835. XXXV. Colorum re Bectio. XXXVI. Unio colorum. Corpora juncta simul, circumfu Sosque colores Pluribus in solidis liquida sub luce Hanc Normam Veneti pictores ritè 340. (Quæ fuit antiquis corruptio dicta Cùm plures opere in magno posuere Nè conjuncta simul variorum inimi- Congeries formam implicitam, et Membra daret pannis, totam unam- que togamque XXXVII. 350. Cuncta magis distincta patent, spe- AXXVIII. Distantia. rum relatio. Anteriora magis semper finita, re- 355. Incertis dominentur et abscedentibus, XXXIX. Corpora procul distantia. IL. Contigna et dissita. 360. More relativo, ut majura minoribus extent. effect is performed by the medium of XXXV. tion of col The bodies which are close to- 835. gether receive from each other that The reflec colour which is opposite to them; ours. and reflect on each other that which is naturally and properly their own. XXXVI. It is also consonant to reason, that Union of the greatest part of those bodies colours. which are under a light, which is extended, and distributed equally through all, should participate of each other's colours. The Venetian school having a great regard for that maxim, (which the ancients called the breaking of colours,) in the quan- 340. tity of figures with which they fill their pictures, have always endeavoured the union of colours; for fear, that, being too different, they should come to encumber the sight: "therefore they painted each figure with one 345. colour, or with colours of near affinity, though the habit were of different kinds, distinguishing the upper garment from the under, or from the loose and flowing mantle, by the tints, or degrees, harmonizing and uniting the colours, with whatever was next to them." Of the inter The less aerial space which there 350. is betwixt us and the object, and the XXXVII. more pure the air is, by so much the position of more the species are preserved and air. distinguished; and, on the contrary, the more space of air there is, and the less pure it is, so much the more the object is confused and embroiled. XXXVIII. Those objects which are placed The relation foremost to the view, ought always of distances XXXIX. to be more finished than those which are cast behind; and ought to have dominion over those things which are confused and transient. But let this be done relatively, viz. one thing 355. greater and stronger, casting the less behind, and rendering it less sensible by its opposition. Those things which are removed of bodies to a distant view, though they are distanced. many, yet ought to make but one mass; as for example, the leaves on the trees, and the billows in the sea. Let not the objects which ought to 360. be contiguous be separated; and let of bodies Distabuntque tamen grato, et dis- those which ought to be separated, which are contiguous, be apparently so to us; but let this and of thos Cuncta minuta procul massam Contigua inter se coeant, sed dis- crimine parvo. which are XL. Let the bodies everywhere be of Diversity of different tints and colours; that those tints and col which are behind may be tied in friendship together; and that those which are foremost may be strong and lively. 365. XLIII. *It is labour in vain to paint a high-noon, or mid-day light, in your The choics picture; because we have no colours of light. which can sufficiently express it: but it is better counsel to choose a weaker light; such as is that of the evening, with which the fields are gilded by the sun; or a morning light, whose whiteness is allayed; or that which appears after a shower of rain, which the sun gives us through the breaking of a cloud; or during thun- 370. der, when the clouds hide him from our view, and make the light of a fiery colour. XLIV Smooth bodies, such as crystals, of certain polished metals, wood, bones, and things relating to the stones; those which are covered practical with hair, as skins, the beard, or the part. hair of the head; as also feathers, silks, and the eyes, which are of a watery nature; and those which are liquid, as waters, and those corpo- 375. real species, which we see reflected by them; and in fine, all that which touches them, or is near them, ought to be "carefully painted flat, in flowing colours; then touched up with sprightly lights, and the true lines of the drawing restored, which were lost, or confused, in working the colours together. XLV. the picture Let the field, or ground of the The field or picture, be pleasant, free, transient, ground of light, and well united with colours, which are of a friendly nature to each other: and of such a mixture, 380. as there may be something in it of every colour that composes your work, as it were the contents of your palette. "And let those bodies that are back in the ground be painted with colours allied to those of the ground itself." LI. Effigies. 390. Multa ex naturâ speculum præ clara docebit; Quæque procul sero spatiis spectantur in amplis. Dimidia effigies, quæ sola, vel integra plures Ante alias posita ad lucem, stat proxima visu, Et latis spectanda locis, oculisque remota, Luminis umbrarumque gradu sit pic ta supremo. "Let the whole picture be of one The picture piece, as if it were painted from one to be of oue palette." piece. * The looking-glass will instructXLIX. The looking you in many beauties, which you may glass the observe from nature; so will also painter's those objects which are seen in an evening in a large prospect. best master. L. before oth If there be a half figure, or a whole one, to be set before the other fig- ure, or a A half figures, and placed nearer to the view, whole one, and next the light; or if it is to be era. painted in a great place, though at a 890. distance from the eye; be sure on these occasions not to be sparing of great lights, the most lively colours, nor the strongest shadows. 895 LI. As for a portrait, or pictures by A portrakt. the life, you are to work precisely after nature, and to express what she shows you, working at the same time on those parts which are resembling to each other: as for example, the eyes, the cheeks, the nostrils, and the lips; so that you are to touch the one, as soon as you have given a stroke of the pencil to the other, lest the interruption of time cause you to lose the idea of one part, which nature has produced to resemble the other; and thus imitating feature for feature, with a just and harmonious composition of the lights and shadows, and of the colours; and giving to the picture that liveliness, which the freedom and force of the pencil make appear, it may seem, the living hand of nature. LII. The works which are painted to The place f be seen near, in little or narrow the picture. places, must be very tender and well united with tints and colours; "let Dumque fugis vitiosa, cave in 415. Damna mali; vitium extremis nam LVII. Elegantium idea tabularum. Pulchra gradu summo, graphidos stabilita vetustæ Partibus ex magnis paucisque efficta, colorum 420. Corporibus distincta feris, sed sem LVIII. Pictor tyro. Qui bene cœpit, uti facti jam fer- If the picture be set in a place What lights which receives but little light, the are requicolours must be very clear; as, on the contrary, very brown, if the 405. place be strongly enlightened, or in the open air. LV. which are be avoided. Remember to avoid objects which Things are full of hollows, broken in pieces, vicious in little, and which are separated, or in painting to parcels; shun also those things which are barbarous, shocking to the eye, and party-coloured, and which are all of an equal force of light and shadow; as also all things which are 410. obscene, impudent, filthy, unseemly, cruel, fantastical, poor, and wretched; and those things which are sharp to the feeling; in short, all things which corrupt their natural forms, by a confusion of their parts which are entangled in each other: "For the eyes have a horror for those things, which the hands will not condescend to touch." LVI. But while you endeavour to avoid The pruden one vice, be cautious lest you fall painter. tial part of a into another; for "extremes are al- 415. ways vicious." LVII. Those things which are beautiful The idea of in the utmost degree of perfection, a beautiful according to the axiom of ancient piece. painters, ought to have somewhat of greatness in them, and their outlines to be noble; they must be disentangled, pure, and without alteration, clean, and knit together; composed of great parts, yet those but few in number. In fine, distinguished by bold colours; but of such as are related and friendly to each 420. other. And as it is a common say- Advice to a LVIII. ing, that "he who has begun well, young paint has already performed half his work ;" er. * so there is nothing more pernicious to a youth who is yet in the elements of painting, than to engage himself Quàm varia errorum genera, igno- under the discipline of an ignorant rante magistro, master; who depraves his taste by an infinite number of mistakes, of which his wretched works are full, 425. and thereby makes him drink the poison which infects him through all his future life. Let him who is yet but a beginner, not make so much haste to study after nature every thing which he intends to imitate, as not in the mean time to learn proportions, the connexion of the joints, and their outlines: and let him first have well examined the 430. excellent originals, and have thoroughly studied all the pleasing de ceptions of his art; which he must be rather taught by a knowing master, than by practice; and by seeing him perform, without being contented only to hear him speak. LIX. *Search whatsoever is aiding to Art must be your art, and convenient; and avoid subservient to the paintthose things which are repugnant er. to it. LX. * Bodies of divers natures, which Diversity are pleasing. are aggrouped (or combined) to- and facility gether, are agreeable and pleasant to the sight; as also those things which seem to be slightly touched, and performed with ease; because 435 they are ever full of spirit, and appear to be animated with a kind of celestial fire. But we are not able to compass these things with facility, till we have for a long time weighed them in our judgment, and thoroughly considered them: by this means the painter shall be enabled to conceal the pains and study which his art and work have cost him, under a pleasing sort of deceit; for the greatest secret which belongs to art, is to hide it from the discovery of specta tors. LXI. Never give the least touch with 440. your pencil, til! you have well exam- The original ined your design, and have settled must be in your outlines; nor till you have and the copy present in your mind a perfect idea on the cloth. your work. of the head, LXII. the eyes. Let the eye be satisfied in the The comfirst place, even against and above pass to be in all other reasons, which beget difficulties in your art, which of itself suffers none; and let the compass be rather in your eyes, than in your hands. |