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( which others have done in draughts
ixnd: dejigfjcs ) divers formes ofP/ayns
and Partitions, and varities o^Jftven-
tioits^ But fpeculative fVritcrs (as I am)
are not bound tocomprife all particu-
lar Cafes within the Latitude of the
SuhjeH which they handle ; General]
Lights, :xnd^Dire5iions, and pointings
at fome faults, is fufficient. The reft
muft be committed to the fagacity of
the Architen-ysho will be often put to
divers ingenious (hifts, when he is tc
wreftle with fcarcity of Ground. As
^^ , ,. ., fometimes * to damm
it umfi,nia dm- ?"e Room (though of
mu, as when a fpeciall ule) for thebe-
Butcery is caft nefit and beauty of all
under 3 ftayre- the reft; Another while.
Cafe or the hkc. ^^ ^^^^ ^j^^j-^ ^^^^^^ ^

whiclj are moft in Sigh^ and to leave
the other ( like a cunning Painter )
in ihadow , cum mult is ^lits^ which

it



\^

of^chiteSiure z6^

it were infinite to purfue. I will there-
fore clofe this Part touching Compar-
tition , as chearfully as I can, with
a fiiort defcription of a J-'eafiing
or entertaining Room , after the t/£-
gy^tian manner, who feem fat leafl:
till the time of F/^r«z'/«ij from the an-
cient Hebrews and PhenicianS (whence
all knowledge did flow) to have retain-
ed, with other Sciences, in a high degree,
alfo the Principles, and pra^ice of this
magnificent Art. For as far as I may
conjedure byoui Mailers Text, lih.6.
cap.') (where as m many other places
he hath tortured his Interpreters') there
could no Form for fuch a Royall life
be comparably imagined like that of
the forefaid iV*<r/«?«, which Ifhall ad-
venture to explain.

Let us conceive a Floor ot <t>^reao£
goodly length, (for example at leall
of 110. foot) with the breadth fom-
what more then the half of the Longi-
tude, whereof the reafon fhal be after-
wards rendred. About the two longeft
Sides and Head of the faid Room fhall
run an Order oi Pillars^ which PalUdio
doth fuppofe Corinthian, as I fee by his

M de-



266 Tl:)e Elements-



defign) fupplying that point ou^ of
Greece, becaufe we know no Order ^io-
pQt to Egypt. The Fourth Side I will
leave free for the Emrance: On the
forefaid TilUrs was laid an Architrave,
which Vitruvi^s mentioneth alone ;
PallcJio adds thereunto fand with
reafon) both Frcez. and Cornice, over
which went up.a continued JVall, and
therein half or three quarter Pillars an-
fwering diredly to the Order below
but a fourth Part lefTe ; and between
thefe half Columnes above the whole
Room was windowed round about.

Naw, from the loweft T///^/'/ there
was laid over a Contignation or Floor
born upon the outward ^f-'-^r/i', and the
Hf^^of the Columns with T'^rn/ff and
Pavement, Snb Aio (faith our Mafter;)
and fo indeed he might fafely deter-
mine the matter in Egy^t, where they
fear no Clouds: Therefore P<«/W/o,
(who leaveth this Tarrace uncovered
in the middle, 2iV\^ hallifcd about) did
perchance conftrue him rightly ,though
therein difcording from others: Al-
ways we muft underftand. a fufficient
breadth of Pavement left betv/een the

open



of ArchkeElure^ 267

Open part and the Wirtdows^ for fonic
delight of Specflatours, that might look
down into the Room ; The Lmtudt
Ihavefuppofed, contrary to fomefor*
met Pofitions, a little more then the
half of the length ; becaufe the Pil-
lars (landing at a competent diftance
from the outmoft Wdl^ will, by inter-
ception of the Sight, fomwhat in ap-
pearance diminim the breadth^ In
which cafes, (as 1 have touched once
or twice before) Difcretion may' be
more licentious then Art. This is the
defcription of an Egyptian room for
Teafts and other foUitics. About the
jvails whereof we muH: imagine en-
tire Statues placed below, and illumi-
nated by the defcending Light from
the Tarrace, as likewife from the Win-
dows between the half Pillars above.*
So as this Room had abundant and ad**
vantageous Light ; and befides other
garnifhing, mufl: needs receive much
State by the very heighthof the/?oi)f,
that lay over tw^o Orders o^Columnes
And fo havihg run through the four
parts of my firft generall T)ivifion^
namely, V oundations ,, Walls ^ Apertt'

M 2 C«F;



268 The Elements



ortf^ znd Compartitiott ; thcHoufem^y
now have leave to put on his Hat;
fiaving hitherto been uncovered it
felf, and confequently unfit to cover
others. Which point, though it be the
lafi: of this Art in execution, yet it is
always in [attention the firft: For who
would build but for Shelter? There-
fore obtaining both the Phce^ and the
dignity of zFinallCaufe^ it hath been
diligently handled by divers, but by
none more learnedly then Bernardino
Baldi Abbot of Guaflalla (before ci-
ted upon other occafion) who doth
fundamentally, and Mathematically de-
monftrate the firmed Knittings of the
upper Timbers^ which make the Roof.
But it hath been rather my Scoff, in
ihefe Elements^ to fetch the ground of
all from Nature her felf, which indeed
isthefimpleft Mother of Art. There-
fore I will now only deliver a few of
the properefi-, and (as I may fay) of the
naturalleft confiderations that belong
to this remaining Piece.

There are two Extremities to be a-
voided in the Cover, or Roof: That
it be not too heavy, nor too light. The

firft



of AnhiteHure, 26^



firf}^ will fuffer a vulgar objedion of
preiling too much -the under-work.
The other containeth a more fecrec
inconvenience • for the Cover is not
only a bare defence, but likewife a
kind 0? Bandog Ligature to the whole
Fabrick^ and therefore would require
fome reafonable weight. But of the
two extreams , a Houfe Top-heavy
is the word-. Next, there mufl be a
care of E<^nalitj^ih^i the Edifice be not
prefled oa the one fide more then on
the other ; and here Palladio doth
wiih^(like a cautelous Artizan) that
the inward Walls might bear fome
good fhare in the burthen, and the
outward be the iefle charged.

Thirdly, the Italian are very pre-
cife in giving the Cover a gracefull fen^
dence of Jlo,tp»ejfey dividing the whole
breadth into nine Parts; whereof two
(hall ferve for the elevation of the high-
eft Toppe or Ridge from the loweS.
But in this Point the quality of the Re-
gion is confiderable : For (as our Fi-
trnvius infinuateth) thofe Climes thaC
fear the falling and lying of much
Snow, ought to provide more inclining

M J Pernio



270 T/?^ Elements



Pcntices : and Comelimjfe muft yeild
to" Necejjjtj.

Thefe are the ufefuilell: Cautions
which I find in Amhours, couching the
lad Head of our Divifion , where-
with I will conclude the firft Part of
my prefent Travel. The fecond re-
maineth concerning Ornaments with-
in, or without the Fahrkk : A Piece
not fo dry as the meer Contemplati-
on of Proportions. And therefore I
hope therein fomwhat to refrefti both
the Readtr, and my klf^



OF



271

mmmmmmmmmmm)

OF

The elements

OF

ARCHITECTURE.



T'he Second Tan.



iMiisF?,'^ ? Mans propej
4^ p ^# -^^^r^^ Houfe and
►jS -^ ?§|. '^'!''»^, being the Thea-'

^^<p^^ iheSeate o( Se/f-fmiL
«»y the Comfortahlefi part of his owrt
X/ff, thenobleft of his Sons I/theri-
tance^ a kind of private Princedome ;
Nay, to the Po/f/or/ thereof, an £-
fitomie of the whole ;F(?r/^ ; may well

deferve



272 The Elements

deferve by thcfe Attrihntcs^ accor-
ding to the degree of the CMafler, to
be decently and deligbtfHllj/ adorned.
For which end, there are two ^rts
attending on ArchiteHnre ^ like two
of herprincipallCf^f/fB'C'Wf)?, to drefs
and trimme their CMijirefs ; P I c-
T u R E ind Sculpture : Between
whom, before I proceed any further, I
will venture to determine an ancient
quarrell about their Precedence, with
this DiflinElion ; that in the garnifliing
ofF^hricki , Sct^lpture no doubt muft
hciVQ the prehemlfieiice^ as being indeed
of neerer affinity to Arclo'neBHreit k\?,
and confequently the more naturall,
and more {\xt2\y\e Ornament. But on the
other fide, (to confider thefe two Arts
as I ihall do Philo(ofhKall)\ and not
CMIechanicallj) An excellent Piece of
""Puintitjg^xs, to my judgment, the mor
admirable OhjtB , becaufe it come
neer an Artificia/l Mi/'acie,to make di-
verfe diftind Eminences appear up-
on a FLit by force of Shadowes , and
yet the Shadowes themfelves not to ap-
pear : which I conceive to be the ut-
Lermoft value and vertue of a TainteK

ana



of ArchiteSlure. zj^



and CO which very few have arrived in
all Aget,

In theft two Arts (zs they are appli-
able to the Subjeii which I handle) it
(ball be fit firft to confider how to
(hoofe them j and next how to dijpofe
them. To guide us in the choyce^ wa
have a Rule fomwhere (I well remem-
ber) in Pliny, and it is a pretty obfer-
vation; That they do mutually help
to cenfure one another. For PiBure
)s beil when it (landeth off, as if it
were carved ; and Scstlptun is beil
when it appeareth (6 tender^ as if it
were fainted : Imean, when there is
fuch a feeming foftnefs in the Limbes^
zs if not a Chiffell had hewed them out
o(Stoȣ/)r other JldateriaJl^ but a Pen-
fi^hdid drawn and flroaked them in
O;/; whicli the judicious Poet took wel
to his Fancy.

Excudenr aIU fpirantia Mollitu ay a.
But this generality is notfufficient
to make a good chooser ,without a more
particular contraAion of his Judge-
ment. Therefore when a Piece of
An islet before us,letthe firfl Caution
be, not to. ask who madeic, leaft the
M 5 l£.ame^



TTjAf TheElemtnts

Fame of the Author doe Captivate the
T ancle of the Buyer. For,that excellent
men doe alwaies excellently., is a falfe
Gonclufion; wherupon I obferve a-
rrong Italian Artizans three notable
Vhrafes^ which well decipher the de-
grees of their iVorki.

They will tel you, that a thing was
done Con diligenz,a,(^onfiudio^ and Con
Amore ; The firfl: is but a bare and or-
dinary diligence. The fecond is a learned
diligence-, The third is much more, e-
ven a loving diligence : They mean not
with love to the Dejpeaker of the VVorke^
Sut with a love and delight in the
.Vorke it felfe, upon fome fpeciall
Fancy to this, or that Story ; And
when all chefe concurre (particularly
thelaft) m 2,n eminent A f:t hour .^ Then
^trohd^ncQTitiamufecityOi h (p\Siai\yroin
will ferve the turn, v/idiout farther In-
cjuifition j^Otherwife Artizans have not
only their Growths and PerfcSiions^ but
likewife their Plains and Times.

The next Caution mud be (to pro-
ceed Z-o^/r^/Zj) that in judging of the
iF'ork^ it felf, we be not diflraded
with too many things ac once jThere-

fpre



of ArchkeEiure, 275

fore firft (to beginne with TiSiure .)
we are to obferve whether it be well
drawn, for as more elegant Artisans
term it) vjqW Defgn'd '^ Then, whe-
ther it be well Colound^ which be the
two general! Heads ; And each of them
hath two principall Requtfttei ; For in
well Defigning^ there muft be Truth
and Cjrace-j In well ColoHring,Force and
AfeBioK; All other Trat/es are but
Confequences of thefe.

Truth (as we Metaphorically take
it in this Art) is a f^fi and Natural P re-
port ion in every Part of the determined
Figure. Gr^ce is a certain /rff Difpof-
tion in the whole Draught, anfwerable
to that unaffeded Franknefle of F({JJn.
on in a living Body.^ Man or Woman,
which doth animate Beauty where it is,
and fupply it, where it is not,

Force confifteth in the Roundlngs and
Raifings of the/f or/^, according as the
Limbs do more or leHe require it ; So
as the Beholder (hall fpie no jharpnejfe
in the bordering Lines ; As when Tay-
lors cut out a Sute, which Italians io-
aptly term according to that compa-
rifon, Contorni taglienti-y Not any j?^?-

nej[c



276 The Elements

ncffe within the Bodie of the Figure^
which how it is done , we mufl: fetch
from a higher Difcipline ; For the Of-
tickj teach us. That 'AflainemWdi'^'
^tditfromimm, and fas it were) embof-
fcd^ if tfifi Parts farthefl: from the Axel-
tree fix middle ^f^w^of the^j^jdiall be
the mofl: fliadowed; Becaufe in all
Dark^ejfe, there is a kind of Deepmjfe.
But as in the Art offerfwafion , one of
the mod Fundamentall Precepts is the
Concealment of Art ; So here likewife,
the Sight muft be fweetiy deceived by
an infenfible paffage , from brighter co-
lours to dimmer ^\Nhkh Italian Arti-
z,ans call the middle TinSiures^ That is.
Not as the Wj/Vf J" and jolkes o(Egs lie
in the Shel,mth vifible diftindion'^ But
as when they ite beaten^ and blended'm
a Dijb^ which is the neareft com-
parifon that I can fuddenly con-
ceive.

Laftly , ^ffeBion is the Lively Re-
frefentment of any faffton whatfoever,as
if the Figures ftood not upon a Cloth
or BMrd,\)\xt as if they were an:i?ig \x^-
onzStage-, And here I muft remember^
m. truth with much marvell, a note

wliich.



of ArchtteHure* 277

which I have received from excellent
tydrtiz^ns, that though GladnefTe and
Grief be oppojites in Nature ; yet they
are fuch Neighbours and Conjiyiers in
Art, that the leaft touch of ^Penfill
will tranflate z crying, into a laughing
Face i as it is reprefented by Homer in
the perfon of HeElors wife; as Painters
and Poets have always had a kind of
congeniality,

I A I A A. ^.

TLaiif ih, «<^' A^y.h KtiaJ^u d'i^etjo x6at^
ActxjvHi' yi?J.a'A(TA- • That is.

She took^herfon into her arms ^ rveep-
ingly Unghing.

Which Inftance,befides divers other,
doth often reduce unto my 'memory
that ingenuous Speculation of the Car-
dinal CftfanHs , extant in his Works,
touching the coincidence of Extremes.
And thus much of the four Requifites,
and PerfeEtions in PiH-ure.
In Sculpt fire nkewife,theTwo firll are
abfolutly neceflary ; The third im-
pertinentj For Solid Figures need no

elevati-*



2yS The Elements



elevation, by force of Lights ^ ot /ba-
dowes ; Therefore in the Room of this,
we rnay put (as hath been before
touched) a kind oiTender-neffe^ by the
Italians tGvmed Morl;idez,z,a^ wherein
the Chize//^ I muft confefle, hath more
glory then the Pe^j/i/ ; that being fo
hard d^nlyifvrnment^ and working upon
fo unpliant fluffe, can yet leave Strokes
of fo gentle appearance.

The Fourth, which is theexpreffing
ot e^fefhcn (as farrc as it doth depend
upon the <^iilvitj znd Geliure of the
figure) is as proper to the Carver, ^sto
the Painter-^ though {^v/onrs, no doubt,
have therein the greatefl power^where-
upon , perchance , did firft grow with
us the Fajhion ofcoloHring,t\^i\ Kigali
Statues^ jvhich I mull take leave to call
an English Barbarifme.

Now in thefe four Recjuijites already
rehearfed, it is flrange to note,that no
j4rttz.anj having ever been blamed for
excelfe m any of the three laft ; only
Truth (which ftiould feem the moft
Innocent ) hath fuffered fome Objedi-
on; and all ayiges have yeelded fome
one or two Artificers fo prodigioufly

ex-



of AtchiteEiure. 279



es:qui(ice, that rhijy have bten reputed
too Naturall in theif Dranghts; which
will well appear by a famous paflage
in QuifinihaXjtoMching tht Chara^ers
of the ancient zAniz^ans^ falling now
fo aptly intomy memory , that I mull
aads tranflace it, as in. truth it may
■well deferve.

The place which I intend , is extant
in the laft Chapter fave one of his
whole fVorkf , beginning thus in
Latine;

Trimt, efuorum quidem of era mn ve^
pHfiatis tnodo gratia vifenda ftifft c/ari
PiBorex^fuLffe dicumur PolygnotuS*ir-
qu€ Aglaophon,Cirr.

The whole Pajfuge InJEngliJh
ftandethlhus.

THE firft Painter f of Name,
whofe tForket be confiderable
for afly thiz^ more then only Am-
tufuitj , are faid £0 have been Pcljg' -
mtus and Agia^pbon ; whofe bare Co^
lettring (he meaos I thiflk in jv/ifV^ and
UaciO hach eV€Q yet fo many follower?,
that tfaoie rudeand firft Elements^ as it

were



zSo The Elements

were of chat, which within a while,
became an Art, are preferred before
the greateft Painters that have been
extant after them , out of a certain
Competition (as I conceive it) in point
of jHdgeme:yit. After thefe, Zeuxes and
ParafiHs not far diftant in age, both a-
bout the time of the Pelofonaeftan W^r^
(for in Xenofhon we have a Dialogue
between P^trafitts and Socrates) did
add much to this Art. Of which
the firfl is faid to have invented the
due difpofition of Lights and Shadows'^
Thefecond, to have more fubtilly ex-
amined, the Trmh of Lines in the
Draught ; for Zeuxes did make Limh
bigger then the life, deeming his
iFignres^ thereby the more ftately and
Majeftical; and therein(asfome think)
imitating Hower^ whom the flouteft
Form doth pleafe, even in fVomen. On
the other fide, Parafitu did exadly li-
mit all the Proportions ro,as they cal him
the Lavp'giver^ becaufe in the Images of
the Gods^ and ofHerolcal Perfonages^o»
thers have followed his Patterns like z
decree-. But PiElnre^A moflflourifti
about the days of Phili^y and even to

the



of JrchkeBure. 28 1

the Succdfours of Alexander j yet by
fundry Hahilities'^^ov Proto£enef did ex-
ccll in Dillnnce ; Pam^hiltts and Me-
lamhiM in due Proportiort; Amiphi/us in
a frankfacility ; T^fw of i'^w^J/jin
fhamhoi Fantafie and conceiving of
Pajponsi Afeller^ in Invention and
^<«-^, whereof he doth himfelf moft
▼aunt ; Euphramr deferves admirati-
on, that being in other excellent iJr/^
Ses a principall Man, he was likewife
a wondrous Artizan, both in Painting
and Sculpture. The like difference we
mayobferve among ih^ Statuaries ; for
the works of C^lon and Egejias were
fomwhac fiiffe^ like the Tujcan Man-
ner ; Thofe of C^lamis not done with
fo cold ftroaks ; And Myron more ten-
der then the former j a diligent Decency
in Polycletus above others ; to whom
though the higheft prayfe be attribu-
ted by the moft, yet left he fhould go
free from exception, fome think he
wanted fohrme^e ; for as he may per-
chance he fatd to have added a comely
T>imenfion to humane (hape, fomwhat
above the truth ; fo on the other fide,
he feemed not to have fullv cxprefled

the



28z T})e Elements

the Majefij of the gods : Moreover,
he is faid not to have medled wil-
lingly with ih^ graver age ^ as not ad-
venturing beyond fmcoth cheekj : But
thefe vertues that were wanting in 7<?-
liclevHs, were fupplied by Phidias and
Alcmenes ; yet Phidias was a better Ar-
tizanin the reprefenting o^Gods, then
of Men ; and in his works of Ivory ^
beyond all emulation, even though he
had left nothing behind him but his
<JMinerva^i Athens^ or the Olympian
7upiter m E /is ^vfhoCG Beauty feems to
nave added fomwhat, even to the re-
ceived Religion ; the Majefiy of the
IVork^, as it were, equalling the Z>f/>;'.
To Truth, they affirm Lyfippas and
Praxiteles^ to have made the neareft
approach : for Demetrim is therein re-
prehended, as rather exceeding then
deficient ; having been a greater aimer
at Likenejfe, then at Love/i/ie(fe.

This is that witty Cenfure of the
ancient Artizans which QjiintilUan
hath left us, where the laft Chara^er
of Demetrius doth require a little Phi-
lofophical Examination ; How an Arti-
ficer yjh.ok end is the Imitation of Na-

tnre^



of ArchtteBure. 285

tirre, can be too naturail ; which like-
wife in our days was either the fault,
or (to fpeak more gently) the too
much perfedionof-^/i^(rrrZ>/^rfr, and
perhaps alfo of Michael Angelo da 'Buo-
naroti, between whom I have heard
noted by an ingenuous Artizan a pre-
ty nice difference, that thcGerman did
too much expreffe that which was ; and
the Italian.that ^hich Jhouid be : Which
fevere. Obfervation o^ Nature, by the
one in her c6?rmo»efi, and by the other
in her aiffolfttefi Forms, mufl: needs
produce in both a kind of Rigidity^
and confequentty more Natura/fiejfe
ihen Gracefptlneffe : This is the clea-
Tcft reafofl, why fome exad SymrnS'
trifts have been blamed for being too
true, as near as 1 can deliver my con-
ceit. And fo much couching the choice
of Figure and Scttlptttre : The next is,
the application of both to the beanti-
fjing of Tabricks.

Firfi: therefore, touching Pi^ftre^
there doth occurre a very pertinent
doubt, which hath been pafted over
too (lightly, not only by fome Men,
butbyfomeiV4f;V»/; namely, whether

this



284 The Elements



this Ornament can well become the Out-
fide oi'houfes^ wherein the Germans have
made fo little fcruple , tiiattheir beft
Towns are the mofl; painted, as Augufia
and Norcmhergh. To determine this
queftion in a word It is true , that a
Story well fet out with a good Uaniiy
will every where take a 'judicious eye:
But yet withall it is as true, that various
colours on the Oat -tva/lcso( Buildings
have alwayes in them more Deiignt
then Dignit^r; Therefore I would there
admit no Taintings but in Blacky and
white ^ nor even in thatkinde anyF»-
gures (iftheroome be capable) under
Nine or Ten foot high , which will re-
quire no ordinary Jrtiz,aM; becaufe the
faults are more vifible then in fmall
Defignes. In unfigmed paintings the no-
bleft is the imitation of ^^r^/f/, and
oi Archite^ure it k\?^^% Arches pTree^s,^
Columnes^ and the like.

Now for the Jnjide , here growcs
another doubt , wherein Grotejca ( »
the Italians) or Anti<jiftevjork (a$we
call it) (hould be received, againft the
cxprefle authority of Vitrnviw him-
ielf, iHf.-j'Cap.^. viherePiSiffr-^Ckith

he)



of ^rchkeBure, 285



he) fte'iHi, c[f{odeJi;feHpotefieJfe-^t3ir
eluding by this fevere definition, all
Figures compofed of different Natures
or Sexes ; fo as a Sjrene or a Centtunre
had been intolerable in his eye : But
in this we muft take leave to depart
from our Mafter;and the rather.becaufe
he (pake out of his own Profeflfion , al-
lowing Painters (who have ever been as
Kttle limited as Poets) a lefle fcope in
their imaginations , even then the gra-
ved Phi/o/opbers , who fomctimes do
ftrve themfelves of Infiances that have
no- Exi(ienve in Natttre ; as we fee in
Plato's Amfhisboena^^Arifldtles BirCdm
Cervfts. And (to fettle this point) what
was indeed more common and fami-
llat among the Romanes themfelvw,
then the PiSiure zndStatue ofTermiftHf .
even one of their Deities ? which yet if
we well confider, is but a piece of gyo-
tefca ; I am for thele reafons unwilling
to impoverifh that Art,thongh T could
Wifh fuch medlie and motiie Defignes
confined only to the Ornament of
Freet^er^ and Borders, their propereft
ptace. As for other Storied tvoi^e'i
Ti^rm Pf^afles^ I doubt our cUm be

too



2 86 1^)6 Elements

too ycclding and moifl: for (nchGar-
nijh yicnt • therefore leaving it to the
Dwellers difcretion according to the
quality of his Seat, I will only add a
Caution or two about the difpofingof
ViBurcs within.

Firfl, That no Room be furnifhed
with too many ; which, in truth, were
a Surfet of Omantent, unlefTe they be
Galleries, or fomc peculiar Repofitory
for Rarities of Art.

Next, That the bcfl: Pieces Se placed
not where there are the leafi, but where
there are the fewefi lights : therfore
not only Rooms windowed on both
Qnd^^ which we call through-lighted ;
but with two or moe windows on the
fame fide, are enemies to this Art : and
fure it is, that no Painting can be feen
in full perfeiflion, but (as all Nature is
illuminated jby ^fmgle Light.

Thirdly, That in the placing there be
fome care alfo taken how the Paiftter
did (land in* the w^or'kjng^ which an in-
telligent Eje will eafily difcover ; and
that poftare is the mofl: natural : fo as
Italian Pieces will appear bed in a
Room where the Windows are high,

becaufc



ofArcb'tteSture, 2 S7



becaufe they are commonly made to a
defcending Light, which of ali other
doth fet off mens Faces in their trueft
fpirit.

Laftly, That they be as properly be-
ftowed for their quality ^^s fitly for their
grace : that is, chearefuU Paintings in
Feafiing and Banquetting Rooms, Gr^
ver Stories in Galleries ; Land-skips and
Bofcage^ and fuch ivilde works,in open
Tarraccs^ or in Summer houfes (dAv^z
call them) and the like.

And thus much oiPiH^re, which
let me clofe with this Note ; that
though my former Difcourfe may ferve
perchance for fome reafonable leading
in the choice of fuch delights ; yet let
no man hope by fuch a Jpeculative eru-
dition, to difcern the MaBerlj and mj-
fieri oti^ touches of y4n^ but an Artizan
himfelf; to whom therfore we muft
leave the prerogative to cenfure the
manner & handling, as he himfelf mull
likewife Jeavefome points, perchance
of no leffe value, to others ; as for ex-
ample, whether the Storj be rightly r<?-
pre/emed, the Figures m true aflion, the
Perfons futed to their feveral qualities,

the



288 The Elements

the affeEiions proper and firong^ and
fuch like Obfetvations.

Now for Sculpture, I muft likewife
begin with a Controverfie, as before
(falling into this Placej) or let me ra-


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