BELL, Henry, The Perfect Painter : or, a Compleat History of the Original, Progress and Improvement of Painting. Shewing, I. The Antiquity, Excellency and Usefulness of that Divine Art, to Those who are desirous of being Acquainted with the true Knowledge and Secrets therein contain'd. II. Plain Instructions to form a right Judgment of the real Value of good Pictures, and how to distinguish Originals from Copies. III. A Chronological Account of the most celebrated Painters, from their Rise, to the Present Time, London, s.n., 1730.1 quotations
ABOUT this Time the Italians were again beholden to the Greeks in the Communication of another Sort of Picture call’d Mosaick Work ; […]. It is, indeed, an ART, we may look upon, as in some Sense, subordinate to PAINTING, with an Emulation to imitate it in all the Variety of Design, Figures, Colours, Lights, and Shades, but with Materials, not only of a wonderful Beauty, but of a much more permanent and enduring Nature, such as Shells, Gold, Glass, Pebbles, Ivory, and Pieces of variegated Marbles, which, with a mighty Industry and Curiosity, were all Cut, Form’d, Tinctur’d Anneal’d, Enammel’d, Gilt, Glaz’d, or Burnish’d, and, by a wonderful Application, fitted to compose the Figures of Birds, Beasts, Flowers and Men ; and, in short, to represent almost any Thing that PAINTING itself could pretent to ; and of this for Instance among many others, that might be produc’d, St. Marks’s Church at Venice, particularly remains to this Day as a glorious Example.