitol at Rome, in honour of Huilius (26), juft as it is deferibed by Stints Italiens ; where he likewife mentions feveral other Piftures and Monuments of great Deeds and illuftrious Men : which, whether they are real or imaginary Piftures, equally ferve to fhew us to what noble purpofes Painting may and ought to be employed in the Opinion of the Ancients. The Monument of Duilius’r naval Victory varia fplendentia cermt Pittura, belli patribus monumenta prior is Exhaufii. Nam port icibus fignata manebant. fffuis inerat longus rerum, &• fpebtabilis or do. Primus bella truci fuadebat Regulus ore: Bella ('22) T. Liv. /. 26. c. 50. & Polybius I. io. p. 593. Ed. Cafaub. (22) See bis Life in Plutarch. I have given this Paffage in the Words of the old Englijh Tranflatlon. (24.) See this Reflexion delightfully purfued at great length in the Charafterifticks, tom. I. p. 138. Every one is a Virtuofo of a higher or lower degree: Every one purfues and courts a Venus of one kind or another. And tom. 3. />. 184, &c* (25) Cujus (Archimedis) ego quseftor ignoratum ab Syracufanis, cum effe omnino negarent, feptum undi-que & veftitum vepribus, h dumetis indagavi fepul-chrum. Tenebam enim quofdam fenariolos quos in ejus monumento eile inferiptos acceperam : Qui decla-rabant, in fummo fepulchro fphxram effe pofitam cum Cylindro. Ego autem cum omnia colluftrem owuli^ (eft enim ad portas Agragianas magna frequentia fepul-chrorum) animadvertiColumellam non multum e dumis eminentem : in qua inerat fphserae figura & Cylindri. ------Quo cum patefadlus effet aditus, ad adverfam bafin acceflimus. Apparebat epigramma exefis pofte-rioribus partibus verficulorum dimidiatis fere. Ita no-biliflima Graeciae civitas quondam vero etiam doftif-ftma, fui civis unius acutillimi monumentum ignoraffet, nifi ab homine Arpinate didiciffet. Quis eft omnium, qui modo cum mufis, id eft, cum humanitate, & cum dodtrina habeat aliquid commercium qui fe non hunc mathematicum malit, quam ilium tyrannum, &c. Tufe. ghtajl. lib. 5. 23. (26) Pliny tells us that this Monument was in the Forum in his time. P. Ciactmius has explain’d this Monument fingulari opert. See likewife Gruttr inLapidt Capiioline, ii 6 An Es say on the Rife? Progreße Bella neganda viro, fi no ft ere fata daretur. At princeps Teems 'indicia? more parent urn Appius afiabat pugna, lauroque revmclus Juft um Sarrana ducebat cade triumphum. eßsquoreum juxta decus, & navale trophaum Rojtra gerens, nivea furgebat mole columna, Exuvias Marti donum, qua ‘Duilius alto Ante omnes merfa Pcenorum clajfe die ab at: Cui nocliirnus honos, funalia clara, facerque Pofl Epulas Tibicen adefi, cafiofque Renates Infignis heti repetebat murmure cantus. Sil.Ital. lib. 6. 6ji. - IN fine, due Honour was done by Statues, Pictures, and other Monuments, to every great Action, in ancient Times, by the Greeks efpecially ; to every one who had been fer-viceable to his Country in whatever Station of Life, and not to thofe only in the higher Spheres of Action. Of the Battle of AFTER the famous Battle of Marathon, there were erected, on the Spot where the Marathon. Battle was given, noble Monuments, on which were inferibed the Names of all thofe who had bravely died for their Country ; one for the Athenians, another for the ‘Plat a ans* and a third for the Slaves that had been put in arms on that occafion (27). Afterwards one was erected for Miltiades. Cornelius Nepos makes a fine Reflexion upon what was done by the Athenians to honour the Memory of this General (2 8). “ Formerly, fays hq, “ (fpeaking of the Romans) our Anceftors recompenfed Virtue by Marks of Diftindion, “ not indeed very pompous, but which they rarely beftowed, and that were for that very “ reafon highly efteemed; whereas now that they are lavifh'd fo promifeuoufiy they are not “ regarded." It had been fo likewife among the Athenians ; all the Honour paid to Mil-“ iiades the Deliverer of Athens, and of all Greece was, that in a Pidure of the Battle of “ Marathon he was reprefented at the Head of the ten Chiefs, exhorting the Soldiers to Cou-“ rage, and {hewing them a noble Example of it: But this fame People in after-times, becom-“ ingmore powerful, but at the fame time more corrupt, appointed three hundred Statues “ of Demetrius Phalereus to be ereded.” Plutarch makes the fame Obfervation (25)), and remarks wifely, that the Honours rendred to great Men ought not to be confider d as a recompence for their glorious Adions5 but purely as a Mark of the high Efteem in which they were held, and of a defire to perpetuate their Memory and the Imitation of them. Tis not, fays he, the Riches nor the Magnificence of publick Monuments that makes their Value or renders them durable; but his the fincere Love and Gratitude of thole who ered them : The three hundred Statues of Demetrius P haler eus were thrown down in his own time but the Pidure of Miltiades fubfifted many Ages after him. PLAT O often fpeaks of this glorious Day of Marathon as the Source of the Athenian Bravery and Succefs. For on all occafions of Importance the Example of Miltiades and his invincible Troop, was recalled to their Remembrance, and fet •before their Eyes as an Example of what a little Army of Heroes was able to do. It was this glorious Inftance that infpired them for a long time afterwards, with a noble Emulation to imitate thofe brave Anceftors, and not to degenerate from their Virtue, Love of Liberty and their Country : And no doubt the excellent Pidures of that glorious Adion contributed not a little to produce that noble Effed. Of the Monuments BY publick Order there was likewife ereded, near to Thermopylae, a glorious Mo-at Thermopylae. nument, to the Memory of thefe brave Defenders of their Country, with two Infcrip-tions> one that regarded all thofe in general who had died there, and bore that the Greeks, to the number of four thoufand, had bravely made head againft an Army of three Millions of Perfians. The other Infcription was peculiar to the Spartans: It was written by Simonides (30), in thefe plain ftrong Words: Se7v, dyytiXov AastsS'cufxoriois, cm rriS'e Kgqt*gSra, tojs ’xeivcov 7reiSrö[Jt.evoi vofulf^on. Of funeral Pane-gyricks among the Greeks and Ro- mans. DIODORUS SICULUS tells us likewife, that the Athenians inftituted certain funeral Games in honour of thofe who had died in the War againft the Perfians (31g {27) So Paufanias tells us in his Atticks. Lacedasmonii in Thermopylis occiderunt, in quo gg monides : (28) Nepos in Miltiade. d/c, Bofpes Sparta, nos te hie vidiffe jacenteis, Dum fanctis Patria legibus obfequimur. (29) Plut. inpraceplis de Repub. gerenda. See alfo Paufania^ A 95- Lucentca. (30) See Cicero Tufc, Spuaß. lib. I. 42. Pari animo now cited!** See llkewife Pat^ *'«* the place juft Chap. 6. and Decline of Pain Ting. i i 7 and a folemn yearly Panegyrick was pronounced in their praife. In the firft general Aflembly of Greece after the Victory of Plats a, Arijtides propofed a Decree, which was pafs’d; that all the Cities of Greece fhould fend Deputies yearly to Platsa to lacrifice to Jupiter the Deliverer, and to the Gods of that City, and that every five Years a Feafi of Liberty fhould be celebrated there. The cPlat£ans refolved to keep an annual Feftival in memory of thofe who had died in Battle. The Ceremonies of it are fully deferibed b.y Plutarch (32). Polybius gives us an Account of an ancient Cuftom among the Romans, before the Arts were much cultivated amongft them; “ which, “ fays he, contributed exceedingly to infpire them early with noble Ambition, and to “ form great Minds; and (hews the extraordinary Care and Diligence of the Repub-tc lick to promote the Defire of Glory and Reputation. When any Perfon of Merit “ and Renown died, his Body was carried in great State, and expofed to publick View “ at the Roftra ; where one of his Children, if any of them was of Age,^ and qualify d “ to undertake it, or if not, fome other of his Family or Race harangu'd the People, “ fetting forth his excellent Virtues, and exhorting all to imitate his noble Example. « Whence it came about that many by fuch lively Commemorations of great Virtues and “ Actions, were filled with laudable Emulation, and excited to merit equal Praife and « Honour*. After having perform’d the funeral Rites and Obfequies, the Image of the « Defunct was placed in the molt confpicuous part of the Houfe, an Image taken after the “ Life, and exactly reprefenting his Likenefs (33).” IN funeral Ceremonies the Badges orEnfigns of the publick Employments any one had filled were difplay’d. And can we imagine a nobler Spectacle than a young Man proclaiming the due Praifes of Virtue, Merit, and publick Services > Mull not the fight of thofe Images of Perfons thus glorify'd by their Virtues, have awaken’d and inflam’d every one with ardent, generous, heroick Sentiments and Refolutions. By this pradice the Senfe of Honour was kept lively and vigorous ; and the Youth were fired with an Ambition able to incite to great Atchievements, able to undergo any Hardfhip, or forgo any Pleafure for the publick Good. ’Tis plain from feveral Paflages of ancient Authors, that fuch Images were amongft the old Romans, their Titles or Patents of Nobility (34). Amon°ft°the Greeks fepulchral Monuments were either adorned with Bas-reliefs or painted Paufanias and other Authors mention many that .were painted; and this was alfo a pradice among the Romans, for feveral fuch Monuments are yet to be feen at Rome, and about Baits and Cums. THE Antiquarians have been often puzzled to find out the reafon why the Maufolea, Sarcophagi fepulchral and other funeral Monuments are often adorn’d with Reprefenta-tions of Vintages, Huntings, Feftivals, and fuch gay Subjeds. But ’tis worth obferving, that the ancient Greeks and Romans inftead of adding artificially to the natural Horrors of Death took all pains on the contrary to allay that Dread. This at leaft is certain that they took care to make Death in the Service of the Publick definable and s;lorious. AMONGST the Greeks, the Pidures and Statues of great Men, and in memory of their meat Deeds, were placed in the Temples amidft the Images of their Gods, and Pidures and Sculptures reprefenting religious Rites and Cuftoms. In the Temples were like wife Pidures recommending the Virtues, and pointing out the Errors and Miferies into which Ignorance and falfe Pleafure miflead. This is evident from one Example out of many that might be brought: The famous allegorical Pidure in the Temple of Sa-turn deferibed at large by Cebes (3 y), commonly called his Table. This is a charming allegorical Pidure of human Life, and diffidently fhews us what fine Notions the ancient Philofophers in the Age of Socrates, had of the ufe that might be made of Painting to fnftrud ffi the profoundeft Dodrines of Morality. But I {hall fay nothing of this Pidure nr nrefent beX fully determin’d to publiffi a corred Edition of it in Greek and an FnM Tranflation, with feveral Remarks upon allegorical Painting, illuftrated with a good Print done after an old one, far furpaffing any other of this piccel have feen in Drawing and tX One thing however which I have not hitherto had occafion to remark, is worth attention ■ The Symbols in ancient Allegory, by which the Affedions of the Mind, die Virtues, and the Vices are reprefented, are well known to the Learned; they make Pictures of great Men, and great Actions placed in Temples. So likewife moral Pictures. (32) Plutarch in Ariftide. (33) Polybius, lib. 6. p. 4-95* f/- Cafaub Oris fi-mUtudinem artificiofe effidam (fays the Latin Inter-ireter) coioribus, pigmentifque adumbratam referens. c7a) Nunc fum defignatus /Edilis, habeo rationem mid a populo Romano acceperim——Ob earum rerum aborem & follicitudinem frudus illos dates, antiqui- orem in fenatu fententix dicendx locum, togam prae-textam, fellam curulem, jus imaginis ad memoriam pofteritatemque prodendam. Oratio 5. contra Verrem, N° 15. {35) See the Table of Cebes. See Suidas & Sam. Petit. Mifcell. I. 4. c. 4. & Junius de Piciura veterum, I. 1. cap. 6. and the Paflages in Meurfii Athen* Attic* already quoted. Hh n8 Jn Essay on the Rife, Progreß, ä fix’d determinate Language, from which when Painters depart, they fpeak an unknown Tongue, to which there can be no Key, unlefs they give us a Didionary for explaining their capricious Inventions. Rubens (35") is juftLy blamed for mixing Allegory with Hi-ftory; two Subjeds that ought to be kept diftind from one another ; and not only for mixing profane Theology with Chriftianity, but for inventing in Allegory, and not conforming himfelf to the ancient known Language or Symbols. Such moral Pidures had place in the Porticoes and Schools where the Philofophcrs taught. For all the Schools, Aca-SuchPictures plac'd demies, and Places of Exercife amongft the ancient Greeks were adorned with Pidures in Schools, Acade- proper to them ; and that often furnifh’d the Philofophers with very fuitable Arguments mies, Sic. for moral Lelfons. To this Cuftom Berfius alludes, as hath been already obferv’d: Hand tibi inexpertum curvos deprendere mores, (gueeque docet fapiens Braccatis illita Medis Borticus.--------- THAT in the Schools of the Liberal Arts were plac’d the Statues of the nine MufeS and Apollo, might be prov’d by many Authorities : And that the famous Philofophers were represented in thefe is plain, fince it was become a Proverb 5 Jgui mmquam Thi-lofophum piftum viderunt (3d). Sidonius Apollinaris gives us an Account of the Pidures of Philofophers in the Gymnaßa fubfifting in his time (3 7): And Rimy mentions feveral Artifts that were famous for doing Philofophers only (38). In places throughout all Greecefor Con-verfation called Lefchae. RA USA NI A S tells us, that there were in all the Cities of Greece, certain Places defign’d for Afiemblies of the Learned and Ingenious for Converfation 5 and that thefe were adorned with Pidures, Statues, and Sculptures. He deferibes two Pidures in one of thefe Schools or Academies called Lefehce. And he quotes Homer to fhew that Euch places of Meeting were very ancient. ’Tis where Melanthus upbraids Ulyjfes for pratling as if he was at the Lefehce (3p). He mentions two Places of that Name at Sparta (40). Of this kind at Rome were the Schools in the Porticoes of Oft avia, where Tliny tells us feveral Greek Pidures were put up (41). FLINT (35) Reflections fur la Poefle & fur la Peinturc, tom. I. fed. 24. (36) De fin. lib. 5. 27. The Meaning of which will eafily be underftood by the ufe Cicero makes of it. Dicis eadem omnia & bona & mala ; quae quidem di-cerent qui nunquam philofophum pictum viderunt. Gymnafiis praefidebant Mercurius, Hercules, Thefeus, atque ideo ftatuas eorum in Gymnafiis paflim confecra-bant. See Pauf an. 1.5. p. 276. Mercury is called in the Greek Epigrams, Antholog.l. 7. c. 25. tUv yvf*m-crloov itrl'jy.o'rroo. See I. 4. cap. 12. Cur vero amorem quandoque in Gymnafiis una cum Hercule & Mercurio confecraverunt. See Athenaus Deipnofoph. I. 13. c. 1. See Junius de Pittura veterum, I. 2. c. 8. See Cicero Ep. ad Atticum, I. 1. Ep. 1. Hermathena tua valde me obledtat, & pofita ita belle eft, ut totum gymna-fium, yXtx ccvdfaf*.as efle videatur. Ep. 4. Quod ad me de Hermathena feribis, per mihi gratum eft, & ornamentum Academiae proprium meae, quod & Her-mis commune omnium, & Minerva fingulare eft in-figne ejus gymnafii. Quare velim, ut feribis, ceteris quoque rebus quamplurimis eum locum ornes. Ep. 6. Tu, velim, ft qua ornamenta yvp.voc I; Sfov ixtpEj, ’He tts if Xstrynv, dh'A ttoXX’ dyops Ubi in hoc ledificium introiris pictam videas in dextro templi pariete Ilii everfionem, & Graecorum ciafi'em domum folventem. After this follows a particular Account of the Pictures. There is a Difcourfe on two of them in the Memoirs of Infcriptions and Belles Lettres. (40) Paufan. Laconic. I. 3. See the French Tranflator of Paufanias on this place, Le Lefche eft tout contre &c. where he remarks, il y avoit ä Sparte deux endroits qui portoient ce nom, 1’un dit le Lefche des Crotanes ■ 1’autre le Lefche Pascile du mot Troiy.lxPjj varius, a caufe de la variete de ces peintures comme le Piecile d’Athenes. C’etoit apparemment deux portiques ou l’on venoit fe promener & converter. Sic.-------------Par la Ledture d’Homere on voit que dans toutes les bonnes Villes de la Grece il y avoit de ces Lefchez, e’eft-a-dire des lieux ou les gens oififs venoient jafer, comme au-jourd’hui nos caftez, &c. (41) Hifloire de la Peinture ancienne, p. 89. ad fin On trouve ces deux pieces a l’Academie, dans le por-tique d’Odtavie, &c. His Remark is, ou les philofo-phes Sc autres gens de lettres s’alfembloient ordinaire-ment. Pour ce qui eft du portique d’Odtavie, bati par Augufte, il renfermoit deux temples, celui dejunon & celui d’Apollon ; la cour, l’ecole Sc la Bibliotheque’ e’eft cette ecole que j’ai nominee Academie, deftinee uniquement aux conferences des philofophes & des fjavans. Voy. Suet, dans la Vie d'Augufle, c. 29. Chap. 6. änd Decline of Painting. ‘PRINT juftly celebrates Afinius R'dllio for founding publick Libraries at Rome, and adorning them with the Pictures of thofe great Men, whofe immortal Souls fpoke by their Writings (42). This Afinius Rollio was the firft who dedicated publick Libraries, that is, founded them and confecrated them to publick Ufc, thus making, fays Rimy, (ingenia hominum Rempublicam) Learning a common Good. This was a generous Action, worthy of that illuftrious Roman, the Friend of Cicero, Virgil and Horace; who was Conful, General, Orator, Poet, and Hiltorian; and a great Patron oi Ingenuity, polite Literature, and of all the fine Arts. Virgil has immortalized his Name. fublick Libraries at Rome, how a-dorr.ed with the Pictures of great Men: Of Authors cfpecially. One founded by Afinius Pollio. Rollio amat nofir am, quamvis fit ruftica, mufiam: Rollio & ip fie facit nova carmina---------- Virg. Eel. 4. ISITORUS gives fome Account likewife of this Library (43). The Dedication of fuch Libraries was folemnly made by a Difcourfe which was commonly publifhd afterwards. Rliny the Younger, who had founded a publick Library at his own Expencc, for theXJfe of his Compatriots, mentions a Difcourfe that he pronounc’d on that oc-cafion (44). And that fuch Libraries were adorn’d with Pictures of Philofophers, Learned Men and the Encouragers of Letters, appears from another of hisEpiftles, in which he expreffes his defire to get a good Painter to copy the Portraits of Cornelius Nepos, and T.Cajfius, that they might be plac’d in the Library of one of his Friends (45). RLI NT likewife informs us, that Atticus had been at great pains to preferve the Memory of illuftrious Men, and that he had publifh’d a Volume of their Images and Lives (46). Cornelius Nepos gives us a fuller Account of this noble and generous Work. He was a great Lover of Antiquity, fays Nepos, and of the ancient Manners ; and he was fo well acquainted with Hiftory, and the Lives of great Men, that, in his Book of illuftrious ones, there is no War, no Peace, no Law, no remarkable Event in the Roman Hiftory which he has not accurately related : And he had likewife o-iven fuch a diftinct Account (which was extremely difficult) of the Roman Families, that the Genealogies of all the great Men may be found there: He likewife gave their Images, or Portraits; under each of which there were four Verfes comprehending the. Subftance of their Hiftory and Character (47). Of the Zeal of Atticus to prefer ve the Fame of great Men, M ARCÜS VARRO wrote feveral Volumes on various Subjects, and thefe were Of the Zeal of adorn’d likewife with the Images of great Men, to the number of feven hundred (48). MarcusVarro, &c< And this Honour he did to Foreigners as well as to Romans. Rliny calls this a moft noble and glorious Undertaking, thus to preferve the Memory of Men of Merit, that they miCTht be every where prefent and known. “ Inventor muneris etiam This invidiofi, cc Nando immortalitatem non fiolum dedit, verum etiam in omnes terras mifit, utpra-cc fgyifgs °(fe ubique & videri pojfient. Thole then who are careful in collecting the Images of illuftrious Men follow the belt and nobleft Examples of Antiquity. Rliny tells°us that tho’ it was not ufual to place the Portraits of the Living in publick Libraries • vet Afinius Rollio thought it an Honour due to Varro, and accordingly put up his Pidure in the Library he had devoted to the Ufe of the Publick (45»). The Images (a2) Afinii Pollionis hoc Romae inventum-, quoniarn primus, Bibliothecam dicando, ingenia hominum rempublicam fecit. Pli«. 35; 5- A liule above; he %s> In Bibliothecis dicantur illi, quorum immortales animae in locis iifdem loquuntur. Concerning the Greek Libraries, fee Meurfii Ath. Alt. and Montfaucon s Palaeo-graphia Graca. see the French Notes upon this Paffage in Pliny. Roma; primus librorum copiam advexit Nimbus Paulus Perfeo Macedonum rege deviate : Deinde Lucullus e Parthica pneda. Poll hos, Caefar dedit M Varrom negotium caufa maxime Bibliotheca conftruendae : Pri-mum autem Roma Bibliothecas pubheavit Pollio, Grse-cas fimul atque Latinas, additis imaginibus in Atno quod de Dalmatarum manubus magmficentiifimum m-ftruxerat. (44) Epiß. 8. lib.i. (45) Lib. 4. Epiß. 28. magiftratus ornavit. Nulla enim lex, neque pax, neque bellum, neque res illuftris eft populo Romano quae non in eo, fuo tempore fit notata : Et, quod difficillimum fuit, fic familiarum originem fubtexuit, ut ex eo viro-rum clarorum propagines poilimus cognofcere. • ’ Quibus libris nihil poteft effe dulcius, iis, qui aliquam cupiditatem habent notitiae clarorum virorum. Attigit quoque Foeticen,credimus, ne ejus experseffet fuavitatis. Namque verlibus,qui honore,rerum geftarumamplitudine ceteros Rom. populi prseftiterunt expofuit ; ita ut fub fingulorum imaginibus fadla, magiftratufque eorum non amplius quaternis, quinifve verfibus deferipferit: Quod vix credendum fit tantas res tarn breviter potuille de-clarari. Cor. Nep. in Attico. (48) -Et M. Varro, benignilfuno inventu, in- fertis voluminibus fuarum foecunditatum, non nomini bus tantum feptingentorum illultrium, fed & aliquo modo imaginibus; non paffus intercidere figuras, aut vetuftatem sevi contra homines valere : Inventor muneris etiam Diis invidiofi quando immortalitatem non fnlnm dedit. &C. Plin. IS. S. (4.61 Imaginum amore quondam flagrafle teftes funt & Atticus ille Ciceronis edito de his volumine. Plin. 35-5* (4.7I Moris etiam majorum fummus imitator fuit, atitiquitatifque amator : Quam adeo diligenter habuit co^nitam, ut earn totam in eo volumine expofuent quo (49) Plin. lib. 7. c. 30. We find Horace complaining of the Honour done to Fannius, by placing his Books and Image in a publick Library. • Beatus Fannius, ultra Delatis capfis iA imagine; H. 1. x. Sat. 4. 120 An Essay on the Rife, Progreß, of the Living were placed among thofe of the Deceafcd in private Libraries, as appears from Martial: Hoc tibi fub noftra breve carmen imagine vivat, Quam non obfeuris, jungis, Avite, vins. L.p. Ep.i. AND the fame Poet tells us, that the Authors Pidure was fometimes prefixed to his Book. Quam brevis immenfum cepit membrana Maronem! Ipfius Vultus prima tabella gerit. L. 14. 174. Of privaten- THAT private Libraries were adorned with the Portraits and Bulls of great Men, braries. we iearn from Cicero, who fpeaks of Reading under the Image of Ariflotle, or fome other great Philofopher, as fomething that inlpired and elevated him exceedingly (yo). So likewife do Seneca (71), and all the good and great Romans fpeak. The Concluftons that follow from all this concerning the true ufe of the defigning Arts, to celebrate the praife of good and great Men, and their ufefid Deeds and Inventions. And for that reafon thefe ought to be erected in publick places. Of the Zeal of M. Agrippa againß banißing Pictures and Statues into private Villas. cVhe Topham Collection given to Eton College on excellent Verms. FROM what hath been faid two things are evident, that well deferve our Attention. Firft of all, the great care that was taken, among the Greeks in particular, to preferve the Memory of great Men and their Virtues, and thereby to promote, and maintain the Love of true Glory. Twas to this excellent Ufe that the defigning Arts were chiefly employed by them. AND for that Effed ’tis obfervable in the fecond place, that fuch Memorials of Merit of whatever fort were fet up in publick Places, and expofed to general View : They were the Ornaments of publick Buildings. The Romans for fome time imitated the Greeks in this practice. The Pictures and Statues that were brought to Rome by Mum-mius, were not employed to adorn his own Houfe, but for the Ornament of Rome. Even Julius Ccefar and Auguflus plac'd Pictures and Statues brought from Greece, in Temples, the Capitol, and other publick Edifices of Rome (72). But it feems it foon became too common a practice to deprive the Publick of them, and to make them the Ornaments of private Houfes. R liny tells us to the honour of M. Agrippa, that he publilh'd an Oration againft this Ciiftom, which was extant in his time. He fpeaks like a true Lover of the Art, with great warmth, about the generous and noble Spirit of this Speech; the Intent of which was to fhew how unfriendly to the Arts, and ungenerous to the Publick it was to banilh or imprifon fine Pieces of Art: And that they ought to be expofed to the Publick in order to call forth Genius, and to be ftudied by Artifts defirous of improving themfelves and the fine Arts (73). THE Speeches made at the Confecration of publick Libraries adorn’d with Pictures and Sculptures, as well as Books, were probably of this nature (74). And this, it feems, was an Evil that had already begun to prevail in Agrippas time, and was likely to Ipread ; exiling Pictures or Statues; locking them up where they could not be feen; or denying free accefs to the Curious to fee and ftudy them. 'Tis faid that a great Man who had all the Inclination in the World to have a fine Collection of Drawings and Pictures juft come from Athens, would not however confent to their being made publick ,• or that they fhould be plac’d where there might be ready admittance to all who defin'd to fee them : And that upon this account he was generoufly told, that it would be an Injury to Mankind, and the polite Arts, to give them into his pofleflion on fuch cruel Terms. It was certainly on fome fuch occafion that M. Agrippa publifh'd his Difcourfe upon the Advantages of making them publick Ornaments inftead of private Furniture. The Defign of his Speech was to fhew the bad Confequences to the Arts of fuch a narrow Mind. I cannot forbear taking notice to the Honour of our Country, that the fine Drawings after Antique Paintings, Statues and Sculptures at Rome, collected by the ingenious Mr. Top Ip am, were, after his Death, depofited in Eton College, for the Ufe not only of the Maliers and Students there, but upon Terms in the true Spirit of a (50) Epiß. ad Att. lib. 4. Epifl. xo. Literis fuften-tor & recreor maloque in ilia tua fedecula quam habes fub imagine Ariftotelis federe quam in iltorum fella curuli. (51) Quidni ego magnorum virorum & imagines ha-beam, incitamenta animi & natales celebrem ? Quidni illos honoris caufa femper appeljem ? Quam venerati-qnern prasceptoribus meis debeo, eandem illis prsecep-toribus generis humani a quibus tanti boni initia fluxe-runt. Sen. Epiß, Ep. 64. (52) So Pliny tells us, lib. 35. And we have often had occafion to obferve from Paufanias, that among the Greeks, Pictures and Statues were the Ornaments of publick Buildings. (53) Poft eum M- Agrippa vir rufticitati propior quam deheus. Extat certe ejus oratio magnifica & maxima civium digna de tabulis omnibus fignifque publicandis ■ Quod fieri fatius fuiifet, quam in vilJarum exilia pelli Plin. 35. II. (54) See Pliny's Account of fuch 4 Speech of his above quoted. Chap. 6. and Decline öf Paint ino. a Varro; aw Agrippas or Afintus Tollio: It being wrote upon the Door of the Room where they are kept, that they are there for the Ufe of alL the Lovers of the Arts. IF the Arts are indeed worthy of Encouragement in a State ; the fine Models, which alone can invite Genius to difclofe itfclf, or form and improve it, ought not to be hid. And if the Arts are applied to their principal End, which is to give due Fame to Merit and thereby to quicken and animate us to Virtue ; nothing can be more abfurd than tc/keep fuch Incentives to laudable Emulation out of fight. It is difappointing the very End and Scope of them. IN modern Policy, employing proper means of kindling, maintaining and invigorating publick Spirit and the Love of Praife, is much negledted. Yet fure, as the de-fire0 of Fame was implanted in us to be an Incentive to glorious Adions, fo it is the Motive that hath produced the greateft Virtues, the mod heroick Spirits, and likewife the brighteft Genius’s, and all the high Improvements of the ufeful or ornamental Arts. “ They whofe Hearts are fincerely good and virtuous, fays Cicero, do not purfue the Re « wards of Virtue fo much as Virtue itfelf: For nothing is in their Perfuafion fo ex “ cellent as to deliver their Country from Dangers, and to be ufeful to it by theit “ Studies or Labours; they think they have done nothing in Life, if they have done « nothin^ that is praife-worthy : They reckon thole happy who are honour’d by their « Fellow°Citizens for their Merit and Services; yet they do not account thofe mife-« rabie who have repaid Good to their Country for Evil: But of all Rewards the note bleft is Glory; it is this which by perpetuating our Memory to future Ages, com-« penfates the Brevity of human Life, preferving us prefent, in our abfence, and alive after Death r ’Tis, in fine, by the Steps of Glory that Men on Earth feem to afeend “ to Heaven (yy). He defines Glory to be the illuftrious Fame of meritorious and bene ** fieent Deeds to our Country, or to Mankind (yd), willingly fpread abroad by all, by the « Great and Good efpecially. ’Tis fomething folid and real, not a Shadow ; ’tis the com « fentino-cheerful Approbation of the Good; the uncorrupted Voice of thofe who know « Excellence of Virtue: It reflects the Image of Virtue (y 7). Honour and Fame are the « Reward of Virtue conferred upon one by the fincere Approbation and Efteem of his “ Countrymen: He who is thus diftinguilh’d is at once honourable and honoured. But he « who on any occafion obtains Places of Power and Dignity, which were the lole Objed « of his Ambition, in oppofition to the Will and Defire of his Country; fuch a one, I “ think, hath not obtained Honour, but merely the Name of it (y8). Honour rightly be-« flow’d nourifhes the Virtues, and all the Arts; it quickens to noble Purfuits, and to an « active Exertion of our belt Powers and Faculties. Whatever is not duly encouraged by « Praife and Honour, will lie dead and dejected. .If Fabius, for inftance, had been ho-“ nour’d for the Improvements he made in the Art of Painting, fhould we not, do you « think have feen in Rome many Tolycletuss and Tarrhafiuss ? Tis the fame with re-££ fpeft to all the Virtues ; all truly noble and honourable Qualities and Arts are exceed-££ inMy ftrengthen’d and quicken’d by Honours wifely and impartially bellowed (yp). 'Tis ££ Virtue’s belt recompence, nay the Love and Defire of it is itfelf a Virtue ; far from be-t£ in°- a low and mercenary PalTion, it burns ftrongeft in the molt virtuous Bofom. It ££ cannot refide but where the Love of Mankind is ardent and vigorous. ’Tis impoilible ££ to delight in reputable Aftions and Employments without defiring Reputation. And as « he who loves Virtue will feel pleafure in praifing and honouring it; lb he who is con-« feious of a fincere Affection to Mankind and publick Good, mult wifh that Mankind « may be fenfible of his generous Difpofition, and gratefully make him fuitable Returns (;c) Addit haec quae certa vera funt, forteis Sc fa-uienteis viros non tarn premia fequi folere recte fadto-rum quam ipfa redte fadta : fe nihil in vita fe nihil nreclare feciffe ; fiquidetn nihil fit preftabihus viro quam periculis patriam liberare : Beatos effe, quibus ea res honori fuerit a fuis civibus : Nec tarnen eos miferos, aui beneficio civeis fuos vicerint: Sed tarnen ex omnibus premiis virtutis, ft effet habenda ratio prertuorum ampliflimum effe premium glonam : Elle hanc unam, qu* brevitatem vitae pofteritatis memoria confolaretur; quae efficeret ut abfentes adeffemus, mortui viveremus : Hanc denique effe cujus gradibus etiam homines m ccelum videantur afeendere, &c. Oratio pro Rabirio, N° 35- (e6) Gloria eft illuftris & pervulgata multorum & magnorum, vel in fuos, vel in patriam, vel m omne genus hominum fama meritorum. Oratiopro Ligano 9. Eft enim gloria folida quaedam res Sc expreffa non adumbrata. Ea eft confentiens Laus bonorum. incorrupta vox bene judicantium de excellente virtute. Ea virtuti res fonat tanquam imago. Tufc. 2>uaß. lib, 3. ab initio. (58) Cum honor fit premium virtutis judicio, ftu-dioque civium delato ad aliquem, qui eum fententiis, qui fuffragiis adeptus eft, is mihi & heneftus Sc hono-ratus videtur. Qui autem occafione aliqua etiam invi-tis fuis civibus, nadtus eft imperium, ut ille cupiebat: Hunc nomen honoris adeptum non honorem puto. Civ. de Clar. Orator. 81. (59) Honos alit artes, See. Tufc. S>uaß. lib. 1. 3. Neque enim eft hoc diflimulandum quod obfeurari non poteft : fed pre nobis ferendum, trahimur omnes laudi* ftudio : Et optimus quifque maxime gloria ducitur. Pro Arch. Poet. N° 2. Adhibenda eft quaedam reverentia & optimi cujufque Sc reliquorum. Nam negligere quid de fe quifque fentiat, non folum arrogantis eft, fed am. : quifq nine diffeluti. De Off. lib. i. I i Pictures and Stä-tues ought to be publick, in order to excite worthy Emulation. The Love cf Praife ought to be encouraged in a State. Ingenious, ufeful,. end ornamental Arts aggrandize a State. It is Virtue and the purfuit of ufeful Studies that alone can make even a rich Man happy. ec of Efteem and Approbation. Indeed to have no concern about Reputation, one muft “ not only be arrogant but diffolute. The Senfe of Shame, and the Love of Glory, arc “ the beft Handles that Civil Policy can employ in the Government of Mankind. Hardly “ will any Laws be able to reprefs Vice ; far lefs to promote Virtue, if Men are become “ infallible to Ignominy and Honour.” Now 'tis not merely by Hiftorv, but chiefly by Poetry, and by the Arts of Defign, that Virtue and Vice are fet in their due lights. It is by thofe Arts that Infamy and Praife are moft forcibly impreffed upon Adi ion's and Per-fons : And therefore it is by means of thofe Arts, when rightly cultivated and employed, that the Senfe of Shame and Honour is preferved delicate" andlively. Several excellent Authors, modem as well as ancient, have made this Remark, ’and highly commended ancient Policy in making ufe not only of Painting and Statuary, but of the current Coins of their Country, to preferve the Memory of great Actions and ufeful Inventions, thereby rendering them inftructive in Hiftory, and Incentives to Virtue and Merit (Go). The excellent Influence of fuch Methods of preferving the Memory of great Men and their good Adlions, is charmingly exprefied by Salluft, who tells us, that Fabins, Seif to, and other illuftrious Romans, have often declared, that at the light of the Statues or Portraits of their glorious Anceftors, they felt their Minds animated with a very ftrong Senfe of the Beauty of Virtue, and with a truly noble Ambition to imitate their meritorious Example : Not that the Wax of which thefe Images were made or the Figures themfelves, had any magical Force ; but it is the lively Memory of great Deeds revived by thefe Monuments, that kindles the virtuous Flame, and inlpires with a Zeal that cannot be fatisfied but by having delerved the fame Glory ( Let any one but ask his own Heart the queftion, and it will immediately tell him what it is alone that kind Nature hath made to be pure, uncloying, ever-growing Pleafure; even the Exercifes of Reafon, Underftanding and Virtue; and the Confcioufnefs of Worth and Merit, generous and noble Deeds, and ufeful Studies. It hath been often oblerv'd, that none arc more apt to Fretfulnefs and Difcontent; to reproach Nature for not having made fuffi-cient Provilion for our Happinefs, and to complain of the tedious Round of Life's dull Pleafures; than thofe who are plac'd in the happieft Circumftances of outward Enjoyment. But the very Source and Caufe of thefe Murmurings againft Nature is the ftroimcft Proof of her Wifdom and Benignity. Whence proceeds this, but becaufe mere Affluence cannot in the nature of things make a reafonable Being happy > It is becaufe ^onerous virtuous Nature hath made us for a higher and nobler kind of Happinefs, than the moft exquifite Titillations of Senfe can yield ; the Pleafures of the Mind. When we arraign Nature for her Niggardlinefs towards us, we in effect defire to have been made with more capacious Senfes, but without Reflection, Reafon, a moral Senfe, and Confcience-As if fenfual Enjoyments were preferable to thofe which Reafon, Virtue, and elegant Studies afford to him ; who can bring his Conduct, his Purfuits, and Employments to their Tribunal, and receive their Apprboation for acting and bellowing his time as it becometh the Excellence and Dignity of his Nature. Let any one, whofe Time hangs heavy upon his hands, and whom neither Dreß, Pageantry, Table nor Play, can make eafy and cheerful,• but amidft Plenty is ever complaining of the narrow tirefome Circle of human Pleafures; let him but try the virtuous Employments, lay out his Time (6a) So Spanheim, Scipio Maffei, and our own Spectator and Guardian. See Bulengerus de Piiiura vete-rum, I. 1. c. 3. Ea eft vitae memoria, lux vitae, teftis temporum, nuncia virtutis, mortuorum a morte refti-tutio, famae gloriaque immortalitas, vivorum propaga-tio ; quae facit ut abfentes praefto fmt, & variis diffitif-que locis uno tempore repnefententur. (61) Saepe audivi CL Maxumum, P. Scipionem, prae- terea civitatis noftrae praeclaros viros folitos ita dicere -quum majorum imagines intuerentur, vehementiffime ijbi animum ad virtutem accendi, fcilicet non ceram »lam, neque figuram tantam vim in fefe habere • fed memoria rerum geftarum, earn flammam egregiis’viris in pedtore crefcere; neque prius fedari quam virtus eo-famam atque gloriam adaequarent. Salhtfi. in Bello fugur. See likewife Valerius Maximus, M c 8 Ex. 3. '■3" ‘ Chap. 6. and Decline Off AINfINb, and Fortune in manly Studies, and in doing good ; and then let him fay, whether Man hath not a large fhare of true Happinefs in his power, that brings no Remorfe along with it, and that never furfeits. The younger Pliny had but a fmall Eftate; but what true Luxury did he enjoy who knew fo well how to employ it in great and generous Deeds, and how to divide his time between polite ufeful Studies and good Actions ? To name no other Examples from ancient Hiftory, which affords fo many, let us take a fhort review of what he did with a Fortune that now-a-days would hardly be reckon'd a tolerable Competency ; for falfe Pleafure is as avaritious as it is prodigal and difiolute. ‘Pliny the greateft Lawyer and moft elegant Writer of the Age he lived in, in feveral of his Epiftles fhews a generous Sollicitoufnefs in recommending to the Pubhck fome young Men of his own Profeffion ; and very often undertakes to become an Advocate, upon condition that fome one of thafe his young Favourites might be join’d with him, in order to produce Merit which Modefty otherwile would have fiipprcfled. This °-reat Man is ever relieving his Friends. He makes a prefent to one of a confiderable Sum he had at firft but lent him. He pays the Debts of another that were juftly and honourably contraded. He augments the Portion of a young Lady, that fhe might be in a condition to fupport the Dignity of him to whom fhe was about to be married. He fur-nifhes one Friend with what was neceflary to be a Roman Knight; to have the means of lervincr another, he fells a fmall Eftate for ready Money below its Value. He provides another with Money to return to his own Country, and end his Days in Tranquillity. It was the Poet Martial. He generoufly reftgns fome Rights in order to put an end to Family-Divifions and Quarrels. He fettles a Competency upon his Nurfe for her comfortable Subftftence. He founds a publick Library for the ufe of his Country: And provides Salaries for Profeflors to inftrud the Youth in all ufeful and polite Sciences. He made an Eftablifhment for maintaining and educating Orphans and poor Children. And all this he did out of a very fmall Revenue. But his Frugality was to him a Fund of Riches which fupplied the Scantinefs of his Fortune, and enabled him to do all thefe o-enerous Offices. “ Quod cejj'at ex reditu, frugalitate fuppletur; ex qua, ve- Riches are no more than Means of being great and happy, and not the abfolutely neceflary Means neither. For tis poffible to be extremely happy without great Affluence. And how mife-rable may one be in the moft luxuriant Condition of outward Gratifications ? In what Nature affeftionatc, kind, wife Nature, (to whom Man is dearer than to himfelf) hath plac'd our Happinefs, even the ancient Poets have often told us (63); but none hath better deferred the trueft Happinefs of Man, which Virtue alone can yield, than one of our own from Experience and the Heart. Know then this Truth, {enough for Man to know) Virtue alone is Happinefs below : The only Point where human Blifs ftands fill. And taftes the Good without the Fall to 111: Where only Merit confiant Pay receives, Is blefs’d in what it takes and what it gi ves : The Joy unequail’d, if its End it gain j And if it lofe, attended with no pain. Without Satiety, though e’er fo blefs’d, And but more relifi’d as the more diftrefs’d; The broadejt Mirth unfeeling Folly wears, Lefs pleafing far than Virtues very Tears. (62) Seehis Life by Mr. Henley, prefix d to the Eng-Vjh Tranflation of his Epiftles, lib. 2. Epiß. 4. lib. 3-Ep. 2. ver.2. lib. 6. Ep. 32. lib 1. Epi9. f 7. Ep 2. 18, &1Q- lib. 3. 21. hb. 4. Ep.10. lib.S.Ep.2. Ub.$. Ep. 19. kb.1. Ep. 8. lib.y. Ep.13.hbf. Ep. 30. which he concludes in this manner : A Pattern of Liberality, though imperfect, is at prefent extremely rare ; the defiring of getting prevails fo Lr upon Mankind, that they feem not fo properly to poffefs their health as to be poffefs’d by it. Many Paffages might be brought from his Letters to prove his Tafte of the fine Arts , fee particularly lib. 3. Ep.6. to Severus upon z Corinthian Statue. Where, after an elegant Defcription of its Beauties, he concludes : I bought it indeed not with 1he yourger Pliny'i Generofuy a id Virtue, a neble Example. Good’ any view of placing it at home, but of fixing it in fome famous place of our Country, and to chufe in the Temple of Jupiter ; for it feems a Prefent worthy of the Templej worthy of the God; (63) How excellent is Horace’s Advice and Caution? ■-------- Si non Intendes animum ßudiis, & rebus heneßis, Jnvidia vel amore vigil torquebere : Incipe : qui retie vivendi prorogat horam. Rußicus expeäat, dum defluat amnis. ...... ■■ ■■ ■■ ■ faptre eude. Her. 1. I. Ep- 2« The Opulence of a State ought to be employed in encou-ragivg Virtue, In-duftry, and the ingenious Arts and Sciences. Ariftotle and Plato cenfured the Laws of Lycurgus, becaufe they were not calculated to promote Politenefs and Science. An Essay on the Rife, Progreß, ’Good from each Object, from each ‘Place acquir'd. For ever exercis’d, yet never tir d. Never elated while one Mans opprefsd. Never dejected while another s blefs d. And where no Want 's, no Wipes can remain. Since but to wip more Virtue, is to gain. See the foie Blifs Heav’n could on all beftow ; Which who but feels, can tajte; but thinks, can know. Eflay on Man, Ep. 4« NOW as it is with regard to particular Perfons, fo is it likewife with relpeCt to Societies or Bodies of Men. Wealth in a State is a Nufance, a poifonous Source of Vilenefs and Wickednefs, if it is not employed by pubiick Spirit and good Tafte in promoting Virtue, Ingenuity, Induftry, and all the Sciences and Arts, which employ Mens nobleft Powers and Faculties, and raife human Society to its moft amiable glorious Eftate. 'Tis not Opulence pilfered by unfair means, or difhoneft Commerce 5 but Riches procured by Virtue, Ingenuity and Induftry, maintain'd by Temperance and Frugality, and laid out in the Encouragement of Virtue, Induftry, and all ingenious Arts, that aggrandizes a Nation. Let us but imagine to ourfelves a Country over-flowing with Wealth, that produces nothing but fuperfluous Tables, gaudy, fplendid Equipages, Horfe-Races, gladiatorial Combats and Bull-baitings; and in which the moft ingenious Entertainment is Rope-dancing or a Puppet-fhew, and the only cultivated Science, Cookery : Let us imagine fuch a Country fupplied with Riches by the Labour of the common People, in Tillage, Manufactures and Commerce, who content themfelves with a poor Maintenance ; while a fmall number confume the Produce of their Sweat and Drudgery, in every way of Enjoyment to which Senfe alone is requifite, and to which Reafon is rather a Diminution and Hindrance than advantageous : Let us figure to ourfelves fuch a State, without Sciences and Arts of any kind, except fuch a fmall Portion as is abfo-lutely necefiary to Agriculture, Manufactures and Navigation : And then let us oppofe to this Pidure that of another Country, in which not only all the Virtues and Arts that are requifite to bring in Riches are duly cultivated and rewarded ; but, where Riches being employed in the Encouragement of every kind of Ingenuity and Invention, Phi-lofophy moral and natural, Mathematicks, Poetry, Architecture, Painting, Statuary, Sculpture, and all the Arts, are daily making new Improvements and Advances 5 no Man of Merit is unprovided for or unrelieved 5 due Provision being made for the Succour of the Unfortunate, and for rewarding the Good and Ufeful; Senfuality is ignominious ; all the pubiick Entertainments and Diverfions are ingenious and virtuous; and the Great and Rich do not waftc their Eftates in maintaining idle, wanton, infolent Dome-fticks, and deftroying their Health by unnatural, not Food but Poifon ; or in Furniture, the coftly Materials of which only fhew how much good they have in their power to do ; contenting themfelves with what is neat, and eftimable rather upon account of Art and Work than Subftance (64) : And thus every degree and kind of Virtue, Genius, Science, Art, Induftry is encourag'd, flourifhes and exerts itfelf with Spirit and Alacrity. Let us but oppofe, I fay, thefe two Pictures to one another; and then pronounce which is the greateft, the moft defirable State > which beft deferves to be called a Society of Men, of rational Creatures, ingenious virtuous Beings j for thofe alone certainly are reafonable Beings, who delight and exert themfelves in fuch Productions, Works and Actions as are truly worthy of and becoming the noble Faculties and Powers with which Nature hath adorned them. Can any one hefitate about giving the preference in this cafe ? What is it that hath perpetuated the Glory of Athens, a fmall State; and that hath made it the SubjeCt of Wonder and Admiration in every enlighten’d Age? Is it not chiefly the pubiick Spirit, the Virtue, the Ingenuity of that People, and die immenfe Height to which all the Arts and Sciences arole amongft them. ARISTOTLE in his Politicks, and others, have juftly found fault with the Laws of Lycurgus, becaufe they were merely calculated to produce a military People, a Nation of Soldiers. This Legiflator, fay they, had only in view fortifying the Body, and not at all the Culture of the Mind. Why muft hebanifh from his Republick all the Arts, one of the chief Fruits of which is the Polifh they give to Life and Manners ? They fweeten the Heart, infpire a focial benign Temper, and render Society lively and agreeable. Hence it came that thc Lacedaemonians had fomething in their Temper and Character too rough, auftere, and ferocious; this Fault refulted chiefly from their Education, the fine Arts having no place amongft them. The liberal Arts mightily humanize : Adde, quod ingenuas didiciffe fideliter Art es Emollit mores, nec finit ejj'e feros. Ovid. Ep. ex Ponto 1. 2. Ep. 9. They (64) What a glorious Character does Nepos give of affluentem affeCiabat. Supellex non modica, non mul-Atticus in this refped ? Elegans non inagnificus ; fplen- ta ; ut in neutral» partem confpici poffet, &c. In didus, non fumptuofus, omni diligentia munditiam non Fit. Attic:, Chap. 6. and Decline of Painting. 125 They foften, but far from effeminating, they add Strength to the Mind: Doftrina fed vim promovet infitam Re Clique cult us p eft or a robot ant (67). Hor. 1.4.. Od. 4.. LET us enquire, on the other hand, what Objections are brought againft the En- °tjethons aganfl 1 ’ . . , , . ,, i*i t ■ encouraging the couragement of the ingenious Arts 5 thofe principally of which I am now treating. Arts, conßder’d and And what is commonly faid againft them may be fu min’d up in thefe four Articles. cPlat 0 anfuerd. banifh’d them from his Commonwealth. Pericles is blam’d for encouraging them at Athens, by very grave and Wife Men. They were no inconfiderable Caufe of the Ruin and Fall of the Roman State. And they naturally tend to effeminate the Mind and promote Luxury, FIRST of all it is faid, that Plato banifh’d all the fine Arts from his Republick. Now ’tis not pretended that Plato treated the Arts of Dcfign worfe than he did Poetry. And who, even in deference to fo great a Man, would banifh from a State that divine Art, of which that excellent Philofopher was himfelf fo great a Lover and Imitator ? But'if Poetry is left, her Sifters muft likewife have place; for without them, that is, without continually borrowing from them, and calling them to her affiftance, fhe could not long fubfift, or at leaft, arrive to any very confiderable degree of Perfection. ’T is the fame common Genius that maintains and animates them all. But, the truth of the matter is, Plato was not for banifhing the fine Arts; he was too fenfible of their admirable power to convey moral Inftrucfions into the Heart, and to recommend Virtue in the powerfulleft manner, to have thought of depriving Philofophy of its beft Minifters and Servants. He was only for bringing all the Arts and Sciences under the Cognizance of his philofophical Magiftrates; that the Laws and the Arts might fpeak the fame Lan- der the good and frugal Emperors. They did not effe-minate a Socrates, a Xenophon, a Scipio, a Cicero, a Polybius, ÜV. (78) De Off. lib. 2. c. 22. Upon which occafion he makes this excellent Remark : Nullum igitur vitium tetrius, quam avaritia, in principibus prafertim & rem-publicam gubernantibus. Habere enim quaftui rem-publicam non modo turpe eft, fed fceleratum etiam & nefarium. Itaque quod Apollo Pythius oraculo edidit Spartam nulla re alia nifi avaritia perituram, id vide-tur non folum Lacedamoniis, fed & omnibus opulentis populis pradixiffe, &c. (79) Cicero de Offic. I. I. c. II. (80) See Sudan, in Vita Vefpaf. The Paffages of Tacitus already cited. Plin. Paneg. Capitol, in Vita Anto- nin. AureL Victor. Epitom. Eutrop. & Jul. Cafares. (81) See Plutarch’s Life of Alcibiades, and his Sym-pofiacum. (82) Polybius fane, qua in urbis captivitate obvene-runt in commiferationis partem colligens, injuriam mi-litum addit atque ludibria, qua in artes & prseclara ex-ercuerunt opera, Vetiis oblata dona. Ait enim pra« fente fefe, abjectas in pavimenta vidiffe tabulas, fu-perque illas talis lufitaffe milites, eafque nominatim ex-plicat. Ariftides de libero Patro pinxerat. See. Strabo, I. 8. p. 367. And fee likewife what Polybius fays of the Fine Arts, I. 4. p. 289, & 291. They have been corrupted, and Jo hath Poetry and Philojo-phy. The manly Exercifes ought liknuije to have place in Edu-cation, in order to render it truly Liberal, and to fortify the Mind as well as the Body. An Essay on the Rife> Progreß, « end that he might perufc the Greek Authors : Which doth well demonftrate, that his “ former Contempt of the Greek Learning was rather an affected Gravity, than according “ to the inward Senfe of his own Opinion (83).” Did they effeminate a Julius Cre far or an Alexander ? How happy had it been for the Times in which they liv'd, if thefe humane Arts had more humanized their Minds, and turn'd their Ambition into a more benign and kindly Courle with regard to Mankind, and their Country! In fine, if we look about in our own Country, who are the moft fteady to its Intercfts, the moft impregnable to Corruption, and the moft capable to ferve it either in Peace or War; Are they not known to be Lovers of true Philofophy and the fine Arts, and thoroughly acquainted with them ? The Arts, indeed, are not only capable of being abuled, but have been fo moft wickedly. But what hath not been corrupted and abufed ? Or what will not vitious Men corrupt and abufe ? The Arts when employed to their natural, genuine, belt Purpofes, will not foften the Mind; but m.uft on the contrary infpire it with true Virtue and laudable Ambition. But the Arts alone are not indeed fufficient to compleat Education : The manly Exercifes ought alfo to have their place, according to the ancient Method of Education; when nothing was neglected in it that could either fortify the Body or the Mind, promote Virtue or good Tafte j fit for doing ufe-ful Services to the Publick, or for worthy and becoming Recreations at Hours of lei-fure : When nothing was neglected that could qualify for oppofing Corruption with Stedfaftnefs in times of Peace, Plenty and Profperity ; or for defending their Country's Rights in juft War, with prudent Bravery: And when, at the fame time, nothing was negle&ed in Education (84) that could capacitate for agreeable and ufeful Converfation, or "truly profitable as well as pleafant Studies, in the Retirements from publick Buftnefs, which are fo requifite to unbend the Mind, or rather to recruit it with new Vigour. Ingenious Study and polite Converfation are equally refrelhing and improving: And even the Amufements, the Exercifes and Diverfions of the virtuous Man will be far removed from Vice. THUS we have feen to what generous and noble Ufes the fine Arts are fitted to ferve ; and in purfuance of what Defign it is that they ought to be employed agreeably to their Nature and Genius; as well as for the Intereft and Honour of Society. But let us inquire more particularly whence it is that they are capable of yielding fuch delight 5 of what kind the Pleafure is which they afford ; or to whom it is that they give the higheft Satisfaction and Entertainment, and how that Tafte mull be cultivated and improved, upon which a juft and thorough Reliih of them depends. (83) See Bacons EfTay on the Advancement of Learning. (84) See what Cicero fays of the Liberal Arts.- lis artibus quibus aetas puerilis ad humanitatem infor- mari folet.---Quam multas nobis imagines, non totum ad intuendum, verum etiam ad imitandum, fortifli-morum virorum, expreflas, feriptores & Graeci & Latini reliquerunt ? Quas ego Temper in adminiftranda rep. animum & mentem meam ipfa cogitatione ho- minum excellentium conformabam.--------Quod fi non hie tantus frudtus oftenderetur, fi in his ftudiis delectatio fola peteretur : tarnen ut opinor, hanc animi adver-fionem, humaniffimam, ac liberaliflimam judicaretis. Nam ceterse neque temporum funt, neque aetatum omnium, neque locorum. Hsec ftudia adolefcentiam alunt, fene&utem obleftant, fecundas res ornant, ad-verfis perfugium ac folatium praebent, delecfant domi, non impediunt foris, pernodlant nobifeum, peregri-rsantur, rufticantur. Cicero Orat. pro Archia Poeta. CHAP. CHAP. VII. Obfervations on the Samenefs of good Tafie in all the Arts> and in Life' and Manners ; on the Sources and Foundations of rational Pleafures in our Natures, and the XJfefulnefs of the fine Arts in a liberal Education. WHAT hath been hitherto obferv’d concerning the Arts of Defign, Painting in The chief Defign of particular, is chiefly intended to prepare the way for fhewing their Ufefulnefs in £Jay-Education, by pointing out their Foundation in our Nature, and their Connexion with true Philofophy ; that true Philofophy which explains the to xaAoV, or Beautiful in Nature, in Conduft, and in Arts, and Ihews it to be the fame in them all. Now as in giving an Account of the Rife, Progrefs, and Decline of Painting amongft the Ancients, and the Caufes to which thefe Effects are principally afcribed, I have only commented and enlarged a little on fome Teftimonies of ancient Authors; fo even in this more philofophical Part of my Plan, my Defign is merely to fet the Sentiments of the better Ancients concerning good Tafte and liberal Education in the cleared: Light I can, by reafoning from their Principles and Maxims. THE Doctrine of the beft ancient Philofophers concerning our Powers and Faculties, true Happinefs, good Tafte, and right Education, amounts briefly to this. THE Pleafures of the Mind are far fuperiour to thofe of the Body: We have, (fay they) by our Frame and Conftitution but a very fcanty Provifion for Enjoyment in the way of Senfe and common Appetite; but we have a very noble and ample one for rational Happinefs; fmce even our Senfes in that refpect make a very proper and ufeful part of our Stock or Furniture; whereas confidered abftraftly from our intellectual Powers and Capacities, or otherwife than asMinifters to them, they are a moft mean and narrow Pittance. A very flight Review of our Make and Contexture is, fufficient to convince us, that the chief Enjoyments our Senfes are capable of affording us, are thofe which they adminifter to us, as Inlets of Materials for Imagination, Reafon, and our inward Senfe of Beauty, natural and moral, to work upon and employ themfelves about: And that if we were not indued with thefe fuperiour Faculties, all the barely fen-fual Gratifications our outward Organs can receive or convey, would conftitute but a very low degree of Happinefs. Our higheft Pleafures are thofe which accompany, or refult from die Exercifes of our moral Powers; the Pleafures of Imagination, Under-ftandine, Virtue, and a moral Senfe : Otherwife indeed thofe Powers which diftinguifh a Man from the lower Herds of Animals could not be called his moft noble and honourable Faculties; or be faid to raife him to a higher Rank and Dignity in Being (1). But what are the Objects adapted to thefe Faculties, or how do they employ themfelves about them ? What is it the Underftanding delights to know; Fancy to dcfcribe, or Art to imitate ? Is it not Nature ? And what is it that Virtue emulates ? Is it not likewife the Benevolence, the Beauty and Harmony of Nature ? Nature being therefore the foie Object of Knowledge, and of Imitation whether in Arts or Life; all our greateft Pleafures and Enjoyments, all our nobleft and worthieft Exercifes muft be very nearly allied. It is the fame Stock of Powers and Faculties that capacitates us for them all: They* have the fame Objeft, Rule, Meafure and End: And confequently good Tafte in Science, in Arts, and in Life, muft be the fame; that is, it muft be founded on the fame Principles;’ lead to the fame Concluftons; and be improveable in the fame manner Accordingly, the Perfeäion of our Underftanding, does it not confift in as full and compleat a Knowledge of Nature as we Can obtain by Study and Contemplation; A Summary of the DoSirine of the bet* ter Ancients, concerning the Sources of our nobleß Pleafures, (1) Compare what Cicero fays De finibus Bonorum, lib I N° 33, 0’34- Qu°d vero a te difputatum eft mäiores efle voluptates, & dolores animi quam corporis,____Ad alt fora qusedam & magnihcentiora nati fumus : Nec id ex animi folum partibus, in quibus ineft memoria rerum innumerabiliurn, ineft conjectura confequentium, non multum a divinatione difterens, ineft moderator cupiditatis pudpr, ineft ad humanam focietatem juftitise fid a cuftodia : Ineft in perpet.end.s laboribus, adeundifque periculis, firma & ftabilis do-loris mortifque contemtio. Ergo hxc in animis : lu autem membra ipfa fenfufque confidera : Qui tibi ut reliquse corporis partes, non comites folum virtutum, fed miniftri etiam videbuntur, &c. De fat. Dear, lib 2 N0s8, {s’59. Omnifquefenfushominum mul- to antecellit fenfibus beftiarum. Primum enim oculi in iis artibus quarum judicium eft oculorum, in pictis* fictis, caelatifque formis, in corporum etiam motione atque geftu multa cernunt fubtilius. Colorum etiam & figurarum venuftatem atque ordinem, & utita dicam decentiam oculi judicant : atque etiam alia majora, nam & virtutis & vitiacognofcunt: Iratum, propitium, Sic.----Auriumque item eft mirabile quoddam artifi- ciofumque judicium, &c. The whole Defign of Marcus Antoninus's Meditations is to Ihew, that we are made not merely for the Pleafures of Senfe, but for thofe of Reafon, Virtue, and Religion. There are feveral Difcourfes of Socrates in the memorable things by Xenophon to the fame purpofe. See in particular /. 4. cap. 5. See to the fame effe£t a beautiful Paffage of Plato quoted by Longinus, de Sub-limitate, fed. 13. as an inftance of Plate'% fublime way of Writing, L 1 Another View of the fame Do Brine concerning Man, and the Improvement of his befi Powers and Faculties. An Essay on the Rife, Progreß, or in a juft Comprehenfion of its Order, Wifdom, Beauty, and Grcatnefs in all its Operations ? The Perfection of Life and Manners, does it not confift in conforming our AffeCtions and Actions to that beautiful Model of Simplicity, Confiftency, Greatnefs, and Goodnefs, which a right underftanding of Nature lets before us for our Imitation ? And the Perfection of alf the Arts of Imagination, in what elfe does it confift but in emulating the Beauty, the Harmony, the Grandeur, and Order of Nature, in Syftems or Works of our own Invention and Formation (2) ? MAN, fay the Ancients, is made to contemplate and imitate Nature, and to be happy by fo doing (3). His Dignity, his Duty, his Happinefs, principally confift in thele two. The Dignity, Duty, and Felicity of a Being, muft be but different Names fignify-in<>- the fame thing; they cannot be really different : And how can they be afcertain d or°determin’d, but from the Confideration of the higheft and nobleft End, to which the Frame and Conftitution of a Being is adapted ? That is, from the Confideration of that End towards which its Powers, Faculties, InftinCts, and AffeCtions confider'd, as making by all their mutual RefpeCts one Whole, or one certain determinate Frame and Conftitution, are fitted to operate (4). Now if the Frame of Man be thus confider'd, we {hall find that he is made, chiefly, to contemplate and imitate Nature : Becaufe his Senfes, Powers, Faculties, InftinCts, and AffeCtions qualify him for that end ; and the higheft and nobleft Pleafures he is capable of, arife from thefe Sources. Every other inferiour Exer-cife or Gratification, in the way of ordinary Appetite, rather terminates in Diffatisfac-tion and Naufeating, than in folid and pure Pleafure. IF therefore it be the great Buftnefs of Education, to improve the Capacity and Tafte of thofe Employments and Satisfactions, which are the remoteft from all Groffnefs and Difguft, and yield the higheft and moft lading delight; Education ought, by confequence, to aim chiefly at improving thofe natural Powers, Capacities, AffeCtions, and Senfes, by which we are capable of contemplating and imitating Nature; that is, at bringing to perfection that Senfe of Beauty, Order, Harmony, Goodnefs and Greatnefs, by which alone we can enjoy Nature in Contemplation; and which alone fits for imitating it in Arts and Manners; or for receiving Satisfaction from Conformity with it in Speculations and Imitations of whatever kind. NOW this ’tis evident muft be but one Work; for from what hath been faid it neceffarily follows, that good Tafte of Beauty, Order and Greatnefs in Nature, tranf-ferred to Life and ConduCt, or to the Arts, muft produce an equally good Tafte in them, and reciprocally good Tafte of Order, Beauty, and Greatnefs, transferred from the Arts, or from Manners to Nature, muft produce a good Tafte of Nature. A found and thorough Senfe of Beauty, Greatnefs, and Order in Nature, in Life, or in the fine Arts, will therefore be beft form'd, by fuch a Courfe of InftruCtion and Education, as exercifes the Mind in pafling from Nature to Imitations, and reciprocally from Imitations to Nature; and in ob-ferving that the Beauty and Perfection of Arts, of Life, and of Nature, is the fame (y). THE End of Philofophy, is it not to form a good Tafte of what is beautiful and admirable in Nature, orderly in Life, ConduCt and Society, and true and perfect in Arts ? But that Philofophy muft be one, into whatever different Parts it is branched and (2) Cicero tells us, that, according to the Doftrine of Plato, all the liberal Arts and Sciences are ftricily-united, and gives this as the Reafon for it, that Nature their Objedl is one throughout all her Works. De Orat. lib. 3. N° 6. Ac mihi quidem veteres illi majus quiddam animo complexi, multo plus etiam vidiffe videntur quam quantum noftrorum ingeniorum acies intueri poteft: Qui omnia haec quae fupra & fubter unum die & una vi atque una confenfione naturae conftri&a efle dixerunt. —— Eft etiam ilia Platonis vera, omnem dodtrinam harum ingenuarum, &c. .See de finibus, lib. 4. N° 21. Phyficae quoque non fine caufa tributus idem eft honos; propterea quod qui con-venienter naturae vidturus lit, ei & proficifcendum eft ab omni mundo & ab ejus procuratione. Neque vero poteft quifquam de bonis aut malis vere judicare nifi rum cognitionem ccelum intuentes capere pofient. Sunt enim e terra homines non ut incolae atque habitatores fed quafi fpedlatores fuperarum rerum atque coeleftium quarum fpedlaculum ad nullum aliud genus animantium pertinet, &c. And again in the fame Book, Ipfe homo ortus eft ad mundum contemplandum & imitandum. (4) Cicero de Nat. Deor. lib. 2. N° 13. Neque enim dici poteft in ulla rerum inftitutione non eile aliquid extremum atque perfedtum Ut enim in vite, ut in pe-cude, &c. De Leg. lib. I. N° 7. Animal hoc provir dum, fagax, multiplex, memor, plenum rationis &c confilii, quem vocamus hominem prseclara quadam conditione generatum elfe a fupremo Deo, &c. Acad. lib. 2. N° 41. Eft enim animorum ingeniorumque naturale quoddam quafi pabulum confideratio, contem-omni cognita ratione natura, & utrum conveniat necne platioque natura: Erigimur, elatiores fieri videmur, natura hominis cum univerfa, Src. Compare with this humana defpicimus : Cogitantefque fupera atque ccele-De Leg. lib. 2. N° 22, Lf 23. and the Paflages that are ftia hac noftra ut exigua & minima contemnimus, &c. afterwards quoted. See his elegant Defcription of Philofophy, Tufc. ghicef. lib. 5. N° 2. O vita philofophia dux, &c. Compare (3) Cicero de SeneB. N° 21. Sed credo Deos im- with thefe Paflages, the Reafoning in the 5"* Book de mortaleis fparfiffe animos in corpora humana ut eflent Finibus, N° 9. to Ihew how the ultimate End of any qui terras tuerentur, quique coeleftium ordinem con- Being may be determin’d. Ergo lnflituto veterum, idc? templantes imitarentur eum vita modo, atque con- ftantia. Nec me folum ratio impuiit ut ita crederem, (5) Such Philofophy or Education may (as Junius fed nobilitas etiam fummorum philofophorum & audio- obferves de PiBura veterum, l.i. c. 4,) be rightly called ritas, &c. De Nat. lib. 2. N° 56.-Qui primum tpiAocropix iy. 7philofophiam falubrium eos humo excitatos celfos & eredlos conftituit ut Deo- exemplorum intuitu fpedtantium oculos conformantem. Chap. 7. and Decline of Pa 1 nt 1 no. and divided ; or, all the Sciences which conduce towards this End, muft be very ftriXly and intimately related; and have a very clofe Union and Connexion ; becaufe the Tranfition from Beauty and Truth, in any one kind, to Beauty and Truth in any other kind, is not only very eafy and natural; but Beauties of different kinds being compar’d and brought to the fame common Standard, muft mutually illuftrate and fet off one another to great advantage. And it is indeed impoflible to give a juft and adequate Notion of Truth and Beauty, whether in Nature, in Manners, or in Arts, otherwife than by {hewing from proper Examples, that wherever it is found, it is the Refult of the fame fettled Laws and Connexions in Nature, together with the Conftitu-tion of our Mind, as it is adjufted by Nature to thele Laws and Connexions. Our Reafonings upon Truth and Beauty of whatever fort, if they do not proceed in this manner, muft be not merely very narrow and confined, but very lame and dcfeXive; we cannot have a clear and full Idea of Truth and Beauty in any SubjeX, without comparing it with Truth and Beauty in many, or rather in all SubjeXs 5 for it is by means of Oppofition and Comparifon that Truth and Beauty are difpiay’d to the beft advantage. THIS is the Sum of what the better Ancients have faid of the natural Union and Connexion of all the Sciences which form good Tafte, and of the Defign of Liberal Education. BUT it is well worth while to fet this important DoXrine in a fuller and clearer Light, by inquiring more particularly, what is meant by contemplating and imitating Nature; and by confidering thofe Faculties, InftinXs and AffeXions, by which we are qualify’d for contemplating and imitating Nature. THE Study of Nature, is nothing elfe but that accurate impartial Enquiry into Nature itfelf, by which the general Laws it obferves in all its ProduXions, may be in-veftigated and determin’d. Phyiiology confifts in reducing all particular fimilar EffeXs to general Laws. ’Tis too obvious to be infilled upon, that the Laws of Nature cannot be found out otherwife than by attending to Nature itfelf; by diligently tracing its Operations, and comparing Appearances with Appearances. Nor is it lefs evident, that if Nature did not obferve general Laws in its ProduXions, but work’d in a de-fultory, inconftant manner, it could not be the ObjeX of Science : It would be an unintelligible inexplicable Chaos. Did not Nature always fpeak the fame Language, it would be abfolutely incomprehenfible ; that is, were not its Connexions fix’d, fteady, and uniform, we could not know by any Marks or Signs what Qualities are co-exiftent, or what EffeX would be produc’d in any given Circumftances; we could not know, for in-ftance, when Eire would give a pleafant degree of Heat, and when it would burn and deftroy : We could not know when to plow and fow, nor indeed what it was lafe to cat or even to touch. On the other hand. Nature, by obferving general Laws, and operating always uniformly, or according to the fame fettled Rules and Connexions, becomes orderly and the ObjeX of Science ; it is regular, and therefore it may be ftudied, traced and underftood. A Phenomenon is then faid to be fully explained in a phyfical way, when it is reduced with feveral other like EffeXs to a uniform general Law of Nature. Eor thofe are juftly concluded to be general Qualities, Laws or Connexions, which are found to work fteadily and uniformly ; and to which many EffeXs being analogous are reducible. And indeed what elfe doth or can the Analogy or Likenefs of EffeXs mean, befides their fimilar Method of ProduXion, or Nature’s analogous manner of Operation in producing them ? Thus, for inftance, it is reafonably concluded, that Gravity is a general Law of Bodies prevailing throughout our mundane Syftem, becaufe every Body gravitates; no Body is found devoid of that Quality, and many very diftant Operations are reducible to it as their phyfical Caufe, becaufe of their Likenefs to EffeXs of the fame nature, that fall more immediately under our Cognizance. NATURAL Philofophy is, then, nothing elfe but the Knowledge of the general Analogies and Harmonies which take place in Nature, to which particular Appearances are reducible. BUT how are we fitted and qualify’d by Nature for this Science s or for finding out the general Laws and Connexions, the Harmonies and Analogies, which conftitute the Order of the fenfible World ? Is it not by our natural Senfe of Beauty arifing from Regularity and Order, or, in other words, from Uniformity amidft variety ? 'Tis this natural Senfe improv’d and cultivated by Exercife, that chiefly diftinguifhes the natural Philofopher from the common Herd of SpeXators j all his SatisfaXions arifing from the Contemplation of Nature’s Unity, Beauty, and Harmony, are owing to this Senfe; that is, they belong as properly to it as thofe of hearing to the Ear, or of tailing to the Palate. For as without the Organ of Hearing we could not perceive Sounds, or without The chief Points of this Doctrine more fully illußrated. Of the Contemplation of Nature, and how we are qualify' dfor it. By our natural Love of Order, Analogy, Unity arnidß variety, or of general Laws. without the Palate, taffes; fo no more could we perceive Unity, Beauty, Simplicity, and be pleafed with thefe Perceptions, without a Senfe and Difpofition adapted to them. THERE is indeed implanted in our Natures aftrong defire after Knowledge ; Light ft us li the right is not more fweet and agreeable to the Eye, than Truth to the Undcritanding : The •way of difeovering Mind of Man is naturally curious and inquifitive about the Reafons and Caufes of contented. But belides the SatistaCtion Knowledge gives to our Curiolity, and the Pleafure that attends the Exercife of our reafoning Faculty, there is another Enjoyment arifing from the Perception of Beauty and Unity ; which, as it is exceedingly agreeable to the Mind, fo we are directed and guided by our natural Love of it, delight in it, and defire after it, to that right Method of enquiring into the Nature and Order of Things, that alone can fatisfy our Third; after Knowledge. For by it we are led to fearch after Harmonies and Analogies; to compare Effects with Effects, and to reduce like ones to like Caufes; which is the only way of coming at the Knowledge of Nature. We are delighted with Analogy ; we are exceedingly charm'd with Unity amidft variety ; and hence we are determined to feek after Unity and Regularity, or, in one word, fettled Analogies and general Laws. And this we foon find to be an equally pleating and profitable Employment, leading us very fuccefsfully into the Knowledge of Nature,"and giving us higher and higher delight the further we advance.. Thus it is that Nature points out to us the Method of coming at the Knowledge of its Operations and Orders. How Men ever came to purfue the Knowledge of Nature, in any other way than this to which we are fo ftrongly directed and invited by Nature, or by our internal Senfe of Beauty, is a Queftion that would lead us into too long a Digreflion. Tis fufficient to our prefent purpofe, to have obferved how we are qualify'd by Nature for phyfical Knowledge, and the Pleafures attending it. We are h our moral BUT this is not all: We have likewife by Nature a moral Senfe, or we receive Selißdifpo7d™Z- Pleafure and Satisfaction from Effects that produce Good and Happinefs in Nature : Not quire after moral only are we pleafed with the Contemplation of Ffleets, Laws, and Caufes, that tend or final Caufes, and to our own Good; but we are delighted with the Perception of Good and Happinefs Contemplat'mlf wherever we obferve or behold it; though no other Portion of that Good and Happi- Now by this moral Senfe, we are naturally led to inquire into the good Effects of the general Laws of Nature. In confequence of it we are not contented with the barely phyfical Explication of Appearances; but are chiefly prompted to fearch after the moral Ends or final Caufes of Effects, or rather of the general Laws from which Effects refult. We perceive high delight in contemplating natural Beauty and Uniformity; but it is moral Beauty that is molt fatisfaclory and delighting to our Mind : For thus, together with Unity of Defign, Goodnefs and Benevolence are perceived; and therefore, at the fame time that our natural Senfe of Beauty is entertain’d, our natural Love of generous Intention is gratify’d; and all our benign, focial Affections are mod a-greeably exercifed. WE {hall not now inquire how it ever came about, that invefiigating, moral or final Caufes hath been at any time excluded from Philofophy; but certainly thofe who content themfelves with reducing Effects to their phyfical Caufes, without any Reflections upon the Wifdom, Goodnefs, and Benevolence, that appear in the Laws of Nature, deprive themfelves of the higheft Satisfaction the Study of Nature affords. For can there be a more refin’d Joy than to range at large through Nature, perceivin°-every where not only Unity of Defign, Harmony, and Analogy ; but Beneficence Kindnefs, Bounty, and Goodnefs? Now for this Satisfaction we are qualify’d by our moral Senfe. Thefe Pleafures do as neceffarily pre-fuppofe it, as Light and Colours do the Senfe of feeing ; or Mufick, the Capacity of diftinguifhing Harmony and Difcord in the Combination of Sounds. THUS then we are fitted to receive Pleafure from the Study of Nature, by our Curiofity, or Third: after Knowledge; by our Senfe of Beauty arifing from Unity of Defign, or Uniformity amidft Diverfity; and by our moral Senfe, or our Senfe of Beauty and Fitnefs refulting from the Purfuit of Goodor, in other words, from our Difpofition to delight in the Happinefs of Beings, and in the Contemplation of the Good of a Whole, fteadily purfued by excellent general Laws, or by wifely and gene-roufly contrived Analogies and Harmonies. Good. nefs fhould fall to our fhare, befides the Pleafure which the View of it affords us. I. BUT Chap. 7. and Decline of Painting. BUT there is yet another Source of Pleafure to our Minds, in the Contemplation of Nature, that deferves to be confider’d, depending on our natural Senfe of Great-nefs, or our Difpofition to be ftruck with pleafing Admiration by the Greatnefs of Ob-jecls, or by the Greatnefs of the manner in which they exift and operate (6). The Mind of Man is naturally great and afpiring : It hates every thing that looks like a Re-ftraint upon it: It loves to expatiate and dilate itfelf, prove its Force and range unconfin’d. And therefore it is wonderfully pleas’d with every thing that is noble and elevated, that fills it with lofty and fublime Ideas, and puts its Grafp to the trial. Hence ait inexhauftibie Source of Entertainment to the Mind in the Contemplation of Nature : For there is an Immenfity every where in Nature, that flings the Mind into a moft agreeable AAonifhment, not only in the greater Profpccts it affords in contemplating the Orbs that compofe the vaft and mighty Frame of the Univerfe, amidft which our Earth is fo fmall a point > but even in confidering thofe Objeds, which in refped of our Senfes are called minute : In every Infed, for inftance, there is an endlefs Source of Wonder and Amazement, or Marks of Wifdom and Contrivance of an aftonilhing unmeafurable Greatnefs. THIS mull be allowed to be a juft Account of the Contemplation of Nature, or of natural Philofophy, and the Pieafures which it yields. Socrates long ago found fault with thofe pretended Enquirers into Nature, who amufed themfelves with unmeaning Words, and thought they were more knowing in Nature, becaufe they could give high-founding Names to its various Effeds ; and did not inquire after the wife and good general Laws of Nature, and the excellent Purpofes to which thefe fteadily and unerringly work (7). My Lord Verulam tells us, that true Philofophy confifts in gathering the Knowledge of Nature’s Laws from Experience and Obfervation. And Sir Ifaac Newton hath indeed carried that true Science of Nature to a great height of Pcrfedion} of which he himfelf thusfpcaks in his Opticks, “ LATER Philofophers (8) banilh the Conftderation of fuch a Caufe out of natural Phi-« lofophy, feigning Hypothefes for explaining all things mechanically, and referring other “ Caufes to Metaphyficks : Whereas the main Buflnefs of natural Philofophy is to argue <-< from Phenomena without feigning Hypothefes, and to deduce Caufes from Effeds, till « we come to the very firft Caufe, which certainly is not mechanical; and not only to “ unfold the Mechanifm of the World, but chiefly to refolve thefe and fuch like Que-« ftions. What is there in Places almoft empty of Matter, and whence is it that the Sun «■ alld Planets gravitate towards one another, without denfe Matter between them ? “ Whence is it that Nature doth nothing in vain; and whence arifes all that Order “ and Beauty which we fee in the World? To what end are Comets, and whence is <- ^ that Planets move all one and the fame way in Orbs concentrick, while Comets “ move (6) The Paflages of antient Authors relating to our Senfe of Beauty in natural Objects, and our Senfe of moral Beauty, (hail be quoted afterwards when I come to fpeak of Virtue. Let it only be obferv’d here, that the Nature of this Difcourfe does not allow me to enlarge more fully upon the reality of thefe Principles in our°Natures, far lefs-to anfwer the Objections that have been made againft the Writings in which they are explain’d : Lef thofe who defire to be fatisfy’d upon this head, have recourfe to the Charafteriflicks, Traite de Beau, par M. Groufaz, Mr. Hutcbinfon s Enquiry, and Iris Illuftrations on a moral Senfe. As for this Principle of Greatnefs, fee Longinus de Sublim, feci. 35. Ut mul-ta alia omittam, hoc eos praecipue intuitos exiftimo : Naturam non humile nos quoddam, aut contemptum animal reputafle : Verum cum in hanc vitam, & in hunc univerfum terrarum orbem, ceu in ampliffimum quoddam nos mitteret amphitheitrum, invictum una fimul & infuperabile mentibus noftris omnis magnserei, & humanam cönditionem excedentis, adeoque divinio-ris, ingeneraviffe defidenum. Atque hinc fieri, ut humans: mentis contemplationi & conjeauique ne totus quidem orbis fufficiat ; fed ipfos fcpenumero ambientis omnia coeli terminos immenfa animi ^gitatione tranf-cendat: Quare fi quis undequaque vitam hanc omnem confideraverit, & quantum quod grande eft & excel-lens in cunctis rebus pulchro nitidoque praevaleat, intel-liget e veftigio, cui -nos rei nati fimus. Itaque inftindtu ilfo ducti naturae non exiles miramur rivulos,----verum ad confpectum vel Danubii vel Rheni refiftimus atto-mti; maxime omnium autem ad ipfius intuitum Oceani, Ad eundem modum non igniculum aut flammulam, &c. So Cicero. Eft id omnino verum, nam omnium magnarum artium funt arborum altitudo nos delecta».. Ad M. Brut urn Orator. N° 43. (7) See Platonic Phcsdo, Edit. Steph. tom. I. p. 97, At cum ego aliquando audirem aliquem legentemque ex quodam libro, ut ipfe dicebat, Anaxagoras, mentem efle quae omnia ordine difponat regatque omniumque fit caufa : Hac nimirum caufa delectabar, mihique ilia quodammodo recte comparata efle vide'batur, mentem nimirum omnium rerum efle caufam : Et ita apud me ftatuebam, fi ita res habeat, confici mentem illam gu-bernatricem atque difpofltricem omnia ita difponere, itaque res fingulas eo in loco collocare ubi fuerint rec- tiflime conftitutse.--Cum haec in animo meo reputa- rem, cum magna voluptate arbitrabar me praeceptorem comperifle, qui me ex animi mei fententia rerum caufas edoceret, illumque mihi explieaturum, primum an terra lata fit an rotunda : Illifque rebus expofitis adjuncturum etiam copiofiorem explicationem caufae & neceflitatis : Id eft, ecquid melius, & cur ita omnino melius fuerit. ---A mirifica tarnen ilia fpe, crede mihi, excidi: Quan- doquidem cum ulterius in illorum lectione progredear, hominem video nec mente quidem nec judicio ullo uten-tem, neque ullas caufas ad rerum compofitionem ordi-nemque commodi aflignantem five digerentem : At aeras quofdam & tetheras, aliaque multa & abfurda quae-dam pro rerum caufis collocantem. Et mihi quidem videtur idem omnino illi contingere ac ei qui diceret, quicquid agit Socrates, mente & ratione agit : Deinde inftituens explicare caufas fingularum rerum quas agam, diceret me primum quidem hie federe, quia corpus meum ex oflibus & nervis conftet: Ofla vero fint fo-lida & firma & junefurarum diferimina feorfim a fe in- vicem habeant:-------Cum ergo ofla in fuis commifiuris elevantur nervi qui modo laxantur, modo intenduntur, efficiunt ut membrorum incurvandorum inflectendorum-que habeam facultatem, atque hac de caufa hie fedeam incurvus, lsc. (8) Opticks by Sir Ifaac Newton, Book 3. p. 345« 133 Another Source of Pleafure to our Minds in the Contemplation of Nature, is our natural Senfe of Greatnefs, or our Difpoßtion to admire great Objects, or Greatnefs in the manner of Objects. This is a true Account of natural Philofophy, and the Pieafures arifing from the Study of Nature, according to Socrates, Lord Bacon, and Sir Ifaac Newton. M m What we may infer from this Account of natural Philofophy, concerning the right Method of improving moral Knowledge, or the Science of the moral World. Of the Imitation of Nature, and the Pleafures accruing from that Source. How we are fitted for the Imitation of Nature in Life and Conduct, by the fame natural Powers and Senfes, or Tafies above mention'd. Cicero’j Account of the Virtues corre-fponding to the di-jlinguijhing Principles in human Nature. An Essay on the Rife, Progreß, « nlove all manner of ways in Orbs very excentrick; and what hinders the fix’d Stars “ from falling upon one another ? How came the Bodies of Animals to be contrived « with fo much Art, and for what Ends are their feveral Parts ? Was the Eye contrived “ without Skill in Opticks, and the Ear without Knowledge of Sounds ? &c\ I (hall only obferve farther on this Head, that if this be the right Method of improving and purfuing natural Philofophy, it muft neceffarily follow, that the Knowledge of the moral World ought likewife to be cultivated in the fame manner, and can only be attain’d to by the like"Method of enquiry : By inveftigating the general Laws, to which, if there is any Order in the moral World, or if it can be the Object of Knowledge, its Effects and Appearances muft in like manner be reducible, as thole in the corporeal World to theirs ; and the moral Fitnefs of thefe general Laws, or their Tendency to the greater Good of the whole Syftem to which they belong. A little Refledion upon the Conftitution of our Minds, or our intellectual and moral Powers, will fhew us, that general Laws obtain with regard to thefe, as well as in the fenfible World. FOR, to name but two Inftances ; there is, with refped to us, a Law of Knowledge as fix’d and uniform as the Law of Gravity j in confequence of which, Knowledge is acquir’d by Experience and Application, in proportion to our Situation for taking in Views, and to our Affiftances by focial Communication. AND there is alfo a Law of Habits, in confequence of which, repeated Adis produce a Propenltty to do, and a Facility of doing; and, in confequence of which, we can acquire the Mafterfhip of ourfelves, or the Habit of adting deliberately, and with mature Examination. NOW the many Effedls that will foon be found on Refledlion, to be reducible to thefe two excellent general Principles or Laws of our Nature, muft convince every thinking Perfon, that were moral Philofophy ftudied and purfued in the fame way as natural Philofophy hath been for fome time, we fhould quickly fee another kind of it produc’d, than what hath hitherto appear’d. This is perhaps what Sir Ifaac Newton means, when he fays, “ And (9) if natural Philofophy in all its Parts, by purfuing this Method fhall at “ length be perfedted, the Bounds of moral Philofophy will be alfo enlarged. For fo “ far as we can know by natural Philofophy what is the firft Caufe, what Power he “ has over us, and what Benefits we receive from him, fo far our Duty towards him, “ as well as that towards one another, will appear to us by the Light of Nature’’. BUT having thus briefly (hewn by what Faculties, Powers, and Senfes Man is fitted for the Contemplation of Nature, and dircdled to the right Method of acquiring natural Knowledge; let us next confider what is meant by the Imitation of Nature, and the Pleafures arifing from it, and how we are qualify'd for them. NATURE may be imitated two ways, by ingenious Arts; and in Life and Manners. And Man will be found fitted for both thefe kinds of Imitation by the fame Powers, Faculties, and Senfes that render him capable of contemplating and underftanding Nature. MAN is impelled to imitate Nature in the Regulation of his Affedions and Adions, and fitted for it by his Senfe of Beauty and Regularity; his publick Senfe, or Delight in publick Good, and in the Affedions and Adions that purfue it; and his Magnanimity, or Senfe of Greatnefs. And accordingly, all the Virtues and Excellencies of human Life are reducible to thefe four; Prudence, Benevolence, Fortitude or Magnanimity, and Decency, or orderly and beautiful Oeconomy. THESE virtuous Affedions are pleafant and agreeable in the immediate Exercife, becaufe we are fo made and conftituted as to receive Pleafure from them by our inward Senfes, in the fame manner as Light is pleafant to the Eye, or Harmony to the Ear. And they afford a yet higher and nobler Pleafure upon Refledion, in confequence of our Capacity of reviewing our Condud, and approving it when it is perceiv’d to be becoming the Dignity of our Nature, and conformable to the Temper and Difpofition of Nature’s all-governing Mind. THE Cardinal Virtues are reduced by Cicero to thefe four above mentioned, becaufe there are four Principles in our Natures, which exalt us to the Rank and Dignity of Being we hold above merely fenfitive Creatures. The Defire and Love of Knowledge ; our focial Feeling, Love of Society or Delight in publick Good; Greatnefs of Mind, or a Defire of Power and Perfedion ; and a Senfe of Beauty and Decorum in Charaders and Adions. All the Virtues, Duties or Excellencies of human Life can be nothing elfe _ .. (faith (9) Opticks by Sir Ifaac Newton, Book 3. p. 381. The fourth Edition, Chap. 7. and Decline of Pai N Ting. (faith he) but thofe our principal Powers, Faculties or Senfes operating, coiljurictly each with proper force, towards the Perfection and Happinefs of our Minds, and the Beauty and Regularity of our Conduct. All thefe mix'd with Art and confin'd to due Bounds^ make and maintain the Ballance of the Mind ; and by their well-accorded Contrails produce a lovely Harmony and Confiftency of Life and Manners. Cicero fhews us in many different parts of his Writings, that all the Virtues are thefe Powers and Principles duly regulated, or mixing and combining with well-proportion'd Strength to give Nerves, Beauty, and Grace to Life. The Whole of Virtue confifts (according to that Philolo-phy) in living agreeably to Nature; agreeably to what we perceive by our moral Senfe and Confidence to be fuitable to the Dignity of our Nature j agreeably to what we perceive, by the fame Senfe and the Study of Nature, to be the End appointed to us by Nature 5 agreeably to the End purfued by Nature itfelf in all its Works (id). HAD we no Senfe of moral Beauty and Perfeclion, no Senfe of Harmony and Decorum in Life and Manners ; no moral Senfe, fhewing us the Subordination in which ail the inferiour merely fenfitive or animal Appetites and Affections ought to be maintain’d, we could not be capable of Virtue, we could not approve or difapprove Affe&ions and Manners. Without a Senfe of Beauty and Harmony, Greatnefs and Becomingnefs of Affedtions and Actions, we could no more have any Senfe of the Dignity of our Natures, and of acting a right part, than a blind Man can have of Colours. 'Tis in confe-quence of moral Conlcience, or of our moral Senfe of the Beauty, Dignity, Worth, and Merit of Characters, Affections and A ft ions, that though we may be brib'd or ter-rify'd into the doing a bafe Adtion; yet we can neither be brib’d nor terrify'd into the Approbation of it. It is in confequence of it that we are able to form any other Idea of an Adtion, beftdes that of the Quantity of fenfible Pleafures it may bring, and that we are capable of framing to ourfelves general Rules of Life, by the Study and Obfervance of which. Life is render'd uniform, confident, regular and beautiful j and of delighting in that moral Harmony and Beauty. THUS it is evidently the fame Senfes, Dilpoiitions, and Powers, which fit and qualify us for contemplating Nature with fatisfadtion; and for imitating in our Condudt the moral Perfedtions of its Creator and Governour, which are clearly manifefted by the Frame, Conftitution and Laws of Nature. And then it is that the Study of Nature mull afford the higheft Joy, when we feel the fame Temper and Difpofition prevailing in (to) See Marcus Antoninus's Meditations, Collier's Tranflation, p. 140. c. 26. Pleafure and Satisfadtion confifts in following the Bent of Nature, and doing the things we are made for. And which way is this to be compafs’d ? By the practice of general Kindnefs, by negledfing the Importunity and Clamour of our Senfes, by diftinguifhing Appearances from Truth, and by contemplating Nature and the Works of the Almighty. All this is adting according to kind, and keeping the Faculties in the right Channel, &c. Andp. 77. c. 21. Among all things in the Univerfe diredt your Worfhip to the Greateft ; and which is that ? ’Tis that Being which manages and governs all the reft. And as you worfhip the beft thing in Nature, fo you are to pay a proportionable regard to the beft thing in yourfeif: You’ll know it by its relation to the Deity, fsV. Cic. de Off. lib. 1. N° 4. Homo autem quod rationis eft particeps, per quam eonfequentia cernit, caufas rerum videt, earumque progrelfus & quafi anteeefliones non ignorat, fimilitudines comparat, & rebus praefenti-bus adjungit, atque annedtit futuras: Facile totius vitae curfum videt, ad eamque degendam praeparat res necef-farias: Eademque natura, vi rationis hominem conci- liat homini & ad orationis & ad vitae focietatem----— In primifque hominis eft propria veri inquifitio atque in- veftivatio. Itaque----cognitionemque rerum aut occul- tarurn aut admirabilium, ad beate vivendum neceflariam ducimus. Ex quo intelligitur, quod verum, fimplex, fincerumque fit, id efie naturae hominis aptiffimum, Huic veri videndi cupiditati adjundta eft appetitio quae-dam principals, ut nemini parere animus bene a natura informatus velit, nift prascipienti, aut docenti, aut uti-litatis caufa, jufte & legitime imperanti: Ex quo animi magnitudo exiftit, humanarumque rerum contemtio. Nec vero ilia parva vis naturae eft, rationifque quod unum hoc animal fentit quid fit ordo, quid fit quod de-ceat, in fadtis didtifque qui modus. Itaque eorum ipfo-rum, quae adfpedtu fentiuntur, nullum aliud animal pul-chritudinem, venuftatem, convenientiam partium fentit, quam fimilitudinem natura, ratioque ab oculis ad ani-mum transferens, multo etiam magis pulchritudinem, conftantiam, ordinem in confiliis fadtifque confervan- dum putat:--------Omne quod honeftum eft, id quatuor partium oritur ex aliqua. Aut enim in perfpicientia veri, folertiaque verfatur: aut in hominum focietate tuenda, tribuendoque fuum cuique & rerum contradta-rum fide, aut in animi excelfi, atque invidti magnitu-dine ac robore ; aut in omnium quae fiunt, quaeque di-cuntur, ordine & modo, in quo ineft modeftia & tem-perantia. Quae quatuor quanquam inter fe colligata atque implicita funt, tarnen ex fingulis certa officiorum genera nafeuntur, &c. See Cicero de Or at ore, lib. 1. N° 3, 4, id 5. De Partitione Oratorio, N^ 22, id 23. Eft igitur vis virtutis duplex, aut enim feientia cernitur virtus aut adlione. Nam quae prudentia quaeque gra-viffimo nomine lapientia appellatur, haec feientia pollet una. Quae vero moderandis cupiditatibus, regendifque animi motibus laudatur, ejus eft munus in agendo, cui temperantias nomen eft.-----Quae autem haec uno ge- nere compledtitur magnitudo animi dicitur : Cujus eft liberalitas in ufu pecuniae : fimulque altitudo animi in eapiendis incommodis& maxime injuriis :—Cuftos vero* virtutum omnium eft verecundia, &c. De fin. Bon. id Mai. lib. 2. NQ 14. Honeftum igitur id intelligimus quod tale eft ut detradla omni utilitate fine ullis prae-miis, fruetibufque per fe-ipfum poffit jure laudari.—— Homines enim etfi aliis multis tarnen hoc uno a beftiis plurimum differunt, quod rationem habeant a natura datam mentemquej & acrem & vigentem quae caufas rerum, Stc.---Eademque ratio fecit hominem hominum appetentem, cumque his natura & fermone, & ufu con-gruentem, ut profedtus a caritate domefticorum ac fuo-rum, ferpat longius, & fe implicet primum civium de-inde omnium mortalium focietate Et quoniam ea-dem natura cupiditatem ingenuit homini veri inveniendij See. His initiis indudti omnia vera diligimus, id eft fidelia, fimplicia, conftantia, &c. Eadem ratio habet in fe quid-dam amplum, atque magnifieum ad imperandum magis, quam ad parendum aeeomodatum : Omnia humana non tolerabilia folum, fed etiam levia ducens : Altum quid-dam & qxcelfum, nihil timens, nemini cedens, fempef invidlum. Atque his tribus generibus notatis, quartum fequitur, & in eadem pulchritudine, & aptum ex illis tribus; in quo ineft ordo & moderatio. Cujus fimili-tudine perfpedta in formarum fpecie ; a dignitate tran-fitum eft ad honeftatem didtorum atque fadtorum, &c. Of Greatnefs of Mind, fee Cicero de Off. lib. I, NQ2Q, Of Beauty or Decency, ibid. 28, id 29. Virtue neceffdrily pre-fuppofes a Senfi ofi moral Beauty and Perfection, and Greatnefs of Mind\ Jn Essay on the Rife, Progreß, in out own Minds which Nature difplavs ; and we are confcious of our earncft Endeavours to tranfplant into our Minds and Lives, all the moral Beauties that appear in it 5 the Benevolence, the Harmony, the Simplicity, the Truth, and Greatnefs that reign throughout univerfal Nature ,* and to become like to our Creator the all-perfect Mind, who made, upholds, and governs all. WHETHER we have thofe Senfes that have been mention’d, is matter of Experience ; it can only be known by Confcioufnefs. And therefore in fpeaking of them, an ^ > w ^ Appeal muft be made to what we feel and perceive. It is the fame with regard to all hifpnfitions inherent our other Faculties and Perceptions : There can be no other way of convincing one that he hath certain Powers, Ideas and Feelings, but by endeavouring to make him turn his Eyes inward, look attentively into his own Mind,, and obferve what palfes in it. Mean time ’tis certain, that if we had not thefe Faculties and Difpofitions, Nature could not pleafe us by its Unity, Regularity and Beauty 5 or by its fteady purfuance of univerfal Good; nor could we be delighted with amiable, lovely, and praife-worthy Characters and Actions. Thefe would necelfarily be to us as Harmony to one who has no Ear. Unity, Beauty and Grace would be empty, inlignificant Sounds to us. For it muft be true in general, that every Gratification or Pleafure necelfarily pre-fuppofes an Affection Appetite, or Difpofition fuited to it: And that without natural Affections, Difpofitions and Appetites, no one thing could pleafe us more than another. THIS alfo is certain, that if Beauty, Harmony, Unity of Dcfign, Regularity, and wife generous Adminiftration, are real things in Nature, they muft be fo in our Con-Jcorrefpmdmg 'Appe- dud 5 or reciprocally, if they are real Qualities, and not Words without any 'Meaning tite, Affeaion, or with regard to our Conduct and Manners, they muft likewife be real with refpect to the Difpofitton. Oeconomy of Nature. ’Tis impoffible to have a Senfe of them in one of thefe with- out transferring them to the other. To own their Reality in the one cafe, and deny it in the other, is a Contradiction in terms : For how can Order, Beauty, Goodnefs and Greatnefs belong to certain Affections and Actions; to the Character of one rational Being, or to any moral Object 5 and not likewife as neceffarily belong to all analogous Affections, Actions, and Characters, or to every like moral Object ? If the generous Pur-fuit of publick Good be laudable and excellent in Nature j it muft likewife be valuable and praife-worthy in us, and its contrary be hateful and bafe : And, on the other hand if benevolent generous Affeftion be amiable and commendable in us, and its oppofites be mean, ignoble, and unworthy ; the fame muft likewife be true with regard to the Adminiftration of Nature, and the Temper and Difpofition of its Author and Governour. BUT there will be occafion to carry this Reafoning yet farther, in confiderin°- the imitative Arts, to which I now proceed. Man is not only capable of imitating Nature in Life and Manners, but likewife by feveral Arts. All Arts are Imitations of Nature, or Applications of its known Laws to the Ufes and Purpofes of human Life; äs of Gravity, Elafticity, &c. But the Arts that are more properly called imitative are thofe of Fancy and Genius, fuch as Poetry, Painting and Sculpture. Now ’tis the fame Senfes, Difpofitions, Inftinds and Powers, that render us capable of contemplating Nature, and of imitating its Order, Beauty, and Greatnefs in Life and Manners j thaf likewife fit and qualify us for the Imitation of Nature by thofe ingenious Arts. THERE is implanted in our Minds not only a ftrong delire of underftandingNature’s Methods of Operation, and all its various Appearances 5 but alfo a very ftrong Difpofition to imitate Nature, emulate it, and vie with it; and thus to become as it were Creators ourfelves. Hence the Origin of Poetry, Painting, and of all the noble and afpiring, imitative Arts : Hence all the bold Efforts of the human Mind to add as much as it pofli-bly can, to our Happinefs by our own Invention, Genius, and Induftry. Man is very wifely made by his Creator, an imitative Being; this Propenfity to copy after Nature and to emulate it, is indeed a Principle of wonderful ufe in fuch a Conftitution as ours is. But to what purpofe could it ferve 5 or what could it produce that is great and excellent, were we not at the fame time indued with the other Faculties and Senfes that have been deferibed, to guide and affift it in the Imitation of Nature ,• that is, with a Senfe of Beauty, Order, and Greatnefs, and with a moral Senfe, ora focial, affectionate generous Difpofition ? The chief Qualities of good Imitation by Poetry, Paintin^ and Sculpture, that have been already enumerated and explained, do they not all of^them evidently pre-fuppofe thefe Faculties and Difpofitions in order to relifh them, or indeed to have any Notion of them ? What elfc is it that could prompt us to purfue and endeavour after Truth, Beauty, Confiftency, Decorum, Greatnefs and Grace in Compoft-tions of any kind; or that could be delighted and charmed by thefe Qualities when they are attained to in any human Production, but a natural Senfe of Beauty, Unity, Decorum, Grace and Greatnefs ? In like manner, if we had nothing of Sympathy,' Companion Benevolence Of the Imitation of Nature by ingenious Arts, and the Plea-fures arifing from that Source. in our Natures, by turning our Eyes inward, and by re-ßeNing on our own Minds, and their Operations. Yet it is certain that our Capacity of contemplating Nature with delight, or of imitating it by the Study and Exercife of Virtue, pre-fuppofes thefe Principles. Every Plea- firr fire-Iufrboles a TVe can only know whether cue have thefe Powers or Prinrihlpf. and Benevolence and Generofity in our Frame, could we think of calling forth fuck Affections into Adion, and giving them agreeable Excrcife by moving and interefting Repre-fentations : Or could we be delightfully touched and affeded by the imitative Arts in a tender focial manner, without any Difpofition or Principle in our Nature fit to be worked upon ? Nothing can be more ridiculous than to lpeak of perceiving any Quality, without a Senfe qualified to perceive it: Beings can neither defire nor relilh any Entertainment for which they are not fitted by Nature, or for which, fo to fpeak, they have no natural Appetite. On the one hand therefore, if Truth, Beauty, Great-nefs and Grace, and all the other Qualities that are afcribed to the fine Arts, as confti-tuting their Perfedion, are not mere Sounds without a Meaning, we muft have naturally implanted in us thofe Faculties and Difpofitions that arc requifite to comprehend and enjoy them. And, on the other hand, if we really are poftefs’d of Faculties and Senfes qualify’d to understand and tafte thefe Qualities, the chief Excellence of the imitative Arts muft neceffarily confift in their being able to give fuitable Entertainment to fuch noble Faculties and Senfes : Or their Productions can only be excellent in proportion to the Satisfaction they are able to afford to them. THAT it is the very fame Faculties and Difpofitions which qualify us for underftand-ino- and relifhing the Beauty and Perfection of Nature, the Beauty and Perfection of moral Conduct,'"’and the Beauty and Perfection of the imitative Arts is fo evident, that it is indeed unaccountable how any who pretend to Tafte or Intelligence of thefe Arts, can doubt of the Reality and Naturalnefs of Virtue, and of amoral Senfe in our Make and Frame; or entertain wrong Conceptions of Nature, and doubt of the moral Senfe and good Difpofition of our Contriver and Author. BUT fince it is no rare thing to meet with Virtuofi or profeffed Admirers of the fine Arts, who call into queftion all other Beauty but that of their beloved Arts, I cannot chufe but call upon them to refled, that they muft either give up the reality of the Tafte upon which they fo highly value themfelves, and which is indeed a very fine Accom-plifhment; or they muft of necefiity own the reality of Virtue and of a moral Senfe 5 äfld confequently acknowledge theWiftiom and Goodnefs of our Maker, the Creator and Upholder of all things, who hath inlaid it into our Natures, and made us capable of receiving fuch noble Entertainment from it in various ways. SO ftridly are all Truths bound and united together, that having fitft eftablifhed a right Idea of Virtue, and of thofe Faculties that capacitate us for perceiving and delighting in it; or of Nature s wife and regular Oeconomy in purfuing the general Good of the Whole > it is very eafy by obvious Confequences to deduce and eftablifh a juft Notion from thence, of the fine Arts and their principal Excellencies : And, on the other fide, if we begin by fettlino- a true Idea of the Excellencies of the fine Arts, and of thofe Faculties and Difpofitions in our Minds which qualify us for purfuing them, and receiving pleafure from them, it is very eafy by natural confequences from thefe Principles to fix the true Notion of Virtue and moral Excellence, whether in the Government of our own A fled ions and Adions, or in the Adminiftration of Nature. For if the Perfedion of Nature confifts in workin°- unerringly towards the Beauty and Good of the Whole by fimple confiftent Laws; and the Perfection of Life and Manners confifts in ading in concert with Nature, and in purfuing fteadily the Good of Mankind by well-poifed, regular and generous Affedions ; then muft the Perfedion of the imitative Arts confift in like manner in making regular and beautiful Syftems, in which every part being duly adapted and fubmit-ted to what is principal, the Whole hath a great, noble, and virtuous Effed upon the Mind : And reciprocally, if the Beauty and Perfedion of the imitative Arts is acknowledged to refult from a due Subordination of Parts to the main End, and from Harmony and a noble virtuous Tendency in the Whole ; then muft our Condud and the Adminiftration of Nature be beautiful and perfed, only in proportion to the juft Subordination, Harmony and good Tendency that prevails in the Whole. IF Unity Decency, Truth and Greatnefs are acknowledged in the imitative Arts, they muft likewife take place with regard to Nature, for Nature itfelf muft be capable of affcdin* us in the fame manner. And they muft likewife take place in Life and Manners in Affedions Adions and Charaders 5 for thefe muft be capable of touching and affedin- us in the fame manner in real Life as in Imitation. The Artift derives all his Ideas from Nature and does not make Laws and Connexions agreeably to which he works in order to produce certain Effeds, but conforms himfelf to fuch as he finds to be neceffarily and unchangeably eftablilhed in Nature : All his Attempts pre-fuppofe certain Difpofitions implanted in the Breafts of Mankind originally by Nature itfelf, which he cannot produce if wanting, but may fuit himfelf to and work upon in the way that Nature hath appointed, and thereby render his Works exceeding plcafing and agreeable If therefore the imitative Arts are really capable of producing beautitul, great, and noble Effeds uponus there muft be fomething beautiful, great and noble in our Minds, the Improvement of We are qualify d for that by the fame Powers and Difpofitions already mention'd. IftheReality of thefe Qualities is ac-knovuledg'd in any one of thefelnflances, in the Contemplation or Imitation of Nature, whether in Life or Arts ; their reality muß likewife be own'd in all the other Inßances. i38 An Essay on the Rife, Progrefs, which is neceffarily our Excellence and Perfedion, for which we could not have bccq fuited, but by a Mind of fupcriour Beauty, Noblencfs and Greatnefs, whole Per fed ion confifts in producing Beings capable of noble Ends and Purfuits, and in framing and adapting each kind of Beings in every refped as may belt luit to the higheft Perfedion in the Whole. T O acknowledge a real Excellence and Beauty in any imitative Art, without confef-fuig a real Excellence and Beauty in Nature, and the real Excellence and Worth of Virtue, is abfurdly to aferibe a Power and Influence to Copies which the Original hath not: It is the fame as to aflert, that a real Objed of which an exad Copy is taken, would not have the fame elfed upon us by its real Qualities, which thole Qualities have upon us in the Imitation : It is to aflert not only that the Artift can form Ideas which have no Foundation in Nature itfelf, or are no wife fuggefted to him by it; but that he can °ive Powers and Qualities to Objeds which he copies from Nature, that are quite independent of all Nature's Laws and Eftablifhments, and in which Nature hath no part or lhare. BUT this way of reafoning may appear to fome too abftrufe and metaphyfical; and therefore I fhall endeavour to fet the Analogy between the moral Virtues and Graces and the Beauties and Graces of the fine Arts in another light, by fuggefling briefly a few Ob-fervations of the Ancients upon this Subjed : For, according to them, to illuftrate, prove and enforce this inseparable neceffary Connexion, (of which I am now treating) between the reality of Beauty, Unity, Order, Grace and Greatnefs in Nature, and their reality in FartherHlußratiohs the Condud of our Affedions and Adions, and in all ingenious Imitations of Nature by ArtS> is the chief ScoPe of tme Philofophy, the fitteft Method of forming betimes in good Taft ein our y.oung Minds an univerfal good Tafte ; and therefore it is the proper Bufinefs of Educa- Natures, and the tion. It is only fuch Philofophy that deferves to be called the Guide of Life (9), the proper ways of cul- Difcerner of Excellence, and the Source of all truly manly, rational, and pure Happi- ivatmg it. nefs ; Or that can produce a right Tafte of Life, and of Man's belt Purfuits, Employ- ments and Diverfions. And therefore it is this Philofophy that the Formers * of Youth ought to have ever in their View throughout the whole of Education. AJlriCt Connection andAnalogy between our Senfe of natural and our Senfe of moral Beauty, THE Ancients have often obferv’d, that there is a ftrid Analogy between our Senfe of Beauty in fenfible Objeds, and our moral Senfe, or our Senfe of Beauty in Affections, Adions and Charaders. So nearly are thefe related, or fo intimately are they blended together in our Natures, that he who hath any Tafte of Beauty in fenfible Forms, any Notion of Harmony, Regularity and Unity in Bodies, muft neceffarily be led to transfer that Senfe to moral Objeds : And therefore if fuch a one is diffolute or irregular in his Condud, he muft live at continual variance with himfelf, and in downright contradidion to what he delights in and highly admires in other Subjeds. So ftridly, fo nearly are thofe two Senfes allied to one another, that it is hardly pofiible to fpeak of moral Objeds in any other Language, than that which exprefles the Beauties of the other kind. Hence it is that the beft Authors of Antiquity fpeak of the Meafures and Numbers of Life } the Harmony, Unity and Simplicity of Manners 5 the Beautiful the Decent in Adions j the Regularity, the Order, the Symmetry of Life; the Proportions, the Graces of the Mind > Truth, Sublimity, Greatnefs, and Confiftency of Manners. Such is the Style of the beft ancient Moralifts (10). And in explaining thefe moral Qualities, they ate conftantly referring to thofe which are analogous to them in fenfible Forms, and in the Produdions of Fancy and Genius in Imitations of Nature. On account of this Affinity and Analogy, they have juftly concluded, that the Admiration and Love of Order, Harmony and Proportion in whatever kind, muft be naturally improving to the Temper, Advantageous to focial Affedion, and highly affiftantto Virtue which is itfelf no other than the Love of Order and Beauty in Society: That all the Arts which have Truth, Order and Beauty for their Objed and Aim, muft have a Tendency to advance the Love of moral Beauty in Life and Condud, and to check Diforder and Irregularity : But chiefly the Contemplation of the Order of Nature, from which all our Ideas of Order and Beauty are originally copied. One of the moft pleafant and entertaining Speculations in Philofophy is the univerfal Analogy that prevails throughout Nature: The Analogy between the natural and moral World in every refped. ° 'Tis this Analogy that lays the Foundation (as it hath been frequently obferved by many Authors) for what is principal in the Works of Genius, the cloathing moral Objeds with fenfible Images, or the giving them Bodies, Shapes, and Forms in Defcription, Sculpture, and Painting. BUT . (9) So Cicero addrefles true Philofophy, O philofophia vitae dux, Ovirtutum indagatrix, expultrixque vitiorum? Qind modo non nos, fed omnino vita hominum fine te efie potuiffet ? &c. Tuf Quafi. I. 5. N° 2. (l°) See the Paflages already quoted, at the Beginning of this Chapter, about the Contemplation of Nature, and thofe juft now quoted concerning the Decorum. So Horace, Sed verts numerofque, modofque edifeere vitts. ' Epift. 1. 2. Eß modus in rebus; funt certi denique fines, Ep. 2. £>uos ultra, citraque nequit confifiere reCtum. 6> •, . Sat. f *• Sat. n $>uid verum atque decens, euro & rogofäomnis in hoc Jum. Mfiuat, & vita difeonvenit or dine toto. Ep. l»i. Ep 2i %ui quid fit pulcrum, quid turpe quid utile, quid fun. Ep J 1 Ep 2 So Plato, Cicero, and all the beft Philofophers are ever fpeaking of the to x«Aw, the T0 „porn, the pulcrum, the decens, the honefium, convenjenter natura vivere, (5cc Chap. 7. and Decline of Painting. 139 BUT this Analogy between the natural and moral World reaches much farther; and indeed if it did not, Man would neceflarily be incapable of one of his nobleft Pleafures ; for unlefs there was fuch a Similitude or Analogy between the natural and moral World, that all Objects of the later fort may be painted under Images taken from the former, we could not at all have any Intercourfe or Communication with one another about moral things. It hath been often remarked, that the greater part of the Words denoting Affections and Operations of the moral kind, do in their original Signification exprefs fenfi-ble Perceptions. But the truth of the matter is, that if inward Sentiments, Affections, and Actions could not be pictured to us by means of fome things analogous to them in the fenfible World, Language and Difcourfe could not extend any farther than to the Objects perceivable by our outward Senfes, and thofe of the moral kind could not be de-feribed or conveyed at all. But not to dwell longer on that Reflexion, though it well deferves the Attention of thofe who are concerned in Education, and naturally leads to a jufter Notion of the mod profitable as well as agreeable Method of teaching Language, or explaining Words, than is commonly entertained : It is fufficient to the prefent pur-pofe to obferve, that Beauty in its firft Meaning fignifies a Satisfaction which certain vifible ObjeCts are adapted to give to the Sight; and it is fitly applied to denote a fimilar Satif-faCtion which certain moral ObjeCts are equally adapted to give to the Underftanding or Eye of the Mind, becaufe of the Similarity of the Pleafures perceived, and becaufe of their Analogy in all other refpeCts. For as by Induction, in the former cafe it is found to be the Regularity of ObjeCts that gives that Satisfaction ; or, in other words, that whatever Object of Senfe gives it is a regular Whole, that hath Variety amidft Uniformity ; and it is alfo found, that Ufefulnefs is always connected with Regularity and Beauty : So in the later cafe by Induction it is likewife found, that the fame Connexions take place with regard to every moral ObjeCt that is pleafing and agreeable to our Contemplation : Thefe alfo are regular ObjeCts, or have Variety with Unity, and are in like manner profitable or ufe-ful. The Perception of Pleafure called Beauty in both cafes is diftinCt from the Reflexion upon Utility, or upon Regularity and Unity ; it is perceived immediately, or at firft fight previoufly to all Confideration of thefe Concomitants. Thefe Connexions between Beauty, Regularity and Utility, are found out afterwards by Enquiry ; and it is becaufe they are difeovered to take place in many Examples, and no contradictory Inftance appears, that it is eftablifhed into an univerfal Canon by Induction, agreeably to all the Rules of Philofophy and good Reafoning ,• that whatever is beautiful in the moral, as well as in the natural, or fenfible World, is regular, hath Unity of Defign, or Variety with Uniformity, and is ufeful. It is upon this Connexion between Beauty and Utility, that the Ancients have greatly infilled. THEY have often remarked, that as in Nature, fo in all the Arts, Beauty, Truth, 'The infeparalle and Utility are infeparably connected, or more properly are one and the fame. Beauty Connexion of and Truth are plainly join’d with the Notion of Utility and Conveniency, in the Appre- ^hb Utility aid henfion of every ingenious Artift; the Statuary, the Painter, the Architect: And for Advantage. what reafon, but becaufe it is fo in Nature ? The fame Shapes and Proportions, which make Beauty, afford advantage, by adapting to Activity and Ufe. The fame Features which occafion Deformity, create Sicklinefs and Difeafe. The proportionate and regular State is the truly profperous, found, and natural one in every SubjeCt. Health of the Body is the juft Proportion, Ballance and regular Courfe of Things in a Conftitution. And what elfe is Health or Soundnefs of Mind but the harmonious State, or true and juft Ballance of the AffeCtions (n) : Or what elfe is it that produces Deformity of the moral kind, but fomething that tends to the Ruin and Diflolution of our mental Fa-brick ? Cicero and Quintilian have illuftrated this Truth (nunepuam veri fpecies ab utilitate dividitur) by a variety of Examples j from the Structures of animate and inanimate things; the Fabrick of the human Body, and the Beauty of the human Mind; and then by analogous Inftances from Architecture and all the Arts (12). And hence the Ancients have laid it down as an univerfal Maxim in Life and Manners, in Nature and (11) Et ut corporis eft quaedam apta figura membro-rum cum coloris quadam fuavitate : Eaque dicitur pul-chritudo, fic in animo, opinionum, judiciorumque ae-quabilitas, & conftantia, cum firmitate quadam k fta-bilitate virtutem fubfequens, aut virtutis vim ipfam con-tinens, pulchritudo vocatur. Itemque viribus corporis, & nervis, & efficacitati fimiles, fimilibus verbis, ammi vires nominantur. Velocitas, fanitas, morbi, &c. Cic. Tufcul. £>ua:ß. Ub. 4. N° 13. De Off. lib. 1. N° 28, & 36. Every thing is at eafe when the Powers of it move regularly and without interruption. Now a rational Being is in this profperous Condition, when her Judgment is gain’d by nothing but Evidence and Truth ; when her Deftgns are all meant for the advantage of Society. When her Deftres and Averfions are confined to ObjeCts within her power, when fhe refts fatisfied With the Diftributions of Providence: for which £he has great reafon, fince fhe is a part of it herfelf. And with as much propriety, as a Leaf belongs to the Nature of the Tree which bears it, £sY. Marcus Antoninus's, Meditations, Colliers Tranflation, p. 134. (12) Cicero Orator, lib. 3. 45, 46. Sed ut in plerif-que rebus incredibiliter hoc natura eft ipfa fabricata : Sic in oratione, ut ea, qu® maximam utilitatem in fe continerent, eadem haberent plurimum vel dignitatis, vel fepe etiam venuftatis. Incolumitatis, ac falutis omnium caufa, videmus hunc ftatum eile hujus totius mundi atque naturae-------Haec tantam habent vim ut paulum immutata cohserere non polfint : Tantam pul-chritudinem, ut nulla fpecies ne excogitari quidem pof-fit ornatior. Referte nunc animum ad hominum, vel etiam ceterarum animantium formam, & figuram. Nullam partem corporis fine aliqua neceffitate affictam, totamque m all the imitative Arts; That what is beautiful is harmonious and proportion’d, what is harmonious and proportion’d is true > and what is at once both beautiful and true, is of confequence agreeable and good. And accordingly, AffeClions, Manners, and all the Arts are to be judged by this Rule (13). That which in Art is not ufeful to the Whole cannot be beautiful; all Ornaments which do not naturally rife out of the Subject* and tend to fupport and maintain it, and promote the defign’d Effect of the Whole, are* for the fame reafon that they are an Incumbrance, not merely fuperfluous, but noxious and hurtful with regard to the propofed End and Effect of the Whole. THIS Cicero illuftrates particularly by Architecture, which one is apt to coniider at firft fight as a merely ornamental Art; and fo does Vitruvius more fully. Cicero and Quintilian fhew it to be fo in Oratory ; and ’tis evidently fo in Painting and Sculpture : For is not the Truth and Beauty of every Figure meafured in thefe Arts, from the Perfection of Nature, in her juft adapting of every Limb and Proportion, to the Activity Strength, Dexterity, Life and Vigour of the particular Species or Animal defiun’d ? And in a Whole confifting of many Figures relative to one main End, doth not that fpoil the Unity, Simplicity and Correfpondency of the Whole, which hath no neceflary or proper Connection with its principal Scope, but diftraCts the Eye, and diverts the Attention from what is chiefly intended. ALL Pieces of Art, like all Pieces of Nature, mull make one Body, found and well-proportion’d in its Parts, without any cumberfome Excrefcencies, or without Parts of another kind, and not belonging to it as one particular Whole, however beautiful thefe may be confider’d apart. We cannot indeed advance the leaft in any Relifh or Tafte of Symmetry and Proportion, without acknowledging the neceflary Conneäion betwixt the Ufeful and the Beautiful. And as no Reflection on Nature, and on Arts is of larger Extent, fo none can have a better, or more benign and wholefome Influence upon the Mind. ’Tis by it chiefly, that the Mind is improv’d to perfect good Tafte in all the Arts ; confirm’d in its Love and Admiration of the beautiful and ufeful Order that prevails throughout Nature ; and kept fteady to Virtue, or the Purfuit of moral Beauty in Life and Manners. And therefore a great part of moral Philofophy, in the ancient way of treating it, is juftly taken up in fhewing the Connexion of Virtue with Inte reft; or, that Virtue is private as well as publick Good; and Vice, on the other hand private as well as publick Mifery ; and that Nature purfues Beauty and Utility by the fame excellent Laws and Methods of Operation. ; ^ In what Senfe ingenious Imitations, or Works of Imagination and Genius are Imitations of the Whole of Nature. IN the third place, another Method of explaining the Beauty of Works of Genius of Painting in particular, among the Ancients, is by confidering them as quid fit pulchrum, quid turpe, quid utile, quid non, Rlenius ac melius Chryfippo & Crant ore dicit. Hör. Ep. L. i. Ep. 2. But moral Pidures muft be for the fame Reafon proper Samples in the School of Morals: For what Pafiions orAdions may not be reprefented by Pidures; what Degrees, Tones, or Blendings of Affedions; what Frailties, what Penances, what Emotions in our Hearts; what Manners, or what Charaders, cannot the Pencil exhibit to the Life ? Moral Pidures; as well as moral Poems, ate indeed Mirrours in which we may view our inward Features and Complexions, our Tempers and Difpofitions, and the various Workings of our Affections. Tis true, the Painter only reprefents outward Features, Gefturcs, Airs, and Attitudes ; but do not thefe, by an univerfal Language, mark the different Affedions and Dif-pofitions of the Mind ? What Charader, what Paflion, what Movement of the Soul, may not be thus mod powerfully expreffed by a skilful Hand? The Defign of moral Pidures is* therefore, by that Means, to fhew us to ourfelves; to refled our Image upon us, in order to attrad our Attention the more clofely to it, and to engage us in Converfation with ourfelves, and an accurate Confideration of our Make and Frame (23). A S it hath been obferved, with refped to Landfcapes, fo in this Cafe likewife, Pidures may bring Parts of Nature to our View, which could never have been feen or obferved. by us in real Life; and they muft engage our Attention more clofely to Nature itfelf, than mere LefTons upon Nature can do, without fuch Afliftance; nothing being fo proper to fix the Mind, as the double Employment of comparing Copies with Originals. And in general, ail that hath been faid to fhew that Landfcapes are proper Samples or Experiments in natural Philofophy, as being either Regifters or Supplements to Nature, is obvioufly applicable to moral Pidures, with relation to moral Philofophy. We have already had Occafion to remark, that it is becaufe the Poet and Painter have this Advantage, that whereas the Hiftorian is confined to Fad, they can feled fuch Circumftances in their Reprefentations as are fitted to inftrud or move; that it is for this Realbn Arifiotle recommends thefe Arts as better Teachers of Morals than the beft Hiftofies, and calls them more catholick or univerfal. I fhall only add upon this Head, that as certain delicate Veflels in the human Body cannot be difeerned by the naked Eye, but muft be magnified, in order to be rendered viftble; fo, without the Help of Magnifiers, not only feveral nice Parts of our moral Fabrick would efeape our Obfervation, but no Features, no Charaders of whatever kind, would be fufliciently attended to. Now the Imitative Arts become Magnifiers in the moral way, by means of chultng thofe Circumftances which are propereft to exhibit the Workings and Confequences of Affedions, in the ftrongeft Light that may be, or to render them moft ftriking and confpicuous. All is Nature that is reprefented, if all be agreeable to Nature: What is not fo, whether in Painting or Poetry, will be rejeded, even by every common Beholder, with Quodcunque oftendis mihi fic, incre-dulus odi. But a Fidion that is confonant to Nature, may convey a moral Leffon more ftrongly than can be done by any real Story, and is as fure a Foundation to build a Con-cluiion upon; finee from what is conformable to Nature, no erroneous Or feducive Rule can be inferred. THUS, therefore, 'tis evident that Pidures, as well as Poems, have a very near relation to Philofophy, a very clofe Connexion with moral Inftrudion and Education. The Advantages of Fainting above Foetry. THE chief Advantage which Painting hath above Poetry, (22 j Corifidering what has been fo often faid, üpotithe Union of the Sifter Arts with Philofophy, it may not be a mils to refer my Readers to the Confefliön of one of the greateft and moft learned of the Moderns, upon this Head. See therefore Ifaaci Cafauboni liber commentarius in Theo-pbraßi not ationes morum, in prolegomenis: EnimverO mo-rum conformartdorum, quod ethicus philofophus praeroga-tivre jure quodam quafi proprium fibi afiiimit, non una elt a vetcribus fapientibus inventa & exculta ratio. Nam idem eonflfts in this: Segnius hie, fi propius attendimus, et ethici philofophi, et hifto-rici, & poetse finis eft. — Quare tendunt quidem eodem omnes quodammbdo, fed diverfis tarnen itineribus.-— Omnis enim poeta ja//x*ir«r, ait Plato. —-— Fit autem hoc a Tbeophrafto magna ex parte (UftifliKuf. -■ ■ . Mores hominum ita hie olim erant deferipti, ut liceret tanquatii in fpeculo hinc virtutis fplendorem et pulcherrimam in-tueri faciem, See. Compare with this his Preface to his Commentary bn Ftrfm. And of Poetry above Painting. How they are mutually ajfißant one to the other. Moral Imitations ought therefore to be made ufe of in teaching moral Philofophy. Several Pictures mentioned, that are proper Samples hi teaching Morals. An Essay on the Rife, Progrefs, - Segnius irritant animos demijfa per ailrem, fpiiam qua funt oculis fubjefta fidelibus, et qua Ipfe fibi tradit fp eft at or. POETRY, on the other Hand, hath a very great Superiority over Painting, becaufe i£ can give proper Language to each Charader and Perfonage, according to a very ancient Apophthegm (24): Tiftura eflpoeßs muta, poeßspifiura loquens. BUT without entering into the Difpute about Pre-eminence between the two Sifter Arts, that are both fo excellent, each in its Province, ’tis worth while to obferve, with regard to both, that human Nature may be better and more fecurely learned from their Reprefentations, than frommere Syftems of Philofophy, for a Reafon that hath not yet been mentioned; becaufe both Poets and Painters exhibit Affections and Charaders as they conceive, or rather as they feel them, without fuffering themfelves to be byaffed by any Scheme or Hypothefis. They follow the Impulfe of Nature, and paint as (he didates: Whereas the Philofopher has often a favourite Suppofition in View, .and is thereby tempted to ftrain and wiredraw every Appearance into a Congruity with, if not a Confirmation of his peculiar Syftem. AND let even that be as it will, it is obvious, from what hath been Laid of the Affinity between Poetry and Painting, that the Imagination, by being converfant with good Pidures, muft become abler to keep Pace with the Poet while he paints Adions and Charaders; and on the other hand, Acquaintance with the Works of good Poets muft add mightily to one’s Pleafure in feeing good moral Paintings; fince by that Means the proper Sentiments each Figure feems difpofed, as it were, to Ipeak, in a good Pidure, will readily occur to the Spedator, in the propereft and moft affeding Language. The fame will like-wife hold with regard to Landfcapes: For, on the one fide, as a poetical Defcription of any natural Beauty will be better relifhed, in Proportion as the Reader, in Confequence of being accuftomed to ftudy Nature, and compare good Pidures with it, is abler to paint in his Imagination; fo, on the other fide, fine Profpeds of Nature s Beauties will be more highly delightful, when they recall to the Mind a beautiful lively Defcription of it, or of any like Profped in fome good Poet. BUT the Conclufion I have now chiefly in View is, that good moral Paintings, whether by Words, or by the Pencil, are proper Samples in moral Philofophy, and ought therefore to be employed in teaching it, for the fame Reafon that Experiments are made ufe of in teaching natural Philofophy. And this is as certain, as that Experiments or Samples of Manners, Affedions, Adions, and Charaders, muft belong to moral Philofophy, and be proper Samples for evincing and enforcing its Dodrines; for fuch are moral Paintings. WHEN one confiders moral Philofophy in its true Light, asdefigned to recommend Fortitude, Temperance, Self-denial, Generofity, Publick Spirit, the Contempt of Death, for the fake of Liberty and general Happinefs, and all the Virtues which render Men happy and great; when moral Philofophy is confidered in this View, how many Pidures muft immediately occur to thofe who are acquainted with the beft Works of the great Mailers, that naturally, and as it were neceffarily, call up in the Mind the moft virtuous Sentiments, and noblcft Refolutions, or that are qualified to operate upon our Minds in the moft wholfomc, as Well as agreeable Manner? And how many more Subjeds might eafily be named, that if well executed by a good Pencil, would have the like excellent Effeds! IT is indeed juft Matter of Regret, that at all times moral Subjeds have been too much negleded, and Superftition hath had too great a Share of the Pencil’s marvellous Art. But hath not her Sifter Poetry had the fame Fate ? And, while I cannot forbear making this Complaint, yet, to do Juftice to Painters antient and modern, I muft own, that at this Very Moment, my Imagination being carried with Tranlport thro’ the Pidures I have feen, or read Defcriptions of; one calls upon me, in the ftrongeft manner, to fubmit to the cruelleft Torments, rather than forego my Honour, Integrity, Country, Religion and Confcience; Another, methinks, enables me to prefer Continence and Self-command to the higheft Delights of Senfe. One fills my Soul with the nobleft Opinion of Publick Spirit and Fortitude, and the fincereft Contempt of a felfifh mercenary Temper: Another raifcs my Abhorrence of bafe, ungenerous, cruel Luft. One warns me to guard againft Anger and Revenge, Ihewing the Deftrudion that is quickly brought upon the Mind by every unbridled Paffion : Another makes me feel, how divine it is to conquer ourfelves, forgive Injuries, and load even the Unthankful with Benefits. In one, I fee the Beauty of Meeknels v • (24) Pinto de Pep. Arlß. Poet. Plutarch, in Simonide. So likewife Horace : Mut um eß pitiur a poema. Chap. 7. and 'Decline of Painting. 14 Meckncfs and Goodnefs; in another, the Firmnefs and Steadinefs that becomes ä Patriot in the Caufe of Liberty and Virtue, and it infpires me with the moft heroick Sentiments. On one hand, I am loudly called upon to examine every Fancy and Appetite, maintain the Mafterfhip of my Mind, and not raihly to truft to the moft fpecious Appearances of Plea-fure : On the other, I fee and tremble at the direful Confequences of the leaft immoral Indulgence. WITH what a Variety of human Nature doth one admirable Piece prefent me (ay); Tidures defirtbeJ. Where almoft all the different Tempers of Mankind are reprefented in a polite elegant Audience to a truly divine Teacher ! I fee one incredulous of all that is laid; another wrapt up in deep Sufpenfc : One fays, there is fome Reafon in what he teaches ; another is unwilling to give up a favourite Opinion, and is angry with the Preacher for attacking it: One cares for none of thefe Things; another feoffs; another is wholly convinced, and holding out his Hands in Rapture, welcomes Light and Truth 3 while the Generality attend and wait for the Opinion of thofe who are of leading Characters in the Af-fembly. Who can behold, unmoved, the Horror and Reverence which appears in that whole Affembly, where the mercenary Man falls down dead ? With what Amazement doth that blind Man recover his Sight! How do thofe Lame, juft beginning to feel Life in their Limbs, ftand doubtful of their new Strength! How inexpreffible is the gracelefs Indignation of that Sorcerer who is {truck blind! But how fhall I fignify by Words, the deep Feeling which thefe excellent Men have of the Infirmities which they relieve, by Power and Skill which they do not attribute to themfelves! Or the generous Diftrefs they are in, when divine Honours are offered to ’em! Are not thefe a Reprefcntation in the moft exquifite Degree of the Beauty of Holinefs! As for that inimitable Piece, in which is drawn the Appearance of our Saviour, after his Refurredion, who will undertake to deferibe its Force and Excellency ? Prefent Authority, late Suffering, Humility, and Ma-jefty, defpotick Command, and divine Love, are at once fettled in his celeftial Afped. The Figures of the Eleven Apoftles are all in the Paflion of Admiration, but difeovered differently, according to their Charaders; Teter receives his Matter's Orders on his Knees, with an Admiration mixed with a more particular Attention; the two next, with a more open Ecftafy, tho’ ftill conftrained by their Awe of the divine Prefence: The beloved Dif-ciple, who is the Right of the two firft Figures, has in his Countenance Wonder drowned in Love; and the laft Perfonage, whofe Back is toward the Spectator, and his Side toward the Prefence, one would fancy to be St. Thomas, as abafhed at the Confidence of his former Diffidence; which perplexed Concern, ’tis poffible, the great Painter thought too hard a Task to draw, but by this Acknowledgment of the Difficulty to deferibe it. The whole Work is indeed an Exercife of the higheft Piety in the Painter; and all the Touches of a religious Mind are expreffed in a manner much more forcible than can poffibly be performed by the moft moving Eloquence. BUT when I refled upon the Power of the Pencil to exprefs Subjeds of all Sorts, my Ttdures definbed. Mind is immediately carried into another more diftant Gallery, and prefents me with a moft beautiful Pidure of the fine Arts, and of Apollo the God ofWifdom, their Father and Lawgiver. See Apollo fitting on Mount TarnaJJus, under a Laurel, with a delightful Fountain at his Feet; he is playing upon a mufical Inftrument, attended by the Mufes, and the moft famous Poets, with their immortal Crowns on their Heads, all in Poftures of Admiration, which is differently expreffed according to their Charaders. How lovely is the God, and* how charming doth his Mufick appear to be, by its wonderful Effedsonall about him*! Upon his right Hand fits Clio with her Trumpet, ready to found with higheft Tranf-port the Praifes of Gods and godlike Men: Upon the Left is Urania, who, turned towards Apollo, liftens with Rapture to his divine Harmony; fhe holds a Lyre in her Hand, and her celeftial Robe fhews her divine Birth, and high Employment. The other Mufes ftand behind, in two Choirs, with Books and Masks; and tho each hath a diftinguifhing Countenance and Mien, they are evidently Virgins and Sifters, the Daughters of Jove. _ Not far from Clio, on her right hand, ftands Homer, in a long Robe, full of Infpirätion, and accompanying a Heroic Song with correfpondent Adion. There he is, the old, venerable, blind Bard, the Father of Poets, juft as the Ancients have reprefented him, with the fame fwcet yet’ grave, majeftick, prophetical Air ! How agreeable is it to fee Virgtl leading fDante to Apollo; and how charming, how inexpreffibly delightful is the whole Reprefen-tation' How pleafantly doth it point out the Confent and Harmony of all the Arts; and how powerfully doth the Place given to the Ancients, recommend the Study of'em to all who would arrive at any Perfedion in good Tafte, and ufeful Science ! See again, in another Piece the ancient Philofophers, and their Scholars ; with what profound Meditation do fome ftudy! With what divine Joy do others teach and impart found Philofophy, and profitable Science; whilft fcveral Students of different Ages and Charaders, quite in Love with true Learning; drink in Inftrudion, or take Notes with the kccneft Attention, the moft agreeable This Defcription of the Cartoons is uken from one oF the Sped atm. No 226, T. 3. 4 Hence we fee that the liberal Arts ought not to be fevered from Phi/o-fophy, or from one another, in Education. In whatever View Education is confi-fdered, the Aßtfi-ance of the Deigning Arts is of the greateß Vfe. A Saying ofAttic us. An Essay on the Rife, Progrep, agreeable Docility, and higheft Satisfaction! How pleafantly is the true Philofophy of Pythagoras reprefented, who taught that all Nature is Muftck, perfect Harmony ; and that Virtue is the Harmony of Life ; or its Conformity to the Harmony of the all-governing Mind, and his immenfe melodious Creation (26)! WHAT cannot Painting teach or exprefs in the moft forcible Manner ! For fee there in another Piece the Conftancy, the Serenity, the Fortitude of Heroes in the Fury and Dan* ger of Aftion : How hot and terrible is the Battle ! and with what intrepid Bravery does the Chief rufh into the thickeft of the Enemy ! His Countenance befpeaks Victory, ere yet the Tyrants Defeat is declared : One of the Captains, fraught with glad Tidings, is but beginning to declare his Overthrow, and to point at Ihm, juft falling with his Horfe thro' the Bridge into the River. How eager do many appear to tell the whole Conqucft, and to fhew the Emperor the dread Trophies of their Victory ; while other Commanders, flufhed with Succefs, eagerly purfuc the flying Enemy ! But how vain is it to attempt to equal by Words the ineffable Force of fuch a Pencil! F R O M what hath been laid 'tis manifeft, that all the liberal Arts and Sciences have the moft clofe and intimate Relation, Dependence and Connection, and that they cannot be fevered from one another in Education, without rendering it very incomplete, and indeed incapable of accomplifhing its noble End, which is to form betimes the Tafte and Love of Beauty, Truth and Harmony in Nature, in Life, and in all the Arts which imitate Nature and moral Life. IN whatever View Education is confidercd, whether as it is deligned to improve the Senfes and Imagination, or as it is defigned to improve our reafoning Powers, and our inward Senfe of Beauty natural and moral; or, laftly, as it is deligned to form a benevolent, generous, and great Temper of Mind i in which ever of thefe Lights it is conlidered, all the Arts and Sciences amicably conlpire towards it; and it is by mixing and combining them together, that all or any of thefe Ends may be moft effectually and agreeably accom-pliihed. How can the Temper be better improved, than by Reflections on the Greatnefs and Benevolence of Nature, and upon the beautiful Effects of like Benevolence and Greatnefs of Mind in our own ConduCt ? And when is it that Poetry and Painting fhew their Charms, their divine Power to the greateft Perfection ? Is it not when they are employed to difplay the Beauties of Nature, and the Beauties of thofe Virtues which emulate Nature, and when their Productions are truly beautiful natural Wholes ? Is not the Imagination a powerful Faculty, that well deferves Culture and Improvement ? Nay, is it not of the greateft Importance to have it early interefted in Behalf of true Beauty, and fecured againft the Delulions of Vice, Luxury, and falfe Pleafure ? And how can this be done, but by early employing it in the Contemplation of Nature, and of the true Beauties of Life, and confequently by calling in all the Arts to exhibit thefe in their livelieft Colours ? What doth the Improvement of Imagination mean, but, in one Word, teaching it to paint, with Spirit and Life, after Nature, according to Truth ? Have we a Senfe of natural Beauty and Harmony capable of giving us fuch a vaft Variety of truly pure and noble Pleafures ? and ought this Senfe to be neglected in Education ? Is it worth while to form the Ear, as moft certainly it is ? and ought not the Eye likewife to be formed to a juft, quick, and perfect Relilh, of the Harmonies it may be fitted to perceive, and delight in, by due Culture and Exercife ? About what ought our reafoning Powers to be exercifed, but the Harmonies and Beauties of Nature, the Harmonies and Beauties of Life ? The chief Employment of Man’s Underftanding, is the Order and Regularity he ought to promote within his own Breaft, by the right Management of his AffcClions, and the Order, Harmony and Good, that wholefome Laws, impartially executed, produce in human Society. But what is it can more powerfully inforce the Senie and Love of moral Order, than the Contemplation of the wife and good Order of Nature, and frequent Reflections upon that which conftitutes true Order, Beauty and Greatnefs, in the Arts which imitate Nature ? Atticus is introduced by Cicero (27), after a long Conference about the Foundation of Virtue in our Natures, making a very beautiful Reflection, which muft naturally lead every intelligent Reader to the Conclufion I have been all along aiming at; even that Beauty, Truth and Greatnefs, are the fame in Nature, in Life, and in all the Arts. If we attend, fays he, to what it is that chiefly pleafes us even (26) See Diogenes Laertius, lib. 8. Pythagorei affirmarc hon dubitabant virtutem harmoniam eile, ianitatem, nec-non omns bonum, ipfumque adeo Deum : Proptereaque univerfa hose harmonise potiffimum beneficio confiftere. (77) De kgibus, lib. 2. ab initio. Equidem, qui nunc potiffimum hue venerim, fanarinon queo: Magnificafque villas, & pavimenta marmorea, & laqueata te£la con-temno. Dudlus vero aquarum, quos ifti tubos & Euripos vocanr, quis non, cum htec viderit, irriferit ? Itaque, ut tu paulo ante de lege & jure diflerens, ad naturam refere-bas omnia j lie in his rebus, qu.se ad requietem animi, dele&ationemque quseruntur ; natura dominatur.- ....- Quin ipfe vere dicam, fum illi villa: amicior modo fadhr, atque huic omni folo, in quo tu ortus, & procreatus es. Movemur enim nefcio quo paäo locis ipfis, in quibus eorum quos diligimus, aut admiramur, adfunt velligia. Me quidem il’se noftrte Athena: non tam operibus magnifies, exquiiitifque antiquorum artibus deledanr, quam recordatione fummorum virorum, ubi quifque habitare, ubi federe, ubi difputare fit folitus: Scudiofeque eciara eorum Sepulchra contemplor. Quare ifium, ubi tu es natus, plus amabo pofthac locum, &c. ih Chap. 7. and beeline of PaintiNö. in rural Profpc&s, wc fhall find that it is the fame natural Tafte and Difpofition, from which you have derived Virtue : And now that I feel a particular Attachment to this Place where we are, to what is this Pleafure owing ? is it not to my Delight in the Remembrance of great Men and their Virtues, or to fome other focial affectionate Tie, and kindly Principle deeply inlaid into our Natures ? There is like wife a famous Saying of Mmilius recorded by ‘Plutarch, very much to the prefent Purpofe (28). Having given a very elegant Entertainment after the Conqueft of Macedonia, he was asked how it came about that a Man always employed in great Affairs, the Difcipline of Armies, Battles, and military Arts, underftood fo well the Management even of a Fcaft: To this he is faidtohave replied, that ’tis the fame Tafte that qualifies for the one and the other, to range an Army in Battle-array, or to order a publick Entertainment. The 1C and feveral fuch-like antient Apophthegms are pregnant with InftruCtion, and well deferve to be unfolded and explained to Youth, bccaufe they afford Occafton of difeourfing fully upon what I have now been endeavouring to fhew to be the chief End of Education, and the propereft Method it can take. The Sum of all which amounts to this; “ That the readieft, the moft effectual and moft agreeable Manner “ of forniing an univerfal good Tafte, is by fhewing from proper Examples, that good Tafte “ is the fame every-where, always founded on the fame Principles, and eafily transferred “ from any Subject whatever to any other”. BUT left, after all that hath been faid, this Scheme of Education fhould appear to any one too complex, and for that Reafon hardly practicable ; let us but imagine to ourfelves a School confiding of different Apartments for InftruCtion in the feveral Parts of ufeful Learning and Philofbphy, fuitably adorned with Pictures and Sculptures, or good Prints of them; and all I propofe muft be immediately perceived to be very fimple, and eafily redueible to Practice. For in reading the antient Poets and Hiftorians, for Example, what could have a better EffeCt than having recourfe to fuch Pieces of Painting and Sculpture as exhibit the Cuftoms, Rites and Manners deferibed or alluded to by them ? How agreeable would it be to fee the Images of antient celebrated Heroes, while we read their Lives and Characters, or to compare the Gods as they are deferibed by Authors, with the Reprefenta-tions of them that are given us by the Pencil or Chezil ? And how much more delightful {till would it be to compare Fables or Actions as they are told by an Hiftorian or Poet, with the Reprefentations of ’em the other Arts have given ? I need not tell thofe who are acquainted with the antient Remains in Italy, or with the Works of the great modem Maliers (2p), that almoftthe whole antient Mythology and Hiftory, all the Fables, and almoft all the great Actions that are the Subjects of antient Poets, or that make the greateft Figure in Hiftory, are to be found reprefented in a very beautiful exprefllve Manner upon Antiques of one kind or other ; and many of thofe Subjects have been likewife painted by excellent modern Maliers. And I think ’tis too obvious to be infilled upon, that fuch Works, that is, good Defigns or Prints of ’em, would have their proper Place, and be of great Ufe in the Schools, where antient Poets and Hiftorians are read and explained. To be convinced of this, one need only read Mr. Addifons Dialogues on Medals, in which he fhews what Ufe may be made of thefe in explaining the antient Poets, or giving a more lively Idea of the Beauties of their Epithets and Defcriptions. Now, if the Schools of natural and moral Philofophy were in like manner furnifhed with proper Pictures of the natural and moral Kinds; would it not render Leffons on any SubjeCt in Philofophy exceedingly agreeable, and confequently much more ftrong and infinuating, if to philofophical Reafonings and Arguments, was added an Explication of the ingenious Devices and Contrivances of the Imitative Arts to illuftrate the fame SubjeCt, or to inforce the fame Leflfon ? Thus, for Inftance, in difeourfing upon any Virtue, any Vice, any AfFeCtion of the human Mind, and its Operations, EfFeßs and Confequences, would it not neceflarily have a very pleafant, and therefore a very powerful EffeCt upon young Minds, if they were fhewn, not only the Fables, the Allegories, the dramatic Reprefentations, and the other different Methods Poetry hath invented to explain the fame moral Truth, but likewife fome Paintings and Sculptures of that fame Nature and Tendency ? THIS Plan only requires that our Youth fhould be early inftruCted in Defign or Drawing. For thus in teaching other Sciences, the Beauties of Painting and Sculpture might be fully explained in any Part of their following Studies occafionally, and in Subferviency to a greater Defign. And as for teaching the Art of Defigning early, the good Confequences of fuch a Practice in other refpeCts, or with regard even to mechanical Arts, are too evident to need any Proof: 'Tis indeed furprifing that an Art of fo extenfive Ufe fhould be fo much negleCled. Ariflotle recommends it ftrongly as a very neccffary Part of Education with rcfpcCt even to the lower Ranks of Mankind (30); and we learn from him, that it was (28) Plutarch, in vita iEmilii. (30) Ariftot. Polir. Ed. Wechel. p. 218. 13./». 219. (29) On’y fee what Account Eelibien gives of the Works 12. />. 220. 4. p. 225, 2. See Plutarch’s Life of Peri-of Giulio Romano, and of Polydore and Mathurino, and like- ties, where he gives an Account of his Education, wife of Ligirio. AnotherofP.Mml- lius. Thefe lead us to the Conclufion now aitn= ed at. A Pie ic Arts which, however ufeful, do not indeed belong to thofe whofe high Birth and Fortune “ loudly call upon them to devote themfelves to more important Studies, and to feek after “ more ufeful Knowledge from fuch excellent antient Authors, the Knowledge of Men and « Things : In like manner, one may have a very juft Notion of Painting, and be capable of “ receiving very ufeful Inftruftion, as well as very great Pleafure, from good Pictures, without “ being profoundly skilled in the Mixtures of Colours, and in the other merely mechanical <£ Secrets of Painting, which cannot be.learned without much Praftice, or rather ferving a “ long Apprenticelhip to the Art j and ought therefore to be left to thofe who choofe ££ Painting for their Profeffion, as philological Difcuffions ought to betoEtymologifts, Gram-“ marians, and Editors ". One who in examining Pictures never thinks of the Truth, Beauty and Spirit of a Compofition, but is wholly taken up in criticiling the Handicraft, or mechanical Part, may he not be juftly compared to him, who, without entering into the Sentiments, the Characters, the Spirit, Unity, Beauty, Truth and Morality of a good Poem, is intirely employed about the Style and Words, the Alterations, Adulterations and Interpolations that may have crept into the Text by various Accidents, and other fuch Inquiries of very inferior Concernment ? If he would juftly be accounted a Perfon of no Tafte, who neither admires or blames, nor forms any judgment at all of an Author, till he knows his Name and Reputation in the World ; ought not the fame to be concluded of him, who, though he had feen a Picture ever fo often, was not at all touched by it, till fome Perfon, in whofe Judgment he confides, affured him it was done by Raphael, or fome other renowned Painter, and then was fuddenly filled with the higheft Admiration ? TIS Truth and Beauty of Compofition that ought to be chiefly attended to in Painting, as well as in Poetry : But fo like are thefe Sifter-arts to one another, that there is no Inquiry with regard to Authors or Performances in the one Way, that does not likewife as properly relate to Artifts and their Performances in the other. I fhall juft mention two which are allowed to be very agreeable and ufeful Inquiries with refpeft to Poets or Authors In general and their Works ; that muft alfo be equally ufeful and pleafant with regard to Painters and their Works 5 for 'tis not the Defign of this Effay to purfue any other Inquiries about Painting, befides thofe philofophical ones to which the ftrift Analogy and Affinity between Painting and Poetry lead us as it were by the Hand. A S the Works of antient Poets are the beft Models upon which modern ones can form themfelves, fo likewife have the Painters their antient Models for their Study and Imitation ; thofe exquifite Remains of antient Artifts in Painting, Statuary and Sculpture, upon which the moft celebrated Matters in modern Times are known to have formed their Tafte. N O W it muft be no lefs pleafing or profitable to trace and obferve the Ufes that Painters have made of antient Pieces of Art, than to trace and obferve the Ufes modern Poets have made of their beft Patterns, the antient Poets. Tis very juftly faid with refpeft to Writers (1), “ That over and above a juft painting of Nature, a learned Reader will find « a new Beauty fuperadded in a happy Imitation of fome famous Antient, as it revives in « his Mind the Pleafure he took in his firft reading fuch an Author ”. And the fame muft hold true with regard to Paintings, in which, one well acquainted with the Antiques, finds a wife and happy Imitation of antient Works. In the one Cafe as well as the other,££ fuch “ Copyings give that kind of double Delight which we perceive when we look upon the <£ Children of a beautiful Couple, where the Eye is not more charmed with the Symmetry « of the Parts, than the Mind, by obferving the Refemblance tranfmitted from Parents to <£ their Offspring, and the mingled Features of the Father and Mother. The Phrafes of <£ holy Writ, and Allufionsto leveral Paffages in the infpired Writings, (though not pro-“ duced as Proofs of Doftrine) add Majefty and Authority to the nobleft Difcourfes of the <£ Pulpit: In like manner, an Imitation of the Air of Homer and Virgil raifes the Dignity <£ of modern Poetry, and makes it appear ftately and venerable". And the judicious Imitation of ancient Remains in the Works of a Raphael or a TouJJin have the fame great and agreeable Effeft. AGAIN, if it be in any Degree entertaining or ufeful to inquire after the particular and diftinguifhing Genius of a Writer, as it appears in his Performance, it muft be equally fo to make the like Obfervations upon the particular Genius, Talents, and Charafters of good Painters, as thefe are difeovered by their Piftures. Such Inquiries cannot be called merely ftudying Words, or Hands and Styles 5 but are rather ftudying Men, Tempers, Genius's and R r There is the like Char ad er with regard to Painthig, as that of the 'verbal Critick in Writing. All the Inquiries with regard to Authors and.their Writings, take place likewife with re-fped to Painters and their Works. Both Arts have their antient Models. It is very agreeable to obferve what TJfe modern Painters have made of antient Works, in like manner as in Writing, &C. ’Tis very agreeable to obferve the peculiar Genius of the Painter difeovering itfe/fin his Works. (1) Guardian, No. 15. I $4 An Essay on the Rife, Progrefs, and Difpofitions ; ’tis tracing.moral Eftetts to their proper Springs and Caufes. In truth, any other Marks or Charatterifticks for diftinguifhing the Works of Authors or Artifts, beiides thofe which are taken from their peculiar Turn of Mind, and their correlpondcnt Manner of thinking and of communicating their Thoughts, of whatever Ufe they may be to Artifts in the one Cafe, or to Philologifts in the other j yet they do not belong to rational Criticifm, and fo neither fall into the Province of the Philofopher, nor of the polite Scholar. "worth while to THOUGH in purfuancd of my Deftgn, (which is to point out the real Ufefulnefs make a fe w Re- Gf Painting, and the more important as well as pleafurable Inquiries with relation to it, to 'tvL Heads Jtfmln- which the Confideration of its Analogy with Poetry obVioufly leads us) it might be reckoned tmied. fufficient to have fuggefted and recommended thefe Inquiries j yet in order to lead our young Travellers and thofe concerned in their Education to a better, a more philofophical Way of confidering Pictures, than feems to be the Employment of the greater Part of thofe who are called Virtuoft; I fhall adventure to prefent my Readers with fome few of the belt Refiettions that have occurred to me in reading the Lives of the more celebrated modern Painters, or in feeing their Works, upon the peculiar Genius, Character and Talents of ibme of the greateft amongft them, and upon the commendable Ufe they made of the antique Remains in Painting as well as Sculpture. And this will naturally lead me to make a few Animadverfions upon the Pieces of antient Painting that are now publifhed; rather to excite others, who are better skilled in antient Literature, to make proper Ufe of fuch Remains of Antiquity as are happily preferved to us, for the Illuftration of antient Authors, than to take an Opportunity of entering, for the prelent at leaft, into Difcuflions of that Kind. For all indeed intended from the Beginning was but to pave the Way for fuch more learned Undertakings, by endeavouring to revive a better Notion of the fine Arts, in refpctt of their Ufefulnefs in Education, than is commonly entertained even by their greateft Admirers. offertile Imita- ’TIS obferved by one of the belt Writers on Painting (2), “ That it is no left impoflible t0TS' 11 for a Painter than for a Poet to fucceed in Attempts not fuited to his Genius, invito, “ Minerva (3), or unlefs he follows his natural Turn and Bent of Mind. Accordingly, “ faith he, thofe Painters, who without confulting their own Genius, have fet themfelves te fervilely to imitate Matters of great Fame, never came near to them, and confequently “ never acquired any other Name but that of bad Copyifts; whereas ’tis not improbable, “ that if they had known their own true Genius, and had duly cultivated it, they might “ have produced very good Works, and have gained very confiderable Reputation PAINTERS ought to ftudy the Performances of the beft Matters, and above all the Remains of antient Sculpture and Painting5 and thefe they ought to imitate. But how ? Juft as the Poets ought to imitate Homer and Virgil; that is, as Virgil himfelf did Homer. And as a Poet will profit moft by Virgil in his Imitations of him, who thoroughly under-ftanding Homer, hath well obferved how Virgil hath imitated him$ fo Painters will learn moft from the beft modern Matters who ftudied and imitated the Antiques; if being intimately acquainted with the Antiques, they are able to difeem, what happy excellent Ufe thefe noble Imitators have made of fuch unrivalled Works. The antient Rule fe> well exprefied by Horace} Sumite materiam veßris, qui fcribitis, aquam Viribus s & verfate din quid ferre recufent, Quid valeant humeri. And fo earneftly recommended by him at the fame Time that he prefles fe> ftrongly the con-ftant Study of the Greek Examples or Models: -------Vos exemplaria Graca Noölurna verfate mam, verfate diurna (4). That Rule, I fay, extends equally to Painters and Poets; and fervile Imitation in the one Cafe as well as the other will ever be rejetted by intelligent Judges (y), with O Imitatores, fervum pecus ! —— TIS (2) Lomazzo Trattato dellaPittura, lib. 6. p. 43. And in his Tempio della Pictura, p. 7, 10. & 39. (3) Ad mod urn autem tenenda funt fua cuique, non vitiofa, fed tarnen propria, quo facilius decorum illud quod quaerimus retineatur. Sic enim eft faciendum, ut contra univerfam naturam nihil contendamus ; ea tarnen confervata, propriam naturam fequamur; ut etiamfi fint alia graviora atque meliora, tarnen nos ftudia noftra, nature regula metiamur. Neque enim attinet repugnare natures, nec quicquam fequi, quod aflequi nequeas. Ex quo magis emergit, quale fit decorum illud. Ideo, quia nihil decet invita Minerva (ut aiunq) id eft, adverfante & repugnante natura. Cicero de Oft', lib. 1. No. 31. (4) Hör. de Art. Poet. v. 39. & 268. (5) Unde plurimi, cum in hos inexplicabiles laqueos inciderunt, omnem etiam, quem, ex ingenio fuo, potue* runt habere conatum, velut aftrifti certis legum vincu-lis, perdiderunt; & magiftrum refpicientes, naturam fe-qut defierunt. Quint: Inft. lib. 5. c. 10. Chap. 8. and Decline of Painting. TI S obfervablc that when the Art of Painting was perfected in Italy, under Raphael and Michael-Angelo, it was likewife very much cultivated and brought to a confidcrable Degree of Perfection on this Side the Alps, in Germany, Switzerland, Holland, Flanders, and France. But a Superiority in Tafte of fine and beautiful Nature is unanimoufly given to the Italians, who ftudied the Antiques, after they became able to make a proper Ufe of Statues and Baf-reliefs in Painting. It is indeed generally allowed, whatever may be the Caufe of it, that the Painters of Lombardy, who had not feen, or at leaft had not much ftudied the Antiques, far furpafled the German, Flemifi and French Painters, in Tafte of Beauty, Sweetnefs, Grace, and Greatnefs; or in other Words, in a delicate and fine Choice of Nature : But at the fame time, ’tis yielded, that thofe Lombardy Matters never arrived to the Merit and Excellence of the Roman School, where the Antique was fedu-loufly ftudied. This Obfervation hath been often made, and therefore I fhall not dwell longer upon it. ONE Thing however I would beg leave to fuggeft upon this SubjeCt, that hath not been taken Notice of, though it feems to me very probable. Thofe who ftudied the antient Statues, Carvings, and Baf-reliefs, Raphael in particular, were for fome Time fuch ItriCt fervile Imitators of them, that their Painting was very dry, cold, and ftiff, or, in one Word, Statue-like s that is, liker Drawings after Statues and Baf-reliefs than Pictures : But afterwards they became able to make a proper Ufe of Sculptures and Statues without painting in fo rigid,- hard, and fervile a manner. Now, though this known Fad be commonly attributed to their joining at laft the Study of Nature itfelf, and living Forms, to that of the Antiques, and it muft undoubtedly have been in a great meafure owing to that; yet may we not imagine that they were led and direded to this better Manner of imitating Works in Marble, Brafs, and other Metals, by the Pencil; or to the right Notion they at laft acquired of the Difference there ought to be between Painting and Sculpture, by the antient Paintings that were difeovered fome Time after the more famous Statues and Baf-reliefs had been digged up J It feems very probable that the greater Part of the Remains of antient Grotefque Painting in Italy were done after antient Sculptures, all of them having lo much of that Air in the Difpofition of the Figures : But is not each Figure done in fuch a manner as fhews how Painting ought to borrow from or copy after Statues and Baf-reliefs i HOWEVER that be, it is certain, that Raphael in particular was very fond of the antient Grotefque Paintings difeovered in his Time at Rome, at Ruzzoli, Cum a, and other Places in Italy. He admired and ftudied them much ; he fent his Scholars, where-ever any thing of that Kind was difeovered, to copy it; and fo had made a great Collection of Drawings after antient Paintings. This we are afiured of by all the Writers of his Life. Some (6) have invidioufly faid, that having taken Copies of them, he had them deftroyed, that the World might not know how much he was indebted to them in his belt Performances. But that is neither confiftent with his extreme Love of the Art, his profefled Efteem of all antient Works, nor with his generous, benign, amiable, unenvious Temper. S O much did he and the whole Roman School ftudy the antient Grotefque Paintings, that they are faid to have tranfplanted feveral Figures and Groupes of Figures from them into all their Works ; into their Paintings particularly in the Vztican Loges, and upon the Walls and Ceilings of other Palaces at Rome ; which are therefore confidered at Rome rather as Copies by thofe great Maliers from the Antique, than as original Works of their own. GIOV. D’UDINA, a favourite Scholar of his Mailer Raphael, made it his whole Bulinefs to make Collections of Drawings after the antient Grotefque Paintings on Stucco, and other antient Stucco Works, and to imitate them ; and accordingly to him it is that we owe the Revival of what is called Grotefque. Rolydore and Mathurin, as I have ob-ferved in another Place, likewife employed their whole Time in drawing after Antiques, and copying them. AFTER what hath been faid of right Imitation in Painting and Poetry, no one will think it derogatory from the Merit of Raphael, and other great Mailers, to affirm that they ftudied and copied the Antiques ; and that the Perfection of their Works is chiefly owing to their fo doing. One might with equal Reafon fay, that it is a Reflection on Virgil to affirm that he imitated Homer. Felibien did not furely defign to detraft from Nicolas Rouffin’s Merit, but rather to exalt him, by taking fo much Pains to fhew in what Veneration he held the antient Remains of every Kind, and the noble Ufe he made of them in all his bell Pictures. Of this he gives many Inllances, and we may add one he does not mention. Tis well known at Rome, Roujfin highly efteemed the celebrated antient Painting commonly called the Nozze Aldobrandine. There is a very fine Copy of it by him in the Ramphili Palace at Rome; and I think no one who has feen that famous antient Picture, will be at a Lofs The remark all Difference between the Painters who jtudied and imitated the Antiques, and thofe who did not. How Raphiel ftrft imitated the antient Statues and Scuij.-tures. IVhence his better Manner of imitating themproc°e there was fhewn to MonfieurFoix one very extraordinary and admirable Piece, a lleeping Cupid, by Michael Angelo Buonarotti, of that fine Marble of Spezzia upon the Coaft of Genoa. Monfieur deFoix, having heard very much of this Mafterpiece of Art, defiredtofee it; and all his Attendants (Monfieur de Thou in particular, whohad had a very fine Tafte of all the polite Arts) after having moll carefully confidered and examined it, acknowledged with one Voice, that it far furpaffed the higheft Praifes that Words could exprefs. But after leaving them for fome Time in the higheft Admiration of this Cupid, at laft another was produced, that famous Piece of Rraxiteles which is fo celebrated by antient Writers (for there are above twenty Greek Epigrams upon it): It was yet fullied with the Earth, out of Which it had been but lately digged ; and when the Company faw this marvellous Figure, and had compared it with that other of Michael-Angelo, they were alhamed to have ex- (8) Ho udito dire da molti, ehe Rafaello, Polidoro, il Roflo, & Perino hanno levato via parte delle grottefche antiche per non lafeiar vedere le inventioni fue rirrovate per quelle con fommo artificio. Ma non fo io come ft poflano le grottefche levare ne manco biaflmare, veden-dofene molte da gli antichi fatte in Roma a Pozzuolo & a Baie, dall’ imitatione delle quali eglino, fi come hanno fempre fatto in ognialtra loro inventione, hano riportato quell’ honore che da ogniuno gli e conceffo ; &c apprefo la maniera d’efprimere anco in quefte forti di pittura cofi ingeniofamente i capricci & ritrovati fuoi, & infegnato ä gli altri a non partir G mai dall’ orme & veftigia iegnace da gli antichi in ciafcuna cofa, ehe s’imprenda a fare. Sono ftati eccellenti per quefta parte anco molti altri, come Polidoro, Maturino, Giovani da Udine, il Roflo, Giulio Romano, Francifco Fattore, & Perino del Vaga ehe furono i primi introdurre nelle, grottefche animali, facrinci fogliami, feftoni, trofei, & altre Gmili bizarrie ; togiiendo dalle grotte antiche dipinte da ferapione & dagli prefied altri il piu bello & vago ehe fene potefle levare ; d’onde ne hanno poi ornato tutta l’ltalia, & le altre Provincie con gli altri fuoi feguaci come fono ftati Aurelio Buflb, il Bella, il Soncino, & Giacobo RoGgnolo da Livorno, i quali hanno fatto cofl maravigliofämente, che veramente-fänno reftare confufl coloro ehe dicono le grottefche effete logni, & confefläre ch’ eflendo fatte con inventione &Viligenza, fono di grandiflimo ornamento & richezza all’ arte.------Ma lafeiando quefta curiofa inveftiga- tione ehe il tutto importa come dianci propofl mi ften-dero folamentc a difcorrereintomoalla compofltione loro, laquaie e di moita importanza.--------La compofltione adunque loro primamente vuole fempre haver una cotal veriflmilitudine naturale, come nel mezzo di colonne arbori ehe foftengono candelieri, & nelle partiche hanno piu del fermo e del-groflo templi, con flmolacri & Gmili, & nel fondo per bafa animali bizarri, moftri& Gmili ehe foftengono, con ornamento di mafeberoni, arpie, fcale, e carlozzi, ehe tengano del fermo, &c. Chap. 8. and 'Decline of Painting. prefled thcmfelves in fuch ftrong Terms about the one they had firft feen; and agreed that when the two were fet together, the antient one appeared animated, and the modem one a mere Block of Marble, without any Expreffion or Life. Some of the Family then allured them, that Michael Angelo himfelf was fo fincere and impartial, that he had earneftly begged the Countefs Ifabella, (when he made her a Prefent of his Cupid, and Ihe had (hewn him the other) not to let the antique one be feen till his had been produced, that the Intelligent might thus clearly fee how far the Anticnts excelled the Moderns in Works of that Sort.. He whofe Performances had more than once deceived very good Judges, and been deemed by them real Antiques, on account of their almoft infurpaffable Excellence, was however modelt and ingenuous enough to own that he was far inferior in his belt Works to the great antient Mafters. Every one who has been at Rome knows how much he is faid to have Itudied a molt curious Fragment of a Statue (9), which is for that Reafon commonly called Michael Angelos Scuola or Studio, as the Nozze is called PouJJins. BUT äs much as the greater modem Malters Itudied the antique Paintings, Statues, and Carvings, they cannot however be charged with Plagiarifm more than Virgil for borrowing from Homer. All the Antiques became their own by the happy Ufe they at lall made of them in their belt Works. They Itudied them in order to raiie their Fancy, and inrich their Minds with fine Ideas ; they Itudied them in order to learn from them the right Method of imitating Nature ; and by ftudying them, they became able to conceive Ideas in the noble Tafte of the antient Artifts, and to perform in their mafterly Manner. So far are they from being juftly chargeable with Healing, that whatever Likenefs to the Antiques fhews itfelf in their Works, their Performances are however abfolutely their own, their own genuine Productions ; for every ones peculiar Genius appears in his Works diftinguifh-ing him from all the reft, and the Ufe every one made of the fame common Models upon which they all formed thcmfelves, or which were greatly efteemed and Itudied by them all, was proper to himfelf. * I SHALL endeavour to illuftrate this, by a few Remarks upon the peculiar Characters Of feme few of the molt celebrated modern Malters. I have already had Occalion, in comparing the Progrefs of Painting amongft the Greeks, with its Progrefs in Italy, till it was brought to Perfection there by Raphael, to give fome Ihort Account of feveral Mailers of that laft Age of Painting: But his worth while to return to that Subject; for many of them welldeferve to have their Characters more fully fet to View; and though nothing can be more tedious than the idle, minute, infipid Particulars that have no Relation to the Painters as fuch, and that are not worth being recorded upon any Confideration, with which the Lives of Painters are generally Huffed ; yet ’tis proper that thofe who travel into Italy, to fee the famous Works of certain Painters, fhould have previoufly fome Idea of their diftin-guifhing CharaClers, Manners, and Excellencies 5 or at leaft they ought to be put into the Way of ftudying to know and diftinguifh Painters, by getting as it were acquainted with their Turn and Caft of Mind, or with their Way of thinking, rather than by merely technical Marks much more eafily counterfeited. For as a veryt low Genius; who is not capable of conceiving One Thought that can pafs for a great Author’s with thofe who are thoroughly converfant with his Sentiments, may eafily forge his Hand ; fo one who only eonfiders the penciling of a great Mafter, may be eafily deceived by Imitations of his Style and Hand in that refpeCt, which however cannot poffibly be accounted genuine by thofe who underhand his Genius, his Thoughts, his Tafte of Compofition, and the Soul, fo to fpeak, of his Works. LET me only add here, before I proceed to draw the Characters of any of the Painters, an excellent Advice of Hu Piles (10) to thofe who defire to be able to diftinguilh Mafters by the beft CharaCterifticks; and that is to begin with ftudying their Drawings ; for ’tis in thefe, as he juftly obferves, that the Spirit and Genius of the' Mafter is beft difeerned. « Bv Defigns, he tells us, he would be underftood to mean not only the Ideas which Painters “ on Paper had expreffed for their Afliftance in the Execution of any great Work they were “ meditating ; but likewife all the Studies of the great Mafters, that is to fay, all the Parts « or Members they had drawn after Nature, as Heads, Hands, Arms, Feet, and whole « Figures, Draperies, Animals, Trees, Plants, Flowers, and in fine, whatever can enter “ into the Compofition of a capital Picture. For whether one eonfiders a good Drawing « with refpeCt to the Picture, of which ’tis an Idea or Sketch ; or with regard to fome par-« ticular Part of Nature,, of which ’tis a Study; it well deferves the Attention of the Curious. « Defigns, continued! he, fhew the Character of a Mafter better than his Pictures; they « difeover his Genius whether it is lively or low ; in thefe his Ideas and Manner of think-« ing appear, and one fees whether he hath fubiime, great, and elevated Sentiments, or « mean, common, and groveling ones ; and whether he hath a good Tafte of drawing in “ every thing that can be expreffed by the Pencil: For in thefe he gives fair Play to his ‘f Genius,* (51) Torfe tf Hercule. (10) In his L%e d' un Teint re parfait. S f Thoughthi moae'%. Mafiers flu died and imitated the Antiques, yet their Works "Mere their own, and fhew the peculiar Genius of each. It is worth while to purfue this Reflexion a little. The Genius of d Painter is hefl known from his Drawings. The befl way of dt ßinguißing Copies from Originals. An Essay on the Rife, Progrefsi “ Genius, and fuffers it to work and difplay itfelf as it really is. There is one Thing, faith “ he a little after, which is as it were the Salt or Spirit of Deiigns, and without which I “ fhould not make any great Account of them; and this I cannot better exprefs than by the “ Word Character. This Character confifts in the Painter’s Manner of conceiving Things: “ It is the Seal which diftinguifhes his Works from all others, and which he ftamps upon “ them as the Image of his Soul. It is by this Character, peculiar to every one, that Pain-“ ters of Genius, after having ftudied under Mafters, feel themfelves impelled to give free “ Scope to their own Tafte, and to fly as it were upon their own Wings. He tells us “ there are three Things that ought chiefly to be confidered in Defigns; Science, as he “ calls it, which he defines to be a good Tafte of Compofition, and of CorreCtnefs in “ Drawing, together with a fufficient Knowledge of the Clair-obfcure s Spirit, under “ which he comprehends natural and lively Expreffion of the Subject in general, and of “ every ObjeCt in particular;^ and Liberty, which is nothing elfe but the Habit the Hand “ hath contracted of exprefling with Eafe, Boldnefs, and Freedom, any Idea the Painter “ hath formed in his Mind. Defigns, fays he, are excellent in Proportion as they have “ thefe Qualities. He diftinguifhes between the Character of Genius, and what he calls “ the Character in the practical or technical Part; and very juftly concludes, that Know-“ ledge of the latter Character of a Painter rather depends upon a long Habitude than a “ great Capacity; and for that Reafon it is not the ableft Painters whofe Decifions may be and the Contrafte of Lights and Shadows; and tho’his Colouring’be not difagreeable in feveral Pieces, yet he was excelled in that Part by Titian. Sometimes nowever, he has admirably fucceeded even in that; for, to name but one Piece of many that might be mentioned, the famous Madonna, with the Chrift and St. John in the Fffike of Tufcany s Palace at Florence; Can any Picture be more charming than it is even His Scholars. with refped to Colouring ? Raphael was of a very generous Temper, exceeding affable and courteous to his Scholars, and to all Mankind in general; and therefore he was nearly beloved by all Men, and by his Scholars he was quite adored. He was very ready in giving them Affiftance; and the beftRule, with regard to diftinguifhing the Pieces quite done by himfelf, from thofe of his Scholars, that have paffed for his, tho’ they were only touched by him, is that laid down by Fehbien. Thofe that are well painted but are not correft in drawing, are of Timotheo d’Urbina, or of Tellegrmo de Modena, 'who imitated his Colouring very well, but were incorrect Defigners. Thofe in which the Defign is precife and exact, but the Colouring not fo agreeable, may be of Francefco Tenni another of his Scholars. Thofe in which Giulia Romano had any Share, have more Fire in the Actions, and more Blacknefs in the Flefh. Terino del Vaga is one of them who imitated him the beft; but in his there is rather Softnefs and Tendernefs, than Force and Greatnefs fomething inclining to the feeble and languid. And now that I am fpeaking of Imitation’ it is not ami is to obferve, that there was one Lorenzo Credi, a Fellow Scholar with Leo n&rdo da Vinci, untex.Verrocchio, who quitting his Mafter s Manner, to imitate Leonardo copied him Co exactly, that very often his Copies are miftaken for Originals. * Penni. WITH regard to Raphael’s Scholars, I (hall only add to what hath been fald that Tenni commonly called il Fattore, becaufe he was fo quick and expeditious in Contriving and Defignmg, tho’ he drew well, yet he painted but indifferently. His quick impatient Genius, after he underftood Drawing, did not allow him to fpend much Time upon the Study of Colouring, a more unpleafant, laborious Task. Raphael had fo high a Notion of his Talent at Defigning, that he employed him much in making Draughts for Tapeftries and other Ornaments. There are feveral Cielings at Rome painted by him; and it was he and Giulto Romano that finiffied the Hiftory of Conflantine in the great Salle of rhr* Vatican, after the Defigns of their Mafter Raphael. Perino del Vaga. RE RI NO DEL VAGA had naturally no Vivacity, no Fire; whatever ofthat appears in any of his Works was borrowed from Giulio Romano, whilft they worked together. He was fitter to be a Copier than an Inventor, and to that he chiefly applied Giulio Romano. OF Raphaels Scholars, Giulio Romano came the neareft to him in Invention and Defign; but I think not in Colouring, as is faid by Felibien. It is obferved, that Raphael’s Works Chap. 8. and Decline of Painting. 161 Works had more Fire while Giulio worked with him. Such was Giulio’s Vivacity, that he had not Patience to beftow Time on perfecting himfelf in Colouring : Whence it is, that his Drawings are far preferable to his Pictures. He was learned in the Antique, and fhewed accordingly great Erudition in all his Pieces. He got both his CorreCtnefs in Defign and his Tafte of the Antique, from the Study of the antient Remains, under the Diredion, of his Malier; but his Boldnefs was chiefly owing to his own natural Genius. And by comparing the Works he did under Raphael's, Eye, with thofe he did entirely by himfelf, we may plainly fee that his Performances differed from thofe of his Malier, juft as their Tempers differed. In thofe of the Mailer, Sweetnefs and Grace are predominant; tho' there is nothing of the languid or effeminate in them : In thofe of the other. Fire and Boldnefs prevail. And while they worked together, as Raphael’s Pieces had more of the Furia, as it is called by the Italians j fo the other's had lefs of the Ferocious, and were duly moderated by Raphael’s naturally fweet and gracious Manner. IN Michael Angelo Bnonarotti’s Works, an extraordinary Force of Imagination, and Michael Angelo. Greatnefs of Genius, even to Caprice and Wildnefs, appear ; for he erred in Delign on the Side of Greatnefs. None ever better underftood the Principles of Delign ; “ that Art of “ marking exactly all the Members of the human Body; all the Bones, Veins, and Mufcles; “ and of giving a juft Ponderation to Figures ; of making appear in the Arms, the Legs, and “ in all the Parts, more or lefs Efforts, according to the Nature of the Actions or Sufferings “ reprefented s and of exprefling in the Countenances all the different Paflions of the Mind; “ of difpofing the Draperies, and placing all things that enter into a great Compofition, with “ Symmetry, Conliftency, and Truth”. This is that great Art which is fo juftly admired in the Performances of the beft Mailers, and which is by itfelf fufficient, without the Aid of Colours, to give a clear and lively Idea of any Object. Michael Angelo was Malier of this great Art to vail Perfection; he excelled particularly in Skill of Anatomy; and feems rather to have affected too much to fhew that Skill: A vail uncommon Strength of Genius fomething leaning toward the Savage and Furious characterizes all his Works, and clearly diftinguifhes them from thofe of any other Mailer. He is indeed extravagant in many things ; he has taken great Licences contrary to the Rules of PerfpeCtive, and is frequently too bold in the Actions and Expreffions of his Figures; in his Draperies there is not all the Grace one could wifh; and his Colouring is frequently neither true nor agreeable : He was not Mailer of the Clair-obfeure; and with refpeCt to Decorum, and the Coßume, he often erred ; but he had a mafeuline, daring, comprehenlive Genius. As he ftudied Dante very much, fo it is juftly obferved, that there is a great Likenels Like to Danre, between the Painting of the one, and the Poetry of the other. This is certain, that the he ßudted greateft Errors Michael Angelo committed againft Decency in his Pictures, in his famous muc ‘ Lall Judgment in particular, if he was not milled into them by that Poet, he was at leaft not more culpable in them than the Poet, who had taken the like Licences in his Poems. Raphael is faid to have learned a greater Manner from feeing fome of Michael Angelo’s Paintings, than he had been able to conceive before he faw them: But Michael Angelo feems to have been yet more indebted to the Painting of Luca Signorelli of Cortona, than Raphael was to him. This Luca Signorelli was excellent at defigning naked Bodies. And from a Piece which he had painted in a Chapel of the great Church at Orvietto, Michael Angelo transferred feveral Figures into his Laft Judgment. FRANCESCO SEBASTIANO DEL BIOMBO, having ftudied Colouring Francefco Sebaftj-at Venice under Bellini, and afterwards under Georgtone, and being naturally of a light ano dei Plombo-and airy Genius, had a very agreeable Colouring : But, though fome of his Pictures after the Deltgns of Michael Angelo are highly efteemed, yet, when he was not fupported by him, he was hardly able to go through with any great Work. He was for fome time fet up againft Raphael, becaufe his Colouring was rather more perfect; and while Michael Angelo allifted him in the Invention and Delign, his Pieces were preferred by fome to Raphael’s-. But the Lightnefs and Airinefs of his Temper, and his Want of Invention, Judgment, and Solidity, quickly appeared, fo foon as he was left to himfelf. And indeed, when he got Preferment from the Pope, he gave himfelf up to his natural Difpolition, quitted the Pencil, or at leaft did nothing conliderable, but lived in an idle, loofe, and dillipated Manner. AND REA DEL SARTO underftood the Principles of the Art very well; he Andrea del Sarto, had ftudied them accurately; and he put them in Practice in as great a Degree of Perfection as one of his Complexion of Mind was capable of. “ Be not furprized, fays Felibien, that “ I aferibe what was perfeCt or wanting in his Pictures to his Conftitution and Genius; « for 'tis certain, that what was deficient in his Performances may be juftly attributed to his “ natural Slownefs and Heavinefs. If his Deftgns are correCt, and in the Style of Michael “ Angelo; if he has invented agreeably, and difpofed Things with much Judgment; that « we may aflign to his Accuracy, to his Solidity, and Deliberation. And if his Pieces have T t “ not Corregio. Titian. An Essay on the Rife, Progrefs, “ not that Vivacity, that Force and Spirit for which other Piaures are fo much admired, « it Was becaufe he himfelf had naturally not enough of that Fire and Livelinefs which is « neceflary to animate Piaures” He was not fertile, but rather cloudy and tardy ; and hence it is that there is not Diverfity enough in his Draperies, nor a fufficient Variety of Expreffion in his Countenances and Geftures. However, if we conlider his Works without any Prepoffeffion, we fhall perceive that in many of his Women and Children there are fine Airs of Heads; tho’ they are not fufficiently diverfify’d^ yet the Expreffion is fweet and natural, and the Draperies are difpofed in a very judicious agreeable Manner. The Naked is well underftood, and corredly defigned; and in fine, tho’ there is not that Greatnefs of Tafte in his Works, nor that Strength and Heat which is admired in others, yet all he did was accurate, corred and ftudied. The natural Melancholy, Self-diffidence, and Timo-roufnefs of the Painter appear, in fome Degree, in all he did. Confcious of his own Slow-nefs and Heavinefs, he endeavoured to make up what was wanting in Quicknefs and Strength of natural Parts by Study, Thinking and Labour. In almoft all his Pidures, thofe efpecially reprefenting Saints, and devout Charaders, there is a very great Cloudinefs about the Eyes, a Kind of Gloominefs mixed with Wildnefs. And I remember one faid, on feeing fome of his moft famous Pidures at Florence, “ That he thought he excelled in “ painting a Kind of Enthufiafm, which might be miftaken for theEffed of new Wine, « becaufe of the mifty Swimming he gave to the Eyes”. Had he ftaid longer at Rome, he might have improved greatly, confidering his Diligence and Application; but being naturally timorous, he was difcouraged by the great Perfedion that School had attained to; and defpairing of ever being able to come near to it, he returned to Florence, pur-fued the Way of Painting to which his natural Genius had at firft led him, and produced feveral Pidures, which, if they do not Ihew great Genius, but rather Labour and Poring, do at leaft evidence Accuracy and Corrednefs. CO RREG E’s Genius appears in all he has done, that wonderful Greatnefs of natural Genius, and fine Tafte of Beauty, which was able, without any Affiftance, to rife to a moft fublime pitch of Perfedion. ’Tis no Wonder he was not altogether corred, not having any Affiftance from the Antique, nor indeed from any Malier. How far was he fuperior in his Tafte to the German and Flemifi Painters by means of a better, a nobler, and more eleqant Turn of Mind! and he feems only to have fallen Ihort of Raphael in Corrednefs of Defign, for want of the feme Helps from the Antique, which Raphael had. There is in moft of his Pieces foniething of Greatnefs, even above Raphael himfelf; and his Tafte of Grace and Beauty is, tho’ quite different from that of Raphael, yet not lefs agreeable and charming. He was excellent at fore-lhortening Figures, and his Pidures abound with Instances of it. It feems, he looked on that as a very difficult Part in Painting, had ftudied it much, and underftanding it well, liked rather too much to Ihew his Skill of it. Hiftory hardly affords a greater InftancC of Strength of Genius, than in this excellent Painter: For all his Sweetnefs and Greatnefs, confidering his Circumftances and Education, can be aferibed to nothing elfe but to a very rare natural Stock of thefe excellent Qualities. But having already faid a great deal of him in another Place, I fhall only add here, that one fees, or rather feels very remarkably in his Pieces, the delightful charming Effeds of a fine Genius exerting itfelf naturally, without Conftraint, Violence, orAffedation, as Nature itfelf direds and moves. He had no other Mafter but Nature; he imitated nothing but Nature; but by a happy natural Genius he well knew how it ought to be copied, or how to diftinguifh between the Parts that ought to be emulated, and thofe which not being agreeable in Nature itfelf, can never be render’d fo in Imitation. TITIAN was a great Obferver of the rare and more agreeable Effeds of the falling of Light upon Bodies, and of Colours whether local or refleded. And as Michael Angelo affeded to Ihew his Knowledge of Anatomy, to the Study of which his natural Genius prompted him, fo the other delighted in difplaying his Intelligence of Light and Colours, and their moft pleafing Appearances. He loved Show and Magnificence in Drefs and Equipage, and in the Furniture of his Houfe: He had naturally a voluptuous Eye, and rather fought after the Pleafures it is capable of receiving, than thofe which are more intel-ledual, pure, and remote from Senfe. He had a Brother who imitated his Colouring very well; which is indeed very natural, warm, and agreeable j perfed Flefh and Blood: And he had a Son who came yet nearer to him, and many of his Scholars copied his Works fo perfedly, that their Copies have palled for his own original Pidures. Calver, a Flemijh Painter," imitated him well; but the belt of them all was Fans Bor don. In general, his own Works are correder in the Defign, than thofe of his Imitators and Copiers, tho’ he did not excel in that Part. His Tafte of Landfcape plainly Ihews his admirable Judgment in choofing from Nature the moft beautiful Parts, and he remarkably avoided in his Performances what is called by Italians the Triteria. In fine, he was fo excellent a Painter in relped of all that belongs to Colouring, and giving a true and pleafing Carnaggione, as it is termed by Artifts, that it may be laid of him, that when Michael Angelo wilhed there had been Chap. 8. and Decline of Painting. been-as much Truth of Defign in his ‘Danae, as it has Beauty of Colouring, it was to defirc a Picture more perfect than any that ever was painted by any Matter. THE Love of Magnificence difcovers itfelf yet more evidently in ‘Paul Veronefe’s Pictures, and he did really fhcw it in all his Condud. He payed no great Regard to hifto-rical Truth, or the Coflume, in his Performances, but chiefly ftudied to pleafe the Eye by a fine Carnation, and rich Draperies. Apelles would certainly have defired him not to make his Pictures fo rich, as he is faid to have advifed a Painter in his Time, whofe Pictures glared with magnificent Apparel, Jewels, and other flaming Ornaments, but were incor-red in the Drawing, and had very little Meaning. TINTORET, of all the Venetian Painters, ftudied naoft after the Antiques. He took great Pains by ftudying Nature, the antient Remains, and by making Models in Clay of the Figures he intended to paint, to become corred in Defign, which he preferred to excelling in the colouring Part; yet he imitated the Colouring of Titian, and often came very near to it. He defpifed the Over-finifhing of the Flemijh; and as he painted very raft ; fo Fruitfulnefs of Invention, Richnefs of Fancy, Force of Expreffion, great Warmth and Vivacity appear in his Pidures. As Hannibal Can ache obferved, he was not always equal to himfelf, nor could that be well expeded of one who painted fo quick, and had fo much Life and Sprightlinefs: However, he, like the other beft Painters of all Ages, converted much with all the learned Men of his Time ; it is certain he painted rather for G ory than for the Love of Money; and in many of his Pidures, at the fame time that there is a great deal of Fire, great Freedom and Read.inefs, there is alfo a Corrednefs in Defign far beyond any other of the Venetian School. I H A VE already faid a grear deal about the Carr aches, who reftored Painting when it was beginning to decline. One, I think, may fee the melancholy cloudy Temper of Hannibal in all his Countenances: He was often difpleafed with his Works, even after he had beftowed very great Pains upon them; and therefore he frequently deftroyed what he had almoft finifhed, and begun afrelh. The Carr aches united their Talents in order to perfed the Art, and it was indeed only by fuch a Conjundion of many different Abilities and Accomplifhments, that Painting could have been brought to fuch Perfedion as it was by them. After laying afide all their Quarrels and Jcaloulies, they joined together in the firmeft Friendftiip, and mutually affifted one another. And it is no fmall Honour to them to have founded fo great an Academy, that produced fo many excellent Matters. Let me only add, that tho' every one of the Carr aches had his diftinguifhing Genius and Manner; vet they worked together fo jointly, and in fo friendly a Manner aided and anmed one another, that very good Judges have not feldom been miftaken in taking the Works of Lewis in particular for thofe of Hannibal. Hannibal however was Matter, as it were, to the other two; and whatever other Accomplifhments they were poflefied of, their Perfedion in Painting was chiefly owing to his Inftrudions and A Alliances, as foon appeared after they were feparated; for Auguftin applied himfelf wholly to Engraving; and Lewis, when left to himfelf, quickly loft his firft excellent Manner. Hannibal began firft to form himfelf by imitating the Sweetnefs, Purity, and Gracioufnefs of Correge. Afterwards, he ftudied the enchanting Force of Titians Colouring; but when he came to Rome, and had well confidered the Greatnefs of the Antique, and of the Works of Michael Angelo and Raphael, he then began not only to defign more corredly, but to form higher Ideas; and ever afterwards taking Raphael principally for his Pattern to copy after, his chief Endeavour was to unite with Nature a fine Idea of Beauty and Perfedion, neither copying the common Appearances of Nature too fervilely, nor foaring too high after fomethmg too far above Nature, or rather quite out of it. It is remark’d of him, that with all his Melancholy and Cloudinefs, he had a great deal of Vivacity and Wit, and faid very fineThings in Convention ; and this Temper led him frequently to amufe himfelf with painting Caricature as they are called, or whimfical over-charged Countenances and Charaders, a kind ot Painting like what is called Burlefque in Poetry : Felibien mentions (13) a .large Book of fuch Defigns by him. G U IF) O had three Manners; the Firft was ftronger whilft he imitated his Matter Lewis Carr ache, the Second more agreeable, and the Third very negligent There is indeed a «n-eat deal of Sweetnefs in his beft Manner: But after all, what Felibien fays of him appears to me very juft. “ He ftudied a foft gracious Way, but there is not Strength “and Boldnels enough in his Pidures: And withal, his Style is what is called Manierato; « thcre is no areat Variety in his Airs of Heads, Attitudes and Draperies”. He has defigned fome Figures very well in the Labours of Hercules; but ftill he is too languid and foft even in thefif; and it was his own Temper. Three different Manners are rather more diftin-cuifhable in Guido than in any other Matter; yet there is hardly any one in whom we may not difeern his Beginning, Progrefs, and End, or three Manners: A firft, which Paulo Veronefe. Tintoret. HannibalCarrache. Guido. (13) Tom III p. 266. Chap. 8. and Decline of Painting. 16$ “ as Felibien and others have obferved, the Tints of his Carnations being often fo ftrong, “ and fo feparated the one from the other, that they feem like Spots". He was a very uncommon Genius, had a very warm and lively Imagination, and was withal very learned, extremely well acquainted with the belt Authors, and with Mankind. I have often wifhed to have feen two Treatifcs, which he is faid to have left behind him in Manufcript: It is, no doubt, a very great Lofs to the Science that they have not been publifh’d 5 one was about the proper Ufe that may be made of Statues in Painting, and the other contained Obfervations upon Perfpedive,' Symmetry, Anatomy, Architecture, and upon the Actions of the human Body, and the Expreilions of the Paflions, all which he had himfeit defigned agreeably to the belt Defcriptions of antieiit Poets. He had likewife collected from Homer, Virgil, and other Poets, Defcriptions of Battles, Shipwrecks, Feftivals, Entertainments, Games, and of all the different Employments and Diverfions of Mankind, together with fome Allegories and Fables, all which he had compared with Pidures of Raphael, and other great modern Matters reprefenting the fame or like Subjeds. In fine, his Learning, and his natural Fire, andFreedomof Mind, appear in his Works, andare indeed highly admirable; but a good Tafte of Beauty, and of the Antique, is wanting. His Paintings in the Banqueting Houfe are juftly reckoned his Matter-piece, and do indeed fhew a vaft Imagination, and a very fublime grand Genius. T H O’ he himfelf followed his own Tafte, yet he advifed his favourite Scholar Vandyck, Vandyck. to go to Italy for his Improvement; where, having ftudied the Works of Titian, he foon became a more agreeable Colourift than his Matter Reubens. He attended principally to Titians mafterly Portraits, and quickly became one of the beft Portrait Painters that ever was; but he did not polfefs Delign, and the other Qualities neceflary to hiftorical Com-pofition, to an equal Degree of Perfedion. His Portraits are well known in England, and will ever be admired by all who like what is genteel, natural, eafy and lively : ’Tis laid he was very open, free, genteel, and natural in his Converlation, and had an admirable Talent at entertaining thofe whom he painted, in order to produce them in their gen-teeleft, eafteft, and moft agreeable Likenefs. I SHALL conclude with Nicolas TouJJin, with whom died all the greater Talents Carlo Marratti. neceflary to good hiftorical Painting : For Carlo Marratti, commonly called the laft of the good Painters, tho’ indeed his Idea of Beauty is fomething peculiar to himfelf, and never fails to pleafe at firft Sight; yet, when well confidered, it appears languid; and there being very little Diverfity in his Airs of Heads and Countenances, his Pidures foon latiate and cloy. “ NICO LAS T OUSSIN, fays the ingenious Author of the Refledions On Nicolas Pouffin; <£ Poetry and Painting, was juftly called by his Contemporaries Le Feint re des gens d’ efprit -t « or, a Painter for thofe who look for Entertainment to their Underftanding, by Truth, « Science, Learning, Corrednefs, and good Difpofition in Pidures, or for Exercife to « their Paflions by juft Force of Expreflion”: In all thefe did this excellent Scholar, and accurate judicious Painter, eminently excel. Had he been a better, that is, a more agreeable Colourift, he would have been inferior to none of the Painters of any Age in which the Art hath flourished. He was well verfed in all the beft Authors, and in Geometry, Anatomy, Architedure, and all the Sciences, the Knowledge of which is neceflary to make an able Compofer in Painting, or a polite Scholar. At firft, he ftudied the charming Colouring of Titianvexy much; but in Proportion as he improved in Tafte and Knowledge, he more and more attached himfelf to what regards the Truth and Juftnefs of Drawing, which he muft have confidered to be the principal, the moft eflential Part of Painting; and for which the beft Painters, fays Felibien, “ Have ever abandoned the other Parts, fo foon A CORTONA fhould have done for me all the Battles of Alexander. AND Tint or et the whole Hiftory of Venice, its Foundation and remarkable Deliverances. FROM Holbens I fhould have demanded many Portraits; more from Rembrandt, and yet more, of the fair Sex efpecially, from Vandyck. AND thus I fhould have had Pictures for all the noble Ufes of Painting; to preferve the Memory of Friends ; to reprefent the Characters of antient great Men ; to raife my Imagination, move my Paflions and Affections of every kind, in a truly wholfome and moral Manner; and to inftruCt me in the profoundeft Secrets of the human Heart, in all its various and complicated Workings and Motions; to convey agreeable Images, and footh my Mind; or to rouze it, and awaken great and ftrong Thoughts : Pictures to compofe me into Meditation, or to refrefh and chear me after Study and Labour: Pictures to compare with the fineft Defcriptions of the beft Poets of every kind; and Pictures to inforce the fublimeft pureft Doctrines of moral Philofophy, and true Religion : Pictures wherein to ftudy the vifible Beauties of Nature, and all the charming EffeCts of varioufly modified Lioht and Colours : And Pictures in which I might view myfelf, and contemplate human Nature as in a moral Mirror : Pictures of as many Kinds as there are of Poetry; Lyricks by Raphael and Correge ; Epick by Giulio Romano ; Tragedy by SDominichino and RouJJin; Comedy and Satire by Reubens-, rural Beauties by Titian, with Venus, her Cupids, Nymphs, and Lovers ; Defcriptions of Characters by Leonardo da Vinci -, Fables and Allegories by Guido and Albanogreat Feats of Heroes by Michael Angelo-, Love or tender Tales by Rarmeggiano -, and melancholy gloomy Ideas by Andrea del Sarto, or Hannibal Carr ache. And by way of Contrafte to a fublime and fine Tafte of Nature'and Beauty, I would have had a few Pictures of Carravaggio of common ordinary Närarc (!?)- I HAVE (19) To juftify what I have ofeen faid of that Painter, I fhail take a Quotation from Ftlibie»,T. 3. f. *94. Mr. Poufiin ne peuvoit rien fouffnr du Caravage, & difoit ou’il etoit venu au monde pourdetruire la pemture, mats if ne faut pas s’etonner de l’averlion qu tl avoir pour lui: Car fi !e Pouffin cherchoit la noblefle dans fes lujets, le Caravage fe laifioit empörter ä la verite du naturel tel qu’il le voyoit: Ainfi ils etoient bien oppofez Tun ä Fautre. Cependant fi l’on confidere en particulier ce qui depend de Fart de peindre, on verra que Michel Angelo de Caravage l’avoit tout entier ; j’entends Fart d’imiter ce qu’il avoir devant fes yeux. Le Caravage a eu fes feftateurs Manfrede & le Valentin, &c. X x i69 To Parmeggiaao. To Poufiin. To Gafpar Poufiin. To Salvator Rofa. To Tempefta. To Reubens. To Pietro da Cortona. To Tintoret. To Holbens, Rembrandt, and Vandyck. To Michael Angelo Carravaggio. Remarks on the an-tient Paintings annexe i/ • and Peafons fur Jiuhlijbing thetn. The chief Reafonfor pubBJbing them. TVhat way le concluded from them, concerning the Perfection of Painting among the Greeks. An Essay on the Rife, Progreß, I HAVE been all this while venturing, perhaps, too far, or taking too much upon me ; but wherein I am wrong or miftaken, I fhall be glad to be let right. And if I, by mv Boldnefs, fhall put others upon confidcnng Pictures in another more profitable Way than the greater Part of thole who arc called, or love to be called Virtuoji, do 5 without any Prepofielllon, or blind Attachment to great Names and Authorities, i fhall gain one of the main Points I have in View in this Effay. IT only remains that I fay fomething about thofe Pieces of antient Painting now engraved. And 1 think I need not make any Apology to the Lovers of Antiquity, for publifhing thofe curious Remains, that heretofore have been quite ncgicckd 5 tho’ they arc, finely, in rclpcct of their Antiquity, a very valuable Treafure 5 as much I’o, at leaft, as any thing can be merely on that Account. To fuch this mull needs be a very acceptable Collection. Ear lefs need I make any Apology to the Lovers of Painting, for giving to the Publick good Engravings of antient Pieces of Painting, that were highly efteemed bv the greateft modern Mailers, and from which they received great Afliftanccs. The few of them that have been formerly engraved (the Venus, the Rome, and the Marriage) are fo fadly done, that it was necefiary, in Juftice to the Antients, to publifh them Tn a truer Light. ’Tis no Wonder that thofe who had nothing elfc of antient Painting to judge by, but the bad Prints of thefe Pieces, have hitherto entertained no very high Idea of the antient Roman Painting, or at leaft of the Remains of it. I HAVE, indeed, chiefly publifhed them along with this Eflay, that they might ferve by way of Evidences to prove that the Accounts given in it of antient Painting are not exaggerated. We have no Reafon to think that antient Writers magnified Matters, when they fo highly commend the antient Greek Painters for all the more effential Qualities of good Painting. There are indeed no Remains of Greek Painting; but how can we doubt of their Fidelity and Impartiality in their Accounts of them, fince there are Statues, Bas-Reliefs, Intaglias, Cameos, and Medals, to vouch fufficiently for the Truth of what they have faid, at the fame time, concerning thefe Sifter Arts? of which it is hardly poffible to be an intelligent Judge, without being equally capable to form a very juft and true Opinion of Painting. But thefe Remains now publifhed from excellent Drawings, with the greateft Exaftnefs, put this Matter beyond all Doubt; for they fhew what Roman Paintino-was, if not at the Time of Augufltis, yet in After-times, when the Art is faid to have been in greater Perfection than it was at that Period. AND from them we may judge what the Greek Painting was, fince the Roman at no Time was reckoned, by the bell Roman judges, who had feen fevcral of the mod celebrated Greek Pictures, equal to the Grecian : And thefe Pieces, however beautiful, can by no means be reckoned the bell Performances of Roman Mailers, or Matters of whatever Country, who painted at Rome in the Time of the better Emperors, that is, of thofe who molt loved and encouraged the Arts; being done upon the Wails and Cielings in the fub-terrancous Apartments of great Palaces, built by Titus, Trajan, or the Antonines; where it is not likely that the better Matters would_ have been employed, or, if they were, that they would have exerted themfelves fo much, as in doing capital Pictures for the Ornament of Apartments of greater State and Magnificence, and that were oftner vifited. I SHALL now give fome Account of them in the Order they are here annexed. As to the Colouring, 1 have added fome number’d Sketches, by which that will be better underftood, than by any Defcription. He who would have a fuller Account of it in Words, will be fatisfied by having recourfe to Bellori’s Account of the Paintings found in the Sepulchro Nafonis, and other fubterranean Places at Rome; for all the Remains of Painting that now ilibfift, arc much the fame in that refpect, as he delcribes thofe he has pub-lilhcd from Bartoli’s Drawings. I have an excellent Copy of the Marriage, juft as it is at prefent. The famous Collection that belonged to the Majjimi Family at Rome, and was juftly reckoned by ail, Strangers as well as Italians, one of the greateft Curiofities at Rome, is now in Dr. Richard Mead’s Library : And there one may fee the Colouring of the antient Reman Paintings exactly imitated by Bartoli; thefe Drawings having been faithfully done by him from the Originals, at the Time they were difeovered, or while they were very frefh. But, which will be yet more latisfaclory to the Curious, Dr. Mead has lately got fome of the beft and moft entire, well-preferved Pieces of that Kind that were at Rome, from the fame Palace of the Majßmi. There they had been long kept as an invaluable Treafure, that was never to be parted with by the Family : But now thefe admirable Rarities are in the Pofleflion of one of the beft judges, and greateft Encouragers of polite Literature, and all the ingenious Arts, in England: To whofe elegant Library, and moft valuable Collection of Pictures, Drawings, Medals, and other Curiofities, all the Lovers of the Arts have very free and agreegble Accefs. I. & II. i. & II. THE fir ft in Order rcprefents Rome ; the fecond Venus, or Rbeßdia, or P oiupta (20): The Originals are in the fame Apartment; the one over-againft the other in the Bar bei ini Palace at Rome. I have placed thcfc two firft, becaufe we are told by ‘Dion CaJJius (21), That the Emperor Adrian built a Temple at Rome, dedicated to Rome and Venus; in which the Images of both were placed upon magnificent Thrones. And it is not improbable, that this Painting of Rome was taken from that Statue (22). There is a Statue 01 Rome, with almoft all the fame Symbols, in the Capitol at Rome. THESE two ancient Pieces, according to the Tradition at Rome, were found in a fubterrancous Apartment, thought to belong to the Circus of Flor a, in digging to lay fie Foundations of the prefent Barberini Palace. The Venus, or Volupia, with the C upia added by Carlo Maratti, is in Breadth nine Roman Palms, and in Height eight and one half. The Rome is in Height eight, and in Breadth nine. It puts me in Mind 01 tie many grand Epithets given to Rome by the Poets and other Authors, and of many fine warm Addrefi'es to her (23). Thefe two, we are told by a very good Author, pafied, for a con-fiderable Time, the one for the Work of Raphael, and the other for that Oi Cor rege. THIS ingenious Author’s Account of the antient Paintings he had feen is worth our Attention; and therefore I have copied it into the Notes, in his own Words, the Lan- guage being univerfally underftood (24). (20) Vide Montfaucons Antiquities. (21) Dion, p. 789, <£rc. (22) See the Defcription of this Rome in Montfaucon, b. 2. c. 7. part 2. where he likewife delcribes another antient Pidlure of Rome, dug out of the Ground near the Amphitheatre. (23) See in particular Rutilii Gaili Itinerarium. How Rome was commonly painted or reprefented by Statues, and in Medals, we iearn from Claudian de Prob. & Olyb. Conf. Paneg. Ipfa triumphatis qua poßidet at her a regnis, Ajplit, innupta ritus imitata Minerva. Nam neque eafariem crinalt flringere cultu Co!la, nec ornatu patitur mollire retorto ; Dextrum nuda latus, niveos eXpert a lacertos Aadacem retegit mammam, laximque coercens Mordet gemma pnitm. Nodus qui fublevat enfetn. Ahum puniceo peäus diferiminat oftro. Mifietur decori virtus, pulcherque fevero Armatur terrore pudor, galeaque minaci, d?c. This is a very fine Defcription: But fhe was reprefented in various Manners; moft commonly as the Learned have obferved, Viäoriolavt manu ofientans, palmam ac coronam efferent, ut [cilice t de toto or be triumphos fignifi-caret, dr virtutem militarem. Every one knows that lire is frequently called Mater & fanfiiffima parens. (24.) Before I give this Author’s Words, I beg leave to obferve, that there are more antient Paintings yet fub-fifting, than he mentions, as appears by the prefent Collection. And tho’ many antient Paintings perifhed Toon after they were difeovered, for want of proper Care about them, yet, luckily, Drawings were taken of moft of them that are loft, the Moment they were difeovered ; which do, as much as can be, fupply the Lofs of the Originals. I need not tell my Reader what antient Paintings are pub-lifhed by Bellori, from the Drawings of the elder Bartoli, &c. And there are a great many Pieces in the Poffeffion of the King of Naples and Sicily, that wem taken from Au’tpus’s Palace in Monte Palatino at Pome, that have ne^er been engraved. As for what our Author fays of the antient Mofaicks, I (hall juft take Norice, that the only two __ fame Size as in the Original. -- It reprefents Augajhis giving a Crown la couleur. II eft impoftible d’imiter avec les pierres & les morceaux de verre dont les anciens fe font fervis pour pein-dre en Mofai'que, routes les beautes & tours les agremens que le pinceau d’un habile homme met dans un tableau, ou il eft maitre de voller les couleurs, & de faire fur ebaque point phyfique tout ce qu’il imagine, tant par rapport aux traits que par rapport aux teintes. En effet les Mofa'iques fur lefquelles on fe recrie davantage, cedes qu’on prend d’une certaine diftance pour des tableaux faitsau pinceau, font des Mofa'iques copiees d’apres de (imples portraits. Tel eft le portrait du Pape Paul V. qu’on voit ä Rome au Palais Bor-ghefe. II ne refte dans Rome meme qu’un petit nombre de pein-tures antiques faites au pinceau. Voici celles que je me fou-Viens d’y avoir vues. En premier lieu la Nopce de la Vigne Aldobrandine, & les Figurines de la Pyramide de Ceftius. II n’y a point de curieux, qui du moins n’en ait vu des eftampes. En fecond lieu les peintures du Palais Barberin dans Rome, lefquelles furent trouvees dans des grottes fouterain-nes lorfqu’on jetta les fondemens de ce Palais. Ces peintures font le Payfage ou le Nymphee, dont Lucas Holftenius a publie l’eftampe avec une explication qu’il avoir faite de ce Tableau, la Venus retouchee par Carle Maratte, & une figure de Rome qui tient le Palladium. Les connoiffeurs qui ne fa vent pas l’hiftoire de ces deux Frefques, les prennent l’une pour etre de Raphael, & l’autre pour etre du Correge. On voit encore au Palais Farnefe un morceau de peinture antique trouve dans la Vigne de i’Empereur Adrien ä Tivoli, & un refte de plafonds dans le jardin d’un particulier aupres de Saint Gregoire. On voyoit auffi il y a quelque terns plu-fieurs morceaux de peintures antiques dans les bätimens qui font compris vulgairement fous le nom des ruines des Ther-mes de Titus; mais les uns font peris, comme le tableau qui reprefentoit Coriolan, que fa mere perfuadoit de ne point venir attaquer Rome, & dont le deffein fait par Annibal Carrache, lequel a ete grave plufieurs fois, eft adjourd’hui entre les mains de Monlieur Crozat le cadet, les autres ont ete enleves. C’eft de lä que le Cardinal Maflimi avoir tire les quatre morceaux qui paffent pour reprefenter l’hiftoire d’Adonis & deux autres fragmens. Ces favantes reliques font paffees ä fa mort entre les mains du Marquis Maffimi, & Ton en voit les eftampes dans le livre de Monfieur de la Chauffe, intitule, Le Pitture Antiche delle Grotte di Roma. Cet Auteur a donne dans ce livre plufieurs deifeins de peintures antiques qui n’avoient pas encore ete rendus publics, & entr’autres le delfein du plafond d’une chambre qui fuc de-terree aupres de S. Etienne in Rotonda en mil fept cens cinq, e’eft-a-dire une annee avant l’edition de cet ouvrage. La figure de femme peinte fur un morceau de Stuc qui etoit chez le Chanoine Vittoria, eft prefentement ä Paris chez Monfieur Crozat le jeune. Il ne refte plus dans les ruines des Tbermes de Titus que des peintures plus qu’ä demi effacees. Le Pere de Mont-faucon nous a donne l’eftampe du morceau le plus entier qui s’y voye, lequel reprefente un payfage. On voyoit encore en mi! fept cens deux dans les ruines de l’ancienne Capoue, eloignee de la ville moderne de Capoue, une Gallerie enterree, cn latin Cripto Portions, dont la voute etoit peinte & reprefentoit des figures qui fe jouoient dans dilferents ornemens. Il y a fept ou huit ans que le Prince Emanuel d’Elbeuf en faifant travailler ä fa maifon de Campagne, fituee entre Naples & le Mont Vefuve, fur la bord de la Mer, trouva un bätiment orne de peintures antiques; mais je ne fache point que perfonne ait publie le delfein de ces peintures, non plus que celles de la veille Capoue. Je ne connois point d’autres Peintures antiques faites au pinceau, & qui fubfiftent encore aujourd’hui, outre les morceaux dont je viens de parier. Il eft vrai que depuis deux fiecles on en a deterree un bien plus grand nombre, foit dans Rome, foit dans d’autres endroits de ITtalie: maisjeneftis par quelle fatalite, la plüpart de ces peintures font peries, & il ne nous en eft demeure que les deifeins. Le Cardinal Maffimi avoit fait un ties beau recueil de ces deifeins; & par une avanture bizarre, e’etoit d’Elpagne qu’il avoit rap-portes a Rome les plus grandes richelfes de ion recueil. Durant faNonciatureil y avoit fait copier un portefueille qui etoit dans le cabinet du Roi d’Efpagne, & qui contenoit le delfein de plufieurs peintures antiques, lefquelles furent trouvees a Rome lorfqu’on commenga dans le feizieme fiecle d’y fouiller avec ardeur dans les ruines pour y chercher des de-bris de l’antiquice. Le Cavalier Del Pozzo, dont le nom eft fi celebre parmi les amateurs de la peinture, le meme pour qui le Pouffin peignit fes premiers tableaux des fept iacremens, avoit fait auffi un tres beau receitilde deifeins But the Figure who d’apres les peintures antiques que le Pape regnant ä achete depuis quelques aifnees pourle mettredans la Bibliotheque parriculiere qu’il s’eft formee. Mais prefque toures les peintures d’apres lefquelles ces deifeins furent fairs font peries, celles du tombeau des Na-fons qu’on deterra pres de Pontemole il y a quarante-quatre ans, ne fubfiftent deja plus. Il ne nous eft refte des peintures de ce Maufolee que les copies coloriees, que furent faites pour le Cardinal Maffimi, & les eftampes gravees par 1 lerro Sandci Bartoli, lefquelles font avec les explications du Bellori un volume in folio imprime ä Rome. A peine de-meuroit-il il y a deja quinze ans quelques veftiges des peintures originales, quoiqu’on eut attention de paffer deffits une teinture d’ail, laquelle eft fi propre ä conferver les Frefques.^ Malgre cette precaution elles fe font detruites d’elles memes. Les Antiquaires pretendent que c’eft la deftinee de toures les peintures anciennes, quidurantun grand nombre d’an-nees ont ete enterrees en des lieux fi bien etouffe, que Fair exterieur ait ete long-tems fans pouvoir agir fur elles. Cet air exterieur les detruit auffi-tot qu’elles redeviennent expo-fees ä fon addon, au lieu qu’il n’endommage les peintures enterrees en des lieux ou il avoit conferve un fibre acces que comme il endommage tous les tableaux peints ä Frei que’ Ainfi les peintures qu’on deterra il y a vingt ans ä la Vrme Corfini, bade fur le Janicule, devoient durer encore lon®-tems. L’air exterieur s’etoit conferve un fibre acces dans les tombeaux dont elles ornoient les rr.urailles, mais par la faute du proprietaire elles ne fublifterent pas lono--tems. Heureufement nous en avons les eftampes gravees par Bar-toli. Cette avanture n’arrivera plus deformais. Le Pape regnant qui a beaucoup de gout pour les Arts, & qui aime les annquites, n’ayant pü empecher la deftrucrion des peintures de la Vigne Corfini fous le Pontifical d’un autre' n’a point voulu que les curieux puffent reprocher au fien de pa-reils accidens, qui font peur eux des maibeurs fignales. Il fit done rendre un Edit des le commencement de fon reme par le Cardinal Jean Baptifte Spinola, Camerlingue du Saint oicge, qui defend ä tous les proprietaires des lieux ou l’on aura trouve quelaues veftiges de peinture antique de demolir la maqonnene ou elles feroient attachees fans une permiffion exprelie. On congoit bien qu’on ne pent fans temerite entreprendre un paralelle de la peinture antique avec la peinture moderne lur la foi des fragmens de la peinture antique qui ne fubfiftent plus qu endommage du moins par le terns. Ce qui nous refte, & qui etoit peint fur les murailles, n’a ete fait que lono--tems apres la mort des Peintres celebres de la Grece. Or il pa-rou par les ecrits des anciens que les Peintres qui travaiile-rent a Rome fous Augufte, & fous fes premiers fucceffeurs, furent tres inferieurs ä Zeuxis, & ä fes illuftres contempo-rains 1 line, qui compofoit fon hiftoire fous Vefpafien quand les Arts avoient atteint deja le plus haut point de perfection ou ils parvinrent fous les Cefars, ne cite aucun tableau de la premiere claffe qu’il donne lieu de croire avoir ete fait en ce tems-ia, parmi les tableaux qu’il compte comme un des plus beaux ornemens de la Capitale de VUni-vers. On ne fauroit done affeoir aucun jugement certain en vertu des fragmens de^ la peinture antique qui nous reftent, fur le degre de perfeftion ou les anciens pourroient avoir porte ce bei Art. On ne fauroit meme decider par ces fragmens du degre de perfection ou la peinture pouvoic etre lorfqu ils furent faits. v _ Avant que de pouvoir juger fur un certain ouvrao-ede 1 etat ou 1 Art etoit lorfque cet ouvrage fut fait, il faudroit favoir pofiavement en quelle eftime l'ouvrage a ete dans ce tems-la, & s’y 1 y a pafle pour un ouvrage excellent en fon genre Quelle injultice, parexemple, ne feroit-on pas ä notre fiecle, fi Ion jugeoit un jour de l’etatoii la Poe fie Dramatique auroit ete de notre terns fur les tragedies de 1 radon5 ou fur les Comedies de Hauteroche ? Dans les terns les plusfeconds en artifans excellens, il fe rencontre encore un plus grand nombre d’artilans mediocres. Il s’y fait encore plusde mauvais ouvragesquede bons. Or nous cour-rions le tifque de prononcer fur la foi d’un de ces ouvra°es mediocres, fi par exemple, nous voulions juger de l’etatou la peinture etoit ä Rome fous Augufte, par les figures qui font dans la Pyramide de Ceftius, quoiqu’il foit tres probable que ces figures peintes ä frefque ayent ete faites dans le terns meme que le Maufole fut eleve, & par confequent fous le regne de cet Empereur. FsTous ignorons quel ran0, pouvoit tenir entre les Peintres de fon terns l’Ardlan qui les fit- & ce qui fe pafle aujourd hui dans tous les pays nous apprend fuffilamentque la cable faiediftribuer fou vent les ouvra^es les Chap. 8. and Decline of Painting. who receives it is wanting. It is not improbable that it reprefents Auguflus reftoring the Crown to Thraates, of which Horace fpeaks (27): -----Jus imperiumque Phraatcs Cacfaris accepit genibus minor. Ep. L. I. Ep. XII. V. 27. THOSE who are acquainted with Medals will cafily find out his chief Attendants. Mecenas and Agrippa are there, and the remote!! Pcrfon is, not improbably, Horace ; at lead it is as like to his Defcription of himfelf as any of thofe Figures in Intaglia’s, that are called Horace by the Learned, and is not unlike to them (2d). IV. THE fourth reprefents the Ceremonies of an antient Marriage; the Original is well known by the Name of Nozze Aldobrandine: it is in the Villa Aldobrandina at Rome-, and where it was found we learn fully from Frederico Zuccaro, that excellent Painter, who was prefent when it was dug out of the Ruins of Mecenas s Palace: He cleaned it himfelf, and placed it where it now is. I have given his Account of it in his own Words (27), becaufe ’tis very different from that which is given of it at the Bottom of the common very bad Print of it. THE Figures in this beautiful Piece are about three Roman Palms in Height. I have a very fine and a very exa£! Copy of it in Colours, by Camillo CPaderni, that was done from the Original when I was laft at Rome in the Year 1737. The Marriage Pomp, and feveial other Ceremonies reprefented in this Piece (28), the Bafhfulnels of the Bride in particular, are often defcribed by the Poets. Jam nupt£ trepidat follicitus pudor, Jam produnt lachrymas flamme a fimplices. Claud, in Nupt. Hon. Aug. & Mar. Fefcin. THE fame Poet thus defcribes other Ceremonies of Marriage: Flamme a 'virgineis accommodat ip fa capillis: Ante fores jam pomp a fonat, pilentaque J'acram Rraradiant duclura mirum. Calet ob-vius ire Jamprinceps------- De Nup. Hon. & Mar. THE remarkable Bafhfulnefs of the Bride in this Piece is charmingly expreifed by Statius (25») ; Lumina demiff am, & dulci probit ate rub entern. Sylv. L. I. Epit. Stella; & Violant. V. 12. V. trovarano una ftanza, ove era rimafto un pe7.zo di muro in piedi nel quale era dipinta una gratiofa, e bella hifto-ria a frefcho, con figure dentro, di tre palmi in circa alto, colorite da eccellente mano, ehe merito efler ftimato quel pez7.o di muraglia, e portato alia luce, e pofto nel giardino del cardinale Aldobrandino a monte Magnapoli, e cofi ben confervata tra quelle ruine, ehe fu maraviglia, ed io ehe fui per forte uno di quelli primi a vederla, e lavarla, e nettarla di mia mano diligentemente, la viddi cofi ben confervata e frefeha come fe fuffe fatta pur all* hora, ehe n’hebbi un gufto fingulare e fui caufa di farla portare alia luce. L. II. del difegno eflerno, P. 37. del Cavalier Frederico Zuccaro nel’idea d’pittore fcultori, &c. (28) This Piece appears to me to be a copy from a Baf-relief; and there are feveral antient Baf-reliefs repre-fenting the Ceremonies of Marriage at Rome. See KenneCs Roman Antiquities, where a very remarkable one is mentioned. And, indeed, as I have already faid, moft of the antient Paintings that have been, or are now publifhed, at leaft moft of them I have feen, appear to me to be only Copies in Painting from Statues or Baf-reliefs, but moft excellent ones. (29) The Commentators obferve on that Paflage, Hoc tidoc eft r But if univerfal Nature be one Whole, and all its Parts being Members, fo to fpeak of one Body, are intimately related to, or rather united with the Whole, and with each Part of the Whole, then the Confideration of any one Part muft lead to the Examination of many Parts, or rather of all the Parts to which our Refearches can reach; and our Knowledge of any one Member muft be more full and adequate, or more defedive and imperfed, in Proportion to what Share of its Connexions in the Whole we are able to trace and difeover. To make this fufficiently clear, we need only to obferve, that Alan himfelf is the propereft Objed of human / An Essay on the Rife, Progress, human Inquiries. But Man being evidently related to Nature as a Part, Inquiries about Man muft mean Inquiries about all Man’s Connexions and Dependencies; for how elfe can his Rank and Situation be known, or how elfe can we form a true Judgment of his Relation to the Whole, änd to the Author of the Whole, and of his natural End, Duty, and Dignity ? To know, Man cannot mean to know only his corporeal Frame, his fenfitive Faculties, and his Connexions with fenfiblc Objeds, hnce he hath likewife moral Powers and Difpofitions: Nor can it mean merely to know his moral Powers and Difpolitions, hnce he hath alfo fenfitive Faculties, and corporeal Dependencies : And in Truth, his fenfitive Faculties, and his Connexions with the fenfible World, are fo mingled and blended with his moral Powers, Difpofitions and Connexions, as making one Frame of Conftitution, that it is impoflibie to underhand one or other of them by feparate Confideration. BUT what plainly follows from this? Is it not, that the great Secret of Education, or of Inftrudon in the Science of Man, muft confift in being able to lead Students in the moft natural Way and Order thro’ the various Connexions and Laws of Nature, upon which Mail hath any Dependence, or the Knowledge of which is neceflary to give him a juft View of himfelf, and of the Relation he bears to Nature, and Nature to him? I may, perhaps, foon attempt to give a Specimen of fuch Inftrudion in human Nature, by which the Connexion of all the Sciences, by whatever different Names they are diftinguifhed, and of the Manner of conjoining them in Education, will evidently appear. Mean time ’tis obvious from the very Nature of Science, of the Science of Man in particular, that the chief thin°-to be ftudied by thofe concerned in Education, is the moft natural, or fimpleft and eafieft Order in which Students of Natiire may be led gradually from one Connexion in Nature to another, to as full ä View of Nature as can be attained to. Since thus alone can Man have a juft Idea of himfelf, or of his Site, Dignity, Scope and End. BÜT, if Nature being one, all the Sciences which inquire into Nature as one Wliole muft be One, or ftridtly and intimately related; all the liberal Arts are for the fame Reafon. One, and clofely connedled: For what are all thefe, as they are diftinguifhed from the merely didaclick Art of fetting forth or difplaying Truths, that is. Fads, or the Connexions of Nature, with Simplicity and Perfpicuity; What are they but fo many different Ways of entertaining the Imagination with pleafing Views of certain natural Connexions, and their beauteous Effects; Or of impreffing on the Mind fome ufeful Rules and Maxims for our Conduct, founded upon Nature’s Laws and Connexions, by fuch Reprefentations of them as are moft likely, in Confcquence of our Frame and Conftitution, to find eafieft Accefs, fink deepeft into, and take firmeft Flold of our Hearts? Or Laftly, Of actually exciting fuch Workings of the natural Affections as are not only pleafant in the Exercife but have a happy Influence on the Temper? If we examine all the liberal Arts, Poetry’ Oratory, or the Arts of Defign, we fhall find that all their Aims and Efforts, in Confe-quence of their general Definitions, are reducible to one or other of thefe three Ends juft mentioned : Whence it muft follow, that the great Art in Education lies in knowing-how to employ all thefe Arts or Languages in their Turn, by choofing proper Examples from each of them, in order to give pleafing, inftruftive, or wholfome Views of any Connexion in Nature, fo foon as it is difeovered by Experience, or by Reafoning from Experience : Of the Beauties of the fenfible World, by means of poetical Defcriptions and Landfcapcs: For fuch Defcriptions and Landfcapes only arc poetical which are true or reprefent pleafing Effedts agreeably to Nature’s Laws and Connexions ; And of the Beauties of the moral World, by fuch poetical Compofitions exprefled either by Words, or by Lines and Colours, as do likewife truly reprefent Nature’s moral Laws, and their Effedts and Operations; or ferve to fend home into the Mind with great Force fuch rules of Conduct, and fuch moral Conclufions, as do naturally refult from the Knowledge of certain Connexions relative to Nature, and to us as Parts of Nature. If every Connexion in Nature be not only worth our knowing, but really relative to us in fome Refpeft, then every Science, by whatever Name it is called, belongs to us in fome Degree; and if fo, then muft every Art likewife belong to us, and to right Education, which is capable of recommending, infinuating, or inforcing and imprefling any Piece of ufeful Knowledge. But there is no Connection in Nature, which Oratory, Poetry, and Painting, may notice employed to recommend, infinuate or inforce. They ought all therefore to be employed and made Ufe of in Education. I need not add that it muft ncceflarily be true in the Nature of Things, that fome Objedts of Nature will bear a nearer Relation to us, and confequently more intimately concern us than others, that have a remoter Connexion with us : And therefore the Bufinefs of Education is, ftill keeping the Unity of Nature in View, to lead m the firft Place, and with the greateft Attention, to thofe Relations which moft nearly regard us, and for that Reafon to employ the infinuating, recommending, or inforcin-^ Arts chiefly, to imprefs ftrongly upon our Minds thofe Conclufions that refult from them.° Chap. 8. and beeline of Painting. THE natural Union and Connexion of all the liberal Arts and Sciences, and the Necefi-fity or Fitnefs of uniting them in Education will likewife appear, if wc attend to the natural Union and Dependence of thofe Faculties, Capacities, and Difpofitions of our Minds, which it is the chief End of Education to improve and perfect. Our Underftanding or Rcafon, our Imagination, and our moral Temper, arc allowed to be the Faculties and Difpofitions which Education ought to be calculated to improve and perfed. Now the natural Union and Dependence of thefe Faculties is too evident to be infilled upon. Hardly can the moral Temper be moulded into a right Form, or long preferve it, if Rcafon and Judgment arc not found, or well replenished with true and wholfome Science; or if the Imagination be quite negleded and left to ramble without any Inftrudion or Guidance: Nor can Science indeed have its due Influence upon the Heart and Temper, if Fancy is not employed to reprefent its Difcoveries andLefl'ons in its warming as well as enlightening Methods of Painting them; that is, in other Words, of giving them Strength, Relief, and Heat. It is Imagination, and not mere Teaching, that touches the Heart and moves the Affedions. All the liberal Arts ought therefore to be employed in Education; Reafon to lay open Truths and prove their Reality; and Oratory, Poetry, and Painting, to imprefs them upon the Mind, and to work the Affedions into the Temper which Truths ought to produce correspondent to them. What Virtue would a Teacher not only exhibit in the flrongeft Light, but fully recommend to Students, and eftablifh in their Minds ? Is it, for Example, publick Spirit, the Mother of all the Virtues ? Then let Reafon Shew throughout all Nature as far as our Enquiries can extend, the Benevolence, the publick Love of Nature's Author ever purfuing the general Good of the Whole, by Simple, uniform, general Laws. Let Reafon prove its Fitnefs and Becomingnefs; but let Oratory, Poetry, and Painting, make us feel its fweet Influence on the Mind while it prevails and operates, and all the direful Effcds on the other Hand, as well as vile Deformities of every immoral Indulgence; that is, of every Purfuit that is repugnant to publick Spirit and true Benevolence. Let well painted Charaders and Adions, Allegories, Fables, dramatick Compositions and Pidures, concur to this End, to kindle the noble Paflion which Rcafon demonftrates to be an Imitation of Nature, and as Inch to be our greateft Glory, our piea-fanteft Exercife, the worthieft Part we -can ad; to be at once our Dignity and Happinefs. In order to let forth the Fitnefs of employing all the Arts and Sciences in Education, I have infilled, in the feventh Chapter, at great Length, upon thofe moral Difpofitions in our Natures, which it is the principal End of Education to improve by Inftrudion and Exercife, for both mull be joined in order to form the Heart, or to eftablifh good Principles and good Habits. And let any one refled' upon the dole Union and Dependence of thofe Difpofitions; namely, our Senfe of Beauty natural and moral, our generous, benevolent, focial Propensity, and our Love of Greatnefs ; and he will immediately perceive how impeded Education mull be with regard to their Improvement, if all the Arts are not called in to give proper Exercife and Inftrudion to thefe Difpofitions; for how can thefe be cultivated and improved but by taking a right View of their Nature and Operations; and, which is principal, by bringing them forth into Adion by means of proper Examples. By Shewing us how generous, beautiful, and great. Nature is in all her Produdions; and by making us feel, as well as perceive, when it is that Imitations of Nature by any liberal Art give the higheft, the nobleft, the molt tranfporting Touches of Joy to our Minds by their generous, beautiful, and great Effeds upon them, in like manner as all the Parts of Nature itfelf move and affed us when we have a juft View of them. Are thefe then our bell and moll dignifying Faculties and Difpofitions; are they the Sources of our bell and molt becoming Pleafures; and ought we not chiefly to feek after Plealure in their fuitablc Exercifes and Employments ? It muft be owned at leaft, that Education does not take proper Method for gaining its main End, if it does not employ fuitablc Means to fccure us againft being milled by our Imagination, and by falfe corrupted Arts into wrong Principles and Habits, by Shewing us early their genuine Scope, and trueft Excellence. This is leaving us open to one of the moft dangerous Sources of Depravity, not only in Tafte but in Temper, for thefe will always go Hand in Hand : If the one be impure or corrupt, the other muft be fo too. And, indeed, whatever Philofophers or others have faid concerning the wonderful Power of Imagination, are fo many ftrong Arguments for taking right Care about it in Education, to give it early a good, pure, and benevolent Turn. THE Neceflity, or at leaft Fitnefs of uniting all the liberal Arts and Sciences in Education, does alio appear from the Confidcration of one very remarkable Inftincl or Dilpo-ficion, of very great Ufefulncfs, and of proportionable Strength in our Natures, and that is our Propenfity to imitate, our natural Delight in Copies, or in tracing Analogy and Likenefs, and the wonderful Effect thefe have to excite our Curiofity and Attention, and to engage us in a clofe and accurate Examination of Originals. Every one muft needs have recognized this Principle in his Nature on many Occafions. But if it fhould be doubted of, let one but make the Experiment on himfelfj and obferve whether a Portrait that 3 A immediately An Essay on the Rife, Progrefs, immediately recals to his mind the Air and Countenance of a Friend, does not foon make him better acquainted with all the diftinguifhing Particularities in that Air and Face than ever he was before: It neceffarily makes him recoiled the Original with great Attention, and go over and over again every Turn, Caft, and Feature in it, with an ExaCtnefs he never thought of before, on Account of the double Satisfaction arifing from the double Employment of the Mind in comparing the Copy with the Original. And does not the fame happen in feeing well-painted Landfcapes ? It makes one advert to feveral beautiful Incidences of Light and Shade, which, tho' they may have been often feen in Nature, it is but now when they are recalled to Mind by Imitation, that one gives due Attention to them, and feels all their Beauty. It is juft fo with Regard to well-painted moral Characters and Actions, whether by the Pencil or by Poetry. True Reprefentation makes us fay this is Nature, and recals to our Mind many like Inftances of it in real Life, that made however but a flight Impreflion upon us, till now that they are revived by a good Copy; and the Mind is delightfully engaged in palling from Imitation to Nature, and in making an exaCt Comparifon. Now if this be true, all Imitations of any Connexions or Appearances in Nature worth our Attention, muft be of excellent Ufe in Education, not only in recommending and enforcing known Truths, but likewife in gaining our Attention to Nature itfelf, in order to difcover Connexions, and draw due Inferences from them. The Fitnefs of teaching Phyficks by a Courfe of Experiments, is readily acknowledged; but fofaras any Arts copy Nature, fo far do they furnilh us with Experiments; and for the fame Rea-fon that Experiments are ufeful, or have a good EffeCt in teaching any Part of Nature, or inforcing any Piece of Knowledge upon the Mind, all Imitations of Nature being Experiments, muft have the fame Effed with Regard to that Part of Knowledge of which they are Specimens or Experiments : And confequently, in general, the beft Way of teaching Nature, phyfical or moral Nature, muft be by calling all good Imitations of Nature, or all Experiments to our Afliftance. This Reafoning is certainly good, unlefs it be faid that Imitations of Nature, by Painting or Poetry, are not Imitations; or that Imitations and Copies are not Experiments. For if it fhould be faid that Painting or Poetry can go but a little Way in Imitation : I anfwer, that fo far as they can go they furnilh Experiments; and as they go Hand in Hand, fo there is no Part of the fenlible World; none of its Laws or Appearances; and there is no Part of our moral Fabrick, or none of its Laws, Connexions and Operations: No beautiful Effed of Light, Colours and Shade, (that is all the vifible World); no Affedion or Paflion of the Heart, no Air of Face, no Effort of Body, no Charader, no Sentiment, no Struggling, no Emotion of the Mind, (that is all the moral World), that may not be painted by the Pencil as well as by Words. THE Union and Connexion of all the Arts and Sciences, and the Fitnefs of uniting them in Education, appears when we attend to the neceffary Confequences of what is generally acknowledged concerning the Excellence and Ufefulnefs of Poetry either for inftrud-ing or moving : For if that be owned, the Arts of Delign muft likewife be allowed to be of great Ufefulnefs for the fame Ends and Purpofes, lince Poetry is only able to accom-plifh thefe Ends as it is a Painting Art; or lince what renders it fo excellent in moving or inftruding us, is its being able to rear up, by Words, in the Imagination, true confident lively Pidures. One of its moft effential diftinguilhing Excellencies, confifts in conveying pleafant, forcible, animating Images, into the Mind; and accordingly the fureft Rule of trying Poetry is by examining the Pidures it raifes in the Fancy, their Truth, Life and Vigour. As well therefore may we doubt, whether the Study of Nature itfelf is requifite to a Tafte of Poetry, as whether Acquaintance with Pidures be fo. Could no more be faid either of Poetry or Painting, than that they are capable of affording us ingenious Amufement (which is however far from being the Cafe), yet, confidering how becoming human Dignity, and of what Importance to the Mind and Temper it is, that all our Recreations and Pleafures fhould be ingenious, or partake in fome Degree of our higher Faculties; for that very Reafon is it fit that all the Arts that tend to improve and refine the Imagination, fhould have Place in Education. And a Tafte of Poetry and Painting may be better, that is, more eafily formed conjundly, than a Tafte of either of them can be fepa-rately; fince, depending on the fame Principles of Truth and Beauty, and upon the fame Rules, Maxims and Foundations, they mutually illuftrate and fet off each other. Poetical Truth, whether in Painting or Poetry, being the fame with Nature, the Study of Truth in both thefe Arts is the Study of Nature: And Nature will always be ftudied with moft Satisfaction and Accuracy, when it is reflected back upon us by various Sorts of Copies or Imitations, and when thefe are compared with Nature, and with one another. IT is allowed that Poetry can not only inftruCt in an agreeable, infinuating Manner, but that it is able to work upon our Minds direCtly by exciting good Difpofirions, Refolutions and Affections in them. Its dramatick Pieces, more efpecially, are moral Imitations; which being confonant to the Principles of human Nature, and their Operations and ^Effects, do really demonftrate the fatal Confequences of bad Tempers, and wrong difpro- portioned Chap. 8. and Decline of Painting. 183 portioned Affections, and the moft eligible, amiable Confequences of Virtue. And therefore criticizing fuch Pieces, or examining their Conduit and Subferviency to fuch virtuous Ends, is really fearching into human Nature by means of Copies, fince all muft be founded upon our moral Frame and Conftitution. But fuch Pieces are more than a moral School} they not only teach, perfuade and convince, but they actually infufe good Paflions into the Mind, and work upon it in a wholfome, virtuous Manner, that leaves it an excellent Temper not eafily effaced or corrupted. They are powerful Leffons, but that is not all i their chief Excellence confifts in their being more than Leflons. They are good Excrcife to the Mind; Exercife that really produces worthy Affedions, with which the Mind is highly pleafed, and the Operations of which it cannot chufe but approve, whilft it adually feels their happy agreeable Influences. Now moral Pidures have the fame Properties, the fame Tendency, the fame excellent Influence. Criticizing fuch Compofitions therefore in like Manner, is ftudying human Nature; and the immediate Effed of good moral or hiftorical Pidures upon the Mind, is either diredly virtuous, or at leaft exceedingly ftrengthening and afliftant to Virtue. Scipos Self-command, or Hercules s brave Choice, will have not a lefs powerful Effed when they are well Painted, than when they are well told; and both Ways of reprefenting thefe Subjeds being united, they mult have a doubly ftrong Influence upon the Heart: For thus feveral Charms combine to give Virtue its full Force; to fet its intrinfick Beauty in a due Light, and to inflame the Mina with a ftrong and lively Senfe of its divine Excellence and happy Effeds (40). What Pity is it then that the fine Arts are not folely employed to their beft and nobleft, their only genuine Purpofes; and in purfuing which, they alone can difplay all their Beauty and Sublimity! 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