AGLIONBY, William, Painting Illustrated in Three Diallogues. Containing some Choice Observations upon the Art. Together with The Lives of the Most Eminent Painters From Cimabue, to the time of Raphael and Michael Angelo. With an Explanation of the Difficult Terms, London, John Gain, 1685.

Getty Research Institute Los Angeles ND1130 .A3 205 quotations 135 terms
William Aglionby (?-1705), physicien et diplomate, est l’auteur de plusieurs textes dont des traductions sur des sujets variés. Son activité de diplomate l’amène à voyager dans plusieurs pays d’Europe, lui permettant d’acquérir une certaine culture. Il se rend notamment en Hollande, en Espagne, en Italie et en France, où il obtient par ailleurs son diplôme de physicien dans les années 1650-1660. Lors d’un passage à Londres, il est élu membre de la Royal Society en 1667. Il ne se fixe néanmoins pas dans cette ville et entreprend de nouveaux voyages en Europe. Parallèlement, il se lance dans l’écriture : il réalise notamment des traductions et ouvrages sur divers sujets (la chimie, les papes, la Hollande). De retour à Londres dans les années 1680, il devient finalement un membre actif de la Royal Society. C’est également à ce moment qu’il publie son Painting illustrated in three Diallogues, ainsi qu’une traduction sur le théâtre. La dédicace de son ouvrage sur la peinture nous renseigne par ailleurs sur son enfance. Aglionby y exprime en effet sa reconnaissance à William Cavendish, 4th Earl of Devonshire, ainsi qu’à sa famille, et notamment au père de ce dernier, le 3rd Earl, tout en évoquant son enfance. Selon C. Hanson, cette famille aurait employé un George Aglionby à partir de 1629 en tant que tuteur du 3rd Earl of Devonshire. En outre, des paiements, effectués douze ans plus tard envers Mrs Aglionby, probablement la mère de William et la femme de George, ont été retrouvés. Les Devonshire ont ainsi pu apporter le soutien financier qu’Aglionby désirait pour la publication de son Painting illustrated [1].
L’écriture de cet ouvrage est dictée par le constat fait par Aglionby du manque d’intérêt pour les arts, et notamment pour la peinture d’histoire, en Angleterre, contrairement à d’autres pays européens – ce qu’il a pu constater durant ses divers séjours. Cette dénonciation apparaît en particulier dans la préface de Painting illustrated, où Aglionby affirme qu’aucun peintre d’histoire n’est né sur le sol anglais – John Evelyn, auteur anglais d’un texte sur l’art et traducteur de Fréart de Chambray, fait le même constat. Selon lui, cela provient de la préférence pour le portrait, mais aussi du fait que les personnes susceptibles de commander des œuvres d’art manquent de connaissances et ne peuvent donc pas encourager le genre « noble » qu’est la peinture d’histoire. Le but de son ouvrage est d’expliquer les principes généraux de ce genre pictural, mais aussi de familiariser les éventuels commanditaires à la peinture italienne. Pour ce faire, il fournit un glossaire expliquant des termes liés en particulier à la peinture d’histoire, tels que cartoon, drapery, figure, history ou encore model, comme le fit également Evelyn dans sa traduction de Fréart de Chambray. Il construit en outre son ouvrage sous la forme de trois dialogues entre un connaisseur de l’art, le traveler qui, après avoir voyagé, a acquis un certain nombre de connaissances en art, et un de ses amis, qui aimerait en apprendre davantage sur la peinture. Dans le premier dialogue, le traveller explique à son ami des termes et notions techniques. Il insiste par exemple sur la différence entre la peinture à l’huile, à la détrempe et la fresque. Le deuxième discours expose une histoire de la peinture de l’Antiquité jusqu’à leur époque, en s’attardant surtout sur des artistes italiens, même si certains peintres nordiques sont évoqués. Enfin, le dernier discours s’intéresse à la manière de bien juger un tableau. L’ouvrage contient également des Vies d’artistes italiens de la Renaissance (la première est celle de Cimabue et la dernière de Donatello) fondées sur onze Vite de Vasari – il s’agit de la première traduction en anglais de ce texte [2]. Tout au long de son texte, Aglionby insiste sur le fait que la peinture peut s’apprendre facilement et qu’il suffit d’avoir quelques connaissances. L’auteur se présente ainsi comme un virtuoso désireux de promouvoir la peinture d’histoire en Angleterre, en s’appuyant sur des exemples italiens en particulier [3].
Il est intéressant de noter qu’Aglionby utilise beaucoup l’italique dans ses dialogues. Il distingue ainsi les propos du voyageur de ceux de son ami, qui sont en écriture romaine. En outre, certains termes se distinguent dans les propos du voyageur en n’étant pas en italiques. De même, dans les paroles de l’ami, des termes apparaissent en italiques. Dans les deux cas, ces mots mis en valeur peuvent parfois être significatifs : il s’agit soit de noms d’artistes et de lieux, soit de termes liés à la peinture comme light, colours ou encore passion. Mais parfois, il s’agit d’un vocabulaire lié à la vie quotidienne plus qu’à la peinture, comme dans le cas de slaves, foundation ou gentlemen.
Aglionby se trouve néanmoins face à un problème : celui du manque de vocabulaire artistique en anglais. Pour contourner cela, il emploie alors des termes italiens, tels que morbidezza ou schizzo. Il tente en outre de traduire et d’adapter certains mots à la langue anglaise. À la place du terme italien attitudine, néanmoins mentionné, Aglionby utilise par exemple aptitude – terme évoqué avant lui par Evelyn dans sa traduction de Fréart. Il tente ainsi d’adapter le vocabulaire artistique à l’anglais, afin de le rendre davantage familier au lectorat de son pays.
Le texte d’Aglionby est influencé par la théorie continentale des arts, et notamment par le De Arte Graphica de Dufresnoy (1668). Il reprend par exemple la division de la peinture en trois parties, dessin, couleur et invention, que l’on retrouve chez ce dernier. Comme le notent certains historiens de l’art, tels B. Cowan, « Aglionby’s own writings on painting were more or less a reiteration of arguments made several decades earlier by the French writer Charles Du Fresnoy [4] ». Il semble évident que les séjours à l’étranger d’Aglionby ont eu un rôle fondamental sur sa conception de l’art. Néanmoins, selon C. Hanson, puis C. Good, même si Aglionby s’inspire fortement de la théorie française et italienne des arts, il demeure intéressant d’étudier la manière dont il s’approprie le texte de Dufresnoy et l’adapte pour un public anglais et non connaisseur [5]. En effet, Aglionby ne fournit pas une traduction littérale de Dufresnoy ou de son commentaire par de Piles, mais construit son texte sous forme de dialogue, ce qui lui permet d’apporter une touche personnelle. Il faut également replacer Painting illustrated dans le contexte de la Royal Society, institution, fondée en 1660, qui a pour but de promouvoir les sciences et le savoir en Angleterre. Elle valorise notamment les voyages et la diffusion des informations dans la sphère des Lettres. Parmi ses membres, on compte des collectionneurs et des commanditaires d’œuvres d’art [6]. Le but premier d’Aglionby est plutôt d’introduire le peuple anglais à la théorie continentale des arts plutôt que de faire une œuvre originale, ce que C. Good justifie par un manque de confiance de sa part [7]. Ce dernier ne serait ainsi pas prêt à mettre en place une véritable théorie de l’art anglaise, même si, de par le vocabulaire qu’il utilise, il apporte des éléments novateurs.

Élodie Cayuela

[1] C. Hanson, 2009, p. 95.
[2] Sur l'influence de Vasari chez Aglionby, voir F. Paknadel, 1978, p. 37-39.
[3] Sur les Virtuosi, voir B. Cowan, 2004.
[4] B. Cowan, 2004, p. 157, voir aussi L. Salerno, 1951, p. 250.
[5] C. Hanson, 2008, p. 18 et 99 ; C. Good, 2013, p. 97 ; F. Paknadel, 1978, p. 35-37.
[6] À ce propos, voir C. Hanson, 2008, p. 107 et B. Cowan, 2004, p. 170 et suivantes.
[7] C. Hanson, 2008, p. 99-103 ; C. Good, 2013, p. 101-102.

in-4 english

Dedication
William Cavendish, 4th Earl of Devonshire

Structure
Table des matières at n.p.
Glossaire at n.p.
Préface at n.p.
Dédicace(s) at n.p.

AGLIONBY, William, Painting Illustrated in Three Diallogues. Containing some Choice Observations upon the Art Together with the LIVES of the Most Eminent Painters From Cimabue, to the Time of Raphael and Michael Angelo. With an Explanation of the Difficult Terms, London, John Gain, 1686.

AGLIONBY, William, Choice Observations upon the Art of Painting. Together with Vasari's Lives Of the Most Eminent Painters, From Cimabue To the Time of Raphael and Michael Angelo. With an Explanation of the Difficult Terms, London, R. King, 1719.

AGLIONBY, William, Painting Illustrated in Three Diallogues, Portland, Collegium Graphicum, 1972.

CLARK, Georges, « Dr. William Aglionby », Notes and Queries, IX, 1921, p. 141-143.

SALERNO, Luigi, « Seventeenth-Century English Literature on Painting », Journal of the Warburg and Courtauld Institutes, 14/3-4, 1951, p. 234-258 [En ligne : http://www.jstor.org/stable/750341 consulté le 30/03/2018].

PAKNADEL, Félix, Critique et peinture en Angleterre de 1660 à 1770, Thèse de doctorat, Université de Provence, 1978.

GIBSON-WOOD, Carol, « Jonathan Richardson, Lord Somers's Collection of Drawings, and Early Art-Historical Writing in England », Journal of the Warburg and Courtauld Institutes, 52, 1989, p. 167-187 [En ligne : http://www.jstor.org/stable/751543 consulté le 30/03/2018].

BAXANDALL, Michael, « English Disegno », dans CHANEY, Edward et MACK, Peter (éd.), England and the Continental Renaissance. Essays in Honour of J. B. Trapp, Woodbridge - Rochester, The Boydell Press, 1990, p. 203-214.

COWAN, Brian, « An Open Elite: the Peculiarities of Connoisseurship in Early Modern England », Modern Intellectual History, 1/2, 2004, p. 151-183.

HANSON, Craig A., The English Virtuoso: Art, Medicine, and Antiquarianism in the Age of Empiricism, Chicago, University of Chicago Press, 2009.

GOOD, Caroline Anne, “Lovers of Art”. Early English Literature on the Connoisseurship of Pictures, Thesis, University of York, 2013 [En ligne : http://etheses.whiterose.ac.uk/5694/1/Caroline%20Good%20'Lovers%20of%20Art'%20PhD%20Thesis.pdf consulté le 11/07/2016].

FILTERS

QUOTATIONS

Providence yet kinder, gave us two Arts, which might express the very Lines of the Face, the Air of the Countenance, and in it a great part of the Mind of all those whom they should undertake to Represent ; and these are, Sculpture and Painting.
           
Michael Angelo, the famousest Sculptor of these Modern Ages, looking one day earnestly upon a Statue of St. Mark made by Donatello, after having long admired it, said at last, That if Saint Mark were like that Statue, he would have believed his Gospel upon his Physionomy, for it was the honestest Face that ever was made. ’Tis hard to say, whether he commended the Artist, the Saint, or the Art it self most by this Expression : But this Inference we may make from it, That if the Faces of Heroes do express the Greatness of their Minds, those Arts which perpetuate their Memory that way, are the truest of all Records.

art

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture

I shall not undertake to determine here, which of these two Arts [ndr : la peinture et la sculpture] deserves our Admiration most : [...] But this I may say in favour of the Art of Painting, whose praises I am now to Celebrate, That it certainly is of a greater Extent than Sculpture, and has an Infiniter Latitude to delight us withal. [...] And from this Idæa of the Art, we may naturally derive a Consequence of the Admiration and Esteem due by us to the Artist ; he who at the same time is both Painter, Poet, Historian, Architect, Anatomist, Mathematician, and Naturalist ; he Records the Truth, Adorns the Fable, Pleases the Fancy, Recreates the Eye, Touches the Soul ; and in a word, entertains you with Silent Instructions, which are neither guilty of Flattery, nor Satyr ; and which you may either give over, or repeat with new Delight as often as you please.
            If these
Qualities do not sufficiently recommend the Owner of them to our Esteem, I know not what can ; and yet by a strange Fatality, we name the word Painter, without reflecting upon his Art, and most dis-ingeniously, seem to place him among the Mechanicks, who has the best Title to all the Liberal Arts.

painter

Conceptual field(s)

L’ARTISTE → qualités

artist

Conceptual field(s)

L’ARTISTE → qualités

I shall not undertake to determine here, which of these two Arts [ndr : la peinture et la sculpture] deserves our Admiration most : The one, makes Marble-Stone and Brass soft and tender : the other, by a strange sort of Inchantment, makes a little Cloth and Colours show Living Figures, that upon a flat Superficies seem Round, and deceives the Eye into a Belief of Solids, while there is nothing but Lights and Shadows there : But this I may say in favour of the Art of Painting, whose praises I am now to Celebrate, That it certainly is of a greater Extent than Sculpture, and has an Infiniter Latitude to delight us withal.
            To see in one Piece the Beauty of the Heavens, the Verdant Glory of the Earth, the Order and Symmetry of Pallaces and Temples ; the Softness, Warmth, Strength, and Tenderness of Naked Figures, the Glorious Colours of Draperies and Dresses of all kinds, the Liveliness of Animals ; and above all, the Expression of our Passions, Customs, Manners, Rites, Ceremonies, Sacred and Prophane : All this, I say, upon a piece of portative Cloth, easily carried, and as easily placed, is a Charm ; which no other Art can equal.

art

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → comparaison entre les arts

Air.
Is properly taken for the Look of a Figure, and is used in this Manner, The Air of the Heads of Young Women, or Grave Men, &c.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps

Antique.
This word Comprehends all the Works of Painting, Sculpture, and Architecture that have been made in the Time of the Antient Greeks and Romans, from Alexander the Great, to the Emperour Phocas ; under whom the Goths Ravaged Italy.

Conceptual field(s)

MANIÈRE ET STYLE → école

Aptitude.
It come from the Italian word Attitudine, and means the posture and action that any Figure is represented in.

Il est à noter qu'Aglionby n'emploie pas le terme anglais Attitude, mais celui d'Aptitude.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude

Cartoon.
It is taken for a Design made of many Sheets of Paper pasted together ; in which the whole Story to be painted in Fresco, is all drawn exactly, as it must be upon the Wall in Colours : Great Painters never painting in Fresco, but they make Cartoons first.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin

Colouring.
’Tis one of the parts of Painting, by which the Objects to be painted receive their Complexion, together with their True Lights and Shadows.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur

Chiaro-Scuro.
It is taken in two Senses : first, Painting in Chiaro-Scuro, is meant, when there are only two Colours employed. Secondly, It is taken for the disposing of the Lights and Shadows Skilfully ; as when we say, A Painter understands well the Chiaro-Scuro.

Le terme painting est ici compris dans un sens large, comprenant le dessin.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
MATERIALITE DE L’ŒUVRE → technique de la peinture

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la peinture
MATERIALITE DE L’ŒUVRE → technique du dessin

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière

Contour.
The Contour of a Body, are the Lines that environ it, and make the Superficies of it.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps

Design.
Has two Significations : First, As a part of Painting, it signifies the just Measures, Proportions, and Outvvard Forms that a Body, imitated from Nature, ought to havt. Secondly, It signifies the whole Composition of a piece of Painting ; as when we say, There is great Design in such a Piece.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
CONCEPTS ESTHETIQUES → nature, imitation et vrai

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin

Distemper
A sort of Painting that implys the Colours mingled with Gumm. And the difference between that and Miniature, is than the one only uses the Point of the Pencil, the other gives the Pencil its whole Liberty.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la peinture

Drapery.
Is a General Word for all sorts of Cloathing, with which Figures are Adorned : So we say, Such a Painter disposes well the Foldings of his Drapery.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis

Figure.
Though this word be very General, and may be taken for any painted Object ; yet it is in Painting, generally taken for Humane Figures.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps
L’HISTOIRE ET LA FIGURE → groupe

Fresco.
A Sort of Painting, where the Colours are applyed upon fresh Mortar, that they may Incorporate with the Lime and Sand.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la peinture

Festoon.
Is an Ornament of Flowers, employed in Borders and Decorations.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → ornement

Grotesk.
Is properly the Painting that is found under Ground in the Ruines of Rome ; but it signifies more commonly a sort of Painting that expresses odd Figures of Animals, Birds, Flowers, Leaves, or such like, mingled together in one Ornament or Border.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → ornement

Gruppo.
Is a Knot of Figures together, either in the middle or sides of a piece of Painting. So Carrache would not allow above three Gruppos, nor above twelve Figures for any Piece.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → groupe

History.
History-Painting is an Assembling of many Figures in one Piece, to Represent any Action of Life, whether True or Fabulous, accompanied with all its Ornaments of Landskip and Perspective.

Conceptual field(s)

GENRES PICTURAUX → peinture d’histoire

Manner.
We call Manner the Habit of a Painter, not only of his Hand, but of his Mind ; that is, his way of expressing himself in the three principal Parts of Painting, Design, Colouring, and Invention ; it answers to Stile in Authors ; for a Painter is known by his Manner, as an Author by his Stile, or a Man’s Hand by his Writing.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main

Model.
Is any Object that a Painter works by, either after Nature, or otherwise ; but most commonly it signifies that which Sculptors, Painters, and Architects make to Govern themselves by in their Design.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
CONCEPTION DE LA PEINTURE → dessin

Nudity.
Signifies properly any Naked Figure of Man or Woman ; but most commonly of Woman ; as when we say, ’Tis a Nudity, we mean the Figure of a Naked Woman.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps

Print.
Is the Impression of a Graven or Wooden Plate upon Paper or Silk, Representing some Piece that it has been Graved after.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → statut de l'oeuvre : copie, original...
PEINTURE, TABLEAU, IMAGE → définition de la gravure

Relievo.
Is properly any Embossed Sculpture that rises from a flat Superficies. It is said likewise of Painting, that it has a great Relievo, when it is strong, and that the Figures appear round, and as it were, out of the Piece.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps

Shortning.
Is, when a Figure seems of greater quantity than really it is ; as, if it seems to be three foot long, when it is but one : Some call it Fore-Shortning.

Shortening

Conceptual field(s)

EFFET PICTURAL → perspective
EFFET PICTURAL → trompe-l’œil
L’HISTOIRE ET LA FIGURE → figure et corps

fore-shortning

Conceptual field(s)

EFFET PICTURAL → perspective
EFFET PICTURAL → trompe-l’œil
L’HISTOIRE ET LA FIGURE → figure et corps

Schizzo.
Is the first Design or Attempt of a Painter to Express his Thoughts upon any Subject. The Schizzos are ordinarily reduced into Cartoons in Fresco Painting, or Copyed and Enlarged in Oyl-Painting.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
PEINTURE, TABLEAU, IMAGE → définition du dessin

Tinto.
Is, when a thing is done only with one Colour, and that generally Black.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Traveller,
            The Art of
Painting, is the Art of Representing any Object by Lines drawn upon a flat Superficies, which Lines are afterwards covered with Colours, and those Colours applied with a certain just distribution of Lights and Shades, with a regard to the Rules of Symetry and Perspective ; the whole producing a Likeness, or true Idæa of the Subject intended.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture
CONCEPTS ESTHETIQUES → nature, imitation et vrai

Traveller,
            The Art of
Painting, is the Art of Representing any Object by Lines drawn upon a flat Superficies, which Lines are afterwards covered with Colours, and those Colours applied with a certain just distribution of Lights and Shades, with a regard to the Rules of Symetry and Perspective ; the whole producing a Likeness, or true Idæa of the Subject intended.
                        Friend,
            This seems to embrace a great deal ; for the words Symetry and Perspective, imply a knowledg in Proportions and Distances, and that supposes Geometry, in some measure, and Opticks, all which require much Time to Study them, and so I am still involved in perplexities of Art.
                        Traveller,
           
It is true, that those Words seem to require some Knowledg of those Arts in the Painter, but much less in the Spectator ; for we may easily guess, whether Symetry be observed, if, for Example, in a Humane Body, we see nothing out of Proportion ; as if an Arm or a Leg be not too long or short for its Posture, or if the Posture its self be such as Nature allows of :

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps
L’HISTOIRE ET LA FIGURE → action et attitude
SPECTATEUR → perception et regard

Traveller,
            The Art of
Painting, is the Art of Representing any Object by Lines drawn upon a flat Superficies, which Lines are afterwards covered with Colours, and those Colours applied with a certain just distribution of Lights and Shades, with a regard to the Rules of Symetry and Perspective ; the whole producing a Likeness, or true Idæa of the Subject intended.
                        Friend,
            This seems to embrace a great deal ; for the words Symetry and Perspective, imply a knowledg in Proportions and Distances, and that supposes Geometry, in some measure, and Opticks, all which require much Time to Study them, and so I am still involved in perplexities of Art.
                        Traveller,
           
It is true, that those Words seem to require some Knowledg of those Arts in the Painter, but much less in the Spectator ; for we may easily guess, whether Symetry be observed, if, for Example, in a Humane Body, we see nothing out of Proportion ; as if an Arm or a Leg be not too long or short for its Posture, or if the Posture its self be such as Nature allows of : And for Perspective, we have only to observe whether the Objects represented to be at a distance, do lessen in the Picture, as they would do naturally to the Eye, at such and such distances ; thus you see these are but small Difficulties.

Conceptual field(s)

EFFET PICTURAL → perspective
SPECTATEUR → perception et regard

Traveller,
           
Design is the Expressing with a Pen, or Pencil, or other Instrument, the Likeness of any Object by its out Lines, or Contours ; and he that Understands and Mannages well these first Lines, working after Nature still, and using extream Diligence, and skill may with Practice and Judgment, arrive to an Excellency in the Art.
                        Friend,
            Me thinks that should be no difficult Matter, for we see many whose Inclination carys them to Draw any thing they see, and they perform it with ease.
                       
Traveller,
            I grant you, Inclination goes a great way in disposing the Hand, but a strong Imagination only, will not carry a Painter through ; For when he compares his Work to
Nature, he will soon find, that great Judgment is requisite, as well as a Lively Fancy ; and particularly when he comes to place many Objects together in one Piece or Story, which are all to have a just relation to one another. There he will find that not only the habit of the Hand but the strength of the Mind is requisite ; therefore all the Eminent Painters that ever were, spent more time in Designing after the Life, and after the Statues of the Antients, then ever did in learning how to colour their Works ; that so they might be Masters of Design, and be able to place readily every Object in its true situation.
                        Friend,
            Now you talk of Nature and Statues, I have heard Painters blam’d for working after both.
                        Traveller,
            It is very true, and justly ; but less for working after Nature than otherwise. Caravaggio a famous Painter is blam’d for having meerly imitated Nature as he found her, without any correction of Forms. And Perugin, another Painter is blam’d for having wrought so much after Statues, that his Works never had that lively easiness which accompanies Nature ; and of this fault Raphael his Scholar was a long time guilty, till he Reform’d it by imitating Nature.

nature

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

Traveller,
           
Design is the Expressing with a Pen, or Pencil, or other Instrument, the Likeness of any Object by its out Lines, or Contours ; and he that Understands and Mannages well these first Lines, working after Nature still, and using extream Diligence, and skill may with Practice and Judgment, arrive to an Excellency in the Art.
                        Friend,
            Me thinks that should be no difficult Matter, for we see many whose Inclination carys them to Draw any thing they see, and they perform it with ease.
                       
Traveller,
            I grant you, Inclination goes a great way in disposing the Hand, but a strong Imagination only, will not carry a Painter through ; For when he compares his Work to
Nature, he will soon find, that great Judgment is requisite, as well as a Lively Fancy ; and particularly when he comes to place many Objects together in one Piece or Story, which are all to have a just relation to one another. There he will find that not only the habit of the Hand but the strength of the Mind is requisite ; therefore all the Eminent Painters that ever were, spent more time in Designing after the Life, and after the Statues of the Antients, then ever did in learning how to colour their Works ; that so they might be Masters of Design, and be able to place readily every Object in its true situation.

Conceptual field(s)

L’ARTISTE → qualités
MANIÈRE ET STYLE → le faire et la main

fancy

Conceptual field(s)

CONCEPTS ESTHETIQUES → génie, esprit, imagination
L’ARTISTE → qualités

mind

Conceptual field(s)

L’ARTISTE → qualités
CONCEPTS ESTHETIQUES → génie, esprit, imagination

judgement

Conceptual field(s)

L’ARTISTE → qualités
CONCEPTS ESTHETIQUES → génie, esprit, imagination

Traveller,
           
Design is the Expressing with a Pen, or Pencil, or other Instrument, the Likeness of any Object by its out Lines, or Contours ; and he that Understands and Mannages well these first Lines, working after Nature still, and using extream Diligence, and skill may with Practice and Judgment, arrive to an Excellency in the Art.
                        Friend,
            Me thinks that should be no difficult Matter, for we see many whose Inclination carys them to Draw any thing they see, and they perform it with ease.
                       
Traveller,
            I grant you, Inclination goes a great way in disposing the Hand, but a strong Imagination only, will not carry a Painter through ; For when he compares his Work to
Nature, he will soon find, that great Judgment is requisite, as well as a Lively Fancy ; and particularly when he comes to place many Objects together in one Piece or Story, which are all to have a just relation to one another. There he will find that not only the habit of the Hand but the strength of the Mind is requisite ; therefore all the Eminent Painters that ever were, spent more time in Designing after the Life, and after the Statues of the Antients, then ever did in learning how to colour their Works ; that so they might be Masters of Design, and be able to place readily every Object in its true situation.

Conceptual field(s)

L’ARTISTE → qualités
CONCEPTS ESTHETIQUES → nature, imitation et vrai
CONCEPTION DE LA PEINTURE → dessin

Traveller,
           
Design is the Expressing with a Pen, or Pencil, or other Instrument, the Likeness of any Object by its out Lines, or Contours ; and he that Understands and Mannages well these first Lines, working after Nature still, and using extream Diligence, and skill may with Practice and Judgment, arrive to an Excellency in the Art.
                        Friend,
            Me thinks that should be no difficult Matter, for we see many whose Inclination carys them to Draw any thing they see, and they perform it with ease.
                       
Traveller,
            I grant you, Inclination goes a great way in disposing the Hand, but a strong Imagination only, will not carry a Painter through ; For when he compares his Work to
Nature, he will soon find, that great Judgment is requisite, as well as a Lively Fancy ; and particularly when he comes to place many Objects together in one Piece or Story, which are all to have a just relation to one another. There he will find that not only the habit of the Hand but the strength of the Mind is requisite ; therefore all the Eminent Painters that ever were, spent more time in Designing after the Life, and after the Statues of the Antients, then ever did in learning how to colour their Works ; that so they might be Masters of Design, and be able to place readily every Object in its true situation.
                        Friend,
            Now you talk of Nature and Statues, I have heard Painters blam’d for working after both.
                        Traveller,
            It is very true, and justly ; but less for working after Nature than otherwise. Caravaggio a famous Painter is blam’d for having meerly imitated Nature as he found her, without any correction of Forms. And Perugin, another Painter is blam’d for having wrought so much after Statues, that his Works never had that lively easiness which accompanies Nature ; and of this fault Raphael his Scholar was a long time guilty, till he Reform’d it by imitating Nature.

                        Friend,
            How is it possible to erre in imitating Nature ?
                        Traveller,
           
Though Nature be the Rule, yet Art has the Priviledge of Perfecting it ; for you must know that there are few Objects made naturally so entirely Beautiful as they might be, no one Man or Woman possesses all the Advantages of Feature, Proportion and Colour due to each Sence. Therefore the Antients, when they had any Great Work to do, upon which they would Value themselves did use to take several of the Beautifullest Objects they designed to Paint, and out of each of them, Draw what was most Perfect to make up One exquisite Figure ; Thus Zeuxis being imployed by the Inhabitants of Crotona, a City of Calabria, to make for their Temple of Juno, a Female Figure, Naked ; He desired the Liberty of seeing their Hansomest Virgins, out of whom he chose Five, from whose several Excellencies he fram’d a most Perfect Figure, both in Features, Shape and Colouring, calling it Helena.

Expression "Working after nature"

life

Conceptual field(s)

CONCEPTS ESTHETIQUES → beauté, grâce et perfection
CONCEPTS ESTHETIQUES → nature, imitation et vrai

Traveller,
            I grant you, Inclination goes a great way in disposing the Hand, but a strong Imagination only, will not carry a Painter through ; For when he compares his Work to
Nature, he will soon find, that great Judgment is requisite, as well as a Lively Fancy ; and particularly when he comes to place many Objects together in one Piece or Story, which are all to have a just relation to one another. There he will find that not only the habit of the Hand but the strength of the Mind is requisite ; therefore all the Eminent Painters that ever were, spent more time in Designing after the Life, and after the Statues of the Antients, then ever did in learning how to colour their Works ; that so they might be Masters of Design, and be able to place readily every Object in its true situation.
                        Friend,
            Now you talk of Nature and Statues, I have heard Painters blam’d for working after both.
                        Traveller,
            It is very true, and justly ; but less for working after Nature than otherwise. Caravaggio a famous Painter is blam’d for having meerly imitated Nature as he found her, without any correction of Forms. And Perugin, another Painter is blam’d for having wrought so much after Statues, that his Works never had that lively easiness which accompanies Nature ; and of this fault Raphael his Scholar was a long time guilty, till he Reform’d it by imitating Nature.

                        Friend,
            How is it possible to erre in imitating Nature ?
                        Traveller,
           
Though Nature be the Rule, yet Art has the Priviledge of Perfecting it ; for you must know that there are few Objects made naturally so entirely Beautiful as they might be, no one Man or Woman possesses all the Advantages of Feature, Proportion and Colour due to each Sence. Therefore the Antients, when they had any Great Work to do, upon which they would Value themselves did use to take several of the Beautifullest Objects they designed to Paint, and out of each of them, Draw what was most Perfect to make up One exquisite Figure ; Thus Zeuxis being imployed by the Inhabitants of Crotona, a City of Calabria, to make for their Temple of Juno, a Female Figure, Naked ; He desired the Liberty of seeing their Hansomest Virgins, out of whom he chose Five, from whose several Excellencies he fram’d a most Perfect Figure, both in Features, Shape and Colouring, calling it Helena.

Conceptual field(s)

CONCEPTS ESTHETIQUES → antique
CONCEPTS ESTHETIQUES → beauté, grâce et perfection
CONCEPTS ESTHETIQUES → nature, imitation et vrai

Though Nature be the Rule, yet Art has the Priviledge of Perfecting it ; for you must know that there are few Objects made naturally so entirely Beautiful as they might be, no one Man or Woman possesses all the Advantages of Feature, Proportion and Colour due to each Sence. Therefore the Antients, when they had any Great Work to do, upon which they would Value themselves did use to take several of the Beautifullest Objects they designed to Paint, and out of each of them, Draw what was most Perfect to make up One exquisite Figure ; Thus Zeuxis being imployed by the Inhabitants of Crotona, a City of Calabria, to make for their Temple of Juno, a Female Figure, Naked ; He desired the Liberty of seeing their Hansomest Virgins, out of whom he chose Five, from whose several Excellencies he fram’d a most Perfect Figure, both in Features, Shape and Colouring, calling it Helena.

Conceptual field(s)

CONCEPTS ESTHETIQUES → beauté, grâce et perfection

Conceptual field(s)

CONCEPTS ESTHETIQUES → beauté, grâce et perfection

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
CONCEPTS ESTHETIQUES → beauté, grâce et perfection

Friend,
            Would you have a Painter study nothing but Humane Figures ?
                        Traveller,
            That being the most difficult in his Art, he must chiefly Study it ; But because no Story can be well Represented without Circumstances, therefore he must Learn to Design every thing, as Trees, Houses, Water, Clothes, Animals, and in short, all that falls under the notion of Visible Objects ;

learn

Conceptual field(s)

L’ARTISTE → apprentissage

Traveller.
            The Shortning of a Figure, is the making it appear of more Quantity, than really it is ; the Figure having neither the Length nor Depth that it shows, but by the help of the Lights and Shades, and judicious mannaging of the Out-lines, it appears what it is not ; and this is much used in Painting of Ceelings and Roofs, where the Figures being above the Eye, must be most of them Shortned, to appear in their natural Situation. And it is a thing, upon which great Painters have Valued themselves, as supposing a great Knowledg of the Muscles and Bones of the Humane Body, and a great Skill in Designing. Michael Angelo, amongst the Modern Painters, is the greatest Master in that kind.

Conceptual field(s)

EFFET PICTURAL → perspective
EFFET PICTURAL → trompe-l’œil
L’HISTOIRE ET LA FIGURE → figure et corps
CONCEPTION DE LA PEINTURE → dessin

Friend,
            When a Painter has acquired any Excellency in
Desinging, readily and strongly ; What has he to do next ?
                        Traveller,
            That is not half his Work, for then he must begin to mannage his
Colours, it being particularly by them, that he is to express the greatness of his Art. ’Tis they that give, as it were, Life and Soul to all that he does ; without them, his Lines will be but Lines that are flat, and without a Body, but the addition of Colours makes that appear round ; and as it were out of the Picture, which else would be plain and dull. ’Tis they that must deceive the Eye, to the degree, to make Flesh appear warm and soft, and to give an Air of Life, so as his Picture may seem almost to Breath and Move.
                        Friend,
            Did ever any Painter arrive to that Perfection you mention ?
                        Traveller,
            Yes, several, both of the
Antient and Modern Painters. Zeuxis Painted Grapes, so that the Birds flew at them to eat them. Apelles drew Horses to such a likeness, that upon setting them before live Horses, the Live ones Neighed, and began to kick at them, as being of their own kind.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

Friend,
            When a Painter has acquired any Excellency in
Desinging, readily and strongly ; What has he to do next ?
                        Traveller,
            That is not half his Work, for then he must begin to mannage his
Colours, it being particularly by them, that he is to express the greatness of his Art. ’Tis they that give, as it were, Life and Soul to all that he does ; without them, his Lines will be but Lines that are flat, and without a Body, but the addition of Colours makes that appear round ; and as it were out of the Picture, which else would be plain and dull. ’Tis they that must deceive the Eye, to the degree, to make Flesh appear warm and soft, and to give an Air of Life, so as his Picture may seem almost to Breath and Move. [...] Friend,
            Wherein particularly lies the Art of
Colouring ?
            Traveller.
Beside the Mixture of Colours, such as may answer the Painter’s Aim, it lies in a certain Contention, as I may call it, between the Light and the Shades, which by the means of Colours, are brought to Unite with each other ; and so to give that Roundness to the Figures, which the Italians call Relievo, and for which we have no other Name : In this, if the Shadows are too strong, the Piece is harsh and hard, if too weak, and there be too much Light, ’tis flat.

Italiens (les)

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
EFFET PICTURAL → qualité des couleurs

Italiens (les)

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
L’ARTISTE → règles et préceptes
CONCEPTS ESTHETIQUES → convenance, bienséance

Italiens (les)

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
L’HISTOIRE ET LA FIGURE → figure et corps
CONCEPTS ESTHETIQUES → nature, imitation et vrai

Italiens (les)

relievo

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps
EFFET PICTURAL → qualité de la lumière
EFFET PICTURAL → qualité des couleurs

Friend,
            When a Painter has acquired any Excellency in
Desinging, readily and strongly ; What has he to do next ?
                        Traveller,
            That is not half his Work, for then he must begin to mannage his
Colours, it being particularly by them, that he is to express the greatness of his Art. ’Tis they that give, as it were, Life and Soul to all that he does ; without them, his Lines will be but Lines that are flat, and without a Body, but the addition of Colours makes that appear round ; and as it were out of the Picture, which else would be plain and dull. ’Tis they that must deceive the Eye, to the degree, to make Flesh appear warm and soft, and to give an Air of Life, so as his Picture may seem almost to Breath and Move.

Conceptual field(s)

EFFET PICTURAL → qualité du dessin
EFFET PICTURAL → qualité des couleurs

Friend,
            When a Painter has acquired any Excellency in
Desinging, readily and strongly ; What has he to do next ?
                        Traveller,
            That is not half his Work, for then he must begin to mannage his
Colours, it being particularly by them, that he is to express the greatness of his Art. ’Tis they that give, as it were, Life and Soul to all that he does ; without them, his Lines will be but Lines that are flat, and without a Body, but the addition of Colours makes that appear round ; and as it were out of the Picture, which else would be plain and dull. ’Tis they that must deceive the Eye, to the degree, to make Flesh appear warm and soft, and to give an Air of Life, so as his Picture may seem almost to Breath and Move.
                        Friend,
            Did ever any Painter arrive to that Perfection you mention ?
                        Traveller,
            Yes, several, both of the
Antient and Modern Painters. Zeuxis Painted Grapes, so that the Birds flew at them to eat them. Apelles drew Horses to such a likeness, that upon setting them before live Horses, the Live ones Neighed, and began to kick at them, as being of their own kind. And amongst the Modern Painters, Hannibal Carache, relates to himself, That going to see Bassano at Venice, he went to take a Book off a Shelf, and found it to be the Picture of one, so lively done, that he who was a Great Painter, was deceived by it. The Flesh of Raphael’s Pictures are so Natural, that this seems to be Alive. And so do Titians Pictures, who was the Greatest Master for Colouring that ever was, having attained to imitate Humane Bodies in all the softness of Flesh, and beauty of Skin and Complexion.

Conceptual field(s)

SPECTATEUR → perception et regard
EFFET PICTURAL → qualité des couleurs
CONCEPTS ESTHETIQUES → nature, imitation et vrai

Conceptual field(s)

SPECTATEUR → perception et regard
CONCEPTS ESTHETIQUES → nature, imitation et vrai
EFFET PICTURAL → qualité des couleurs

Conceptual field(s)

CONCEPTS ESTHETIQUES → grandeur et noblesse
CONCEPTS ESTHETIQUES → nature, imitation et vrai

soul

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
EFFET PICTURAL → trompe-l’œil
EFFET PICTURAL → qualité des couleurs

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
CONCEPTS ESTHETIQUES → nature, imitation et vrai

life

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
EFFET PICTURAL → trompe-l’œil
EFFET PICTURAL → qualité des couleurs

Friend,
            Wherein particularly lies the Art of
Colouring ?
            Traveller.
Beside the Mixture of Colours, such as may answer the Painter’s Aim, it lies in a certain Contention, as I may call it, between the Light and the Shades, which by the means of Colours, are brought to Unite with each other ; [...] Friend,
Is there any Rule for that ?
           
Traveller,
Some Observations there are, as those Figures which are placed on the foremost Ground, or next the Eye, ought to have the greatest Strength, both in their Lights and Shadows, and Cloathed with a lively Drapery ; Observing, that as they lessen by distance, and are behind, to give both the Flesh and the Drapery more faint and obscure Colouring. And this is called an Union in Painting, which makes up an Harmony to the Eye, and causes the Whole to appear one, and not two or three Pictures
.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis
CONCEPTION DE LA PEINTURE → lumière

Friend,
            Wherein particularly lies the Art of
Colouring ?
            Traveller.
Beside the Mixture of Colours, such as may answer the Painter’s Aim, it lies in a certain Contention, as I may call it, between the Light and the Shades, which by the means of Colours, are brought to Unite with each other ; and so to give that Roundness to the Figures, which the Italians call Relievo, and for which we have no other Name : In this, if the Shadows are too strong, the Piece is harsh and hard, if too weak, and there be too much Light, ’tis flat.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
CONCEPTION DE LA PEINTURE → lumière

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur

roundness

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps
EFFET PICTURAL → qualité de la lumière
EFFET PICTURAL → qualité des couleurs

roundness

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps
EFFET PICTURAL → qualité des couleurs
EFFET PICTURAL → qualité de la lumière

Friend,
            Wherein particularly lies the Art of
Colouring ?
            Traveller.
Beside the Mixture of Colours, such as may answer the Painter’s Aim, it lies in a certain Contention, as I may call it, between the Light and the Shades, which by the means of Colours, are brought to Unite with each other ; and so to give that Roundness to the Figures, which the Italians call Relievo, and for which we have no other Name : In this, if the Shadows are too strong, the Piece is harsh and hard, if too weak, and there be too much Light, ’tis flat. I, for my part, should like a Colouring rather something Brown, but clear, than a bright gay one : But particularly, I think, that those fine Coral Lips, and Cherry Cheeks, are to be Banished, as being far from Flesh and Blood. ’Tis true, the Skins, or Complexions must vary, according to the Age and Sex of the Person ; An Old Woman requiring another Colouring than a fresh Young one. But the Painters must particularly take Care, that there be nothing harsh to offend the Eye, as that neither the Contours, or Out-Lines, be too strongly Terminated, nor the Shadows too hard, nor such Colours placed by one another as do not agree. 
           
Friend,
Is there any Rule for that ?
           
Traveller,
Some Observations there are, as those Figures which are placed on the foremost Ground, or next the Eye, ought to have the greatest Strength, both in their Lights and Shadows, and Cloathed with a lively Drapery ; Observing, that as they lessen by distance, and are behind, to give both the Flesh and the Drapery more faint and obscure Colouring. And this is called an Union in Painting, which makes up an Harmony to the Eye, and causes the Whole to appear one, and not two or three Pictures
.

union

Conceptual field(s)

Conceptual field(s)

L’ARTISTE → règles et préceptes
CONCEPTION DE LA PEINTURE → couleur

harmonie

Conceptual field(s)

agree

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs

Conceptual field(s)

Friend,
            Wherein particularly lies the Art of
Colouring ?
            Traveller.
Beside the Mixture of Colours, such as may answer the Painter’s Aim, it lies in a certain Contention, as I may call it, between the Light and the Shades, which by the means of Colours, are brought to Unite with each other ; and so to give that Roundness to the Figures, which the Italians call Relievo, and for which we have no other Name : In this, if the Shadows are too strong, the Piece is harsh and hard, if too weak, and there be too much Light, ’tis flat. I, for my part, should like a Colouring rather something Brown, but clear, than a bright gay one : [...] But the Painters must particularly take Care, that there be nothing harsh to offend the Eye, as that neither the Contours, or Out-Lines, be too strongly Terminated, nor the Shadows too hard, nor such Colours placed by one another as do not agree. 
           
Friend,
Is there any Rule for that ?
           
Traveller,
Some Observations there are, as those Figures which are placed on the foremost Ground, or next the Eye, ought to have the greatest Strength, both in their Lights and Shadows, and Cloathed with a lively Drapery ; Observing, that as they lessen by distance, and are behind, to give both the Flesh and the Drapery more faint and obscure Colouring. And this is called an Union in Painting, which makes up an Harmony to the Eye, and causes the Whole to appear one, and not two or three Pictures
.

lights and shadows

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
CONCEPTION DE LA PEINTURE → couleur
L’HISTOIRE ET LA FIGURE → figure et corps

lights and shades

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
CONCEPTION DE LA PEINTURE → lumière
L’HISTOIRE ET LA FIGURE → figure et corps

Friend,
            Wherein particularly lies the Art of
Colouring ?
            Traveller.
Beside the Mixture of Colours, such as may answer the Painter’s Aim, it lies in a certain Contention, as I may call it, between the Light and the Shades, which by the means of Colours, are brought to Unite with each other ; and so to give that Roundness to the Figures, which the Italians call Relievo, and for which we have no other Name : In this, if the Shadows are too strong, the Piece is harsh and hard, if too weak, and there be too much Light, ’tis flat. I, for my part, should like a Colouring rather something Brown, but clear, than a bright gay one : But particularly, I think, that those fine Coral Lips, and Cherry Cheeks, are to be Banished, as being far from Flesh and Blood.

Gay

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs

bright

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs

Friend,
            Wherein particularly lies the Art of
Colouring ?
            Traveller.
Beside the Mixture of Colours, such as may answer the Painter’s Aim, it lies in a certain Contention, as I may call it, between the Light and the Shades, which by the means of Colours, are brought to Unite with each other ; and so to give that Roundness to the Figures, which the Italians call Relievo, and for which we have no other Name : In this, if the Shadows are too strong, the Piece is harsh and hard, if too weak, and there be too much Light, ’tis flat. I, for my part, should like a Colouring rather something Brown, but clear, than a bright gay one : But particularly, I think, that those fine Coral Lips, and Cherry Cheeks, are to be Banished, as being far from Flesh and Blood. ’Tis true, the Skins, or Complexions must vary, according to the Age and Sex of the Person ; An Old Woman requiring another Colouring than a fresh Young one. But the Painters must particularly take Care, that there be nothing harsh to offend the Eye, as that neither the Contours, or Out-Lines, be too strongly Terminated, nor the Shadows too hard, nor such Colours placed by one another as do not agree.

outline

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin

Traveller,
Some Observations there are, as those Figures which are placed on the foremost Ground, or next the Eye, ought to have the greatest Strength, both in their Lights and Shadows, and Cloathed with a lively Drapery ; Observing, that as they lessen by distance, and are behind, to give both the Flesh and the Drapery more faint and obscure Colouring. And this is called an Union in Painting, which makes up an Harmony to the Eye, and causes the Whole to appear one, and not two or three Pictures
.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition

Traveller.
           
There is a thing which the Italians call Morbidezza ; The meaning of which word, is to Express the Softness, and tender Liveliness of Flesh and Blood, so as the Eye may almost invite the Hand to touch and feel it, as if it were Alive ; and this is the hardest thing to Compass in the whole Art of Painting. And ‘tis in this particular, that Titian, Corregio, and amongst the more Modern, Rubens, and Vandike, do Excel.

morbidezza

Conceptual field(s)

EFFET PICTURAL → touche
EFFET PICTURAL → qualité des couleurs

softness · liveliness

Conceptual field(s)

EFFET PICTURAL → touche
EFFET PICTURAL → qualité des couleurs

morbidezza

Conceptual field(s)

EFFET PICTURAL → touche
EFFET PICTURAL → qualité des couleurs

Traveller.
           
There is a thing which the Italians call Morbidezza ; The meaning of which word, is to Express the Softness, and tender Liveliness of Flesh and Blood, so as the Eye may almost invite the Hand to touch and feel it, as if it were Alive ; and this is the hardest thing to Compass in the whole Art of Painting. And ‘tis in this particular, that Titian, Corregio, and amongst the more Modern, Rubens, and Vandike, do Excel.
                       
Friend.
            I have heard, that in some Pictures of Raphael, the very Gloss of Damask, and the Softness of Velvet, with the Lustre of Gold, are so Expressed, that you would take them to be Real, and not Painted : Is not that as hard to do, as to imitate Flesh ?
                        Traveller.
            No : Because those things are but the stil Life, whereas there is a Spirit in Flesh and Blood, which is hard to Represent. But a good Painter must know how to do those Things you mention, and many more : As for Example, He must know how to Imitate the Darkness of Night, the Brightness of Day, the Shining and Glittering of Armour ; the Greenness of Trees, the Dryness of Rocks. In a word, All Fruits, Flowers, Animals, Buildings, so as that they all appear
Natural and Pleasing to the Eye.

Conceptual field(s)

SPECTATEUR → perception et regard
EFFET PICTURAL → trompe-l’œil

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps
CONCEPTS ESTHETIQUES → nature, imitation et vrai

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
SPECTATEUR → perception et regard

Traveller.
           
There is a thing which the Italians call Morbidezza ; The meaning of which word, is to Express the Softness, and tender Liveliness of Flesh and Blood, so as the Eye may almost invite the Hand to touch and feel it, as if it were Alive ; and this is the hardest thing to Compass in the whole Art of Painting. And ‘tis in this particular, that Titian, Corregio, and amongst the more Modern, Rubens, and Vandike, do Excel.
                       
Friend.
            I have heard, that in some Pictures of Raphael, the very Gloss of Damask, and the Softness of Velvet, with the Lustre of Gold, are so Expressed, that you would take them to be Real, and not Painted : Is not that as hard to do, as to imitate Flesh ?
                        Traveller.
            No : Because those things are but the stil Life, whereas there is a Spirit in Flesh and Blood, which is hard to Represent. But a good Painter must know how to do those Things you mention, and many more : As for Example, He must know how to Imitate the Darkness of Night, the Brightness of Day, the Shining and Glittering of Armour ; the Greenness of Trees, the Dryness of Rocks. In a word, All Fruits, Flowers, Animals, Buildings, so as that they all appear
Natural and Pleasing to the Eye.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

Traveller.
           
There is a thing which the Italians call Morbidezza ; The meaning of which word, is to Express the Softness, and tender Liveliness of Flesh and Blood, so as the Eye may almost invite the Hand to touch and feel it, as if it were Alive ; and this is the hardest thing to Compass in the whole Art of Painting. And ‘tis in this particular, that Titian, Corregio, and amongst the more Modern, Rubens, and Vandike, do Excel.
                       
Friend.
            I have heard, that in some Pictures of Raphael, the very Gloss of Damask, and the Softness of Velvet, with the Lustre of Gold, are so Expressed, that you would take them to be Real, and not Painted : Is not that as hard to do, as to imitate Flesh ?
                        Traveller.
            No : Because those things are but the stil Life, whereas there is a Spirit in Flesh and Blood, which is hard to Represent. But a good Painter must know how to do those Things you mention, and many more : As for Example, He must know how to Imitate the Darkness of Night, the Brightness of Day, the Shining and Glittering of Armour ; the Greenness of Trees, the Dryness of Rocks. In a word, All Fruits, Flowers, Animals, Buildings, so as that they all appear
Natural and Pleasing to the Eye. And he must not think as some do, that the force of Colouring consists in imploying of fine Colours, as fine lacks Ultra Marine Greens, &c. For these indeed, are fine before they are wrought, but the Painter’s Skill is to work them judiciously, and with convenience to his Subject.

Conceptual field(s)

EFFET PICTURAL → trompe-l’œil
SPECTATEUR → perception et regard

Friend.
            I have heard, that in some Pictures of Raphael, the very Gloss of Damask, and the Softness of Velvet, with the Lustre of Gold, are so Expressed, that you would take them to be Real, and not Painted : Is not that as hard to do, as to imitate Flesh ?
                        Traveller.
            No : Because those things are but the stil Life, whereas there is a Spirit in Flesh and Blood, which is hard to Represent. But a good Painter must know how to do those Things you mention, and many more : As for Example, He must know how to Imitate the Darkness of Night, the Brightness of Day, the Shining and Glittering of Armour ; the Greenness of Trees, the Dryness of Rocks. In a word, All Fruits, Flowers, Animals, Buildings, so as that they all appear
Natural and Pleasing to the Eye.

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
CONCEPTION DE LA PEINTURE → couleur

Friend.
            I have heard, that in some Pictures of Raphael, the very Gloss of Damask, and the Softness of Velvet, with the Lustre of Gold, are so Expressed, that you would take them to be Real, and not Painted : Is not that as hard to do, as to imitate Flesh ?
                        Traveller.
            No : Because those things are but the stil Life, whereas there is a Spirit in Flesh and Blood, which is hard to Represent. But a good Painter must know how to do those Things you mention, and many more : As for Example, He must know how to Imitate the Darkness of Night, the Brightness of Day, the Shining and Glittering of Armour ; the Greenness of Trees, the Dryness of Rocks. In a word, All Fruits, Flowers, Animals, Buildings, so as that they all appear
Natural and Pleasing to the Eye. And he must not think as some do, that the force of Colouring consists in imploying of fine Colours, as fine lacks Ultra Marine Greens, &c. For these indeed, are fine before they are wrought, but the Painter’s Skill is to work them judiciously, and with convenience to his Subject.

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
CONCEPTION DE LA PEINTURE → couleur

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
CONCEPTION DE LA PEINTURE → couleur
EFFET PICTURAL → qualité des couleurs

Conceptual field(s)

L’ARTISTE → qualités

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
CONCEPTION DE LA PEINTURE → couleur

Friend,
            I have heard Painters blamed for Finishing their Pieces too much : How can that be ?
                        Traveller.
           
Very well : For an over Diligence in that kind, may come to make the Picture look too like a Picture, and loose the freedom of Nature. And it was in this, that Protogenes, who was, it may be, Superiour to Apelles, in every part of Painting ; besides, was nevertheless Outdone by him, because Protogenes could hardly ever give over Finishing a Piece. Whereas Apelles knew, when he had wrought so much as would answer the Eye of the Spectator, and preserve the Natural.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main

Friend,
            I have heard Painters blamed for Finishing their Pieces too much : How can that be ?
                        Traveller.
           
Very well : For an over Diligence in that kind, may come to make the Picture look too like a Picture, and loose the freedom of Nature. And it was in this, that Protogenes, who was, it may be, Superiour to Apelles, in every part of Painting ; besides, was nevertheless Outdone by him, because Protogenes could hardly ever give over Finishing a Piece. Whereas Apelles knew, when he had wrought so much as would answer the Eye of the Spectator, and preserve the Natural. This the Italians call, Working A la pittoresk, that is Boldly, and according to the first Incitation of a Painters Genius. But this requires a strong Judgment, or else it will appear to the Judicious, meer Dawbing.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main

Conceptual field(s)

EFFET PICTURAL → touche

wrought

Conceptual field(s)

EFFET PICTURAL → touche
MANIÈRE ET STYLE → le faire et la main

Conceptual field(s)

CONCEPTS ESTHETIQUES → génie, esprit, imagination

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
EFFET PICTURAL → touche

Expression Working A la pittoresk

boldly

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main

Expression Working A la pittoresk

boldly

finish

Conceptual field(s)

EFFET PICTURAL → touche
MANIÈRE ET STYLE → le faire et la main

Traveller,
           
You must know, that the Italians have a Way of Painting their Pallaces, both within and without, upon the bear Walls, and before Oyl Painting came up, most Masters wrought that Way ; and it is the most Masterly of all the ways of Painting, because it is done upon a Wall newly Plaistered, and you must Plaister no more, than what you can do in a Day ; the Colours being to Incorporate with the Mortar, and dry with it, and it cannot be Touched over again, as all other Ways of Painting may : This is that they call Painting in Fresco.
                        Friend,
            This must require a very Dexterous and quick Hand.
                        Traveller.
            Yes, and a good Judgment too ; f
or the Colours will show otherwise when they are Dry, than they did when they were Wet : Therefore there is great Practice required in Mannaging them, but then this Way makes amends for its Difficulties ; for the longer it stands, it acquires still more Beauty and Union, it resisting both Wind and Rain. 

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
MATERIALITE DE L’ŒUVRE → technique de la peinture

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la peinture

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main

Conceptual field(s)

L’ARTISTE → qualités

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur

Traveller,
           
Painting in Distemper, is when either the Wall or Board you Paint upon, is prepared with a certain Paste or Plaister, and then as you Work, you temper your Colours still with a Liquor made of the Yolk of an Egg, beaten with the Milk of a Figg Sprout, well ground together. This is a way of Painting, used by Antient Masters very much ; and it is a very lasting Way, there being yet things of Ghiotto’s doing upon Boards, that have lasted upwards of Two Hundred Years, and are still fresh and Beautiful. But since Oyl Painting came in, most have given over the way of Working in Distemper. Your Colours in this way are all Minerals, whereas in Working in Fresco, they must be all Earths.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
MATERIALITE DE L’ŒUVRE → technique de la peinture

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la peinture

Traveller,
           
The Secret of Oyl Painting, consists in using Colours that are Ground with Oyl of Nut, or Linseed, and with these you paint upon a Cloth, which has first been primed with drying Colours, such as Cerus, Red Oaker, and Ombre, mingled together. This manner of painting, makes the Colours show more Lively than any other, and seems to give your Picture more Vivacity and Softness.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
MATERIALITE DE L’ŒUVRE → technique de la peinture
EFFET PICTURAL → qualité des couleurs

Traveller,
           
The Secret of Oyl Painting, consists in using Colours that are Ground with Oyl of Nut, or Linseed, and with these you paint upon a Cloth, which has first been primed with drying Colours, such as Cerus, Red Oaker, and Ombre, mingled together. This manner of painting, makes the Colours show more Lively than any other, and seems to give your Picture more Vivacity and Softness.
                        Friend,
            Can you Paint in Oyl upon a Wall ?
                        Traveller,
           
Yes, you may upon a dry Wall, having first Evened it ; and washed it over with Boyled Oyls, as long as it will drink any in, and when it is dry, prime it as you do a Cloth. There is another Way of doing it too, by applying a Paste or Plaister of a particular Composition, all over the Wall, then Washing it over with Linseed Oyl, then putting over that a Mixture of Pitch, Mastick, and Varnish, boyled together, and applyed with a great Brush, till it make a Couch, fit to receive your priming, and afterwards your Colours. Vassari gives the Receipt of a particular Composition, which he used in the Great Dukes Pallace at Florence, and which is very lasting.

Friend,
            Pray what is painting in Chiaro Scuro ?
                        Traveller.
           
It is a manner of Painting that comes nearer Design than Colouring, it being first taken from the Imitation of the Statues of Marble, or of Bronze, or other Stones, and it is much used upon the Outside, and Fronts of Great Houses and Palaces, in Stories which seem to be of Marble, or Porphire, or any other Stone the Painter thinks fit to Imitate.
            This Way of Painting, which seldom employs above two Colours, may be done in Fresco upon a Wall, which is the best Way ; or upon Cloth, and then it is most commonly employed for Designs of Triumphal Arches, and in Decorations of the Stage for Plays, and other such Entertainments Vassary, gives the secret of doing it either Way.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin

Friend,
            I Am come to Summon you of your Promise [ndr : de lui raconter l’histoire de la peinture] ; and you may see by my Impatience ; that you have already made me a Lover of the Art.
                        Traveller,
           
I am glad to see it ; for it is no small Pleasure to think, that we are capable of procuring Pleasure to others, as I am sure I shall do to you, when I have made you thorowly capable of understanding the Beauty of an Art that has been the Admiration of Antiquity, and is still the greatest Charm of the most polite part of Mankind.
                        Friend,
            Pray who do you mean by that glorious Epithete.
                        Traveller ;
           
I mean chiefly the Italians, to whom none can deny the Priviledge of having been the Civilisers of Europe, since Painting, Sculpture, Architecture, Musick, Gardening, polite Conversation, and prudent Behaviour are, as I may call it, all of the Growth of their Countrey ; and I mean, besides all those in France, Spain, Germany, Low-Countreys, and England, who are Lovers of those Arts, and endeavour to promote them in their own Nation.
                        Friend,
            I confess, they are all ravishing Entertainments, and infinitely to be preferr’d before our other sensual Delights, which destroy our Health, and dull our Minds ; and I hope they are travelling apace this way. But now pray satisfie my Curiosity about this Art of Painting, and let me know its whole History.

Conceptual field(s)

SPECTATEUR → connaissance
SPECTATEUR → perception et regard

Conceptual field(s)

SPECTATEUR → perception et regard

Timantes, on the contrary [ndr : Parrhasius vient d’être évoqué], was of a sweet, modest Temper, and was Admirable in the Expression of Passions ; as appear’d by his Famous Picture of the Sacrifice of Iphigenia ; where he drew so many different sorts of Sorrow upon the Faces of the Spectators, according to the Concerns they had in that Tragical Piece of Religion, that being at last come to Represent Agamemnon’s Face, who was Father to the Virgin, he found himself Exhausted, and not able to reach the Excess of Grief that naturally must have been showed in his Countenance upon that Occasion ; and therefore he covered his Face with a part of his Garment ; saving thereby the Honour of his Art , and yet giving some Idea of the greatness of the Father’s Sorrow. His particular Talent lay, in giving more to understand by his Pictures, than was really express’d in them.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → expression des passions

Friend,
            I observe, great Painters have generally, either Handsome Wives, or Beautiful Mistrisses, and they are for the most part, extreamly sensible to Beauty.
                        Travellour.
            How can they be otherwise ? being such Judges as they are, of Feature and Proportion ; and having besides, so strong an Imagination, as they must have, to excell in their Art.

Conceptual field(s)

L’ARTISTE → qualités
CONCEPTS ESTHETIQUES → beauté, grâce et perfection

Traveller,
            There remained in Græce some little footsteps of the Art [ndr : au Moyen Âge] ; and from thence it was, that about the Year 1250, there came some Painters, who could hardly be called Masters, having scarce any more knowledge of the Art than just to draw the Out-lines without either Grace or Proportion ; the first Schollar they made in Italy, was at Florence, and was called Cimabue ; who being helped by Nature, soon outdid his Masters, and began to give some strength to his Drawings, but still without any great Skill, as not understanding how to manage his Lights and Shadows, or indeed, how to Design truely ; it being it those days an unusual and unattempted thing to Draw after the
Life.

truly

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

Expression Design truely

draw

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

Conceptual field(s)

L’ARTISTE → qualités
L’ARTISTE → règles et préceptes

painter

Conceptual field(s)

L’ARTISTE → qualités

master

Conceptual field(s)

L’ARTISTE → qualités

Traveller.
           
There wanted a Spirit and Life, which their Successors gave to their Works [ndr : les successeurs désignent les artistes de la génération suivant celle de Mantegna, A. da Messina, etc.] ; [...] Traveller.
           
There wanted a Spirit and Life, which their Successors gave to their Works [ndr : les successeurs désignent les artistes de la génération suivant celle de Mantegna, A. da Messina, etc.] ; and particularly, an Easiness ; which hides the pains and labour that the Artist has been at ; it being with Painting as with Poetry ; where, the greatest Art, is to conceal Art ; that is, that the Spectator may think that easie, which cost the Painter infinite Toyl and Labour : They had not likewise, that sweet Union of their Colours which was afterwards found out, and first attempted by Francia Bolognese, and Pietro Perugino ; and so pleasing it was to the Eye, that the People came in flocks to stair upon their Works, thinking it impossible to do better ; but they were soon undeceived by Leonardo da Vinci ; whom we must own as the Father of the Third Age of Painting, which we call the Modern ; and in him nothing was wanting ; for besides strength of Design, and true Drawing, he gave better Rules, more exact Measures, and was more profound in the Art than any before him.

Conceptual field(s)

MANIÈRE ET STYLE → école

Traveller.
           
There wanted a Spirit and Life, which their Successors gave to their Works [ndr : les successeurs désignent les artistes de la génération suivant celle de Mantegna, A. da Messina, etc.] ; and particularly, an Easiness ; which hides the pains and labour that the Artist has been at ; it being with Painting as with Poetry ; where, the greatest Art, is to conceal Art ; that is, that the Spectator may think that easie, which cost the Painter infinite Toyl and Labour :

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture
L’ARTISTE → qualités

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture

Giorgione was of the School of Venice, and the first that followed the Modern Tuscan way ; for having by chance seen some things of Leonardo da Vinci, with that new way of strong Shadows, it pleased him so much, that he followed it all his Life time, and imitated it prefectly in all his Oyl Paintings : he drew all after the Life, and had an excellent Colouring ; by which means he gave a Spirit to all he did ; which had not been seen in any Lombard Painter before him.

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs

Raphael del Urbin was the greatest Painter that ever was ; having made himself a Manner out of the Study of the Antients and the Moderns, and taken the best out of both ; he was admirable for the easiness of Invention, Richness, and Order in his Composition, Nature herself was overcome by his Colouring, he was Judicious beyond measure, and proper to his Aptitudes ; in a word, he carried Painting in its greatest Perfection, and has been outdone by none : His particular Talent lay in Secret Graces, as Apelles’s did among the Ancients.

Conceptual field(s)

CONCEPTS ESTHETIQUES → beauté, grâce et perfection

Perino del Vaga came to Rome in Raphael’s Time, and grew excellent by studying his and Michael Angelo’s Works ; he was a bold and strong Designer, having understood the Muscles in Naked Bodies as well as any of his time ; he had a particular Talent for Grottesk ; of which kind there are many Pieces of his in Rome ; but his chief Works are at Genova in the Pallace of Principe Doria ; he was a very universal Painter both in Fresco, Oyl and Distemper, and first taught the true working of Grottesks and Stucco Work.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → ornement

Perino del Vaga came to Rome in Raphael’s Time, and grew excellent by studying his and Michael Angelo’s Works ; he was a bold and strong Designer, having understood the Muscles in Naked Bodies as well as any of his time ; he had a particular Talent for Grottesk ; of which kind there are many Pieces of his in Rome ; but his chief Works are at Genova in the Pallace of Principe Doria ; he was a very universal Painter both in Fresco, Oyl and Distemper, and first taught the true working of Grottesks and Stucco Work.
           
Michael Angelo Buonaroti was the greatest Designer that ever was, having studied Naked Bodies with great Care ; but he aiming always at showing the most difficult things of the Art, in the Contorsions of Members, and Convulsions of the Muscles, Contractions of the Nerves, &c. His Painting is not so agreeable, though much more profound and difficult than any other ; his Manner was Fierce, and almost Savage, having nothing of the Graces of Raphael, whose Naked Figures are dilicate and tender, and more like Flesh and Blood, whereas Michael Angelo doth not distinguish the Sexes nor the Ages so well, but makes all alike Musculous and Strong ; and who sees one Naked Figure of his doing, may reckon he has seen them all ; his Colouring is nothing near so Natural as Raphael’s, and in a word, for all Vasari commends him above the Skies, he was a better Sculptor than a Painter : One may of Raphael and of him, that their Characters were opposite, and both great Designers ; the one endeavouring to show the Difficulties of the Art, and the other aiming at Easiness ; in which, perhaps, there is as much Difficulty.

Conceptual field(s)

L’ARTISTE → qualités

Michael Angelo Buonaroti was the greatest Designer that ever was, having studied Naked Bodies with great Care ; but he aiming always at showing the most difficult things of the Art, in the Contorsions of Members, and Convulsions of the Muscles, Contractions of the Nerves, &c. His Painting is not so agreeable, though much more profound and difficult than any other ; his Manner was Fierce, and almost Savage, having nothing of the Graces of Raphael, whose Naked Figures are dilicate and tender, and more like Flesh and Blood, whereas Michael Angelo doth not distinguish the Sexes nor the Ages so well, but makes all alike Musculous and Strong ;

Conceptual field(s)

SPECTATEUR → perception et regard

Michael Angelo Buonaroti was the greatest Designer that ever was, having studied Naked Bodies with great Care ; but he aiming always at showing the most difficult things of the Art, in the Contorsions of Members, and Convulsions of the Muscles, Contractions of the Nerves, &c. His Painting is not so agreeable, though much more profound and difficult than any other ; his Manner was Fierce, and almost Savage, having nothing of the Graces of Raphael, whose Naked Figures are dilicate and tender, and more like Flesh and Blood, whereas Michael Angelo doth not distinguish the Sexes nor the Ages so well, but makes all alike Musculous and Strong ; and who sees one Naked Figure of his doing, may reckon he has seen them all ; his Colouring is nothing near so Natural as Raphael’s, and in a word, for all Vasari commends him above the Skies, he was a better Sculptor than a Painter : One may of Raphael and of him, that their Characters were opposite, and both great Designers ; the one endeavouring to show the Difficulties of the Art, and the other aiming at Easiness ; in which, perhaps, there is as much Difficulty.

body

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps
MANIÈRE ET STYLE → école
MANIÈRE ET STYLE → le faire et la main

Conceptual field(s)

MANIÈRE ET STYLE → école

Traveller.
           
After the Death of Raphael and his Schollars (for, as for Michael Angelo he made no School) Painting seemed to be Decaying ; [...] But much about the same time, the Carraches of Bologna came to Rome, and the two Brothers Painted together the famous Gallery of the Pallazzo Farneze : Hannibal the Youngest, was much the greatest Master ; though his Eldest Brother Augustin was likewise admirable ; they renewed Raphael’s Manner ; and Hannibal particularly, had an admirable Genius to make proper to himself any Manner he saw, as he did by Correggio, both as to his Colouring, Tenderness, and Motions of the Figures ; in a word, he was a most Accomplish’d Painter, both for Design, Invention, Composition, Colouring, and all parts of Painting ; having a Soveraign Genius, which made him Master of a great School of the best Painters Italy has had.

Conceptual field(s)

L’ARTISTE → qualités
CONCEPTS ESTHETIQUES → génie, esprit, imagination

Traveller.
           
After the Death of Raphael and his Schollars (for, as for Michael Angelo he made no School) Painting seemed to be Decaying ; and for some Years, there was hardly a Master of any Repute all over Italy. The two best at Rome were Joseph Arpino and Michael Angelo da Caravaggio, but both guilty of great Mistakes in their Art : the first followed purely his Fancy, or rather Humour, which was neither founded upon Nature nor Art, but had for Ground a certain Practical, Fantastical Idea which he had framed to himself. The other was a pure Naturalist, Copying Nature without distinction or discretion ; he understood little of Composition or Decorum, but was an admirable Colourer.

Conceptual field(s)

EFFET PICTURAL → qualité de la composition

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

Titian was the best Colourer, perhaps, that ever was ; he Designed likewise very well, but not very exactly ; the Airs of his Heads for Women and Children are admirable, and his Drapery loose and noble ; his Portraits are all Master-pieces, no man having ever carried Face-Painting so far ; the Persons that he has drawn having all the Life and Spirit as if they were alive ;

portrait

Conceptual field(s)

GENRES PICTURAUX → portrait
CONCEPTS ESTHETIQUES → nature, imitation et vrai

face painting

Conceptual field(s)

GENRES PICTURAUX → portrait
CONCEPTS ESTHETIQUES → nature, imitation et vrai

Titian was the best Colourer, perhaps, that ever was ; he Designed likewise very well, but not very exactly ; the Airs of his Heads for Women and Children are admirable, and his Drapery loose and noble ; his Portraits are all Master-pieces, no man having ever carried Face-Painting so far ; the Persons that he has drawn having all the Life and Spirit as if they were alive ; his Landskips are the Truest, best Coloured, and Strongest that ever were.

Conceptual field(s)

GENRES PICTURAUX → paysage
EFFET PICTURAL → qualité des couleurs
CONCEPTS ESTHETIQUES → nature, imitation et vrai

Traveller.
           
The World here in our Northern Climates has a Notion of Painters little nobler than of Joyners and Carpenters, or any other Mechanick, thinking that their Art is nothing but the daubing a few Colours upon a Cloth, and believing that nothing more ought to be expected from them at best, but the making a like Picture of any Bodys Face.
            Which the most Ingenious amongst them perceiving, stop there ; and though their Genius would lead further into the noble part of History Painting, they check it, as useless to their Fortune, since they should have no
Judges of their Abilities, nor any proportionable Reward of their Undertakings. So that till the Gentry of this Nation are better Judges of the Art, ’tis impossible we should ever have an Historical Painter of our own, nor that any excellent Forreigner should stay amongst us.

Conceptual field(s)

GENRES PICTURAUX → peinture d’histoire
CONCEPTS ESTHETIQUES → génie, esprit, imagination

Conceptual field(s)

L’ARTISTE → qualités
SPECTATEUR → jugement

Conceptual field(s)

GENRES PICTURAUX → peinture d’histoire
SPECTATEUR → jugement

Expression Judges of the Art

Conceptual field(s)

SPECTATEUR → jugement
GENRES PICTURAUX → peinture d’histoire

Conceptual field(s)

L’ARTISTE → qualités
SPECTATEUR → jugement

Traveller.
           
I must then repeat to you what I told you at our first Meeting [ndr : Dialogue I, « Explaining the Art of Painting »] ; which is, That the Art of Painting has three Parts ; which are, Design, Colouring, and Invention ; and under this third, is that which we call Disposition ;

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture

Traveller.
           
I must then repeat to you what I told you at our first Meeting [ndr : Dialogue I, « Explaining the Art of Painting »] ; which is, That the Art of Painting has three Parts ; which are, Design, Colouring, and Invention ; and under this third, is that which we call Disposition ; which is properly the Order in which all the Parts of the Story are disposed, so as to produce one effect according to the Design of the Painter ; and that is the first Effect which a good Piece of History is to produce in the Spectator ; that is, if it be a Picture of a joyful Event, that all that is in it be Gay and Smiling, to the very Landskips, Houses, Heavens, Cloaths, &c. And that all the Aptitudes tend to Mirth. The same, if the Story be Sad, or Solemn ; and so for the rest. And a Piece that does not do this at first sight, is most certainly faulty though it never so well Designed, or never so well Coloured ; nay, though there be Learning and Invention in it ; for as a Play that is designed to make me Laugh, is most certainly an ill one if it makes me Cry. So an Historical Piece that doth not produce the Effect it is designed for, cannot pretend to an Excellency, though it be never so finely Painted.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → sujet et choix
PEINTURE, TABLEAU, IMAGE → définition de la peinture

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture
L’HISTOIRE ET LA FIGURE → sujet et choix

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture
L’HISTOIRE ET LA FIGURE → sujet et choix

Conceptual field(s)

L’ARTISTE → qualités
L’HISTOIRE ET LA FIGURE → sujet et choix
CONCEPTS ESTHETIQUES → convenance, bienséance
CONCEPTS ESTHETIQUES → génie, esprit, imagination

Conceptual field(s)

EFFET PICTURAL → qualité de la composition
CONCEPTS ESTHETIQUES → convenance, bienséance
SPECTATEUR → perception et regard

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
SPECTATEUR → perception et regard

Conceptual field(s)

EFFET PICTURAL → qualité de la composition
CONCEPTS ESTHETIQUES → convenance, bienséance
SPECTATEUR → perception et regard

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → sujet et choix
CONCEPTS ESTHETIQUES → convenance, bienséance
GENRES PICTURAUX → peinture d’histoire

Conceptual field(s)

CONCEPTS ESTHETIQUES → génie, esprit, imagination
L’ARTISTE → qualités
L’HISTOIRE ET LA FIGURE → sujet et choix
PEINTURE, TABLEAU, IMAGE → définition de la peinture

Conceptual field(s)

SPECTATEUR → perception et regard
EFFET PICTURAL → qualité de la composition
CONCEPTS ESTHETIQUES → convenance, bienséance

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
CONCEPTS ESTHETIQUES → convenance, bienséance
L’HISTOIRE ET LA FIGURE → sujet et choix

The next thing to be considered in an Historical Piece, is the Truth of the Drawings, and the Correction of the Design, as Painters call it ; that is, whether they have chosen to imitate Nature in her most Beautiful Part ; for though a Painter be the Copist of Nature, Yet he must not take her promiscuously, as he finds her, but have an Idea of all that is Fine and Beautiful in an Object, and choose to Represent that, as the Antients have done so admirably in their Paintings and Statues : And ’tis in this part that most of the Flemish Painters, even Rubens himself, have miscarryed, by making an ill Choice of Nature ; either because the Beautiful Natural is not the Product of their Countrey, or because they have not seen the Antique, which is the Correction of Nature by Art ; for we may truly say that the Antique is but the best of Nature ; and therefore all that resembles the Antique, will carry that Character along with it.
                       
Friend,
            I remember, you reckoned it to me among the Faults of some Painters, that they had studied too long upon the Statues of the Antients ; and that they had indeed thereby acquired the Correction of Design you speak of ; but they had by the same means lost that Vivacity and Life which is in Nature, and which is the true Grace of Painting.

École flamande
RUBENS, Peter Paul

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
CONCEPTS ESTHETIQUES → nature, imitation et vrai

The next thing to be considered in an Historical Piece, is the Truth of the Drawings, and the Correction of the Design, as Painters call it ; that is, whether they have chosen to imitate Nature in her most Beautiful Part ; for though a Painter be the Copist of Nature, Yet he must not take her promiscuously, as he finds her, but have an Idea of all that is Fine and Beautiful in an Object, and choose to Represent that, as the Antients have done so admirably in their Paintings and Statues : And ’tis in this part that most of the Flemish Painters, even Rubens himself, have miscarryed, by making an ill Choice of Nature ; either because the Beautiful Natural is not the Product of their Countrey, or because they have not seen the Antique, which is the Correction of Nature by Art ; for we may truly say that the Antique is but the best of Nature ; and therefore all that resembles the Antique, will carry that Character along with it.
                       
Friend,
            I remember, you reckoned it to me among the Faults of some Painters, that they had studied too long upon the Statues of the Antients ; and that they had indeed thereby acquired the Correction of Design you speak of ; but they had by the same means lost that Vivacity and Life which is in Nature, and which is the true Grace of Painting.

                        Traveller.
            ’Tis very true, that a Painter may fall into that Error, by giving himself up too much to the Antique ; therefore he must know, that his Profession is not tyed up to that exact Imitation of it as the Sculptor’s is, who must never depart from that exact Regularity of Proportion which the Antients have settled in their Statues ; but Painters Figures must be such as may seem rather to have been Models for the Antique, than drawn from it ;
and a Painter that never has studied it at all, will never arrive at that as Raphael, and the best of the Lombard Painters have done ; who seem to have made no other Use of the Antique, than by that means to choose the most Beautiful of Nature.

École flamande
École lombarde
RAFFAELLO (Raffaello Sanzio)
RUBENS, Peter Paul

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
CONCEPTS ESTHETIQUES → antique

École flamande
École lombarde
RAFFAELLO (Raffaello Sanzio)
RUBENS, Peter Paul

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

École flamande
École lombarde
RAFFAELLO (Raffaello Sanzio)
RUBENS, Peter Paul

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

École flamande
École lombarde
RAFFAELLO (Raffaello Sanzio)
RUBENS, Peter Paul

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

École flamande
École lombarde
RAFFAELLO (Raffaello Sanzio)
RUBENS, Peter Paul

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
CONCEPTION DE LA PEINTURE → dessin
CONCEPTS ESTHETIQUES → antique

The next thing to be considered in an Historical Piece, is the Truth of the Drawings, and the Correction of the Design, as Painters call it ; that is, whether they have chosen to imitate Nature in her most Beautiful Part ; for though a Painter be the Copist of Nature, Yet he must not take her promiscuously, as he finds her, but have an Idea of all that is Fine and Beautiful in an Object, and choose to Represent that, as the Antients have done so admirably in their Paintings and Statues : And ’tis in this part that most of the Flemish Painters, even Rubens himself, have miscarryed, by making an ill Choice of Nature ; either because the Beautiful Natural is not the Product of their Countrey, or because they have not seen the Antique, which is the Correction of Nature by Art ; for we may truly say that the Antique is but the best of Nature ; and therefore all that resembles the Antique, will carry that Character along with it.

École flamande
RUBENS, Peter Paul

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
CONCEPTION DE LA PEINTURE → dessin

Friend,
            I remember, you reckoned it to me among the Faults of some Painters, that they had studied too long upon the Statues of the Antients ; and that they had indeed thereby acquired the Correction of Design you speak of ; but they had by the same means lost that Vivacity and Life which is in Nature, and which is the true Grace of Painting.

                        Traveller.
            ’Tis very true, that a Painter may fall into that Error, by giving himself up too much to the Antique ; therefore he must know, that his Profession is not tyed up to that exact Imitation of it as the Sculptor’s is, who must never depart from that exact Regularity of Proportion which the Antients have settled in their Statues ; but Painters Figures must be such as may seem rather to have been Models for the Antique, than drawn from it ;
and a Painter that never has studied it at all, will never arrive at that as Raphael, and the best of the Lombard Painters have done ; who seem to have made no other Use of the Antique, than by that means to choose the most Beautiful of Nature.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
CONCEPTS ESTHETIQUES → antique

There is another Caution to be observed too in this Choice of Forms, which is, to keep a Judicious Aptitude to the Story ; for if the Painter, for Example, is to draw Sampson, he must not give him the Softness and Tenderness he would give to Ganimedes ; nay, there is a difference to be made in the very same Figure at different times : and Hercules himself is to be made more Robust, fighting with Anteus, than when he sits in Dejanira’s Lap. But above all, the Painter must observe an equal Air, so as not to make one part Musculous and Strong, and the other Soft and Tender.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps

There is another Caution to be observed too in this Choice of Forms, which is, to keep a Judicious Aptitude to the Story ; for if the Painter, for Example, is to draw Sampson, he must not give him the Softness and Tenderness he would give to Ganimedes ; nay, there is a difference to be made in the very same Figure at different times : and Hercules himself is to be made more Robust, fighting with Anteus, than when he sits in Dejanira’s Lap. But above all, the Painter must observe an equal Air, so as not to make one part Musculous and Strong, and the other Soft and Tender.
           
There is another thing to be considered likewise upon the viewing of any Story ; which is, whether the Painter has used that Variety which Nature herself sets us a Pattern for, in not having made any one Face exactly like another, nor hardly any one Shape or Make of either Man or Woman. Therefore the Painter must also vary his Heads, his Bodies, his Aptitudes, and in a word, all the Members of the Humane Body, or else his Piece will Cloy, and Satiate the Eye.
            As for the Remainder of what belongs properly to that part called Design ;
we must consider if every Figure moves properly ; as, if a Figure be to strike, whether the Arm and all the Body show the vigour of such a Motion ; and the same if he is to Run or Dance ; and therein consists one of the greatest Masteries of the Art, and which requires some Knowledge in Anatomy, that the Muscles be rightly express’d. As for Shortnings, they are things of great Difficulty, and few understand the Beauty of them ; which is, so to cheat the Eye, that a Figure that in reality is not a Foot in length, shall seem to be five or six Foot long ; and this depends upon Opticks, and is most in use in Ceilings and Vaults.

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
L’HISTOIRE ET LA FIGURE → action et attitude

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps
L’HISTOIRE ET LA FIGURE → action et attitude
L’HISTOIRE ET LA FIGURE → proportion

There is another thing to be considered likewise upon the viewing of any Story ; which is, whether the Painter has used that Variety which Nature herself sets us a Pattern for, in not having made any one Face exactly like another, nor hardly any one Shape or Make of either Man or Woman. Therefore the Painter must also vary his Heads, his Bodies, his Aptitudes, and in a word, all the Members of the Humane Body, or else his Piece will Cloy, and Satiate the Eye.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps
L’HISTOIRE ET LA FIGURE → action et attitude
SPECTATEUR → perception et regard

we must consider if every Figure moves properly ; as, if a Figure be to strike, whether the Arm and all the Body show the vigour of such a Motion ; and the same if he is to Run or Dance ; and therein consists one of the greatest Masteries of the Art, and which requires some Knowledge in Anatomy, that the Muscles be rightly express’d. As for Shortnings, they are things of great Difficulty, and few understand the Beauty of them ; which is, so to cheat the Eye, that a Figure that in reality is not a Foot in length, shall seem to be five or six Foot long ; and this depends upon Opticks, and is most in use in Ceilings and Vaults.

Conceptual field(s)

EFFET PICTURAL → trompe-l’œil
EFFET PICTURAL → perspective
L’HISTOIRE ET LA FIGURE → figure et corps

Traveller,
            ’
Tis very true, tis one of the most difficult parts of Painting [ndr : le traitement de la draperie]; and the best Rule is, that your Drapery be in large Foldings, Noble and Simple, not repeated too often, but following the Order of the Parts ; and let them be of Stuffs and Silks that are commonly worn, of beautiful Colours, but sweet, and such as do not trench upon the Naked too harshly, and by that means they will be of great Use for the Union of the Whole ; either by reflecting the Light, or giving such a Fund as is wanting for the other Colours to appear better. They serve also to fill up any empty place in the Picture.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis

Traveller,
            ’
Tis very true, tis one of the most difficult parts of Painting [ndr : le traitement de la draperie]; and the best Rule is, that your Drapery be in large Foldings, Noble and Simple, not repeated too often, but following the Order of the Parts ; and let them be of Stuffs and Silks that are commonly worn, of beautiful Colours, but sweet, and such as do not trench upon the Naked too harshly, and by that means they will be of great Use for the Union of the Whole ; either by reflecting the Light, or giving such a Fund as is wanting for the other Colours to appear better. They serve also to fill up any empty place in the Picture.
            There is also a Judicious Choice to be made of Draperies, according to the Quality of the Persons : Magistrates and Grave People must have Ample and Long Robes ; Countrey People and Souldiers must have Close, Short Draperies ; Young Maids and Women must have them Light, Thin, and Tender. They that follow the Drapery of the Antients in Statues, will always be Stiff, as Raphael was at first, because that they used little Foldings, often repeated ; which do best in Marble or Brass. But Painters who have the Command of Colours, Lights and Shadows, may extend their Draperies, and let them fly as they please. Titian, Paul Veronese, Tintoret, Rubens, and Vandike, have painted Drapery admirably ; and indeed the Lombard School have excell’d in that and Colouring, as the Roman and Florentine
in Design and Nudity.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis
CONCEPTS ESTHETIQUES → convenance, bienséance

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis

Friend.
 
            What is properly the Colouring of a Piece of Painting ?
 
                        Traveller.
 
           
It is the Art of employing the Colours proper to the Subject, with a regard to the Lights and Shadows that are incident to the Story, either according to the Truth of it, or to the Painter’s Invention : [...] As for Face-Painting alone, it is to be manage another way, for there you must do precisely what Nature shows you.
           Tis true, that Beautiful Colours may be employed, but they must be such as make not your Piece like a Picture, rather than like Nature it self ; and particularly, you must observe to express the true Temper as well as the true Phisionomy of the Persoms that are Drawn ; for it would be very absurd to give a Smiling, Airy Countenance to a Melancholly Person ; or, to make a Young, Lively Woman, Heavy and Grave. ’Tis said of Apelles, that he expressed the Countenance and true Air of the Persons he Drew, to so great a degree, that several Physionomists did predict Events upon his Pictures to the Persons Drawn by him, and that with true Success. If after that, you can give your Picture a great Relievo, and make your Colours Represent the true Vivacity of Nature, you have done your Work as to that part of Painting, which is no small one, being, next to History, the most difficult to obtain ; for though there be but little Invention required, yet ‘tis necessary to have a Solid Judgment and Lively Fancy.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
GENRES PICTURAUX → portrait
CONCEPTION DE LA PEINTURE → couleur
CONCEPTS ESTHETIQUES → convenance, bienséance

Friend.
 
            What is properly the Colouring of a Piece of Painting ?
 
                        Traveller.
 
           
It is the Art of employing the Colours proper to the Subject, with a regard to the Lights and Shadows that are incident to the Story, either according to the Truth of it, or to the Painter’s Invention : and out of the Management of these comes all the Strength, Relievo, and Roundness that the Figures have : ’tis hard to give Positive Rules here, it depending much on Practice ; but the most General is, so to manage your Colours, Lights, and Shadows, that the Bodies enlightned may appear by the Opposition of your Shadows ; which by that means may make the Eye rest with Pleasure upon them ; and also, that there be an imperceptible passage from your Shadows to your Lights.
            ’Tis generally observed likewise to make the greatest Light fall upon the middle of the Piece, where the principal Figures ought to be, and to lessen it by degrees towards the sides till it loose it self.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
CONCEPTION DE LA PEINTURE → lumière

Friend.
 
            What is properly the Colouring of a Piece of Painting ?
 
                        Traveller.
 
           
It is the Art of employing the Colours proper to the Subject, with a regard to the Lights and Shadows that are incident to the Story, either according to the Truth of it, or to the Painter’s Invention : and out of the Management of these comes all the Strength, Relievo, and Roundness that the Figures have : ’tis hard to give Positive Rules here, it depending much on Practice ; but the most General is, so to manage your Colours, Lights, and Shadows, that the Bodies enlightned may appear by the Opposition of your Shadows ; which by that means may make the Eye rest with Pleasure upon them ; and also, that there be an imperceptible passage from your Shadows to your Lights.
            ’Tis generally observed likewise to make the greatest Light fall upon the middle of the Piece, where the principal Figures ought to be, and to lessen it by degrees towards the sides till it loose it self.
In gentle Shadows, avoid strong Shadowings upon the Naked Members, least the black that is in them seems to be part of the Flesh.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
CONCEPTION DE LA PEINTURE → lumière
L’HISTOIRE ET LA FIGURE → figure et corps

Friend.
 
            What is properly the Colouring of a Piece of Painting ?
 
                        Traveller.
 
           
It is the Art of employing the Colours proper to the Subject, with a regard to the Lights and Shadows that are incident to the Story, either according to the Truth of it, or to the Painter’s Invention : and out of the Management of these comes all the Strength, Relievo, and Roundness that the Figures have : ’tis hard to give Positive Rules here, it depending much on Practice ; but the most General is, so to manage your Colours, Lights, and Shadows, that the Bodies enlightned may appear by the Opposition of your Shadows ;

Conceptual field(s)

SPECTATEUR → perception et regard
CONCEPTION DE LA PEINTURE → couleur

Conceptual field(s)

SPECTATEUR → perception et regard
CONCEPTION DE LA PEINTURE → couleur

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur

Friend.
 
            What is properly the Colouring of a Piece of Painting ?
 
                        Traveller.
 
           
It is the Art of employing the Colours proper to the Subject, with a regard to the Lights and Shadows that are incident to the Story, either according to the Truth of it, or to the Painter’s Invention : and out of the Management of these comes all the Strength, Relievo, and Roundness that the Figures have : ’tis hard to give Positive Rules here, it depending much on Practice ; but the most General is, so to manage your Colours, Lights, and Shadows, that the Bodies enlightned may appear by the Opposition of your Shadows ; which by that means may make the Eye rest with Pleasure upon them ; and also, that there be an imperceptible passage from your Shadows to your Lights.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
CONCEPTION DE LA PEINTURE → lumière
CONCEPTS ESTHETIQUES → convenance, bienséance

Conceptual field(s)

L’ARTISTE → qualités
CONCEPTION DE LA PEINTURE → couleur

Friend.
 
            What is properly the Colouring of a Piece of Painting ?
 
                        Traveller.
 
           
It is the Art of employing the Colours proper to the Subject, with a regard to the Lights and Shadows that are incident to the Story, either according to the Truth of it, or to the Painter’s Invention : and out of the Management of these comes all the Strength, Relievo, and Roundness that the Figures have : ’tis hard to give Positive Rules here, it depending much on Practice ; but the most General is, so to manage your Colours, Lights, and Shadows, that the Bodies enlightned may appear by the Opposition of your Shadows ; which by that means may make the Eye rest with Pleasure upon them ; and also, that there be an imperceptible passage from your Shadows to your Lights.
            ’Tis generally observed likewise to make the greatest Light fall upon the middle of the Piece, where the principal Figures ought to be, and to lessen it by degrees towards the sides till it loose it self.
In gentle Shadows, avoid strong Shadowings upon the Naked Members, least the black that is in them seems to be part of the Flesh. But above all, there is a thing called by the Italians, Il degra damento de Colori ; which in English may be termed, The diminishing of Colours : And it consists in making an Union and Concord between the Colours in the formost part of your Piece, and those that are behind, so that they be all of one tenour, and not broke ; and by this means every part corresponds with another in your Picture, and makes up one Harmony to the Eye.

harmony · union

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur

concord · union

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur

concord · harmony

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur

Friend.
 
            What is properly the Colouring of a Piece of Painting ?
 
                        Traveller.
 
           
It is the Art of employing the Colours proper to the Subject, with a regard to the Lights and Shadows that are incident to the Story, either according to the Truth of it, or to the Painter’s Invention : and out of the Management of these comes all the Strength, Relievo, and Roundness that the Figures have : ’tis hard to give Positive Rules here, it depending much on Practice ; but the most General is, so to manage your Colours, Lights, and Shadows, that the Bodies enlightned may appear by the Opposition of your Shadows ; which by that means may make the Eye rest with Pleasure upon them ; and also, that there be an imperceptible passage from your Shadows to your Lights.
            ’Tis generally observed likewise to make the greatest Light fall upon the middle of the Piece, where the principal Figures ought to be, and to lessen it by degrees towards the sides till it loose it self.
In gentle Shadows, avoid strong Shadowings upon the Naked Members, least the black that is in them seems to be part of the Flesh. But above all, there is a thing called by the Italians, Il degra damento de Colori ; which in English may be termed, The diminishing of Colours : And it consists in making an Union and Concord between the Colours in the formost part of your Piece, and those that are behind, so that they be all of one tenour, and not broke ; and by this means every part corresponds with another in your Picture, and makes up one Harmony to the Eye.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
L’ARTISTE → règles et préceptes
CONCEPTION DE LA PEINTURE → lumière

Friend.
 
            What is properly the Colouring of a Piece of Painting ?
 
                        Traveller.
 
           
It is the Art of employing the Colours proper to the Subject, with a regard to the Lights and Shadows that are incident to the Story, either according to the Truth of it, or to the Painter’s Invention : and out of the Management of these comes all the Strength, Relievo, and Roundness that the Figures have : ’tis hard to give Positive Rules here, it depending much on Practice ; but the most General is, so to manage your Colours, Lights, and Shadows, that the Bodies enlightned may appear by the Opposition of your Shadows ; which by that means may make the Eye rest with Pleasure upon them ; and also, that there be an imperceptible passage from your Shadows to your Lights.
            ’Tis generally observed likewise to make the greatest Light fall upon the middle of the Piece, where the principal Figures ought to be, and to lessen it by degrees towards the sides till it loose it self.
In gentle Shadows, avoid strong Shadowings upon the Naked Members, least the black that is in them seems to be part of the Flesh. But above all, there is a thing called by the Italians, Il degra damento de Colori ; which in English may be termed, The diminishing of Colours : And it consists in making an Union and Concord between the Colours in the formost part of your Piece, and those that are behind, so that they be all of one tenour, and not broke ; and by this means every part corresponds with another in your Picture, and makes up one Harmony to the Eye.
           
As for Face-Painting alone, it is to be manage another way, for there you must do precisely what Nature shows you.
           Tis true, that Beautiful Colours may be employed, but they must be such as make not your Piece like a Picture, rather than like Nature it self ; and particularly, you must observe to express the true Temper as well as the true Phisionomy of the Persoms that are Drawn ; for it would be very absurd to give a Smiling, Airy Countenance to a Melancholly Person ; or, to make a Young, Lively Woman, Heavy and Grave. ’Tis said of Apelles, that he expressed the Countenance and true Air of the Persons he Drew, to so great a degree, that several Physionomists did predict Events upon his Pictures to the Persons Drawn by him, and that with true Success. If after that, you can give your Picture a great Relievo, and make your Colours Represent the true Vivacity of Nature, you have done your Work as to that part of Painting, which is no small one, being, next to History, the most difficult to obtain ; for though there be but little Invention required, yet ‘tis necessary to have a Solid Judgment and Lively Fancy.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
CONCEPTS ESTHETIQUES → nature, imitation et vrai

Traveller.
            Invention
is the Manner of Expressing that Fable and Story which the Painter has chosen for the Subject of his Piece ; and may principally be divided into Order and Decorum. [...] The second part of Invention is Decorum ; that is, that there be nothing Absurd nor Discordant in the Piece : and in this part, the Lombard Painters are very faulty ; taking Liberties that move one almost to Laughter ; Witness Titian himself, who Drew Saint Margaret a Stride upon the Dragon : and most of the Lombard Painters are subject to a certain Absurdity of Anachronisaie’s Drawing. For Example, our Saviour upon the Cross, and Saint Francis and Saint Benedict looking on, though they did not live till eight hundred Years after our Saviour’s Passion. All Indecencies are likewise to be avoided : and Michael Angelo doth justly deserve to be Censured, in his great Picture of the Day of Judgment, for having exposed to view in the Church it self, the secret parts of Men and Women, and made Figures among the Blessed that kiss one another most tenderly. Raphael on the contrary, was so great an Observer of Decorum, that though his Subject led him to any Liberties of that kind, he would find a way to keep to the Rules of Modesty ; and indeed, he seems to have been Inspired for the Heads of his Madonna’s and Saints, it being impossible to imagine more Noble Physionomies than he gives them ; and withal, an Air of Pudour and Sanctity that strikes the Spectator with Respect.

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance

Traveller.
            Invention
is the Manner of Expressing that Fable and Story which the Painter has chosen for the Subject of his Piece ; and may principally be divided into Order and Decorum. By the first, the Painter places the parts of his Subject properly, so as the Spectator may imagine that the thing did not happen otherwise than as it is there Represented ; [...] Some Observations there are about the Number of Figures fit to be employed in an Historical Piece. Hannibal Carrache was of Opinion, that a Piece that contained above twelve Figures, could never be free from Confusion ; and the Reason that he used to give, was ; first, That he thought that no Piece could be well with more than three great Gruppos, or Knots of Figures : And Secondly, That that Silence and Majesty which is necessary in Painting, is lost in that Multitude and Croud of Figures. But if your Subject be such as constrains you to a Multitude, such as the Representation of a Battle, or of the Last Day of Judgement, then you are likewise dispensed from that great Care of Finishing ; but must chiefly study Union, and the disposing of your Lights and Shadows. The Painter must also take Care, that his Scene be known by his Piece at first view, by some Ingenious Invention to express the Countrey :

knot of figures · croud of figures

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → groupe

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → sujet et choix
CONCEPTION DE LA PEINTURE → composition

Traveller.
            Invention
is the Manner of Expressing that Fable and Story which the Painter has chosen for the Subject of his Piece ; and may principally be divided into Order and Decorum. By the first, the Painter places the parts of his Subject properly, so as the Spectator may imagine that the thing did not happen otherwise than as it is there Represented ; and so as the whole Content of the Story, though it imbrace never so many Figures, make but one BODY, Agreeing with its self in all its Parts.
For Example : Suppose a Painter to Represent the Story of the Jews gathering Manna in the Desart ; he must so order it, that the Persons employed in the Piece do all do the same thing, though in different Aptitudes ; and there must appear in their Countenances the same Joy and Desire of this Heavenly Food ; and besides, he must Represent a Countrey proper, and give his Figures their Draperies according to the Customs and Manners of the Nation he Represents : all this Raphael has done in this very Story : and indeed, that part of Invention was so great in him, that he seldom Designed a Story in his first SCHIZZOS, that he did not do it four or five several ways, to choose at last the best. But to do this, a Painter, besides a Fanciful, Flourisihing Genius of his own, must help himself by reading both History and Fable, and Conversing with Poets and Men of Learning ; but above all, the Painter must have a care that he pitch not upon such an Invention as is beyond his Forces to perform.
Some Observations there are about the Number of Figures fit to be employed in an Historical Piece. Hannibal Carrache was of Opinion, that a Piece that contained above twelve Figures, could never be free from Confusion ; and the Reason that he used to give, was ; first, That he thought that no Piece could be well with more than three great Gruppos, or Knots of Figures : And Secondly, That that Silence and Majesty which is necessary in Painting, is lost in that Multitude and Croud of Figures. But if your Subject be such as constrains you to a Multitude, such as the Representation of a Battle, or of the Last Day of Judgement, then you are likewise dispensed from that great Care of Finishing ; but must chiefly study Union, and the disposing of your Lights and Shadows. The Painter must also take Care, that his Scene be known by his Piece at first view, by some Ingenious Invention to express the Countrey :

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
CONCEPTION DE LA PEINTURE → composition
L’HISTOIRE ET LA FIGURE → groupe
L’HISTOIRE ET LA FIGURE → sujet et choix

Traveller.
            Invention
is the Manner of Expressing that Fable and Story which the Painter has chosen for the Subject of his Piece ; and may principally be divided into Order and Decorum. By the first, the Painter places the parts of his Subject properly, so as the Spectator may imagine that the thing did not happen otherwise than as it is there Represented ; and so as the whole Content of the Story, though it imbrace never so many Figures, make but one BODY, Agreeing with its self in all its Parts.
For Example : Suppose a Painter to Represent the Story of the Jews gathering Manna in the Desart ; he must so order it, that the Persons employed in the Piece do all do the same thing, though in different Aptitudes ; and there must appear in their Countenances the same Joy and Desire of this Heavenly Food ; and besides, he must Represent a Countrey proper, and give his Figures their Draperies according to the Customs and Manners of the Nation he Represents : all this Raphael has done in this very Story : and indeed, that part of Invention was so great in him, that he seldom Designed a Story in his first SCHIZZOS, that he did not do it four or five several ways, to choose at last the best. But to do this, a Painter, besides a Fanciful, Flourisihing Genius of his own, must help himself by reading both History and Fable, and Conversing with Poets and Men of Learning ; but above all, the Painter must have a care that he pitch not upon such an Invention as is beyond his Forces to perform.

Conceptual field(s)

L’ARTISTE → qualités
L’ARTISTE → règles et préceptes

Traveller.
            Invention
is the Manner of Expressing that Fable and Story which the Painter has chosen for the Subject of his Piece ; and may principally be divided into Order and Decorum. By the first, the Painter places the parts of his Subject properly, so as the Spectator may imagine that the thing did not happen otherwise than as it is there Represented ; and so as the whole Content of the Story, though it imbrace never so many Figures, make but one BODY, Agreeing with its self in all its Parts.
For Example : Suppose a Painter to Represent the Story of the Jews gathering Manna in the Desart ; he must so order it, that the Persons employed in the Piece do all do the same thing, though in different Aptitudes ; and there must appear in their Countenances the same Joy and Desire of this Heavenly Food ; and besides, he must Represent a Countrey proper, and give his Figures their Draperies according to the Customs and Manners of the Nation he Represents : all this Raphael has done in this very Story : and indeed, that part of Invention was so great in him, that he seldom Designed a Story in his first SCHIZZOS, that he did not do it four or five several ways, to choose at last the best. But to do this, a Painter, besides a Fanciful, Flourisihing Genius of his own, must help himself by reading both History and Fable, and Conversing with Poets and Men of Learning ; but above all, the Painter must have a care that he pitch not upon such an Invention as is beyond his Forces to perform.
Some Observations there are about the Number of Figures fit to be employed in an Historical Piece. Hannibal Carrache was of Opinion, that a Piece that contained above twelve Figures, could never be free from Confusion ; and the Reason that he used to give, was ; first, That he thought that no Piece could be well with more than three great Gruppos, or Knots of Figures : And Secondly, That that Silence and Majesty which is necessary in Painting, is lost in that Multitude and Croud of Figures. But if your Subject be such as constrains you to a Multitude, such as the Representation of a Battle, or of the Last Day of Judgement, then you are likewise dispensed from that great Care of Finishing ; but must chiefly study Union, and the disposing of your Lights and Shadows. The Painter must also take Care, that his Scene be known by his Piece at first view, by some Ingenious Invention to express the Countrey : Such was that of Nealces a Greek Painter, who having Drawn a Sea-Fight between the Ægyptians and the Persians ; to express, that the Action happened at the Mouth of the Nile, made an Ass drinking by the side of the River, and a Crocodile ready to devour him ; that being the proper Animal of that River.

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance

Some Observations there are about the Number of Figures fit to be employed in an Historical Piece. Hannibal Carrache was of Opinion, that a Piece that contained above twelve Figures, could never be free from Confusion ; and the Reason that he used to give, was ; first, That he thought that no Piece could be well with more than three great Gruppos, or Knots of Figures : And Secondly, That that Silence and Majesty which is necessary in Painting, is lost in that Multitude and Croud of Figures. But if your Subject be such as constrains you to a Multitude, such as the Representation of a Battle, or of the Last Day of Judgement, then you are likewise dispensed from that great Care of Finishing ; but must chiefly study Union, and the disposing of your Lights and Shadows.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → groupe
MANIÈRE ET STYLE → le faire et la main

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
L’HISTOIRE ET LA FIGURE → groupe

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → groupe

Some Observations there are about the Number of Figures fit to be employed in an Historical Piece. Hannibal Carrache was of Opinion, that a Piece that contained above twelve Figures, could never be free from Confusion ; and the Reason that he used to give, was ; first, That he thought that no Piece could be well with more than three great Gruppos, or Knots of Figures : And Secondly, That that Silence and Majesty which is necessary in Painting, is lost in that Multitude and Croud of Figures. But if your Subject be such as constrains you to a Multitude, such as the Representation of a Battle, or of the Last Day of Judgement, then you are likewise dispensed from that great Care of Finishing ; but must chiefly study Union, and the disposing of your Lights and Shadows. The Painter must also take Care, that his Scene be known by his Piece at first view, by some Ingenious Invention to express the Countrey : Such was that of Nealces a Greek Painter, who having Drawn a Sea-Fight between the Ægyptians and the Persians ; to express, that the Action happened at the Mouth of the Nile, made an Ass drinking by the side of the River, and a Crocodile ready to devour him ; that being the proper Animal of that River.

Conceptual field(s)

SPECTATEUR → perception et regard

Friend,
 
            This puts me in mind of the moving part of Painting ; which is, the stirring of the Affections of the Spectator by the Expression of the Passions in the Piece ; and methinks this might well be called a part of Painting.
 
                        Traveller.
 
            It is Comprehended under that of Invention ; and is indeed the most difficult part of it, as depending intirely upon the Spirit and Genius of the Painter, who can express things no otherwise than as he conceives them, and from thence come the different Manners ;

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → expression des passions
SPECTATEUR → perception et regard

Friend,
 
            This puts me in mind of the moving part of Painting ; which is, the stirring of the Affections of the Spectator by the Expression of the Passions in the Piece ; and methinks this might well be called a part of Painting.
 
                        Traveller.
 
            It is Comprehended under that of Invention ; and is indeed the most difficult part of it, as depending intirely upon the Spirit and Genius of the Painter, who can express things no otherwise than as he conceives them, and from thence come the different Manners ;

Conceptual field(s)

CONCEPTS ESTHETIQUES → génie, esprit, imagination
L’HISTOIRE ET LA FIGURE → expression des passions

Friend,
 
            This puts me in mind of the moving part of Painting ; which is, the stirring of the Affections of the Spectator by the Expression of the Passions in the Piece ; and methinks this might well be called a part of Painting.
 
                        Traveller.
 
            It is Comprehended under that of Invention ; and is indeed the most difficult part of it, as depending intirely upon the Spirit and Genius of the Painter, who can express things no otherwise than as he conceives them, and from thence come the different Manners ;
or, as one may call them, Stiles of Painting ; some Soft and Pleasing, others Terrible and Fierce, others Majestick, other Low and Humble, as we see in the STILE of POETS ; and yet all Excellent in their Kinds.

spirit

Conceptual field(s)

CONCEPTS ESTHETIQUES → génie, esprit, imagination
L’HISTOIRE ET LA FIGURE → expression des passions

genius

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → expression des passions
CONCEPTS ESTHETIQUES → génie, esprit, imagination

manner

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main