RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719.1 quotations
The Face, and Hands, are a Model for a Pencil in Portrait-Painting [ndr : il s’agit du portrait de la comtesse Dowager of Exeter, par Van Dyck] ; ‘tis not V. Dyck’s first Labour’d Flemish Manner, nor in the least Careless, or Slight ; the Colours are well wrought, and Touch’d in his best Style ; that is, the Best that ever Man had for Portraits ; nor is the Curtain in the least inferiour in this Particular, tho’ the Manner is vary’d as it ought to be, the Pencil is There more seen than in the Flesh ; the Hair, Veil, Chair, and indeed throughout except the Black Gown is finely Handled.
VAN DYCK, Antoon et FAITHORNE, William, Francesca Bridges Filia Domini Cavendish bet Dotissa Exoniae Comitissa, 1550 - 1563, 28,6 x 21,2, London, British Museum, P,3.305.