NEGRETTI, Jacopo (Palma Il Giovane) ( v. 1548-1628 )

ISNI:0000000108031600 Getty:500027810

Quotation

Of Action and Passion.
{4. Action and Passion.} The next observation, is out of which,
Life and Motion doth result : It shews no Action or Passion in a Piece, barely upright, looking forward ; the Armes hanging down, the feet close together, and so seems unmoveable, and stiff.
{How to be expressed} In lineall
Pieces, there may be a deceitfull similitude of Life and Motion, and statues may seem to live and breathe but coloured Pictures shew a lively force in the severall effects, and properties of Life and Spirit.
{And to be improved} To be well acquainted with
Nature, Manner, guize and behaviour ; as to paint a Man, angry or sad ; joyfull earnest ; or idle ; all passions to be proper to the figure : […]. Indeed the severall postures of the head, describe the Numbers of passions ; […]. In a word, each severall member or part of the body, either of themselves, or in reference of some other part, expresses the passions of the mind, as you may easily observe in the Life.
[…].
{By example of Titian’ Pieces.} I have seen a piece of
Tytian’s : A Child in the Mothers Lap playing with a Bird ; so round and pleasing, it seem’s a doubt whether a Sculpture or Painting ; whether Nature or Art, made it ; the mother smiles and speaks to : the child starts, and answers.
{And of
Palma’s Piece.} Another of Palma’s ; a speaking Piece indeed. The young Damsell brought for Old Davids Bedfellow ; all the company in Passion and Action : some in admiration of her beauty, others in examining her features, which so please the good Old Man, that in some Extasie of passion, he imbraces her which her humility admits, yet with a silent modesty as best became her, only to be dumb and so suffer.
[…].
[...] And so have we done with an Example of all in One : For
 
                       Invention
allures the mind.
                       Proportion, attracts the Eyes.
                       Colour ;
delights the Fancie.
                      
Lively Motion, stirs up our Soul.
                      
Orderly Disposition, charmes our Senses.
 
{Conclude a rare Picture.} These produce gracefull
Comliness, which makes one fairer then fair ; […].
This Grace is the close of all, effected by a familiar facility in a free and quick spirit of a bold and resolute Artificer ; not to be done by too much double
diligence, or over doing ; a careless shew, hath much of Art.

Quotation

Chap. V, Directions for Drawing the Body of Man or Woman.
SECT. I.
General Rules for Drawing the Face.
In Drawing the Face, observe its motion whether forward, upward, downward, or sideways, by your Eye ; touch lightly the features where the Eyes, Nose, Mouth, and Chin should stand, and then go over them more perfectly. The Circle, Squares, and Triangles that are used in a Face, serve to guide your judgment where to place the several features.
Observe dilligently the principal Muscles of a Face, these appear most in an aged man or womans face.
[…].
A smiling countenance is discerned by the Mouth, when the corners of the Mouth turn up a little.
A frowning countenance is discerned in the Fore-head, Eye-brows, bending and somewhat wrinkling about the top of the Nose,
&c.


SECT. II.
To draw a fore-right Face.
Make the form of a perfect Oval divided into three equal parts by two Lines ; […].


SECT. III.
To draw an Up-right Head.
Which is made with three Lines equal every way, either upwards, downwards, higher or lower ; and that must be divided as the former into three equal parts, as in the Example.


SECT. IV. Of the inclining and Fore-shortned Face.
This is plainly seen by the Lines, how they concord together, and you may with facility draw in their proper places, the Nose, Mouth, and other parts with a little practice, and observing diligently the Example following.
In these Forms you must be very perfect, it being a Rule that in most Faces you may have occasion to make use of : for of all the parts of Mans body the Face is the most difficult. But having got the Proportions with their Measures, you will be able (which way soever a Face turns) to form it out, whatever proportion your Face is, you are to imitate, so must your out-stroke be formed, whether long, round, fat, or lean.
Because presidents are most useful, I have here thought good to give you the forms of several Eyes more at large, by which you may with more ease know the truth of their Proportions.
As also Ears, which are exactly to be known ; and then the forms of several Noses and Mouths ; all which are taken from eminent Masters, as
Palma and others. [In the following Page.]

Quotation

Chap. V, Directions for Drawing the Body of Man or Woman.
SECT. I.
General Rules for Drawing the Face.
In Drawing the Face, observe its motion whether forward, upward, downward, or sideways, by your Eye ; touch lightly the features where the Eyes, Nose, Mouth, and Chin should stand, and then go over them more perfectly. The Circle, Squares, and Triangles that are used in a Face, serve to guide your judgment where to place the several features.
Observe dilligently the principal Muscles of a Face, these appear most in an aged man or womans face.
[…].
A smiling countenance is discerned by the Mouth, when the corners of the Mouth turn up a little.
A frowning countenance is discerned in the Fore-head, Eye-brows, bending and somewhat wrinkling about the top of the Nose,
&c.


SECT. II.
To draw a fore-right Face.
Make the form of a perfect Oval divided into three equal parts by two Lines ; […].


SECT. III.
To draw an Up-right Head.
Which is made with three Lines equal every way, either upwards, downwards, higher or lower ; and that must be divided as the former into three equal parts, as in the Example.


SECT. IV. Of the inclining and Fore-shortned Face.
This is plainly seen by the Lines, how they concord together, and you may with facility draw in their proper places, the Nose, Mouth, and other parts with a little practice, and observing diligently the Example following.
In these Forms you must be very perfect, it being a Rule that in most Faces you may have occasion to make use of : for of all the parts of Mans body the Face is the most difficult. But having got the Proportions with their Measures, you will be able (which way soever a Face turns) to form it out, whatever proportion your Face is, you are to imitate, so must your out-stroke be formed, whether long, round, fat, or lean.
Because presidents are most useful, I have here thought good to give you the forms of several Eyes more at large, by which you may with more ease know the truth of their Proportions.
As also Ears, which are exactly to be known ; and then the forms of several Noses and Mouths ; all which are taken from eminent Masters, as
Palma and others. [In the following Page.]

Quotation

Chap. V, Directions for Drawing the Body of Man or Woman.
SECT. I.
General Rules for Drawing the Face.
In Drawing the Face, observe its motion whether forward, upward, downward, or sideways, by your Eye ; touch lightly the features where the Eyes, Nose, Mouth, and Chin should stand, and then go over them more perfectly. The Circle, Squares, and Triangles that are used in a Face, serve to guide your judgment where to place the several features.
Observe dilligently the principal Muscles of a Face, these appear most in an aged man or womans face.
[…].
A smiling countenance is discerned by the Mouth, when the corners of the Mouth turn up a little.
A frowning countenance is discerned in the Fore-head, Eye-brows, bending and somewhat wrinkling about the top of the Nose,
&c.


SECT. II.
To draw a fore-right Face.
Make the form of a perfect Oval divided into three equal parts by two Lines ; […].


SECT. III.
To draw an Up-right Head.
Which is made with three Lines equal every way, either upwards, downwards, higher or lower ; and that must be divided as the former into three equal parts, as in the Example.


SECT. IV. Of the inclining and Fore-shortned Face.
This is plainly seen by the Lines, how they concord together, and you may with facility draw in their proper places, the Nose, Mouth, and other parts with a little practice, and observing diligently the Example following.
In these Forms you must be very perfect, it being a Rule that in most Faces you may have occasion to make use of : for of all the parts of Mans body the Face is the most difficult. But having got the Proportions with their Measures, you will be able (which way soever a Face turns) to form it out, whatever proportion your Face is, you are to imitate, so must your out-stroke be formed, whether long, round, fat, or lean.
Because presidents are most useful, I have here thought good to give you the forms of several Eyes more at large, by which you may with more ease know the truth of their Proportions.
As also Ears, which are exactly to be known ; and then the forms of several Noses and Mouths ; all which are taken from eminent Masters, as
Palma and others. [In the following Page.]

Quotation

Of Action and Passion.
{4. Action and Passion.} The next observation, is out of which,
Life and Motion doth result : It shews no Action or Passion in a Piece, barely upright, looking forward ; the Armes hanging down, the feet close together, and so seems unmoveable, and stiff.
{How to be expressed} In lineall
Pieces, there may be a deceitfull similitude of Life and Motion, and statues may seem to live and breathe but coloured Pictures shew a lively force in the severall effects, and properties of Life and Spirit.
{And to be improved} To be well acquainted with
Nature, Manner, guize and behaviour ; as to paint a Man, angry or sad ; joyfull earnest ; or idle ; all passions to be proper to the figure : […]. Indeed the severall postures of the head, describe the Numbers of passions ; […]. In a word, each severall member or part of the body, either of themselves, or in reference of some other part, expresses the passions of the mind, as you may easily observe in the Life.
[…].
{By example of Titian’ Pieces.} I have seen a piece of
Tytian’s : A Child in the Mothers Lap playing with a Bird ; so round and pleasing, it seem’s a doubt whether a Sculpture or Painting ; whether Nature or Art, made it ; the mother smiles and speaks to : the child starts, and answers.
{And of
Palma’s Piece.} Another of Palma’s ; a speaking Piece indeed. The young Damsell brought for Old Davids Bedfellow ; all the company in Passion and Action : some in admiration of her beauty, others in examining her features, which so please the good Old Man, that in some Extasie of passion, he imbraces her which her humility admits, yet with a silent modesty as best became her, only to be dumb and so suffer.
[…].
[...] And so have we done with an Example of all in One : For
 
                       Invention
allures the mind.
                       Proportion, attracts the Eyes.
                       Colour ;
delights the Fancie.
                      
Lively Motion, stirs up our Soul.
                      
Orderly Disposition, charmes our Senses.
 
{Conclude a rare Picture.} These produce gracefull
Comliness, which makes one fairer then fair ; […].
This Grace is the close of all, effected by a familiar facility in a free and quick spirit of a bold and resolute Artificer ; not to be done by too much double
diligence, or over doing ; a careless shew, hath much of Art.

Quotation

Of Action and Passion.
{4. Action and Passion.} The next observation, is out of which,
Life and Motion doth result : It shews no Action or Passion in a Piece, barely upright, looking forward ; the Armes hanging down, the feet close together, and so seems unmoveable, and stiff.
{How to be expressed} In lineall
Pieces, there may be a deceitfull similitude of Life and Motion, and statues may seem to live and breathe but coloured Pictures shew a lively force in the severall effects, and properties of Life and Spirit.
{And to be improved} To be well acquainted with
Nature, Manner, guize and behaviour ; as to paint a Man, angry or sad ; joyfull earnest ; or idle ; all passions to be proper to the figure : […]. Indeed the severall postures of the head, describe the Numbers of passions ; […]. In a word, each severall member or part of the body, either of themselves, or in reference of some other part, expresses the passions of the mind, as you may easily observe in the Life.
[…].
{By example of Titian’ Pieces.} I have seen a piece of
Tytian’s : A Child in the Mothers Lap playing with a Bird ; so round and pleasing, it seem’s a doubt whether a Sculpture or Painting ; whether Nature or Art, made it ; the mother smiles and speaks to : the child starts, and answers.
{And of
Palma’s Piece.} Another of Palma’s ; a speaking Piece indeed. The young Damsell brought for Old Davids Bedfellow ; all the company in Passion and Action : some in admiration of her beauty, others in examining her features, which so please the good Old Man, that in some Extasie of passion, he imbraces her which her humility admits, yet with a silent modesty as best became her, only to be dumb and so suffer.
[…].
[...] And so have we done with an Example of all in One : For
 
                       Invention
allures the mind.
                       Proportion, attracts the Eyes.
                       Colour ;
delights the Fancie.
                      
Lively Motion, stirs up our Soul.
                      
Orderly Disposition, charmes our Senses.
 
{Conclude a rare Picture.} These produce gracefull
Comliness, which makes one fairer then fair ; […].
This Grace is the close of all, effected by a familiar facility in a free and quick spirit of a bold and resolute Artificer ; not to be done by too much double
diligence, or over doing ; a careless shew, hath much of Art.

Quotation

Of Action and Passion.
{4. Action and Passion.} The next observation, is out of which,
Life and Motion doth result : It shews no Action or Passion in a Piece, barely upright, looking forward ; the Armes hanging down, the feet close together, and so seems unmoveable, and stiff.
{How to be expressed} In lineall
Pieces, there may be a deceitfull similitude of Life and Motion, and statues may seem to live and breathe but coloured Pictures shew a lively force in the severall effects, and properties of Life and Spirit.
{And to be improved} To be well acquainted with
Nature, Manner, guize and behaviour ; as to paint a Man, angry or sad ; joyfull earnest ; or idle ; all passions to be proper to the figure : […]. Indeed the severall postures of the head, describe the Numbers of passions ; […]. In a word, each severall member or part of the body, either of themselves, or in reference of some other part, expresses the passions of the mind, as you may easily observe in the Life.
[…].
{By example of Titian’ Pieces.} I have seen a piece of
Tytian’s : A Child in the Mothers Lap playing with a Bird ; so round and pleasing, it seem’s a doubt whether a Sculpture or Painting ; whether Nature or Art, made it ; the mother smiles and speaks to : the child starts, and answers.
{And of
Palma’s Piece.} Another of Palma’s ; a speaking Piece indeed. The young Damsell brought for Old Davids Bedfellow ; all the company in Passion and Action : some in admiration of her beauty, others in examining her features, which so please the good Old Man, that in some Extasie of passion, he imbraces her which her humility admits, yet with a silent modesty as best became her, only to be dumb and so suffer.
[…].
[...] And so have we done with an Example of all in One : For
 
                       Invention
allures the mind.
                       Proportion, attracts the Eyes.
                       Colour ;
delights the Fancie.
                      
Lively Motion, stirs up our Soul.
                      
Orderly Disposition, charmes our Senses.
 
{Conclude a rare Picture.} These produce gracefull
Comliness, which makes one fairer then fair ; […].
This Grace is the close of all, effected by a familiar facility in a free and quick spirit of a bold and resolute Artificer ; not to be done by too much double
diligence, or over doing ; a careless shew, hath much of Art.

Quotation

Of Action and Passion.
{4. Action and Passion.} The next observation, is out of which,
Life and Motion doth result : It shews no Action or Passion in a Piece, barely upright, looking forward ; the Armes hanging down, the feet close together, and so seems unmoveable, and stiff.
{How to be expressed} In lineall
Pieces, there may be a deceitfull similitude of Life and Motion, and statues may seem to live and breathe but coloured Pictures shew a lively force in the severall effects, and properties of Life and Spirit.
{And to be improved} To be well acquainted with
Nature, Manner, guize and behaviour ; as to paint a Man, angry or sad ; joyfull earnest ; or idle ; all passions to be proper to the figure : […]. Indeed the severall postures of the head, describe the Numbers of passions ; […]. In a word, each severall member or part of the body, either of themselves, or in reference of some other part, expresses the passions of the mind, as you may easily observe in the Life.
[…].
{By example of Titian’ Pieces.} I have seen a piece of
Tytian’s : A Child in the Mothers Lap playing with a Bird ; so round and pleasing, it seem’s a doubt whether a Sculpture or Painting ; whether Nature or Art, made it ; the mother smiles and speaks to : the child starts, and answers.
{And of
Palma’s Piece.} Another of Palma’s ; a speaking Piece indeed. The young Damsell brought for Old Davids Bedfellow ; all the company in Passion and Action : some in admiration of her beauty, others in examining her features, which so please the good Old Man, that in some Extasie of passion, he imbraces her which her humility admits, yet with a silent modesty as best became her, only to be dumb and so suffer.
[…].
[...] And so have we done with an Example of all in One : For
 
                       Invention
allures the mind.
                       Proportion, attracts the Eyes.
                       Colour ;
delights the Fancie.
                      
Lively Motion, stirs up our Soul.
                      
Orderly Disposition, charmes our Senses.
 
{Conclude a rare Picture.} These produce gracefull
Comliness, which makes one fairer then fair ; […].
This Grace is the close of all, effected by a familiar facility in a free and quick spirit of a bold and resolute Artificer ; not to be done by too much double
diligence, or over doing ; a careless shew, hath much of Art.

Quotation

Chap. V, Directions for Drawing the Body of Man or Woman.
SECT. I.
General Rules for Drawing the Face.
In Drawing the Face, observe its motion whether forward, upward, downward, or sideways, by your Eye ; touch lightly the features where the Eyes, Nose, Mouth, and Chin should stand, and then go over them more perfectly. The Circle, Squares, and Triangles that are used in a Face, serve to guide your judgment where to place the several features.
Observe dilligently the principal Muscles of a Face, these appear most in an aged man or womans face.
[…].
A smiling countenance is discerned by the Mouth, when the corners of the Mouth turn up a little.
A frowning countenance is discerned in the Fore-head, Eye-brows, bending and somewhat wrinkling about the top of the Nose,
&c.


SECT. II.
To draw a fore-right Face.
Make the form of a perfect Oval divided into three equal parts by two Lines ; […].


SECT. III.
To draw an Up-right Head.
Which is made with three Lines equal every way, either upwards, downwards, higher or lower ; and that must be divided as the former into three equal parts, as in the Example.


SECT. IV. Of the inclining and Fore-shortned Face.
This is plainly seen by the Lines, how they concord together, and you may with facility draw in their proper places, the Nose, Mouth, and other parts with a little practice, and observing diligently the Example following.
In these Forms you must be very perfect, it being a Rule that in most Faces you may have occasion to make use of : for of all the parts of Mans body the Face is the most difficult. But having got the Proportions with their Measures, you will be able (which way soever a Face turns) to form it out, whatever proportion your Face is, you are to imitate, so must your out-stroke be formed, whether long, round, fat, or lean.
Because presidents are most useful, I have here thought good to give you the forms of several Eyes more at large, by which you may with more ease know the truth of their Proportions.
As also Ears, which are exactly to be known ; and then the forms of several Noses and Mouths ; all which are taken from eminent Masters, as
Palma and others. [In the following Page.]