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| author | pgww <pgww@lists.pglaf.org> | 2026-02-26 06:14:20 -0800 |
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| committer | pgww <pgww@lists.pglaf.org> | 2026-02-26 06:14:20 -0800 |
| commit | dd496af87ef4a06847f8e4e1aa919db49e4c8fb9 (patch) | |
| tree | 50524477c5ebf437a4ee9aadce301d3915ecfc4a | |
| parent | babdd5ed6ced77cd2ba64d08ef4cf8a26df662c9 (diff) | |
| -rw-r--r-- | 46915-0.txt | 6 | ||||
| -rw-r--r-- | 46915-h/46915-h.htm | 3114 | ||||
| -rw-r--r-- | LICENSE.txt | 4 | ||||
| -rw-r--r-- | README.md | 2 |
4 files changed, 1500 insertions, 1626 deletions
diff --git a/46915-0.txt b/46915-0.txt index e13fbd9..70a73f2 100644 --- a/46915-0.txt +++ b/46915-0.txt @@ -1962,7 +1962,7 @@ drawings, some figures, some anatomical pieces, and other valuable remains of the cabinet of Leonardo. One of these spungers for the works of Leonardo, was Pompeo Aretin, son of the Cavalier Leoni, formerly a disciple of Bonaroti, and who was about Philip II. King of Spain, for -whom he did all the bronzes which are at the Escurial. Pompeo engaged +whom he did all the bronzes which are at the Escorial. Pompeo engaged himself to procure for Melzi an employment to the senate of Milan, if he succeeded in recovering the thirteen books, wishing to offer them to King Philip, a lover of such curiosities. Flattered with this @@ -9491,8 +9491,8 @@ canvas. It is drawn with a pen, on paper larger than usual, with a mere outline heightened with bistre. 11. Another in the refectory of the fathers Girolamini, in the -monastery of St. Laurence, in the Escurial in Spain. It was presented -to King Philip II. while he was in Valentia; and by his order placed in +monastery of St. Laurence, in the Escorial in Spain. It was presented +to King Philip II. while he was in Valencia; and by his order placed in the said room where the monks dine, and is believed to be by some able scholar of Leonardo. diff --git a/46915-h/46915-h.htm b/46915-h/46915-h.htm index df5ba67..c1e1a2d 100644 --- a/46915-h/46915-h.htm +++ b/46915-h/46915-h.htm @@ -1,14 +1,10 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> +<!DOCTYPE html> +<html lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of A Treatise on Painting, by Leonardo Da Vinci - </title> - <link rel="coverpage" href="images/cover.jpg" /> - <style type="text/css"> + <meta charset="utf-8"> +<title>A Treatise on Painting | Project Gutenberg</title> + <link rel="coverpage" href="images/cover.jpg" > + <style> body { margin-left: 10%; @@ -247,11 +243,11 @@ is placed in the public domain.</p> </div> <h1> -<span class="smaller">A</span><br /> +<span class="smaller">A</span><br > -TREATISE<br /> +TREATISE<br > -<span class="small">ON</span><br /> +<span class="small">ON</span><br > PAINTING,</h1> @@ -259,22 +255,22 @@ PAINTING,</h1> <p class="s2 center bottom3">LEONARDO DA VINCI.</p> -<hr class="smalleft" /> +<hr class="smalleft" > <p class="bottom3"> -Printed by <span class="smcap">S. Gosnell</span>,<br /> -Little Queen Street, Holborn, London.<br /> +Printed by <span class="smcap">S. Gosnell</span>,<br > +Little Queen Street, Holborn, London.<br > </p> -<hr class="chap" /> +<hr class="chap" > <div class="figcenter"> - <a id="davinci" name="davinci"></a> + <a id="davinci"></a> <img class="top3" src="images/davinci.jpg" alt="Leonardo Da Vinci" - title="Leonardo Da Vinci" /> + title="Leonardo Da Vinci"> </div> -<hr class="r65 break-after" /> +<hr class="r65 break-after" > <p class="s3 center">A</p> <p class="s1a center">TREATISE</p> @@ -290,8 +286,8 @@ Little Queen Street, Holborn, London.<br /> <p class="s3 center"> <span class="smcap">By</span> JOHN FRANCIS RIGAUD, <span class="smcap">Esq</span>.</p> <p class="s6 center smaller"> -ACADEMICIAN OF THE ROYAL ACADEMY OF PAINTING AT LONDON, AND<br /> -ALSO OF THE ACADEMIA CLEMENTINA AT BOLOGNA, AND THE ROYAL<br /> +ACADEMICIAN OF THE ROYAL ACADEMY OF PAINTING AT LONDON, AND<br > +ALSO OF THE ACADEMIA CLEMENTINA AT BOLOGNA, AND THE ROYAL<br > ACADEMY AT STOCKHOLM.</p> <p class="s5 center"> Illustrated with twenty-three Copper-plates, and other Figures.</p> @@ -312,19 +308,19 @@ Ars est habitus quidam faciendi verâ cum ratione.</p> <p class="s6 center">AT THE ARCHITECTURAL LIBRARY, HIGH HOLBORN.</p> <p class="s5 center">M.DCCC.II.</p> -<hr class="chap" /> +<hr class="chap" > <h2 class="gesperrt bold top2"> -<a name="TABLE_OF_CHAPTERS" id="TABLE_OF_CHAPTERS"></a>TABLE OF CHAPTERS.</h2> +<a id="TABLE_OF_CHAPTERS"></a>TABLE OF CHAPTERS.</h2> -<hr class="r5" /> +<hr class="r5" > <p class="center"><i>The Number at the End of each Title refers to the corresponding Chapter in the original Edition in Italian.</i></p> -<hr class="r5" /> +<hr class="r5" > -<table summary="Table of Chapters"> +<table> <tr> <td class="s2 padtop1 center" colspan="2"> DRAWING. @@ -1397,7 +1393,7 @@ in the original Edition in Italian.</i></p> <tr> <td colspan="2"> - <hr class="tb" /> + <hr class="tb" > </td> </tr> <tr> @@ -1796,7 +1792,7 @@ in the original Edition in Italian.</i></p> <tr> <td colspan="2"> - <hr class="tb" /> + <hr class="tb" > </td> </tr> <tr> @@ -2213,7 +2209,7 @@ in the original Edition in Italian.</i></p> <tr> <td colspan="2"> - <hr class="tb" /> + <hr class="tb" > </td> </tr> @@ -3103,7 +3099,7 @@ in the original Edition in Italian.</i></p> <tr> <td colspan="2"> - <hr class="tb" /> + <hr class="tb" > </td> </tr> @@ -3480,13 +3476,13 @@ in the original Edition in Italian.</i></p> </table> -<hr class="chap" /> +<hr class="chap" > -<p><span class="pagenum"><a name="Page_v" id="Page_v"></a></span></p> +<p><span class="pagenum"><a id="Page_v"></a></span></p> -<h2 class="break-before"><a name="PREFACE" id="PREFACE"></a>PREFACE<br /> +<h2 class="break-before"><a id="PREFACE"></a>PREFACE<br > -<span class="s7">TO THE</span><br /> +<span class="s7">TO THE</span><br > <span class="s5">PRESENT TRANSLATION.</span></h2> @@ -3499,7 +3495,7 @@ may be expected.</p> <p>Of the original Work, which is in reality a selection from the voluminous manuscript collections of the Author, both in folio and quarto, of all such passages as related to Painting, no<span class="pagenum"> -<a name="Page_vi" id="Page_vi">[Pg vi]</a></span> edition +<a id="Page_vi">[Pg vi]</a></span> edition appeared in print till 1651, though its Author died so long before as the year 1519; and it is owing to the circumstance of a manuscript copy of these extracts in the original Italian, having fallen into the hands @@ -3517,7 +3513,7 @@ says, without his knowledge.</p> <p>In the same year, and size, and printed at the same place, a translation of the original work into French was given to the world by Monsieur de Chambray (well known, under<span class="pagenum"> -<a name="Page_vii" id="Page_vii">[Pg vii]</a></span> his family name of Freart, as the author +<a id="Page_vii">[Pg vii]</a></span> his family name of Freart, as the author of an excellent Parallel of ancient and modern Architecture, in French, which Mr. Evelyn translated into English). The style of this translation by Mons. de Chambray, being thought, some years after, too antiquated, @@ -3534,7 +3530,7 @@ year 1721. It does not declare by whom it was made; but though it professes to have been done from the original Italian, it is evident, upon a comparison, that more use was made of the revised edition of the French translation. Indifferent, however,<span class="pagenum"> -<a name="Page_viii" id="Page_viii">[Pg viii]</a></span> as it is, it had become +<a id="Page_viii">[Pg viii]</a></span> as it is, it had become so scarce, and risen to a price so extravagant, that, to supply the demand, it was found necessary, in the year 1796, to reprint it as it stood, with all its errors on its head, no opportunity then offering of @@ -3553,7 +3549,7 @@ well-turned periods.</p> <p>Nor was this the only advantage which it was found the present opportunity would afford; for the original work consisting in fact of -a<span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span> number of entries made at different times, without any regard to +a<span class="pagenum"><a id="Page_ix">[Pg ix]</a></span> number of entries made at different times, without any regard to their subjects, or attention to method, might rather in that state be considered as a chaos of intelligence, than a well-digested treatise. It has now, therefore, for the first time, been attempted to place @@ -3570,7 +3566,7 @@ but this is so far from being an objection, that it evidently proves the precepts were not the hasty opinions of the moment, but settled and fixed principles in the mind of the Author, and that he was consistent in the expression of his sentiments.<span class="pagenum"> -<a name="Page_x" id="Page_x">[Pg x]</a></span> But if this mode of arrangement +<a id="Page_x">[Pg x]</a></span> But if this mode of arrangement has in the present case disclosed what might have escaped observation, it has also been productive of more material advantages; for, besides facilitating the finding of any particular passage (an object in itself @@ -3588,7 +3584,7 @@ for the press. The cuts have been re-engraven with more attention to correctness in the drawing, than those which accompanied the two editions of the former English translation possessed (even though they had been fresh engraven for the impression of<span class="pagenum"> -<a name="Page_xi" id="Page_xi">[Pg xi]</a></span> 1796); and the diagrams +<a id="Page_xi">[Pg xi]</a></span> 1796); and the diagrams are now inserted in their proper places in the text, instead of being, as before, collected all together in two plates at the end. Besides this, a new Life of the Author has been also added by a Friend of the @@ -3607,40 +3603,39 @@ deal of original intelligence respecting the Author has been obtained, which, derived as it is from his own information, could not possibly be founded on better evidence.</p> -<p><span class="pagenum"><a name="Page_xii" id="Page_xii">[Pg xii]</a></span></p> +<p><span class="pagenum"><a id="Page_xii">[Pg xii]</a></span></p> <p>To this Life we shall refer the reader for a further account of the origin and history of the present Treatise, conceiving we have already effected our purpose, by here giving him a sufficient idea of what he is to expect from the ensuing pages.</p> -<hr class="chap" /> +<hr class="chap" > -<p><span class="pagenum"><a name="Page_xiii" id="Page_xiii"></a></span></p> +<p><span class="pagenum"><a id="Page_xiii"></a></span></p> -<h2><a name="THE_LIFE" id="THE_LIFE"></a>THE LIFE<br /> +<h2><a id="THE_LIFE"></a>THE LIFE<br > -<span class="s7">OF</span><br /> +<span class="s7">OF</span><br > <span class="s5"><i>LEONARDO DA VINCI</i>.</span></h2> <p>Leonardo da Vinci, the Author of the following Treatise, was the natural -son of Pietro da Vinci, a notary of Vinci, in Tuscany<a name="FNanchor_I._1" -id="FNanchor_I._1"></a><a href="#Footnote_I._1" class="fnanchor">[i1]</a>, a village +son of Pietro da Vinci, a notary of Vinci, in Tuscany<a id="FNanchor_I._1"></a><a href="#Footnote_I._1" class="fnanchor">[i1]</a>, a village situated in the valley of Arno, a little below Florence, and was born in -the year 1452<a name="FNanchor_II._2" id="FNanchor_II._2"></a><a href="#Footnote_II._2" class="fnanchor">[i2]</a>.</p> +the year 1452<a id="FNanchor_II._2"></a><a href="#Footnote_II._2" class="fnanchor">[i2]</a>.</p> <p>Having discovered, when a child, a strong inclination and talent for painting, of which he had given proofs by several little drawings and sketches; his father one day accidentally took up some of them, and was induced to shew them to his friend Andrea Verocchio, a painter of some reputation in Florence, who was also a<span class="pagenum"> -<a name="Page_xiv" id="Page_xiv">[Pg xiv]</a></span> chaser, an architect, a +<a id="Page_xiv">[Pg xiv]</a></span> chaser, an architect, a sculptor, and goldsmith, for his advice, as to the propriety of bringing up his son to the profession of painting, and the probability of his becoming eminent in the art. The answer of Verocchio was such as to confirm him in that resolution; and Leonardo, to fit him for that -purpose, was accordingly placed under the tuition of Verocchio<a name="FNanchor_III._3" id="FNanchor_III._3"></a><a href="#Footnote_III._3" class="fnanchor">[i3]</a>.</p> +purpose, was accordingly placed under the tuition of Verocchio<a id="FNanchor_III._3"></a><a href="#Footnote_III._3" class="fnanchor">[i3]</a>.</p> <p>As Verocchio combined in himself a perfect knowledge of the arts of chasing and sculpture, and was a deep proficient in architecture, @@ -3654,7 +3649,7 @@ was intended. Accordingly we find that he had the good sense to avail himself of these advantages, and that under Verocchio he made great progress, and attracted his master’s friendship and confidence, by the talents he discovered, the sweetness of his manners, and the vivacity -of his<span class="pagenum"><a name="Page_xv" id="Page_xv">[Pg xv]</a></span> disposition<a name="FNanchor_IV._4" id="FNanchor_IV._4"></a><a href="#Footnote_IV._4" class="fnanchor">[i4]</a>. Of his proficiency in painting, the following +of his<span class="pagenum"><a id="Page_xv">[Pg xv]</a></span> disposition<a id="FNanchor_IV._4"></a><a href="#Footnote_IV._4" class="fnanchor">[i4]</a>. Of his proficiency in painting, the following instance is recorded; and the skill he afterwards manifested in other branches of science, on various occasions, evidently demonstrated how solicitous he had been for knowledge of all kinds, and how careful in @@ -3665,21 +3660,21 @@ in from the original drawing, the figure of an angel holding up the drapery; but, unfortunately for Verocchio, Leonardo succeeded so well, that, despairing of ever equalling the work of his scholar, Verocchio in disgust abandoned his pencil for ever, confining himself in future -solely to the practice of sculpture<a name="FNanchor_V._5" id="FNanchor_V._5"></a><a href="#Footnote_V._5" class="fnanchor">[i5]</a>.</p> +solely to the practice of sculpture<a id="FNanchor_V._5"></a><a href="#Footnote_V._5" class="fnanchor">[i5]</a>.</p> <p>On this success Leonardo became sensible that he no longer stood in need of an instructor; and therefore quitting Verocchio, he now began to work and study for himself. Many of his performances of this period are still, or were lately to be seen at Florence; and besides these, the following have been also mentioned: A cartoon of Adam and Eve in -the Garden, which he<span class="pagenum"><a name="Page_xvi" id="Page_xvi">[Pg xvi]</a></span> did for the King of Portugal<a name="FNanchor_VI._6" id="FNanchor_VI._6"></a><a href="#Footnote_VI._6" class="fnanchor">[i6]</a>. This is highly +the Garden, which he<span class="pagenum"><a id="Page_xvi">[Pg xvi]</a></span> did for the King of Portugal<a id="FNanchor_VI._6"></a><a href="#Footnote_VI._6" class="fnanchor">[i6]</a>. This is highly commended for the exquisite gracefulness of the two principal figures, the beauty of the landscape, and the incredible exactitude of the shrubs and fruit. At the instance of his father, he made a painting for one of -his old neighbours at Vinci<a name="FNanchor_VII._7" id="FNanchor_VII._7"></a><a href="#Footnote_VII._7" class="fnanchor">[i7]</a>; it consisted wholly of such animals +his old neighbours at Vinci<a id="FNanchor_VII._7"></a><a href="#Footnote_VII._7" class="fnanchor">[i7]</a>; it consisted wholly of such animals as have naturally an hatred to each other, joined artfully together in a variety of attitudes. Some authors have said that this painting was a -shield<a name="FNanchor_VIII._8" id="FNanchor_VIII._8"></a><a href="#Footnote_VIII._8" class="fnanchor">[i8]</a>, and have related the following particulars respecting it.</p> +shield<a id="FNanchor_VIII._8"></a><a href="#Footnote_VIII._8" class="fnanchor">[i8]</a>, and have related the following particulars respecting it.</p> <p>One of Pietro’s neighbours meeting him one day at Florence, told him he had been making a shield, and would be glad of his assistance to get it @@ -3690,7 +3685,7 @@ that was done, he began to consider with what subject he should paint it. For this purpose he got together, in his apartment, a collection of live animals, such as lizards, crickets, serpents, silk-worms, locusts, bats, and other creatures of that kind, from the multitude of which, -variously<span class="pagenum"><a name="Page_xvii" id="Page_xvii">[Pg xvii]</a> +variously<span class="pagenum"><a id="Page_xvii">[Pg xvii]</a> </span> adapted to each other, he formed an horrible and terrific animal, emitting fire and poison from his jaws, flames from his eyes, and smoke from his nostrils; and with so great earnestness did Leonardo @@ -3710,22 +3705,22 @@ then produced, he found he had attained the object at which he aimed. Pietro, however, had too much sagacity not to see that this was by much too great a curiosity for a mere countryman, who would never be sensible of its value; he therefore privately bought for his friend an ordinary<span class="pagenum"> -<a name="Page_xviii" id="Page_xviii">[Pg xviii]</a></span> +<a id="Page_xviii">[Pg xviii]</a></span> shield, rudely painted with the device of an heart with an arrow through it, and sold this for an hundred ducats to some merchants at Florence, -by whom it was again sold for three hundred to the Duke of Milan<a name="FNanchor_IX._9" id="FNanchor_IX._9"></a><a href="#Footnote_IX._9" class="fnanchor">[i9]</a>.</p> +by whom it was again sold for three hundred to the Duke of Milan<a id="FNanchor_IX._9"></a><a href="#Footnote_IX._9" class="fnanchor">[i9]</a>.</p> <p>He afterwards painted a picture of the Virgin Mary, and by her side a vessel of water, in which were flowers: in this he so contrived it, as that the light reflected from the flowers threw a pale redness on the water. This picture was at one time in the possession of Pope Clement -the Seventh<a name="FNanchor_X._10" id="FNanchor_X._10"></a><a href="#Footnote_X._10" class="fnanchor">[i10]</a>.</p> +the Seventh<a id="FNanchor_X._10"></a><a href="#Footnote_X._10" class="fnanchor">[i10]</a>.</p> <p>For his friend Antonio Segni he also made a design, representing Neptune in his car, drawn by sea-horses, and attended by tritons and sea-gods; the heavens overspread with clouds, which were driven in all directions by the violence of the winds; the waves appeared to be rolling, and the -whole ocean seemed in an uproar<a name="FNanchor_XI._11" id="FNanchor_XI._11"></a><a href="#Footnote_XI._11" class="fnanchor">[i11]</a>. This drawing was afterwards given +whole ocean seemed in an uproar<a id="FNanchor_XI._11"></a><a href="#Footnote_XI._11" class="fnanchor">[i11]</a>. This drawing was afterwards given by Fabio the son of Antonio Segni, to Giovanni Gaddi, a great collector of drawings, with this epigram:</p> @@ -3735,13 +3730,12 @@ of drawings, with this epigram:</p> <div class="verse">Pinxit Virgilius Neptunum, pinxit Homerus,</div> <div class="verse indent1">Dum maris undisoni per vada flectit equos.</div> <div class="verse">Mente quidem vates illum conspexit uterque,</div> - <div class="verse">Vincius est oculis, jureque vincit eos<a name="FNanchor_XII._12" - id="FNanchor_XII._12"></a><a href="#Footnote_XII._12" class="fnanchor">[i12]</a>.</div> + <div class="verse">Vincius est oculis, jureque vincit eos<a id="FNanchor_XII._12"></a><a href="#Footnote_XII._12" class="fnanchor">[i12]</a>.</div> </div> </div> </div> -<p><span class="pagenum"><a name="Page_xix" id="Page_xix">[Pg xix]</a></span></p> +<p><span class="pagenum"><a id="Page_xix">[Pg xix]</a></span></p> <p>In English thus:</p> @@ -3751,8 +3745,7 @@ of drawings, with this epigram:</p> <div class="verse">Virgil and Homer, when they Neptune shew’d,</div> <div class="verse indent1">As he through boist’rous seas his steeds compell’d,</div> <div class="verse">In the mind’s eye alone his figure view’d;</div> - <div class="verse indent1">But Vinci <i>saw</i> him, and has both excell’d<a name="FNanchor_XIII._13" - id="FNanchor_XIII._13"></a><a href="#Footnote_XIII._13" class="fnanchor">[i13]</a>.</div> + <div class="verse indent1">But Vinci <i>saw</i> him, and has both excell’d<a id="FNanchor_XIII._13"></a><a href="#Footnote_XIII._13" class="fnanchor">[i13]</a>.</div> </div> </div> </div> @@ -3762,7 +3755,7 @@ horsemen engaged in fight, and struggling to tear a flag from each other: rage and fury are in this admirably expressed in the countenances of the two combatants; their air appears wild, and the drapery is thrown into an unusual though agreeable disorder. A Medusa’s head, and a -picture of the Adoration of the Magi<a name="FNanchor_XIV._14" id="FNanchor_XIV._14"></a><a href="#Footnote_XIV._14" class="fnanchor">[i14]</a>. In this last there are some +picture of the Adoration of the Magi<a id="FNanchor_XIV._14"></a><a href="#Footnote_XIV._14" class="fnanchor">[i14]</a>. In this last there are some fine heads, but both this and the Medusa’s head are said by Du Fresne to have been evidently unfinished.</p> @@ -3771,13 +3764,13 @@ contented solely with the practical part of his art; nor could it submit to receive as principles, conclusions, though confirmed by experience, without first tracing them to their source, and investigating their causes, and the several circumstances on which they depended.<span class="pagenum"> -<a name="Page_xx" id="Page_xx">[Pg xx]</a></span> For this +<a id="Page_xx">[Pg xx]</a></span> For this purpose he determined to engage in a deep examination into the theory of his art; and the better to effect his intention, he resolved to call in to his aid the assistance of all such other branches of science as could in any degree promote this grand object.</p> -<p>Vasari has related<a name="FNanchor_XV._15" id="FNanchor_XV._15"></a><a href="#Footnote_XV._15" class="fnanchor">[i15]</a>, that at a very early age he had, in the short +<p>Vasari has related<a id="FNanchor_XV._15"></a><a href="#Footnote_XV._15" class="fnanchor">[i15]</a>, that at a very early age he had, in the short time of a few months only that he applied to it, obtained a deep knowledge of arithmetic; and says, that in literature in general, he would have made great attainments, if he had not been too versatile @@ -3791,9 +3784,9 @@ youth he modelled in clay some heads of women laughing, and also some boys’ heads, which appeared to have come from the hand of a master. In architecture, he made many plans and designs for buildings, and, while he was yet young, proposed conveying<span class="pagenum"> -<a name="Page_xxi" id="Page_xxi">[Pg xxi]</a></span> the river Arno into the canal -at Pisa<a name="FNanchor_XVI._16" id="FNanchor_XVI._16"></a><a href="#Footnote_XVI._16" class="fnanchor">[i16]</a>. Of his skill in poetry the reader may judge from the -following sonnet preserved by Lomazzo<a name="FNanchor_XVII._17" id="FNanchor_XVII._17"></a><a href="#Footnote_XVII._17" class="fnanchor">[i17]</a>, the only one now existing +<a id="Page_xxi">[Pg xxi]</a></span> the river Arno into the canal +at Pisa<a id="FNanchor_XVI._16"></a><a href="#Footnote_XVI._16" class="fnanchor">[i16]</a>. Of his skill in poetry the reader may judge from the +following sonnet preserved by Lomazzo<a id="FNanchor_XVII._17"></a><a href="#Footnote_XVII._17" class="fnanchor">[i17]</a>, the only one now existing of his composition; and for the translation with which it is accompanied we are indebted to a lady.</p> @@ -3827,11 +3820,11 @@ we are indebted to a lady.</p> </div> </div> -<p><span class="pagenum"><a name="Page_xxii" id="Page_xxii">[Pg xxii]</a></span></p> +<p><span class="pagenum"><a id="Page_xxii">[Pg xxii]</a></span></p> <div class="container-center"> -<p class="center top2"><span class="smaller">TRANSLATION.</span><br /> +<p class="center top2"><span class="smaller">TRANSLATION.</span><br > A MORAL SONNET.</p> <div class="container-left"> @@ -3868,15 +3861,15 @@ found perhaps almost more than could be successfully accomplished; but yet his curiosity and unbounded thirst for information, induced him rather to enlarge than contract his plan. Accordingly we find, that to the study of geometry, sculpture, anatomy, he added those -of<span class="pagenum"><a name="Page_xxiii" id="Page_xxiii">[Pg xxiii]</a></span> architecture, mechanics, optics, hydrostatics, astronomy, and -Nature in general, in all her operations<a name="FNanchor_XVIII._18" id="FNanchor_XVIII._18"></a><a href="#Footnote_XVIII._18" class="fnanchor">[i18]</a>; and the result of +of<span class="pagenum"><a id="Page_xxiii">[Pg xxiii]</a></span> architecture, mechanics, optics, hydrostatics, astronomy, and +Nature in general, in all her operations<a id="FNanchor_XVIII._18"></a><a href="#Footnote_XVIII._18" class="fnanchor">[i18]</a>; and the result of his observations and experiments, which were intended not only for present use, but as the basis and foundation of future discoveries, he determined, as he proceeded, to commit to writing. At what time he began these his collections, of which we shall have occasion to speak more particularly hereafter, is no where mentioned; but it is with certainty known, that by the month of April 1490, he had already completely filled -two folio volumes<a name="FNanchor_XIX._19" id="FNanchor_XIX._19"></a><a href="#Footnote_XIX._19" class="fnanchor">[i19]</a>.</p> +two folio volumes<a id="FNanchor_XIX._19"></a><a href="#Footnote_XIX._19" class="fnanchor">[i19]</a>.</p> <p>Notwithstanding Leonardo’s propensity and application to study, he was not inattentive to the graces of external accomplishments; he was very @@ -3886,10 +3879,10 @@ appearing in public well mounted and handsomely accoutred. He possessed great dexterity in the use of arms: for mien and grace he might contend with any gentleman of his time: his person was remarkably handsome, his behaviour so perfectly polite, and his conversation so charming, that -his company was coveted by<span class="pagenum"><a name="Page_xxiv" id="Page_xxiv">[Pg xxiv]</a> +his company was coveted by<span class="pagenum"><a id="Page_xxiv">[Pg xxiv]</a> </span> all who knew him; but the avocations to which this last circumstance subjected him, are one reason why so many -of his works remain unfinished<a name="FNanchor_XX._20" id="FNanchor_XX._20"></a> +of his works remain unfinished<a id="FNanchor_XX._20"></a> <a href="#Footnote_XX._20" class="fnanchor">[i20]</a>.</p> <p>With such advantages of mind and body as these, it was no wonder that @@ -3898,32 +3891,29 @@ Italy. The painting of the shield before mentioned, had already, as has been noticed, come into the possession of the Duke of Milan; and the subsequent accounts which he had from time to time heard of Leonardo’s abilities and talents, induced Lodovic Sforza, surnamed the Moor, then -Duke of Milan, about, or a little before the year 1489<a name="FNanchor_XXI._21" -id="FNanchor_XXI._21"></a><a href="#Footnote_XXI._21" class="fnanchor">[i21]</a>, to invite +Duke of Milan, about, or a little before the year 1489<a id="FNanchor_XXI._21"></a><a href="#Footnote_XXI._21" class="fnanchor">[i21]</a>, to invite him to his court, and to settle on him a pension of five hundred crowns, -a considerable sum at that time<a name="FNanchor_XXII._22" id="FNanchor_XXII._22"> +a considerable sum at that time<a id="FNanchor_XXII._22"> </a><a href="#Footnote_XXII._22" class="fnanchor">[i22]</a>.</p> -<p>Various are the reasons assigned for this invitation: Vasari<a name="FNanchor_XXIII._23" -id="FNanchor_XXIII._23"></a><a href="#Footnote_XXIII._23" class="fnanchor">[i23]</a> +<p>Various are the reasons assigned for this invitation: Vasari<a id="FNanchor_XXIII._23"></a><a href="#Footnote_XXIII._23" class="fnanchor">[i23]</a> attributes it to his skill in music, a science of which the Duke is said to have been fond; others have ascribed it to a design which the Duke entertained of erecting a brazen statue to the memory of his -father<a name="FNanchor_XXIV._24" id="FNanchor_XXIV._24"></a> +father<a id="FNanchor_XXIV._24"></a> <a href="#Footnote_XXIV._24" class="fnanchor">[i24]</a>; but others conceive<span class="pagenum"> -<a name="Page_xxv" id="Page_xxv">[Pg xxv]</a></span> it originated from the circumstance, +<a id="Page_xxv">[Pg xxv]</a></span> it originated from the circumstance, that the Duke had not long before established at Milan an academy for the study of painting, sculpture, and architecture, and was desirous -that Leonardo should take the conduct and direction of it<a name="FNanchor_XXV._25" -id="FNanchor_XXV._25"></a><a href="#Footnote_XXV._25" class="fnanchor">[i25]</a>. The +that Leonardo should take the conduct and direction of it<a id="FNanchor_XXV._25"></a><a href="#Footnote_XXV._25" class="fnanchor">[i25]</a>. The second was, however, we find, the true motive; and we are further informed, that the invitation was accepted by Leonardo, that he went to -Milan, and was already there in 1489<a name="FNanchor_XXVI._26" id="FNanchor_XXVI._26"> +Milan, and was already there in 1489<a id="FNanchor_XXVI._26"> </a><a href="#Footnote_XXVI._26" class="fnanchor">[i26]</a>.</p> <p>Among the collections of Leonardo still existing in manuscript, is a copy of a memorial presented by him to the Duke about 1490, of which -Venturi has given an abridgment<a name="FNanchor_XXVII._27" id="FNanchor_XXVII._27"></a> +Venturi has given an abridgment<a id="FNanchor_XXVII._27"></a> <a href="#Footnote_XXVII._27" class="fnanchor">[i27]</a>. In it he offers to make for the Duke military bridges, which should be at the same time light and very solid, and to teach him the method of placing and defending them @@ -3931,7 +3921,7 @@ with security. When the object is to take any place, he can, he says, empty the ditch of its water; he knows, he adds, the art of constructing a subterraneous gallery under the ditches themselves, and of carrying it to the very spot that shall be wanted. If the fort is not built -on a rock, he undertakes<span class="pagenum"><a name="Page_xxvi" id="Page_xxvi">[Pg xxvi]</a> +on a rock, he undertakes<span class="pagenum"><a id="Page_xxvi">[Pg xxvi]</a> </span> to throw it down, and mentions that he has new contrivances for bombarding machines, ordnance, and mortars, some adapted to throw hail shot, fire, and smoke, among the enemy; and @@ -3952,19 +3942,18 @@ for painting, sculpture, and architecture; it is probable, therefore, that at this time there was no such intention, though it is certainly true, that he was afterwards placed at the head of it, and that he banished from it the barbarous style of architecture which till then had -prevailed in it, and introduced<span class="pagenum"><a name="Page_xxvii" -id="Page_xxvii">[Pg xxvii]</a></span> in its stead a more pure and classical +prevailed in it, and introduced<span class="pagenum"><a id="Page_xxvii">[Pg xxvii]</a></span> in its stead a more pure and classical taste. Whatever was the fact with respect to the academy, it is however well known that the statue was cast in bronze, finished, and put up at Milan, but afterwards demolished by the French when they took possession -of that place<a name="FNanchor_XXVIII._28" id="FNanchor_XXVIII._28"></a> +of that place<a id="FNanchor_XXVIII._28"></a> <a href="#Footnote_XXVIII._28" class="fnanchor">[i28]</a> after the defeat of Lodovic Sforza.</p> <p>Some time after Leonardo’s arrival at Milan, a design had been entertained of cutting a canal from Martesana to Milan, for the purpose of opening a communication by water between these two places, and, as it is said, of supplying the last with water. It had been first thought -of so early as 1457<a name="FNanchor_XXIX._29" id="FNanchor_XXIX._29"></a> +of so early as 1457<a id="FNanchor_XXIX._29"></a> <a href="#Footnote_XXIX._29" class="fnanchor">[i29]</a>; but from the difficulties to be expected in its execution, it seems to have been laid aside, or at least to have proceeded slowly, till Leonardo’s arrival. His offers of service @@ -3974,9 +3963,9 @@ find the plan was determined on, and the execution of it intrusted to Leonardo. The object was noble, but the difficulties to be encountered were sufficient to have discouraged any mind but Leonardo’s; for the distance was no less than two hundred miles; and before it could be -completed,<span class="pagenum"><a name="Page_xxviii" id="Page_xxviii">[Pg xxviii]</a> +completed,<span class="pagenum"><a id="Page_xxviii">[Pg xxviii]</a> </span> hills were to be levelled, and vallies filled up, to render -them navigable with security<a name="FNanchor_XXX._30" id="FNanchor_XXX._30"></a> +them navigable with security<a id="FNanchor_XXX._30"></a> <a href="#Footnote_XXX._30" class="fnanchor">[i30]</a>.</p> <p>In order to enable him to surmount the obstacles with which he foresaw @@ -3989,7 +3978,7 @@ at all further his design; still continuing the method he had before adopted, of entering down in writing promiscuously, whatever he wished to implant in his memory: and at this place, in this and his subsequent visits from time to time, he is supposed to have made the greater part -of the collections he has left behind him<a name="FNanchor_XXXI._31" id="FNanchor_XXXI._31"></a> +of the collections he has left behind him<a id="FNanchor_XXXI._31"></a> <a href="#Footnote_XXXI._31" class="fnanchor">[i31]</a>, of the contents of which we shall hereafter speak more at large.</p> @@ -3997,7 +3986,7 @@ which we shall hereafter speak more at large.</p> studies so extensive, the mind of Leonardo does not appear to have been so wholly occupied or absorbed in them as to incapacitate him from attending at the same time to other objects also; and the Duke -therefore being<span class="pagenum"><a name="Page_xxix" id="Page_xxix">[Pg xxix]</a> +therefore being<span class="pagenum"><a id="Page_xxix">[Pg xxix]</a> </span> desirous of ornamenting Milan with some specimens of his skill as a painter, employed him to paint in the refectory of the Dominican convent of Santa Maria delle Gratie, in that city, a picture, @@ -4017,7 +4006,7 @@ he now thought fit to plead in his excuse to the Duke, to convince him that a painter did not labour solely with his hands, but that his mind might be deeply studying his subject, when his hands were unemployed, and he in appearance perfectly idle. In proof of this, he told the -Duke<span class="pagenum"><a name="Page_xxx" id="Page_xxx">[Pg xxx]</a> +Duke<span class="pagenum"><a id="Page_xxx">[Pg xxx]</a> </span> that nothing remained to the completion of the picture but the heads of our Saviour and Judas; that as to the former, he had not yet been able to find a fit model to express its divinity, and found his @@ -4028,25 +4017,24 @@ convey an idea of his character; but that this difficulty was now at length removed, since he had nothing to do but to introduce the head of the Prior, whose ingratitude for the pains he was taking, rendered him a fit archetype of the perfidy and ingratitude he wished to express. Some -persons have said<a name="FNanchor_XXXII._32" id="FNanchor_XXXII._32"></a> +persons have said<a id="FNanchor_XXXII._32"></a> <a href="#Footnote_XXXII._32" class="fnanchor">[i32]</a>, that the head of Judas in the picture was actually copied from that of the Prior; but Mariette denies it, and says -this reply was merely intended as a threat<a name="FNanchor_XXXIII._33" -id="FNanchor_XXXIII._33"></a><a href="#Footnote_XXXIII._33" class="fnanchor">[i33]</a>.</p> +this reply was merely intended as a threat<a id="FNanchor_XXXIII._33"></a><a href="#Footnote_XXXIII._33" class="fnanchor">[i33]</a>.</p> <p>A difference of opinion has also prevailed concerning the head of our Saviour in this picture; for some have conceived it left intentionally -unfinished<a name="FNanchor_XXXIV._34" id="FNanchor_XXXIV._34"></a> +unfinished<a id="FNanchor_XXXIV._34"></a> <a href="#Footnote_XXXIV._34" class="fnanchor">[i34]</a>, while others -think there is a<span class="pagenum"> <a name="Page_xxxi" id="Page_xxxi">[Pg xxxi]</a> +think there is a<span class="pagenum"> <a id="Page_xxxi">[Pg xxxi]</a> </span> gradation of resemblance, which increasing in beauty in St. John and our Saviour, shews in the dignified countenance of the latter a spark of his divine majesty. In the countenance of the Redeemer, say these last, and in that of Judas, is excellently expressed the extreme idea of God made man, and of the most perfidious of mortals. This is also pursued in the -characters nearest to each of them<a name="FNanchor_XXXV._35" id="FNanchor_XXXV._35"> +characters nearest to each of them<a id="FNanchor_XXXV._35"> </a><a href="#Footnote_XXXV._35" class="fnanchor">[i35]</a>.</p> <p>Little judgment can now be formed of the original beauty of this @@ -4054,15 +4042,13 @@ picture, which has been, and apparently with very good reason, highly commended. Unfortunately, though it is said to have been in oil, the wall on which it was painted not having been properly prepared, the original colours have been so effectually defaced by the damp, as to -be no longer visible<a name="FNanchor_XXXVI._36" id="FNanchor_XXXVI._36"></a><a href="#Footnote_XXXVI._36" class="fnanchor">[i36]</a>; and the fathers, for whose use it was +be no longer visible<a id="FNanchor_XXXVI._36"></a><a href="#Footnote_XXXVI._36" class="fnanchor">[i36]</a>; and the fathers, for whose use it was painted, thinking it entirely destroyed, and some years since wishing to heighten and widen a door under it, leading out of their refectory, have given a decided proof of their own want of taste, and how little they were sensible of its value, by permitting the workmen to break through the wall on which it was painted, and, by so doing, entirely to -destroy the lower part of<span class="pagenum"><a name="Page_xxxii" -id="Page_xxxii">[Pg xxxii]</a></span> the picture<a name="FNanchor_XXXVII._37" -id="FNanchor_XXXVII._37"></a><a href="#Footnote_XXXVII._37" class="fnanchor">[i37]</a>. +destroy the lower part of<span class="pagenum"><a id="Page_xxxii">[Pg xxxii]</a></span> the picture<a id="FNanchor_XXXVII._37"></a><a href="#Footnote_XXXVII._37" class="fnanchor">[i37]</a>. The injury done by the damp to the colouring has been, it is true, in some measure repaired by Michael Angelo Bellotti, a painter of Milan, who viewing the picture @@ -4071,7 +4057,7 @@ of a secret which he possessed, the original colours. His proposition being accepted, and the experiment succeeding beyond their hopes, the convent made him a present of five hundred pounds for his labour, and he in return communicated to them the secret by which it had been -effected<a name="FNanchor_XXXVIII._38" id="FNanchor_XXXVIII._38"></a> +effected<a id="FNanchor_XXXVIII._38"></a> <a href="#Footnote_XXXVIII._38" class="fnanchor">[i38]</a>.</p> <p>Deprived, as they certainly are by these events, of the means of judging @@ -4079,12 +4065,12 @@ accurately of the merit of the original, it is still some consolation to the lovers of painting, that several copies of it made by Leonardo’s scholars, many of whom were very able artists, and at a time when the picture had not been yet injured, are still in existence.<span class="pagenum"> -<a name="Page_xxxiii" id="Page_xxxiii">[Pg xxxiii]</a></span> A list of +<a id="Page_xxxiii">[Pg xxxiii]</a></span> A list of these copies is given by P. M. Guglielmo della Valle, in his edition of Vasari’s Lives of the Painters, in Italian, vol. v. p. 34, and from -him it is here inserted in the note<a name="FNanchor_XXXIX._39" id="FNanchor_XXXIX._39"> +him it is here inserted in the note<a id="FNanchor_XXXIX._39"> </a><a href="#Footnote_XXXIX._39" class="fnanchor">[i39]</a>. Francis the<span class="pagenum"> -<a name="Page_xxxiv" id="Page_xxxiv">[Pg xxxiv]</a></span> First was so +<a id="Page_xxxiv">[Pg xxxiv]</a></span> First was so charmed on viewing the original, that not being able to remove it, he had a copy made, which is now, or was some years since, at St. Germains, and several prints have been published from it; but the best which has @@ -4092,14 +4078,14 @@ yet appeared (and very fine it is) is one not long since engraven by Morghen, at Rome, impressions of which have found their way into this country, and been sold, it is said, for ten or twelve guineas each.</p> -<p><span class="pagenum"><a name="Page_xxxv" id="Page_xxxv">[Pg xxxv]</a></span></p> +<p><span class="pagenum"><a id="Page_xxxv">[Pg xxxv]</a></span></p> <p>In the same refectory of the Dominicans at Milan is, or was, also preserved a painting by Leonardo, representing Duke Lodovic, and Beatrix -his duchess, on their knees; done no doubt about this time<a name="FNanchor_XL._40" id="FNanchor_XL._40"></a><a href="#Footnote_XL._40" class="fnanchor">[i40]</a>. And at +his duchess, on their knees; done no doubt about this time<a id="FNanchor_XL._40"></a><a href="#Footnote_XL._40" class="fnanchor">[i40]</a>. And at or near this period, he also painted for the Duke the Nativity, which was formerly, and may perhaps be still, in the Emperor of Germany’s -collection<a name="FNanchor_XLI._41" id="FNanchor_XLI._41"></a><a href="#Footnote_XLI._41" class="fnanchor">[i41]</a>.</p> +collection<a id="FNanchor_XLI._41"></a><a href="#Footnote_XLI._41" class="fnanchor">[i41]</a>.</p> <p>As Leonardo’s principal aim, whenever he was left at liberty to pursue the bent of his own inclination, seems to have been progressive @@ -4109,12 +4095,12 @@ perceiving, that without a thorough acquaintance with anatomy, a painter could effect but little, he was particularly desirous of extending his knowledge in that branch. For that purpose he had frequent conferences on the subject with Marc Antonio della Torre, professor of anatomy at -Pavia<a name="FNanchor_XLII._42" id="FNanchor_XLII._42"></a><a href="#Footnote_XLII._42" class="fnanchor">[i42]</a>, and not only was present at many dissections performed +Pavia<a id="FNanchor_XLII._42"></a><a href="#Footnote_XLII._42" class="fnanchor">[i42]</a>, and not only was present at many dissections performed by him, but made abundance of anatomical drawings from Nature, many of which were afterwards collected into a volume by his scholar Francisco -Melzi<a name="FNanchor_XLIII._43" id="FNanchor_XLIII._43"></a><a href="#Footnote_XLIII._43" class="fnanchor">[i43]</a>.</p> +Melzi<a id="FNanchor_XLIII._43"></a><a href="#Footnote_XLIII._43" class="fnanchor">[i43]</a>.</p> -<p><span class="pagenum"><a name="Page_xxxvi" id="Page_xxxvi">[Pg xxxvi]</a></span></p> +<p><span class="pagenum"><a id="Page_xxxvi">[Pg xxxvi]</a></span></p> <p>Such perseverance and assiduity as Leonardo’s, united as they were with such uncommon powers as his, had already formed many artists at @@ -4132,16 +4118,16 @@ engaged in a war with the French for the possession of his dukedom; which not only endangered the academy, but ultimately deprived him both of his dominions and his liberty; as the Duke was, in 1500, completely defeated, taken prisoner, and carried into France, where, in 1510, he -died a prisoner in the castle of Loches<a name="FNanchor_XLIV._44" id="FNanchor_XLIV._44"></a><a href="#Footnote_XLIV._44" class="fnanchor">[i44]</a>.</p> +died a prisoner in the castle of Loches<a id="FNanchor_XLIV._44"></a><a href="#Footnote_XLIV._44" class="fnanchor">[i44]</a>.</p> -<p><span class="pagenum"><a name="Page_xxxvii" id="Page_xxxvii">[Pg xxxvii]</a></span></p> +<p><span class="pagenum"><a id="Page_xxxvii">[Pg xxxvii]</a></span></p> <p>By this event of the Duke’s defeat, and the consequent ruin of the Sforza family, all further progress in the canal of Martesana, of which -much still remained to be done<a name="FNanchor_XLV._45" id="FNanchor_XLV._45"></a><a href="#Footnote_XLV._45" class="fnanchor">[i45]</a>, was put a stop to; the academy +much still remained to be done<a id="FNanchor_XLV._45"></a><a href="#Footnote_XLV._45" class="fnanchor">[i45]</a>, was put a stop to; the academy of architecture and painting was entirely broken up; the professors were turned adrift, and the arts banished from Milan, which at one -time had promised to have been their refuge and principal feat<a name="FNanchor_XLVI._46" id="FNanchor_XLVI._46"></a><a href="#Footnote_XLVI._46" class="fnanchor">[i46]</a>. +time had promised to have been their refuge and principal feat<a id="FNanchor_XLVI._46"></a><a href="#Footnote_XLVI._46" class="fnanchor">[i46]</a>. Italy in general was, it is true, a gainer by the dispersion of so many able and deeply instructed artists as issued from this school, though Milan suffered; for nothing could so much tend to the dissemination @@ -4151,9 +4137,9 @@ from each other, we find painters, carvers, architects, founders, and engravers in crystal and precious stones, and the names of the following have been given, as the principal: Cesare da Sesto, Andrea Salaino, Gio. Antonio Boltraffio, Bernardino Lovino, Bartolommeo della Porta, Lorenzo -Lotto<a name="FNanchor_XLVII._47" id="FNanchor_XLVII._47"></a><a href="#Footnote_XLVII._47" class="fnanchor">[i47]</a>. To these has been added Gio. Paolo Lomazzo; but Della +Lotto<a id="FNanchor_XLVII._47"></a><a href="#Footnote_XLVII._47" class="fnanchor">[i47]</a>. To these has been added Gio. Paolo Lomazzo; but Della Valle, in a note in his edition of Vasari, vol. v. p.<span class="pagenum"> -<a name="Page_xxxviii" id="Page_xxxviii">[Pg xxxviii]</a></span> 34, says this +<a id="Page_xxxviii">[Pg xxxviii]</a></span> 34, says this last was a disciple of Gio. Battista della Cerva, and not of Leonardo. Du Fresne mentions besides the above, Francis Melzi, Mark Uggioni Gobbo, an extraordinary painter and carver; Annibal Fontana, a worker in marble @@ -4168,21 +4154,20 @@ it consisted of a machine representing a lion, whose inside was so well constructed of clockwork, that it marched out to meet the King, made a stand when it came before him, reared up on its hinder legs, and opening its breast, presented an escutcheon with fleurs de lis quartered on -it<a name="FNanchor_XLVIII._48" id="FNanchor_XLVIII._48"></a> +it<a id="FNanchor_XLVIII._48"></a> <a href="#Footnote_XLVIII._48" class="fnanchor">[i48]</a>. Lomazzo has said that this machine was made for the entry of Francis the First; but he is mistaken, that prince having never been -at Milan till the year 1515<a name="FNanchor_XLIX._49" id="FNanchor_XLIX._49"> +at Milan till the year 1515<a id="FNanchor_XLIX._49"> </a><a href="#Footnote_XLIX._49" class="fnanchor">[i49]</a>, at which time Leonardo was at Rome.</p> <p>Compelled by the disorders of Lombardy, the<span class="pagenum"> -<a name="Page_xxxix" id="Page_xxxix">[Pg xxxix]</a></span> misfortunes of his patron, +<a id="Page_xxxix">[Pg xxxix]</a></span> misfortunes of his patron, and the ruin of the Sforza family, to quit Milan, Leonardo betook himself to Florence, and his inducements to this resolution seem to have been the residence there of the Medici family, the great patrons -of arts, and the good taste of its principal inhabitants<a name="FNanchor_L._50" -id="FNanchor_L._50"></a><a href="#Footnote_L._50" class="fnanchor">[i50]</a>, rather +of arts, and the good taste of its principal inhabitants<a id="FNanchor_L._50"></a><a href="#Footnote_L._50" class="fnanchor">[i50]</a>, rather than its vicinity to the place of his birth; for which, under the circumstances that attended that event, it is not probable he could entertain much, if any predilection. The first work which he here @@ -4193,12 +4178,10 @@ Leonardo very popular among his countrymen, to so great a degree, that numbers of people went to see it, it does not appear that any picture was painted from it, nor that the undertaking ever proceeded farther than a sketch of a design, or rather, perhaps, a finished drawing. When -Leonardo some years afterwards went into France<a name="FNanchor_LI._51" -id="FNanchor_LI._51"></a><a href="#Footnote_LI._51" class="fnanchor">[i51]</a>, Francis the First +Leonardo some years afterwards went into France<a id="FNanchor_LI._51"></a><a href="#Footnote_LI._51" class="fnanchor">[i51]</a>, Francis the First was desirous of having a picture from this drawing, and at his desire he then put it into colours; but whether even this last was a regular -picture, or, which is more proba<span class="pagenum"><a name="Page_xl" -id="Page_xl">[Pg xl]</a></span>ble, only a coloured drawing, we are +picture, or, which is more proba<span class="pagenum"><a id="Page_xl">[Pg xl]</a></span>ble, only a coloured drawing, we are not informed.</p> <p>The picture, however, on which he bestowed the most time and labour, @@ -4209,7 +4192,7 @@ Florentine lady, the wife of Francisco del Giocondo. It was painted for her husband, afterwards purchased by Francis the First, and was till lately to be seen in the King of France’s cabinet. Leonardo bestowed four entire years upon it, and after all is said to have left it -unfinished<a name="FNanchor_LII._52" id="FNanchor_LII._52"></a><a href="#Footnote_LII._52" class="fnanchor">[i52]</a>.</p> +unfinished<a id="FNanchor_LII._52"></a><a href="#Footnote_LII._52" class="fnanchor">[i52]</a>.</p> <p>This has been so repeatedly said of the works of this painter, that we are here induced to inquire into the evidence of the fact. An artist @@ -4219,7 +4202,7 @@ always fall, will naturally be led to consider these as but very faint expressions of his own conceptions. Leonardo’s disposition to think nothing effected while any thing remained to be done, and a mind like his, continually suggesting successive<span class="pagenum"> -<a name="Page_xli" id="Page_xli">[Pg xli]</a></span> improvements, might +<a id="Page_xli">[Pg xli]</a></span> improvements, might therefore, and most probably did produce in him an opinion that his own most laboured pieces were far from being finished to that extent of beauty which he wished to give them; and these sentiments of them @@ -4231,30 +4214,28 @@ drawing, character, expression, and colouring.</p> <p>About the same time with this of la Gioconda, he painted the portraits of a nobleman of Mantua, and of la Ginevra, a daughter of Americus -Benci<a name="FNanchor_LIII._53" id="FNanchor_LIII._53"></a><a href="#Footnote_LIII._53" +Benci<a id="FNanchor_LIII._53"></a><a href="#Footnote_LIII._53" class="fnanchor">[i53]</a>, much celebrated for her beauty; and is said to have -finished a picture of Flora some years since remaining at Paris<a name="FNanchor_LIV._54" -id="FNanchor_LIV._54"></a><a href="#Footnote_LIV._54" class="fnanchor">[i54]</a>; +finished a picture of Flora some years since remaining at Paris<a id="FNanchor_LIV._54"></a><a href="#Footnote_LIV._54" class="fnanchor">[i54]</a>; but this last Mariette discovered to be the work of Melzio, from the circumstance of finding, on a close inspection, the name of this last -master written on it<a name="FNanchor_LV._55" id="FNanchor_LV._55"></a><a href="#Footnote_LV._55" +master written on it<a id="FNanchor_LV._55"></a><a href="#Footnote_LV._55" class="fnanchor">[i55]</a>.</p> <p>In the year 1503, he was elected by the Florentines to paint their council-chamber. The subject he chose for this, was the battle against -Attila<a name="FNanchor_LVI._56" id="FNanchor_LVI._56"></a> +Attila<a id="FNanchor_LVI._56"></a> <a href="#Footnote_LVI._56" class="fnanchor">[i56]</a>; and he had already made -some progress<span class="pagenum"> <a name="Page_xlii" id="Page_xlii">[Pg xlii]</a> +some progress<span class="pagenum"> <a id="Page_xlii">[Pg xlii]</a> </span> in his work, when, to his great mortification, he found his colours peel from the -wall<a name="FNanchor_LVII._57" id="FNanchor_LVII._57"></a><a href="#Footnote_LVII._57" +wall<a id="FNanchor_LVII._57"></a><a href="#Footnote_LVII._57" class="fnanchor">[i57]</a>.</p> <p>With Leonardo was joined in this undertaking, Michael Angelo, who painted another side of the room, and who, then a young man of not more than twenty-nine, had risen to such reputation, as not to fear a -competition with Leonardo, a man of near sixty<a name="FNanchor_LVIII._58" -id="FNanchor_LVIII._58"></a><a href="#Footnote_LVIII._58" +competition with Leonardo, a man of near sixty<a id="FNanchor_LVIII._58"></a><a href="#Footnote_LVIII._58" class="fnanchor">[i58]</a>. The productions of two such able masters placed in the same room, begun at the same time, and proceeding gradually step by step together, afforded, no @@ -4269,9 +4250,9 @@ the one thinking they did not sufficiently value the merit of their favourite if they allowed any to his antagonist, or did not, on the contrary, endeavour to crush by detraction the too formidable reputation of his adversary. From this conduct was produced<span class="pagenum"> -<a name="Page_xliii" id="Page_xliii">[Pg xliii]</a></span> what might easily have +<a id="Page_xliii">[Pg xliii]</a></span> what might easily have been foreseen; they first became jealous rivals, and at length open and -inveterate enemies<a name="FNanchor_LIX._59" id="FNanchor_LIX._59"></a> +inveterate enemies<a id="FNanchor_LIX._59"></a> <a href="#Footnote_LIX._59" class="fnanchor">[i59]</a>.</p> <p>Leonardo’s reputation, which had been for many years gradually @@ -4280,51 +4261,49 @@ looked up to as being, what he really was, the reviver and restorer of the art of painting; and to such an height had the curiosity to view his works been excited, that Raphael, who was at that time young, and studying, thought it worth his while to make a journey to Florence in -the month of October 1504<a name="FNanchor_LX._60" id="FNanchor_LX._60"></a> +the month of October 1504<a id="FNanchor_LX._60"></a> <a href="#Footnote_LX._60" class="fnanchor">[i60]</a>, on purpose to see them. Nor was his labour lost, or his time thrown away in so doing; for on first seeing the works of Leonardo’s pencil, he was induced to abandon the dry and hard manner of his master Perugino’s colouring, and to adopt in its -stead the style of Leonardo<a name="FNanchor_LXI._61" id="FNanchor_LXI._61"></a> +stead the style of Leonardo<a id="FNanchor_LXI._61"></a> <a href="#Footnote_LXI._61" class="fnanchor">[i61]</a>, to which circumstance is owing no small portion of that esteem in the art, to which Raphael afterwards very justly arrived.</p> -<p>His father having died in 1504<a name="FNanchor_LXII._62" id="FNanchor_LXII._62"></a> +<p>His father having died in 1504<a id="FNanchor_LXII._62"></a> <a href="#Footnote_LXII._62" class="fnanchor">[i62]</a>, he in consequence of that event became engaged with his half-brothers, the legitimate sons of Pietro da Vinci, in a law-suit for the recovery of a share of his father’s -property, which in a letter from<span class="pagenum"><a name="Page_xliv" -id="Page_xliv">[Pg xliv]</a></span> Florence to the Governor of Milan, the +property, which in a letter from<span class="pagenum"><a id="Page_xliv">[Pg xliv]</a></span> Florence to the Governor of Milan, the date of which does not appear, he speaks of having almost brought to a -conclusion<a name="FNanchor_LXIII._63" id="FNanchor_LXIII._63"></a> +conclusion<a id="FNanchor_LXIII._63"></a> <a href="#Footnote_LXIII._63" class="fnanchor">[i63]</a>. At Florence he -continued from 1503 to 1507<a name="FNanchor_LXIV._64" id="FNanchor_LXIV._64"></a> +continued from 1503 to 1507<a id="FNanchor_LXIV._64"></a> <a href="#Footnote_LXIV._64" class="fnanchor">[i64]</a>, and in the course of that time painted, among other pictures of less note, a Virgin and Child, once in the hands of the Botti family; and a -Baptist’s head, formerly in those of Camillo Albizzi<a name="FNanchor_LXV._65" -id="FNanchor_LXV._65"></a><a href="#Footnote_LXV._65" class="fnanchor">[i65]</a>; but in 1508, +Baptist’s head, formerly in those of Camillo Albizzi<a id="FNanchor_LXV._65"></a><a href="#Footnote_LXV._65" class="fnanchor">[i65]</a>; but in 1508, and the succeeding year, he was at Milan, where he received a pension -which had been granted him by Lewis XII.<a name="FNanchor_LXVI._66" id="FNanchor_LXVI._66"></a> +which had been granted him by Lewis XII.<a id="FNanchor_LXVI._66"></a> <a href="#Footnote_LXVI._66" class="fnanchor">[i66]</a>; and in the month of September 1513, he, in company with his scholar Francesco Melzi, quitted -Milan<a name="FNanchor_LXVII._67" id="FNanchor_LXVII._67"></a><a href="#Footnote_LXVII._67" +Milan<a id="FNanchor_LXVII._67"></a><a href="#Footnote_LXVII._67" class="fnanchor">[i67]</a>, and set out for Rome (which till that time he had never visited), encouraged perhaps to this resolution by the circumstance that his friend Cardinal John de Medicis, who was afterwards known by the assumed name of Leo X. had a few months before been advanced to the -papacy<a name="FNanchor_LXVIII._68" id="FNanchor_LXVIII._68"></a><a href="#Footnote_LXVIII._68" +papacy<a id="FNanchor_LXVIII._68"></a><a href="#Footnote_LXVIII._68" class="fnanchor">[i68]</a>. His known partiality to the arts, and the friendship which had subsisted between him and Leonardo, held out to the latter a well-founded expectation of employment for his pencil at Rome, and we find in this expectation he was not deceived; as, soon after his arrival, the Pope actually signified his intention of setting him to<span class="pagenum"> -<a name="Page_xlv" id="Page_xlv">[Pg xlv]</a></span> +<a id="Page_xlv">[Pg xlv]</a></span> work. Upon this Leonardo began distilling oils for his colours, and preparing varnishes, which the Pope hearing, said pertly and ignorantly enough, that he could expect nothing from a man who thought of finishing -his works before he had begun them<a name="FNanchor_LXIX._69" id="FNanchor_LXIX._69"></a> +his works before he had begun them<a id="FNanchor_LXIX._69"></a> <a href="#Footnote_LXIX._69" class="fnanchor">[i69]</a>. Had the Pope known, as he seems not to have done, that oil was the vehicle in which the colours were to have been worked, or been witness either to the almost @@ -4340,14 +4319,14 @@ such a mind as Leonardo’s, or produce, as we find it did, such a breach between the Pope and him, that the intended pictures, whatever they might have been, were never begun.</p> -<p><span class="pagenum"><a name="Page_xlvi" id="Page_xlvi">[Pg xlvi]</a></span></p> +<p><span class="pagenum"><a id="Page_xlvi">[Pg xlvi]</a></span></p> <p>Disgusted with his treatment at Rome, where the former antipathy between him and Michael Angelo was again revived by the partisans of each, he the next year quitted it; and accepting an invitation which had -been made him by Francis the First, he proceeded into France<a name="FNanchor_LXX._70" id="FNanchor_LXX._70"></a><a href="#Footnote_LXX._70" class="fnanchor">[i70]</a>. +been made him by Francis the First, he proceeded into France<a id="FNanchor_LXX._70"></a><a href="#Footnote_LXX._70" class="fnanchor">[i70]</a>. At the time of this journey he is said to have been seventy years -old<a name="FNanchor_LXXI._71" id="FNanchor_LXXI._71"></a><a href="#Footnote_LXXI._71" class="fnanchor">[i71]</a>, which cannot be correct, as he did not live to attain that +old<a id="FNanchor_LXXI._71"></a><a href="#Footnote_LXXI._71" class="fnanchor">[i71]</a>, which cannot be correct, as he did not live to attain that age in the whole. Probably the singularity of his appearance (for in his latter years he permitted his beard to grow long), together with the effect which his intense application to study had produced in his @@ -4360,8 +4339,7 @@ investigations.</p> <p>Although the King’s motive to this invitation, which seems to have been a wish to profit by the pencil of Leonardo, was completely disappointed by his ill state of health, which the fatigues of his journey and the -change of the climate produced,<span class="pagenum"><a name="Page_xlvii" -id="Page_xlvii">[Pg xlvii]</a></span> so that on his arrival in France no +change of the climate produced,<span class="pagenum"><a id="Page_xlvii">[Pg xlvii]</a></span> so that on his arrival in France no hopes could be entertained by the King of enriching his collection with any pictures by Leonardo; yet the French people in general, and the King in particular, are expressly said to have been as favourable to him as @@ -4379,8 +4357,7 @@ should be accompanied from the said place of Cloux to the said church, by the college of the said church, and the chaplains of St. Dennis of Amboise, and the friars minor of the said place; and that before his body is carried to the said church, it should remain three days in the -chamber in which he<span class="pagenum"><a name="Page_xlviii" -id="Page_xlviii">[Pg xlviii]</a></span> should die, or in some other; he further orders +chamber in which he<span class="pagenum"><a id="Page_xlviii">[Pg xlviii]</a></span> should die, or in some other; he further orders that three great masses and thirty lesser masses of St. Gregory, should be celebrated there, and a like service be performed in the church of St. Dennis, and in that of the said friars minor. He gives and bequeaths @@ -4397,18 +4374,18 @@ hundred crowns of the sum which he has in the hands of the chamberlain of Santa Maria Nuova, at Florence, should be given to his brethren residing at Florence, with the profit and emolument thereon. And lastly, he appoints the said Gia. Francesco de Meltio, whole and sole -executor<a name="FNanchor_LXXII._72" id="FNanchor_LXXII._72"></a><a href="#Footnote_LXXII._72" class="fnanchor">[i72]</a>.</p> +executor<a id="FNanchor_LXXII._72"></a><a href="#Footnote_LXXII._72" class="fnanchor">[i72]</a>.</p> -<p><span class="pagenum"><a name="Page_xlix" id="Page_xlix">[Pg xlix]</a></span></p> +<p><span class="pagenum"><a id="Page_xlix">[Pg xlix]</a></span></p> <p>This Will bears date, and appears to have been executed on the 23d of April 1518. He however survived the making of it more than a year; and -on the 23d of April 1519<a name="FNanchor_LXXIII._73" id="FNanchor_LXXIII._73"></a><a href="#Footnote_LXXIII._73" class="fnanchor">[i73]</a>, the day twelvemonth on which it had +on the 23d of April 1519<a id="FNanchor_LXXIII._73"></a><a href="#Footnote_LXXIII._73" class="fnanchor">[i73]</a>, the day twelvemonth on which it had been originally made, he, though it does not appear for what reason, re-executed it; and the next day added a codicil, by which he gave to his servant, Gio. Battista de Villanis, the right which had been granted him in return for his labours on the canal of Martesana, of exacting a -certain portion of all the wood transported on the Ticino<a name="FNanchor_LXXIV._74" id="FNanchor_LXXIV._74"></a><a href="#Footnote_LXXIV._74" class="fnanchor">[i74]</a>.</p> +certain portion of all the wood transported on the Ticino<a id="FNanchor_LXXIV._74"></a><a href="#Footnote_LXXIV._74" class="fnanchor">[i74]</a>.</p> <p>All this interval of time between the making and re-execution of his will, and indeed the whole period from his arrival in France, he seems @@ -4417,12 +4394,10 @@ during its continuance honoured him with visits; and it has been said, that in one of these Leonardo exerting himself beyond his strength, to shew his sense of this prince’s condescension, was seized with a fainting fit, and that the King stooping forward to support him, -Leonardo expired in his arms, on the 2d of May 1519<a name="FNanchor_LXXV._75" -id="FNanchor_LXXV._75"></a><a href="#Footnote_LXXV._75" class="fnanchor">[i75]</a>. Venturi has -taken some pains to disprove this fact, by shewing<a name="FNanchor_LXXVI._76" -id="FNanchor_LXXVI._76"></a><a href="#Footnote_LXXVI._76" +Leonardo expired in his arms, on the 2d of May 1519<a id="FNanchor_LXXV._75"></a><a href="#Footnote_LXXV._75" class="fnanchor">[i75]</a>. Venturi has +taken some pains to disprove this fact, by shewing<a id="FNanchor_LXXVI._76"></a><a href="#Footnote_LXXVI._76" class="fnanchor">[i76]</a>,<span class="pagenum"> -<a name="Page_l" id="Page_l">[Pg l]</a></span> that though +<a id="Page_l">[Pg l]</a></span> that though in the interval between the years 1516 and 1519, the French court passed eleven months at different times at Amboise; yet on the 1st of May 1519, it was certainly not here, but at St. Germains. History, however, @@ -4443,7 +4418,7 @@ account, however, at least for the present purpose, it is presumed has been given above of the Author, and the productions of his pencil, and it now remains therefore only to speak of those of his pen.</p> -<p><span class="pagenum"><a name="Page_li" id="Page_li">[Pg li]</a></span></p> +<p><span class="pagenum"><a id="Page_li">[Pg li]</a></span></p> <p>With what view the Author engaged in this arduous course of study, how eager he was in the pursuit of knowledge, how anxious to avail @@ -4462,9 +4437,9 @@ few years since removed from the Ambrosian library at Milan; and of one folio volume in manuscript also, in the possession of his Majesty the King of Great Britain. Of those at Paris, J. B. Venturi, Professor of Natural Philosophy at Modena, and of the Institute of Bologna, &c. -who was permitted to inspect them, says<a name="FNanchor_LXXVII._77" id="FNanchor_LXXVII._77"></a><a href="#Footnote_LXXVII._77" class="fnanchor">[i77]</a>, that “they contain +who was permitted to inspect them, says<a id="FNanchor_LXXVII._77"></a><a href="#Footnote_LXXVII._77" class="fnanchor">[i77]</a>, that “they contain speculations in those branches of natural philosophy<span class="pagenum"> -<a name="Page_lii" id="Page_lii">[Pg lii]</a></span> nearest allied to +<a id="Page_lii">[Pg lii]</a></span> nearest allied to geometry; that they are first sketches and occasional notes, the Author always intending afterwards to compose from them complete treatises.” He adds further, “that they are written backwards from right to left, @@ -4475,11 +4450,10 @@ in the connexion of the discourse, or the care of always generalizing his ideas. As to natural philosophy, he never was satisfied on any proposition if he had not proved it by experiment.” From the extracts given from these manuscripts by Venturi himself, and which he has ranged -under the different heads mentioned in the note<a name="FNanchor_LXXVIII._78" id="FNanchor_LXXVIII._78"></a><a href="#Footnote_LXXVIII._78" class="fnanchor">[i78]</a>, the contents +under the different heads mentioned in the note<a id="FNanchor_LXXVIII._78"></a><a href="#Footnote_LXXVIII._78" class="fnanchor">[i78]</a>, the contents of these volumes appear to be extremely miscellaneous; and it is evident, as Venturi has marked by references where each extract is to be -found in the original, that<span class="pagenum"><a name="Page_liii" -id="Page_liii">[Pg liii]</a></span> from the great distance at which passages +found in the original, that<span class="pagenum"><a id="Page_liii">[Pg liii]</a></span> from the great distance at which passages on the same subject are placed from each other, they must have been entered without any regard to method or arrangement of any kind whatever.</p> @@ -4494,19 +4468,18 @@ hydraulics, mechanics, and a great number of anatomical subjects, which are drawn with a more spirited pen, and illustrated with a variety of manuscript notes. This volume contains what is of more importance, the very characteristic head of Leonardo, as it was sketched by himself, and -now engraved by that eminent artist Mr. Bartolozzi<a name="FNanchor_LXXIX._79" -id="FNanchor_LXXIX._79"></a><a href="#Footnote_LXXIX._79" class="fnanchor">[i79]</a>.” Specimens +now engraved by that eminent artist Mr. Bartolozzi<a id="FNanchor_LXXIX._79"></a><a href="#Footnote_LXXIX._79" class="fnanchor">[i79]</a>.” Specimens from this volume have been published some years since by Mr. Dalton, and more recently and accurately by Mr. Chamberlaine; and though it must be confessed, that the former are extremely ill<span class="pagenum"> -<a name="Page_liv" id="Page_liv">[Pg liv]</a></span> drawn, and betray the +<a id="Page_liv">[Pg liv]</a></span> drawn, and betray the grossest ignorance of the effect which light and shadow were intended to produce, yet some of the subjects which the volume contains may be ascertained by them; and among them is also a fac simile of a page of the original manuscript, which proves this, like the other volumes, to be in Italian, and written backwards. The latter is a very beautiful work, and is calculated to give an accurate idea of Leonardo’s talents -as a draughtsman<a name="FNanchor_LXXX._80" id="FNanchor_LXXX._80"></a> +as a draughtsman<a id="FNanchor_LXXX._80"></a> <a href="#Footnote_LXXX._80" class="fnanchor">[i80]</a>. From these two publications it appears, that this volume also is of a very miscellaneous nature, and that it consists @@ -4519,16 +4492,15 @@ the will of Leonardo to Francisco Melzi; and their subsequent history we are enabled to state on the authority of John Ambrose Mazenta, through whose hands they passed. Du Fresne, in the life prefixed to the edition which he published in Italian, of Leonardo da Vinci’s Treatise on -Painting, has, in a<span class="pagenum"><a name="Page_lv" id="Page_lv">[Pg lv]</a> +Painting, has, in a<span class="pagenum"><a id="Page_lv">[Pg lv]</a> </span> very loose way, and without citing any authority, -given their history; but Venturi has inserted<a name="FNanchor_LXXXI._81" -id="FNanchor_LXXXI._81"></a><a href="#Footnote_LXXXI._81" +given their history; but Venturi has inserted<a id="FNanchor_LXXXI._81"></a><a href="#Footnote_LXXXI._81" class="fnanchor">[i81]</a> a translation into French, from the original manuscript memoir of Mazenta; and from him a version of it into English is here given, with the addition of Venturi’s notes, rendered also into English.</p> -<p>“It is near fifty years<a name="FNanchor_LXXXII._82" id="FNanchor_LXXXII._82"></a> +<p>“It is near fifty years<a id="FNanchor_LXXXII._82"></a> <a href="#Footnote_LXXXII._82" class="fnanchor">[i82]</a> since there fell into my hands thirteen volumes of Leonardo da Vinci in folio and quarto, written backwards. Accident brought them to me in the following manner: I was residing @@ -4539,8 +4511,8 @@ Aldus, came to our house; he had been a teacher of the <i>belles lettres</i> in the family of the Melzi of Milan, called de Vavero, to distinguish them from other families of the same name in that city. He had, at their country house at Vavero, met with several drawings, instruments, and<span class="pagenum"> -<a name="Page_lvi" id="Page_lvi">[Pg lvi]</a></span> -books of Leonardo. Francisco Melzi<a name="FNanchor_LXXXIII._83" id="FNanchor_LXXXIII._83"></a> +<a id="Page_lvi">[Pg lvi]</a></span> +books of Leonardo. Francisco Melzi<a id="FNanchor_LXXXIII._83"></a> <a href="#Footnote_LXXXIII._83" class="fnanchor">[i83]</a> approached nearer than any one to the manner of De Vinci; he worked little, because he was rich; his pictures are very much finished, they are often confounded @@ -4551,7 +4523,7 @@ Lelio Gavardi possessed himself of as many of them as he pleased; he carried thirteen volumes to Florence, in hopes of receiving for them a good price from the Grand Duke Francis, who was eager after works of this sort; and the rather as Leonardo was in great reputation in -his own country. But this prince died<a name="FNanchor_LXXXIV._84" id="FNanchor_LXXXIV._84"></a> +his own country. But this prince died<a id="FNanchor_LXXXIV._84"></a> <a href="#Footnote_LXXXIV._84" class="fnanchor">[i84]</a> as soon as Gavardi was arrived at Florence. He then went to Pisa, to the house of Manutius. I could not approve his proceeding; it was scandalous. My studies being @@ -4559,11 +4531,11 @@ finished, I had occasion to return to Milan. He gave me the volumes of Vinci, desiring me to return them to the Melzi: I acquitted myself faithfully of my commission; I carried them all back to Horatio, the chief of the family of Melzi, who was surprised<span class="pagenum"> -<a name="Page_lvii" id="Page_lvii">[Pg lvii]</a></span> at my being willing to +<a id="Page_lvii">[Pg lvii]</a></span> at my being willing to give myself this trouble. He made me a present of these books, telling me he had still many drawings by the same author, long neglected in the garrets of his house in the country. Thus these books became my -property, and afterwards they belonged to my brothers<a name="FNanchor_LXXXV._85" id="FNanchor_LXXXV._85"></a><a href="#Footnote_LXXXV._85" class="fnanchor">[i85]</a>. These +property, and afterwards they belonged to my brothers<a id="FNanchor_LXXXV._85"></a><a href="#Footnote_LXXXV._85" class="fnanchor">[i85]</a>. These latter having made too much parade of this acquisition, and the ease with which I was brought to it, excited the envy of other amateurs, who beset Horatio, and obtained from him some drawings, some figures, @@ -4571,60 +4543,58 @@ some anatomical pieces, and other valuable remains of the cabinet of Leonardo. One of these spungers for the works of Leonardo, was Pompeo Aretin, son of the Cavalier Leoni, formerly a disciple of Bonaroti, and who was about Philip II. King of Spain, for whom he did all the bronzes -which are at the Escurial. Pompeo engaged himself to procure for Melzi +which are at the Escorial. Pompeo engaged himself to procure for Melzi an employment to the senate of Milan, if he succeeded in recovering the thirteen books, wishing to offer them to King Philip, a lover of such curiosities. Flattered with this hope, Melzi went to my brother’s house: he besought him on his knees to restore him his present; he was a fellow-collegian, a friend, a benefactor: seven volumes<span class="pagenum"> -<a name="Page_lviii" id="Page_lviii">[Pg lviii]</a></span> were -returned to him<a name="FNanchor_LXXXVI._86" id="FNanchor_LXXXVI._86"></a> +<a id="Page_lviii">[Pg lviii]</a></span> were +returned to him<a id="FNanchor_LXXXVI._86"></a> <a href="#Footnote_LXXXVI._86" class="fnanchor">[i86]</a>. Of the six others which remained to the Mazenta family, one was presented to Cardinal Frederic Borromeo, for the -Ambrosian library<a name="FNanchor_LXXXVII._87" id="FNanchor_LXXXVII._87"></a> +Ambrosian library<a id="FNanchor_LXXXVII._87"></a> <a href="#Footnote_LXXXVII._87" class="fnanchor">[i87]</a>. My brother gave a second to Ambrose Figini, a celebrated painter of his time, who left it to his heir Hercole Bianchi, with the rest of his cabinet. Urged by the Duke of Savoy, I procured for him a third; and in conclusion, my brother having died at -a distance from Milan<a name="FNanchor_LXXXVIII._88" id="FNanchor_LXXXVIII._88"></a> +a distance from Milan<a id="FNanchor_LXXXVIII._88"></a> <a href="#Footnote_LXXXVIII._88" class="fnanchor">[i88]</a>, the three remaining volumes came also into the hands of Pompeo Aretin; he re-assembled also others of them, -he separated the leaves of them to form a thick volume<a name="FNanchor_LXXXIX._89" -id="FNanchor_LXXXIX._89"></a><a href="#Footnote_LXXXIX._89" class="fnanchor">[i89]</a>, which +he separated the leaves of them to form a thick volume<a id="FNanchor_LXXXIX._89"></a><a href="#Footnote_LXXXIX._89" class="fnanchor">[i89]</a>, which passed to his heir Polidoro Calchi, and was afterwards sold to Galeazzo Arconati. This gentleman keeps it now in his rich library; he has refused it to the Duke of Savoy, and to other princes who were desirous of it.”</p> -<p><span class="pagenum"><a name="Page_lix" id="Page_lix">[Pg lix]</a></span></p> +<p><span class="pagenum"><a id="Page_lix">[Pg lix]</a></span></p> -<p>In addition to this memoir, Venturi notices<a name="FNanchor_XC._90" id="FNanchor_XC._90"></a><a href="#Footnote_XC._90" class="fnanchor">[i90]</a>, that Howard Earl +<p>In addition to this memoir, Venturi notices<a id="FNanchor_XC._90"></a><a href="#Footnote_XC._90" class="fnanchor">[i90]</a>, that Howard Earl of Arundel made ineffectual efforts to obtain this large volume, and offered for it as far as 60,000 francs, in the name of the King of England. Arconati would never part with it; he bought eleven other books of Da Vinci, which came also, according to appearance, from Leoni; in -1637 he made a gift of them all to the Ambrosian library<a name="FNanchor_XCI._91" id="FNanchor_XCI._91"></a><a href="#Footnote_XCI._91" class="fnanchor">[i91]</a>, which +1637 he made a gift of them all to the Ambrosian library<a id="FNanchor_XCI._91"></a><a href="#Footnote_XCI._91" class="fnanchor">[i91]</a>, which already was in possession of the volume E, from Mazenta, and received -afterwards the volume K from Horatio Archinto, in 1674<a name="FNanchor_XCII._92" id="FNanchor_XCII._92"></a><a href="#Footnote_XCII._92" class="fnanchor">[i92]</a>.</p> +afterwards the volume K from Horatio Archinto, in 1674<a id="FNanchor_XCII._92"></a><a href="#Footnote_XCII._92" class="fnanchor">[i92]</a>.</p> <p>Venturi says, this is the history of all the manuscripts of Vinci that are come into France; they are in number fourteen, because the volume B contains an appendix of eighteen leaves, which may be separated, and -considered as the fourteenth volume<a name="FNanchor_XCIII._93" id="FNanchor_XCIII._93"></a><a href="#Footnote_XCIII._93" class="fnanchor">[i93]</a>.</p> +considered as the fourteenth volume<a id="FNanchor_XCIII._93"></a><a href="#Footnote_XCIII._93" class="fnanchor">[i93]</a>.</p> <p>In the printed catalogue of the library of Turin, one does not see noticed the manuscript which Mazenta gave to the Duke of Savoy: it has then disappeared. Might it not be that which an Englishman got copied by -Francis<span class="pagenum"><a name="Page_lx" id="Page_lx">[Pg lx]</a> +Francis<span class="pagenum"><a id="Page_lx">[Pg lx]</a> </span> Ducci, library-keeper at Florence, and a copy of which is still -remaining in the same city<a name="FNanchor_XCIV._94" id="FNanchor_XCIV._94"></a> +remaining in the same city<a id="FNanchor_XCIV._94"></a> <a href="#Footnote_XCIV._94" class="fnanchor">[i94]</a>?</p> -<p>The Trivulce family at Milan, according to Venturi<a name="FNanchor_XCV._95" -id="FNanchor_XCV._95"></a><a href="#Footnote_XCV._95" class="fnanchor">[i95]</a>, possess also a +<p>The Trivulce family at Milan, according to Venturi<a id="FNanchor_XCV._95"></a><a href="#Footnote_XCV._95" class="fnanchor">[i95]</a>, possess also a manuscript of Vinci, which is in great part only a vocabulary.</p> <p>Of the volume in the possession of his Britannic Majesty, the following @@ -4640,7 +4610,7 @@ three thousand pistoles for one of the volumes of Leonardo’s works. And some documents in the Ambrosian library give colour to this conjecture. This volume was happily preserved during the civil wars of the last century among other specimens of the fine arts, which the munificence -of<span class="pagenum"><a name="Page_lxi" id="Page_lxi">[Pg lxi]</a> +of<span class="pagenum"><a id="Page_lxi">[Pg lxi]</a> </span> Charles I. had amassed with a diligence equal to his taste. And it was discovered soon after his present Majesty’s accession in the same cabinet where Queen Caroline found the fine portraits of the court of @@ -4660,7 +4630,7 @@ Leonardo da Vinci, on the Motions of the Human Body, and the Manner of drawing Figures, according to geometrical Rules. It contains but ten plates in folio, including the title-page, and was evidently extracted from some of the volumes of his collections, as it consists of slight -sketches and verbal<span class="pagenum"><a name="Page_lxii" id="Page_lxii">[Pg lxii]</a> +sketches and verbal<span class="pagenum"><a id="Page_lxii">[Pg lxii]</a> </span> descriptions both in Italian and English, to explain such of them as needed it.</p> @@ -4670,17 +4640,17 @@ so badly done as to be of no value. Mr. Chamberlaine therefore, in 1796, took up the intention afresh, and in that year his first number came out, which is all that has yet appeared.</p> -<p>Of the Treatise on Painting, Venturi<a name="FNanchor_XCVI._96" id="FNanchor_XCVI._96"></a><a href="#Footnote_XCVI._96" class="fnanchor">[i96]</a> gives the following +<p>Of the Treatise on Painting, Venturi<a id="FNanchor_XCVI._96"></a><a href="#Footnote_XCVI._96" class="fnanchor">[i96]</a> gives the following particulars: “The Treatise on Painting which we have of Vinci is only a compilation of different fragments extracted from his manuscripts. -It was in the Barberini library at Rome, in 1630<a name="FNanchor_XCVII._97" id="FNanchor_XCVII._97"></a><a href="#Footnote_XCVII._97" class="fnanchor">[i97]</a>: the Cav. del +It was in the Barberini library at Rome, in 1630<a id="FNanchor_XCVII._97"></a><a href="#Footnote_XCVII._97" class="fnanchor">[i97]</a>: the Cav. del Pozzo obtained a copy from it, and Poussin designed the figures of it -in 1640<a name="FNanchor_XCVIII._98" id="FNanchor_XCVIII._98"></a><a href="#Footnote_XCVIII._98" class="fnanchor">[i98]</a>. This copy, and another derived from the same source, +in 1640<a id="FNanchor_XCVIII._98"></a><a href="#Footnote_XCVIII._98" class="fnanchor">[i98]</a>. This copy, and another derived from the same source, in the possession of Thevenot, served as the basis for the edition published in 1651, by Raphael du Frêne. The manuscript of Pozzo, with the figures of Poussin, is actually at Paris, in the valuable collection -of<span class="pagenum"><a name="Page_lxiii" id="Page_lxiii">[Pg lxiii]</a> -</span> books of Chardin<a name="FNanchor_XCIX._99" id="FNanchor_XCIX._99"></a> +of<span class="pagenum"><a id="Page_lxiii">[Pg lxiii]</a> +</span> books of Chardin<a id="FNanchor_XCIX._99"></a> <a href="#Footnote_XCIX._99" class="fnanchor">[i99]</a>. It is from this that I have taken the relation of Mazenta; it is at the end of the manuscript under this title: “Some Notices of the Works of Leonardo da Vinci at Milan, and of @@ -4688,7 +4658,7 @@ his Books, by J. Ambrose Mazenta of Milan, of the Congregation of the Priests Regular of St. Paul, called the Barnabites.” Mazenta does not announce himself as the author of the compilation; he may however be so; it may also happen, that the compilation was made by the heir himself of -Vinci, Francisco Melzo. Vasari, about 1567, says<a name="FNanchor_C._100" id="FNanchor_C._100"></a> +Vinci, Francisco Melzo. Vasari, about 1567, says<a id="FNanchor_C._100"></a> <a href="#Footnote_C._100" class="fnanchor">[i100]</a>, that a painter of Milan had the manuscripts of Vinci, which were written backwards; that this painter came to him, and afterwards went to Rome, with intention to @@ -4696,14 +4666,13 @@ get them printed, but that he did not know what was the result. However it may be, Du Frêne confesses that this compilation is imperfect in many respects, and ill arranged. It is so, because the compiler has not seized the methodical spirit of Vinci, and that there are mixed with it -some<span class="pagenum"><a name="Page_lxiv" id="Page_lxiv">[Pg lxiv]</a> +some<span class="pagenum"><a id="Page_lxiv">[Pg lxiv]</a> </span> pieces which belong to other tracts; besides, one has not seen where many other chapters have been neglected which ought to make part of it. For example, the comparison of painting with sculpture, which has been announced as a separate treatise of the same author, is nothing more than a chapter belonging to the Treatise on Painting, A. 105. All -this will be complete, and put in order, in the Treatise on Optics<a name="FNanchor_CI._101" -id="FNanchor_CI._101"></a><a href="#Footnote_CI._101" class="fnanchor">[i101]</a>. +this will be complete, and put in order, in the Treatise on Optics<a id="FNanchor_CI._101"></a><a href="#Footnote_CI._101" class="fnanchor">[i101]</a>. In the mean time, however, the following are the different editions of this compilation, such as it is at present:</p> @@ -4721,16 +4690,16 @@ fol. reprinted ibid. 1716, in 12mo, and 1796, in 8vo.</p> <p>“——Translated into Greek by Panagiotto, manuscript in the Nani library at Venice.</p> -<p><span class="pagenum"><a name="Page_lxv" id="Page_lxv">[Pg lxv]</a></span></p> +<p><span class="pagenum"><a id="Page_lxv">[Pg lxv]</a></span></p> <p>“Another manuscript copy of this compilation was in the possession of P. -Orlandi, from whence it passed into the library of Smith<a name="FNanchor_CII._102" id="FNanchor_CII._102"></a><a href="#Footnote_CII._102" class="fnanchor">[i102]</a>.</p> +Orlandi, from whence it passed into the library of Smith<a id="FNanchor_CII._102"></a><a href="#Footnote_CII._102" class="fnanchor">[i102]</a>.</p> -<p>“Cellini, in a discourse published by Morelli, says<a name="FNanchor_CIII._103" id="FNanchor_CIII._103"></a><a href="#Footnote_CIII._103" class="fnanchor">[i103]</a>, that +<p>“Cellini, in a discourse published by Morelli, says<a id="FNanchor_CIII._103"></a><a href="#Footnote_CIII._103" class="fnanchor">[i103]</a>, that he possessed a copy of a book of De Vinci on Perspective, which he communicated to Serlio, and that this latter published from it all that he could comprehend. Might not this be the tract which Gori announces to -be in the library of the Academy of Cortona<a name="FNanchor_CIV._104" id="FNanchor_CIV._104"></a><a href="#Footnote_CIV._104" class="fnanchor">[i104]</a>?”</p> +be in the library of the Academy of Cortona<a id="FNanchor_CIV._104"></a><a href="#Footnote_CIV._104" class="fnanchor">[i104]</a>?”</p> <p>The reputation in which the Treatise on Painting ought to be held, is not now for the first time to be settled; its merit has been @@ -4742,8 +4711,7 @@ together the several chapters that related to each other, to be a much more complete and connected treatise than was before supposed. Notwithstanding however the fair estimation in which it has always stood, and which is no more than its due, one person has been found -hardy enough to endeavour, though<span class="pagenum"><a name="Page_lxvi" -id="Page_lxvi">[Pg lxvi]</a></span> unsuccessfully, to lessen its credit: +hardy enough to endeavour, though<span class="pagenum"><a id="Page_lxvi">[Pg lxvi]</a></span> unsuccessfully, to lessen its credit: a circumstance which it would not have been worth while to notice, if it had not been intimated to us, that there are still some persons in France who side with the objector, which, as he was a Frenchman, @@ -4761,9 +4729,8 @@ the first lessons on perspective, and, with the assistance of Mons. Desargues, published from time to time several tracts on geometry and perspective, the manner of designing, and the art of engraving, some of which at least are described in the title-page, as printed at Paris -for the author<a name="FNanchor_CV._105" id="FNanchor_CV._105"></a><a href="#Footnote_CV._105" -class="fnanchor">[i105]</a>. This man,<span class="pagenum"><a name="Page_lxvii" -id="Page_lxvii">[Pg lxvii]</a></span> in his lectures, having, it is said, +for the author<a id="FNanchor_CV._105"></a><a href="#Footnote_CV._105" +class="fnanchor">[i105]</a>. This man,<span class="pagenum"><a id="Page_lxvii">[Pg lxvii]</a></span> in his lectures, having, it is said, attacked some of the pictures painted by Le Brun, the then Director of the Academy, had been very deservedly removed from his situation, and forced to quit the Academy, for endeavouring to lessen that authority, @@ -4782,7 +4749,7 @@ to be acquainted with a part of the procedings of Mons. Desargues, and myself, against some of our antagonists, and part of their skill; together with some remarks made on the contents of several chapters of a Treatise attributed to Leonardo de Vinci, translated from Italian into -French by</i><span class="pagenum"><a name="Page_lxviii" id="Page_lxviii">[Pg lxviii]</a> +French by</i><span class="pagenum"><a id="Page_lxviii">[Pg lxviii]</a> </span><i> Mons. Freart Sieur de Chambray, from a manuscript taken from that which is in the library of the illustrious, virtuous, and curious Mons. le Chevalier Du Puis at Rome</i>.”</p> @@ -4804,15 +4771,14 @@ if he had expected any success from it, may fairly be inferred from the circumstance of his writing to Poussin at Rome, apparently in hopes of inducing him to say something to the disadvantage of the work; and his omitting to make this inquiry after the enmity he has shewn against the -book, fully justifies<span class="pagenum"><a name="Page_lxix" id="Page_lxix">[Pg lxix]</a> +book, fully justifies<span class="pagenum"><a id="Page_lxix">[Pg lxix]</a> </span> an opinion that he forbore to inquire, because he was conscious that such an investigation would have terminated in vindicating his adversaries from his aspersions, and have furnished evidence of their fidelity and accuracy.</p> <p>What the letter which he wrote to Poussin contained, he has not informed -us; but he has given us, as he says, Poussin’s answer<a name="FNanchor_CVI._106" -id="FNanchor_CVI._106"></a><a href="#Footnote_CVI._106" class="fnanchor">[i106]</a>, in which +us; but he has given us, as he says, Poussin’s answer<a id="FNanchor_CVI._106"></a><a href="#Footnote_CVI._106" class="fnanchor">[i106]</a>, in which are some passages relating to this Treatise, of which we here give a translation: “As to what concerns the book of Leonard Vinci, it is true that I have designed the human figures which are in that which Mons. @@ -4828,7 +4794,7 @@ a large character, and those who believe that I approve all that is in it, do not know me; I who profess never to give sanction to things of my profession which I know to be ill done and ill said.”</p> -<p><span class="pagenum"><a name="Page_lxx" id="Page_lxx">[Pg lxx]</a></span></p> +<p><span class="pagenum"><a id="Page_lxx">[Pg lxx]</a></span></p> <p>Whoever recollects the difference in the course of study pursued and recommended by Leonardo (that of Nature), from that observed by Poussin @@ -4850,9 +4816,9 @@ so remarkable; while a minute investigation of Leonardo’s system of colouring would have produced perhaps in him as fortunate a change as we have seen it did in the case of Raphael.</p> -<p><span class="pagenum"><a name="Page_lxxi" id="Page_lxxi">[Pg lxxi]</a></span></p> +<p><span class="pagenum"><a id="Page_lxxi">[Pg lxxi]</a></span></p> -<p>Though Bosse tells us<a name="FNanchor_CVII._107" id="FNanchor_CVII._107"></a> +<p>Though Bosse tells us<a id="FNanchor_CVII._107"></a> <a href="#Footnote_CVII._107" class="fnanchor">[i107]</a>, that he had seen in the hands of Mons. Felibien, a manuscript copy of this Tract on Painting, which he said he had taken from the same original mentioned before, for the purpose @@ -4868,9 +4834,9 @@ a deduction of facts; it is however sufficient on the present occasion to say, that wherever opportunity has been afforded of tracing the means by which Leonardo procured his materials for any great composition, he is found to have exactly pursued the path which he recommends to -others<a name="FNanchor_CVIII._108" id="FNanchor_CVIII._108"></a> +others<a id="FNanchor_CVIII._108"></a> <a href="#Footnote_CVIII._108" class="fnanchor">[i108]</a>; and for the -success of his precepts,<span class="pagenum"> <a name="Page_lxxii" id="Page_lxxii">[Pg lxxii]</a> +success of his precepts,<span class="pagenum"> <a id="Page_lxxii">[Pg lxxii]</a> </span> and what may be effected by them, we need only appeal to his own example.</p> @@ -4890,7 +4856,7 @@ have already been shewn to be no more than extracts from the immense mass of his collections of such passages as related to the subjects on which they profess to give intelligence. If any tracts therefore in his name, on any of the above topics, are any where existing<span class="pagenum"> -<a name="Page_lxxiii" id="Page_lxxiii">[Pg lxxiii]</a></span> in manuscript, +<a id="Page_lxxiii">[Pg lxxiii]</a></span> in manuscript, and in obscurity, it is probable they are only similar selections. And indeed it will be found on inspection, that his collections consist of a multitude of entries made at different times, without method, @@ -4906,11 +4872,10 @@ he had then made that branch the object of his pursuit, and for a time laid aside the rest. In proof of this assertion it may be observed, that the very treatise of light and shadow above mentioned, is described as in the Ambrosian library at Milan, and as a folio volume covered with -red velvet, presented by Signior Mazzenta to Cardinal Borromeo<a name="FNanchor_CIX._109" -id="FNanchor_CIX._109"></a><a href="#Footnote_CIX._109" class="fnanchor">[i109]</a>; +red velvet, presented by Signior Mazzenta to Cardinal Borromeo<a id="FNanchor_CIX._109"></a><a href="#Footnote_CIX._109" class="fnanchor">[i109]</a>; from all which circumstances it is evidently proved to be<span class="pagenum"> -<a name="Page_lxxiv" id="Page_lxxiv">[Pg lxxiv]</a></span> one of the -volumes now existing in France<a name="FNanchor_CX._110" id="FNanchor_CX._110"></a> +<a id="Page_lxxiv">[Pg lxxiv]</a></span> one of the +volumes now existing in France<a id="FNanchor_CX._110"></a> <a href="#Footnote_CX._110" class="fnanchor">[i110]</a>, which were inspected and described by Venturi in the tract so often cited in the course of this life.</p> @@ -4921,49 +4886,47 @@ knowledge; distinguishing in it such as were only drawings, from such as were finished pictures, and noticing also which of them have been engraven, and by whom.</p> -<hr class="chap" /> +<hr class="chap" > -<p><span class="pagenum"><a name="Page_lxxv" id="Page_lxxv"></a></span></p> +<p><span class="pagenum"><a id="Page_lxxv"></a></span></p> -<h2 class="lhght25"><a name="CATALOGUE" id="CATALOGUE"></a><span class="s3 bottom2">CATALOGUE</span><br /> +<h2 class="lhght25"><a id="CATALOGUE"></a><span class="s3 bottom2">CATALOGUE</span><br > -<span class="s6 bottom2">OF THE</span><br /> +<span class="s6 bottom2">OF THE</span><br > -<span class="center bold bottom2">WORKS</span><br /> +<span class="center bold bottom2">WORKS</span><br > -<span class="s6 bottom2">OF</span><br /> +<span class="s6 bottom2">OF</span><br > <span class="s5 bottom2"><i>LEONARDO DA VINCI</i>.</span></h2> -<hr class="r5" /> +<hr class="r5" > <p class="s3 center bottom2 top2">ARCHITECTURE.</p> -<p >Many <i>designs for plans and buildings</i>, made by him in his youth<a name="FNanchor_CXI_111" -id="FNanchor_CXI_111"></a><a href="#Footnote_CXI_111" class="fnanchor">[i111]</a>.</p> +<p>Many <i>designs for plans and buildings</i>, made by him in his youth<a id="FNanchor_CXI_111"></a><a href="#Footnote_CXI_111" class="fnanchor">[i111]</a>.</p> <p><i>A model</i> made by him for raising the roof of the church of St. John, at -Florence<a name="FNanchor_CXII_112" id="FNanchor_CXII_112"></a><a href="#Footnote_CXII_112" +Florence<a id="FNanchor_CXII_112"></a><a href="#Footnote_CXII_112" class="fnanchor">[i112]</a>.</p> <p><i>The house of the family of Melzi at Vaprio</i>, supposed by Della Valle to -be designed by Leonardo<a name="FNanchor_CXIII_113" id="FNanchor_CXIII_113"></a> +be designed by Leonardo<a id="FNanchor_CXIII_113"></a> <a href="#Footnote_CXIII_113" class="fnanchor">[i113]</a>.</p> <p class="top2 s3 center bottom1">MODELS <span class="smcap">and</span> SCULPTURE.</p> -<p>Some <i>heads of laughing women</i>, modelled by him in clay, in his youth<a name="FNanchor_CXIV_114" -id="FNanchor_CXIV_114"></a><a href="#Footnote_CXIV_114" class="fnanchor">[i114]</a>.</p> +<p>Some <i>heads of laughing women</i>, modelled by him in clay, in his youth<a id="FNanchor_CXIV_114"></a><a href="#Footnote_CXIV_114" class="fnanchor">[i114]</a>.</p> <p>Some <i>boys’ heads</i> also, which appeared to have come from the hand of a -master<a name="FNanchor_CXV_115" id="FNanchor_CXV_115"></a><a href="#Footnote_CXV_115" +master<a id="FNanchor_CXV_115"></a><a href="#Footnote_CXV_115" class="fnanchor">[i115]</a>.</p> -<p><span class="pagenum"><a name="Page_lxxvi" id="Page_lxxvi">[Pg lxxvi]</a></span></p> +<p><span class="pagenum"><a id="Page_lxxvi">[Pg lxxvi]</a></span></p> <p><i>Three figures in bronze</i>, over the gate on the north side of the church of St. John, at Florence, made by Gio. Francesco Rustici, but designed -with the advice of Leonardo da Vinci<a name="FNanchor_CXVI_116" id="FNanchor_CXVI_116"> +with the advice of Leonardo da Vinci<a id="FNanchor_CXVI_116"> </a><a href="#Footnote_CXVI_116" class="fnanchor">[i116]</a>.</p> <p><i>A model in clay</i>, in alto relievo. It is a circle of about two palms in @@ -4974,20 +4937,19 @@ praises which in his youth he had heard bestowed on it by the celebrated Anton. Dominico Gabbiani, his master, who knew it to be of the hand of Leonardo. This model appears to have been much studied in the time of Pontormo and Rosso; and many copies of it, both drawings and pictures, -are to be found throughout Florence, well painted in their manner<a name="FNanchor_CXVII_117" -id="FNanchor_CXVII_117"></a><a href="#Footnote_CXVII_117" class="fnanchor">[i117]</a>.</p> +are to be found throughout Florence, well painted in their manner<a id="FNanchor_CXVII_117"></a><a href="#Footnote_CXVII_117" class="fnanchor">[i117]</a>.</p> <p>The <i>equestrian statue</i> in memory of the Duke of Milan’s father, which was not only finished and exposed to view, but broken to pieces by the French when they took possession of Milan. It has been said by some, that the model only was finished, and the statue never cast, and that it -was the model only which the French destroyed<a name="FNanchor_CXVIII_118" id="FNanchor_CXVIII_118"> +was the model only which the French destroyed<a id="FNanchor_CXVIII_118"> </a><a href="#Footnote_CXVIII_118" class="fnanchor">[i118]</a>.</p> <p>Vasari, p. 36, mentions a little <i>model</i> by Leonardo in wax, but he does not say what was its subject.</p> -<p><span class="pagenum"><a name="Page_lxxvii" id="Page_lxxvii">[Pg lxxvii]</a></span></p> +<p><span class="pagenum"><a id="Page_lxxvii">[Pg lxxvii]</a></span></p> <p class="top2 s3 center bottom1">DRAWINGS.</p> @@ -4998,7 +4960,7 @@ fine pencil to trace off the outlines in black and white; and that some such drawings he had in his collection.</p> <p><i>A head in chiaro oscuro</i>, in the possession of Vasari, and mentioned by -him as divine, a drawing on paper<a name="FNanchor_CXIX_119" id="FNanchor_CXIX_119"> +him as divine, a drawing on paper<a id="FNanchor_CXIX_119"> </a><a href="#Footnote_CXIX_119" class="fnanchor">[i119]</a>.</p> <p><i>A carton of Adam and Eve in Paradise</i>, made by him for the King of @@ -5006,20 +4968,18 @@ Portugal. It is done with a pen in chiaro oscuro, and heightened with white, and was intended to be worked as tapestry in silk and gold; but Vasari says it was never executed, and that in his time the carton remained at Florence, in the house of Ottaviano de Medici. Whether this -carton is still existing is unknown<a name="FNanchor_CXX_120" id="FNanchor_CXX_120"> +carton is still existing is unknown<a id="FNanchor_CXX_120"> </a><a href="#Footnote_CXX_120" class="fnanchor">[i120]</a>.</p> <p><i>Several ridiculous heads of men and women</i>, formerly in Vasari’s -collection, drawn in pen and ink<a name="FNanchor_CXXI_121" id="FNanchor_CXXI_121"> +collection, drawn in pen and ink<a id="FNanchor_CXXI_121"> </a><a href="#Footnote_CXXI_121" class="fnanchor">[i121]</a>. Aurelio Lovino had, says Lomazzo, a book of sketches by Leonardo, of odd and ridiculous heads. This book appears to have contained about 250 figures of countrymen and -countrywomen laughing,<span class="pagenum"><a name="Page_lxxviii" -id="Page_lxxviii">[Pg lxxviii]</a></span> drawn by the hand of Leonardo. Card. Silvio +countrywomen laughing,<span class="pagenum"><a id="Page_lxxviii">[Pg lxxviii]</a></span> drawn by the hand of Leonardo. Card. Silvio Valenti had a similar book, in which were caricature heads drawn with a pen, like that engraven by Count Caylus. Of these caricatures mention -is made in the second volume of the Lettere Pittoriche, p. 170<a name="FNanchor_CXXII_122" -id="FNanchor_CXXII_122"></a><a href="#Footnote_CXXII_122" class="fnanchor">[i122]</a>. The +is made in the second volume of the Lettere Pittoriche, p. 170<a id="FNanchor_CXXII_122"></a><a href="#Footnote_CXXII_122" class="fnanchor">[i122]</a>. The passage in the Lettere Pittoriche here referred to, is part of a letter without any name or date, addressed <i>Al Sig. C. di C.</i>; but a note of the editor’s explains these initials, as meaning Sig. Conte di Caylus, @@ -5038,7 +4998,7 @@ had established at Milan.</p> drawings of heads is again mentioned, and it is there said, that it might be that which belonged to the Earl of Arundel. This conjecture is founded on there being many such heads<span class="pagenum"> -<a name="Page_lxxix" id="Page_lxxix">[Pg lxxix]</a></span> engraven formerly by Hollar. +<a id="Page_lxxix">[Pg lxxix]</a></span> engraven formerly by Hollar. In fact, the number of the plates which he has done from drawings of this painter, are near one hundred, which compose different series. The author of the Letter adds, that, if a conjecture might be permitted, @@ -5059,11 +5019,11 @@ plates in aqua fortis, done in 1730, and that this latter is the work so often mentioned in the Letter.</p> <p><i>Another collection of the same kind of caricature heads</i> mentioned in -Mariette’s Letter<a name="FNanchor_CXXIII_123" id="FNanchor_CXXIII_123"></a><a href="#Footnote_CXXIII_123" +Mariette’s Letter<a id="FNanchor_CXXIII_123"></a><a href="#Footnote_CXXIII_123" class="fnanchor">[i123]</a>, as existing in the cabinet of either the King of Spain or the King of Sardinia.</p> -<p><span class="pagenum"><a name="Page_lxxx" id="Page_lxxx">[Pg lxxx]</a></span></p> +<p><span class="pagenum"><a id="Page_lxxx">[Pg lxxx]</a></span></p> <p><i>Four caricature heads</i>, mentioned, Lett. Pitt. vol. ii. p. 190, as being in the possession of Sig. Crozat. They are described as drawn with @@ -5076,32 +5036,31 @@ and Sig. Crozat. Others say, and it is more credible, that Vasari’s collection passed into that of the Grand Dukes of Medici.</p> <p><i>A head of Americo Vespucci</i>, in charcoal, but copied by Vasari in pen -and ink<a name="FNanchor_CXXIV_124" id="FNanchor_CXXIV_124"></a><a href="#Footnote_CXXIV_124" +and ink<a id="FNanchor_CXXIV_124"></a><a href="#Footnote_CXXIV_124" class="fnanchor">[i124]</a>.</p> -<p><i>A head of an old man</i>, beautifully drawn in charcoal<a name="FNanchor_CXXV_125" -id="FNanchor_CXXV_125"></a><a href="#Footnote_CXXV_125" class="fnanchor">[i125]</a>.</p> +<p><i>A head of an old man</i>, beautifully drawn in charcoal<a id="FNanchor_CXXV_125"></a><a href="#Footnote_CXXV_125" class="fnanchor">[i125]</a>.</p> <p><i>An head of Scarramuccia, captain of the gypsies</i>, in chalk; formerly belonging to Pierfrancesco Giambullari, canon of St. Lorenzo, at Florence, and left by him to Donato Valdambrini of Arezzo, canon of St. -Lorenzo also<a name="FNanchor_CXXVI_126" id="FNanchor_CXXVI_126"> +Lorenzo also<a id="FNanchor_CXXVI_126"> </a><a href="#Footnote_CXXVI_126" class="fnanchor">[i126]</a>.</p> <p><i>Several designs of combatants on horseback</i>, made by Leonardo for -Gentil Borri, a master of defence<a name="FNanchor_CXXVII_127" id="FNanchor_CXXVII_127"> +Gentil Borri, a master of defence<a id="FNanchor_CXXVII_127"> </a><a href="#Footnote_CXXVII_127" class="fnanchor">[i127]</a>, to shew the different positions necessary for a horse soldier in defending himself, and attacking his enemy.</p> <p><i>A carton of our Saviour, the Virgin, St. Ann,<span class="pagenum"> -<a name="Page_lxxxi" id="Page_lxxxi">[Pg lxxxi]</a></span> and St. John.</i> Vasari +<a id="Page_lxxxi">[Pg lxxxi]</a></span> and St. John.</i> Vasari says of this, that for two days, people of all sorts, men and women, young and old, resorted to Leonardo’s house to see this wonderful performance, as if they had been going to a solemn feast; and adds, that this carton was afterwards in France. It seems that this was intended for an altar-piece for the high altar of the church of the Annunziata, -but the picture was never painted<a name="FNanchor_CXXVIII_128" id="FNanchor_CXXVIII_128"></a> +but the picture was never painted<a id="FNanchor_CXXVIII_128"></a> <a href="#Footnote_CXXVIII_128" class="fnanchor">[i128]</a>. However, when Leonardo afterwards went into France, he, at the desire of Francis the First, put the design into colours. Lomazzo has said, that this carton of St. Ann was carried @@ -5111,9 +5070,8 @@ existence. What was the fate this carton of St. Ann underwent, may be seen in a letter of P. Resta, printed in the third volume of the Lettere Pittoriche, in which he says, that Leonardo made three of these cartons, and nevertheless did not convert it into a picture, but that it was -painted by Salai, and that<span class="pagenum"><a name="Page_lxxxii" -id="Page_lxxxii">[Pg lxxxii]</a></span> the picture is still in the sacristy of St. -Celsus at Milan<a name="FNanchor_CXXIX_129" id="FNanchor_CXXIX_129"> +painted by Salai, and that<span class="pagenum"><a id="Page_lxxxii">[Pg lxxxii]</a></span> the picture is still in the sacristy of St. +Celsus at Milan<a id="FNanchor_CXXIX_129"> </a><a href="#Footnote_CXXIX_129" class="fnanchor">[i129]</a>.</p> <p><i>A drawing of an old man’s head, seen in front</i>, in red chalk; mentioned @@ -5122,8 +5080,7 @@ Lett. Pitt. vol. ii. p. 191.</p> <p><i>A carton</i> designed by him <i>for painting the council-chamber at Florence</i>. The subject which he chose for this purpose was, the history of Niccolo Piccinino, the Captain of Duke Philip of Milan, in which he -drew a group of men on horseback fighting for a standard<a name="FNanchor_CXXX_130" -id="FNanchor_CXXX_130"></a><a href="#Footnote_CXXX_130" class="fnanchor">[i130]</a>. Mariette, +drew a group of men on horseback fighting for a standard<a id="FNanchor_CXXX_130"></a><a href="#Footnote_CXXX_130" class="fnanchor">[i130]</a>. Mariette, in a note, Lett. Pitt. vol. ii. p. 193, mentions this carton, which he says represented two horsemen fighting for a standard; that it was only part of a large history, the subject of which was the rout of Niccolo @@ -5137,15 +5094,14 @@ from a drawing by Fiammingo, and that this drawing might have been made from the picture which Du Fresne speaks of as being in his time in the possession of Sig. La Maire, an excellent painter of perspective.</p> -<p><span class="pagenum"><a name="Page_lxxxiii" id="Page_lxxxiii">[Pg lxxxiii]</a></span></p> +<p><span class="pagenum"><a id="Page_lxxxiii">[Pg lxxxiii]</a></span></p> <p><i>A design of Neptune drawn in his car by sea horses, attended by sea -gods</i>; made by him for his friend Antonio Segni<a name="FNanchor_CXXXI_131" id="FNanchor_CXXXI_131"> +gods</i>; made by him for his friend Antonio Segni<a id="FNanchor_CXXXI_131"> </a><a href="#Footnote_CXXXI_131" class="fnanchor">[i131]</a>.</p> <p><i>Several anatomical drawings</i> made from the life, many of which have -been since collected into a volume, by his scholar Francesco Melzi<a name="FNanchor_CXXXII_132" -id="FNanchor_CXXXII_132"></a><a href="#Footnote_CXXXII_132" class="fnanchor">[i132]</a>.</p> +been since collected into a volume, by his scholar Francesco Melzi<a id="FNanchor_CXXXII_132"></a><a href="#Footnote_CXXXII_132" class="fnanchor">[i132]</a>.</p> <p><i>A book of the Anatomy of man</i>, mentioned by Vasari, p. 36, the drawings for which were made with the assistance of Marc Antonio della Torre, @@ -5156,13 +5112,12 @@ preceding.</p> <i>head of a Virgin</i>, from which he afterwards painted a picture. This study was at one time in the celebrated Villa de Vecchietti, but afterwards, in consequence of a sale, passed into the hands of Sig. -Ignazio Hugford<a name="FNanchor_CXXXIII_133" id="FNanchor_CXXXIII_133"></a> +Ignazio Hugford<a id="FNanchor_CXXXIII_133"></a> <a href="#Footnote_CXXXIII_133" class="fnanchor">[i133]</a>.</p> <p><i>Two heads of women in profile</i>, little differing from each other, drawn in like manner in black and red chalk, bought at the same sale by Sig. -Hugford, but now among the Elector Palatine’s collection of drawings<a name="FNanchor_CXXXIV_134" -id="FNanchor_CXXXIV_134"></a><a href="#Footnote_CXXXIV_134" class="fnanchor">[i134]</a>.</p> +Hugford, but now among the Elector Palatine’s collection of drawings<a id="FNanchor_CXXXIV_134"></a><a href="#Footnote_CXXXIV_134" class="fnanchor">[i134]</a>.</p> <p><i>A book of the Anatomy of a horse</i>, mentioned by Vasari, p. 36, as a distinct work; but probably included in Leonardo’s manuscript @@ -5170,9 +5125,9 @@ collections. See the account before given of them.</p> <p>Several designs by Leonardo were in the possession of Sig. Jabac, who seems to have been a collector of pictures, and to have bought up for -the King of<span class="pagenum"><a name="Page_lxxxiv" id="Page_lxxxiv">[Pg lxxxiv]</a></span> +the King of<span class="pagenum"><a id="Page_lxxxiv">[Pg lxxxiv]</a></span> France several excellent pictures particularly by Leonardo -da Vinci<a name="FNanchor_CXXXV_135" id="FNanchor_CXXXV_135"></a> +da Vinci<a id="FNanchor_CXXXV_135"></a> <a href="#Footnote_CXXXV_135" class="fnanchor">[i135]</a>.</p> <p><i>A drawing of a young man embracing an old woman</i>, whom he is caressing @@ -5180,8 +5135,7 @@ for the sake of her riches. This is mentioned, Lett. Pitt. vol. ii. p. 198, as engraven by Hollar, in 1646.</p> <p><i>A head of a young man seen in profile</i>, engraven in aqua fortis by -Conte di Caylus, from a drawing in the King of France’s collection<a name="FNanchor_CXXXVI_136" -id="FNanchor_CXXXVI_136"></a><a href="#Footnote_CXXXVI_136" class="fnanchor">[i136]</a>.</p> +Conte di Caylus, from a drawing in the King of France’s collection<a id="FNanchor_CXXXVI_136"></a><a href="#Footnote_CXXXVI_136" class="fnanchor">[i136]</a>.</p> <p><i>A fragment of a Treatise on the Motions of the Human Body</i>, already mentioned in the foregoing life.</p> @@ -5200,25 +5154,24 @@ collection. It does not however appear from any thing in the Lett. Pitt. that they were designed by Leonardo.</p> <p>The Abate di Villeloin, in his Catalogue of Prints<span class="pagenum"> -<a name="Page_lxxxv" id="Page_lxxxv">[Pg lxxxv]</a></span> published in 1666, +<a id="Page_lxxxv">[Pg lxxxv]</a></span> published in 1666, speaks, under the article of Leonardo da Vinci, of a print of the taking down from the Cross; but the Lett. Pitt. says it was engraven from Eneas -Vico, not from Leonardo<a name="FNanchor_CXXXVII_137" id="FNanchor_CXXXVII_137"> +Vico, not from Leonardo<a id="FNanchor_CXXXVII_137"> </a><a href="#Footnote_CXXXVII_137" class="fnanchor">[i137]</a>.</p> <p><i>Two drawings of monsters</i>, mentioned by Lomazzo, consisting of a boy’s head each, but horribly distorted by the misplacing of the features, and the introduction of other members not in Nature to be found there. These -two drawings were in the hands of Francesco Borella, a sculptor<a name="FNanchor_CXXXVIII_138" -id="FNanchor_CXXXVIII_138"></a><a href="#Footnote_CXXXVIII_138" class="fnanchor">[i138]</a>.</p> +two drawings were in the hands of Francesco Borella, a sculptor<a id="FNanchor_CXXXVIII_138"></a><a href="#Footnote_CXXXVIII_138" class="fnanchor">[i138]</a>.</p> <p><i>A portrait</i> by Leonardo, <i>of Artus, Maestro di Camera to Francis I.</i> -drawn in black lead pencil<a name="FNanchor_CXXXIX_139" id="FNanchor_CXXXIX_139"> +drawn in black lead pencil<a id="FNanchor_CXXXIX_139"> </a><a href="#Footnote_CXXXIX_139" class="fnanchor">[i139]</a>.</p> <p><i>The head of a Cæsar crowned with oak</i>, among a valuable collection of drawings in a thick volume in folio, in the possession of Sig. -Pagave<a name="FNanchor_CXL_140" id="FNanchor_CXL_140"></a><a href="#Footnote_CXL_140" +Pagave<a id="FNanchor_CXL_140"></a><a href="#Footnote_CXL_140" class="fnanchor">[i140]</a>.</p> <p><i>The proportions of the human body.</i> The original of this is preserved @@ -5226,13 +5179,13 @@ in the possession of Sig. Pagave. At the head and foot of this drawing is to be read the description which begins thus: <i>Tanto apre l’Uomo nelle braccia quanto è la sua altezza, &c.</i> and above all, at the head of the work is the famous Last Supper, which he proposes to his scholars -as the rule of the art<a name="FNanchor_CXLI_141" id="FNanchor_CXLI_141"> +as the rule of the art<a id="FNanchor_CXLI_141"> </a><a href="#Footnote_CXLI_141" class="fnanchor">[i141]</a>.</p> <p><i>The Circumcision</i>, a large drawing mentioned Lett. Pitt. vol. ii. 283, as the work of Leonardo, by Nicolo Gabburri, in a letter dated Florence, 4th Oct. 1732, and addressed <i>Al Sig. Pietro Mariette</i>. Gabburri says<span class="pagenum"> -<a name="Page_lxxxvi" id="Page_lxxxvi">[Pg lxxxvi]</a></span> +<a id="Page_lxxxvi">[Pg lxxxvi]</a></span> he saw this drawing, and that it was done on white paper a little tinted with Indian ink, and heightened with ceruse. Its owner then was Alessandro Galilei, an architect of Florence.</p> @@ -5240,7 +5193,7 @@ Alessandro Galilei, an architect of Florence.</p> <p><i>A drawing consisting of several laughing heads, in the middle of which is another head in profile, crowned with oak leaves.</i> This drawing was the property of the Earl of Arundel, and was engraven by Hollar in -1646<a name="FNanchor_CXLII_142" id="FNanchor_CXLII_142"></a><a href="#Footnote_CXLII_142" +1646<a id="FNanchor_CXLII_142"></a><a href="#Footnote_CXLII_142" class="fnanchor">[i142]</a>.</p> <p><i>A man sitting, and collecting in a looking-glass the rays of the sun, @@ -5256,54 +5209,48 @@ whereas in the drawing he is clothed.</p> <p class="top2 s3 center bottom1">PAINTINGS.</p> -<p><i>A Madonna</i>, formerly in the possession of Pope Clement the Seventh<a name="FNanchor_CXLIII_143" -id="FNanchor_CXLIII_143"></a><a href="#Footnote_CXLIII_143" class="fnanchor">[i143]</a>.</p> +<p><i>A Madonna</i>, formerly in the possession of Pope Clement the Seventh<a id="FNanchor_CXLIII_143"></a><a href="#Footnote_CXLIII_143" class="fnanchor">[i143]</a>.</p> -<p><span class="pagenum"><a name="Page_lxxxvii" id="Page_lxxxvii">[Pg lxxxvii]</a></span></p> +<p><span class="pagenum"><a id="Page_lxxxvii">[Pg lxxxvii]</a></span></p> <p><i>A small Madonna and Child</i>, painted for Baldassar Turini da Pescia, who -was the Datary<a name="FNanchor_CXLIV_144" id="FNanchor_CXLIV_144"></a><a href="#Footnote_CXLIV_144" -class="fnanchor">[i144]</a> at Lyons, the colours of which are much faded<a name="FNanchor_CXLV_145" -id="FNanchor_CXLV_145"></a><a href="#Footnote_CXLV_145" class="fnanchor">[i145]</a>. It +was the Datary<a id="FNanchor_CXLIV_144"></a><a href="#Footnote_CXLIV_144" +class="fnanchor">[i144]</a> at Lyons, the colours of which are much faded<a id="FNanchor_CXLV_145"></a><a href="#Footnote_CXLV_145" class="fnanchor">[i145]</a>. It is not known where this now is.</p> -<p><i>A Virgin and Child</i>, at one time in the hands of the Botti family<a name="FNanchor_CXLVI_146" -id="FNanchor_CXLVI_146"></a><a href="#Footnote_CXLVI_146" class="fnanchor">[i146]</a>.</p> +<p><i>A Virgin and Child</i>, at one time in the hands of the Botti family<a id="FNanchor_CXLVI_146"></a><a href="#Footnote_CXLVI_146" class="fnanchor">[i146]</a>.</p> <p><i>The Virgin sitting in St. Ann’s lap, and holding her little Son</i>, -formerly at Paris<a name="FNanchor_CXLVII_147" id="FNanchor_CXLVII_147"></a><a href="#Footnote_CXLVII_147" +formerly at Paris<a id="FNanchor_CXLVII_147"></a><a href="#Footnote_CXLVII_147" class="fnanchor">[i147]</a>. This has been engraven in wood, in chiaro oscuro, by an unknown artist. The picture was in the King of France’s cabinet, -and a similar one is in the sacristy of St. Celsus at Milan<a name="FNanchor_CXLVIII_148" -id="FNanchor_CXLVIII_148"></a><a href="#Footnote_CXLVIII_148" class="fnanchor">[i148]</a>.</p> +and a similar one is in the sacristy of St. Celsus at Milan<a id="FNanchor_CXLVIII_148"></a><a href="#Footnote_CXLVIII_148" class="fnanchor">[i148]</a>.</p> <p><i>Another Virgin with her Son, St. John, and an Angel</i>, mentioned by Du -Fresne, as at Paris<a name="FNanchor_CXLIX_149" id="FNanchor_CXLIX_149"></a> +Fresne, as at Paris<a id="FNanchor_CXLIX_149"></a> <a href="#Footnote_CXLIX_149" class="fnanchor">[i149]</a>.</p> -<p><i>A Madonna and Child</i>, in the possession of the Marquis di Surdi<a name="FNanchor_CL_150" -id="FNanchor_CL_150"></a><a href="#Footnote_CL_150" class="fnanchor">[i150]</a>.</p> +<p><i>A Madonna and Child</i>, in the possession of the Marquis di Surdi<a id="FNanchor_CL_150"></a><a href="#Footnote_CL_150" class="fnanchor">[i150]</a>.</p> <p><i>A Madonna and Child</i>, painted on the wall in the church of St. Onofrio -at Rome<a name="FNanchor_CLI_151" id="FNanchor_CLI_151"></a><a href="#Footnote_CLI_151" +at Rome<a id="FNanchor_CLI_151"></a><a href="#Footnote_CLI_151" class="fnanchor">[i151]</a>.</p> -<p><i>A Madonna kneeling</i>, in the King’s gallery in France<a name="FNanchor_CLII_152" -id="FNanchor_CLII_152"></a><a href="#Footnote_CLII_152" class="fnanchor">[i152]</a>.</p> +<p><i>A Madonna kneeling</i>, in the King’s gallery in France<a id="FNanchor_CLII_152"></a><a href="#Footnote_CLII_152" class="fnanchor">[i152]</a>.</p> <p><i>An Holy Family, with St. Michael, and another Angel</i>, in the King of -France’s collection<a name="FNanchor_CLIII_153" id="FNanchor_CLIII_153"></a> +France’s collection<a id="FNanchor_CLIII_153"></a> <a href="#Footnote_CLIII_153" class="fnanchor">[i153]</a>.</p> -<p><span class="pagenum"><a name="Page_lxxxviii" id="Page_lxxxviii">[Pg lxxxviii]</a></span></p> +<p><span class="pagenum"><a id="Page_lxxxviii">[Pg lxxxviii]</a></span></p> <p><i>A Madonna</i>, in the church of St. Francis at Milan, attributed to -Leonardo by Sorman<a name="FNanchor_CLIV_154" id="FNanchor_CLIV_154"></a> +Leonardo by Sorman<a id="FNanchor_CLIV_154"></a> <a href="#Footnote_CLIV_154" class="fnanchor">[i154]</a>.</p> <p><i>A Virgin and Child</i>, by Leonardo, in Piacenza, near the church of Our Lady in the Fields. It was bought for 300 chequins by the Principe di -Belgioioso<a name="FNanchor_CLV_155" id="FNanchor_CLV_155"></a><a href="#Footnote_CLV_155" +Belgioioso<a id="FNanchor_CLV_155"></a><a href="#Footnote_CLV_155" class="fnanchor">[i155]</a>.</p> <p><i>A Madonna, half length, holding on her knee the infant Jesus, with a @@ -5312,11 +5259,10 @@ Juster, is mentioned Lett. Pitt. vol. ii. p. 196. The picture is there said to have been in the possession of Charles Patin, and was supposed by some to have been painted for Francis I.</p> -<p><i>An Herodiade</i>, some time in Cardinal Richelieu’s possession<a name="FNanchor_CLVI_156" -id="FNanchor_CLVI_156"></a><a href="#Footnote_CLVI_156" class="fnanchor">[i156]</a>.</p> +<p><i>An Herodiade</i>, some time in Cardinal Richelieu’s possession<a id="FNanchor_CLVI_156"></a><a href="#Footnote_CLVI_156" class="fnanchor">[i156]</a>.</p> <p><i>The daughter of Herodias, with an executioner holding out to her the -head of St. John</i>, in the Barberini palace<a name="FNanchor_CLVII_157" id="FNanchor_CLVII_157"> +head of St. John</i>, in the Barberini palace<a id="FNanchor_CLVII_157"> </a><a href="#Footnote_CLVII_157" class="fnanchor">[i157]</a>.</p> <p><i>An Herodiade with a basket, in which is the head of John the Baptist.</i> @@ -5326,120 +5272,110 @@ to have been done from a picture which was then in the cabinet of the Archduke Leopold, but had been before in that of the Emperor.</p> <p>Another picture of the same subject, but differently disposed. It is -also an half length. A print<span class="pagenum"><a name="Page_lxxxix" -id="Page_lxxxix">[Pg lxxxix]</a></span> from it, in aqua fortis, by Alessio Loyr, +also an half length. A print<span class="pagenum"><a id="Page_lxxxix">[Pg lxxxix]</a></span> from it, in aqua fortis, by Alessio Loyr, is mentioned Lett. Pitt. vol. ii. p. 197; but it is not there said in whose possession the picture ever was.</p> -<p><i>The angel</i> in Verrochio’s picture before mentioned<a name="FNanchor_CLVIII_158" -id="FNanchor_CLVIII_158"></a><a href="#Footnote_CLVIII_158" class="fnanchor">[i158]</a>.</p> +<p><i>The angel</i> in Verrochio’s picture before mentioned<a id="FNanchor_CLVIII_158"></a><a href="#Footnote_CLVIII_158" class="fnanchor">[i158]</a>.</p> <p><i>The shield</i>, mentioned by Vasari, p. 26, as painted by him at the request of his father, and consisting of serpents, &c.</p> <p><i>A head of Medusa</i>, in oil, in the palace of Duke Cosmo. It is still in -being, and in good preservation<a name="FNanchor_CLIX_159" id="FNanchor_CLIX_159"></a> +being, and in good preservation<a id="FNanchor_CLIX_159"></a> <a href="#Footnote_CLIX_159" class="fnanchor">[i159]</a>.</p> <p><i>A head of an angel raising one arm in the air</i>, in the collection of -Duke Cosmo<a name="FNanchor_CLX_160" id="FNanchor_CLX_160"></a><a href="#Footnote_CLX_160" +Duke Cosmo<a id="FNanchor_CLX_160"></a><a href="#Footnote_CLX_160" class="fnanchor">[i160]</a>. Whether this is a picture, or only a drawing, does not appear; but as Vasari does not notice any difference between that and the head of Medusa, which he decidedly says is in oil, it is probable that this is so also.</p> <p><i>The Adoration of the Magi</i>: it was in the house of Americo Benci, -opposite to the Portico of Peruzzi<a name="FNanchor_CLXI_161" id="FNanchor_CLXI_161"> +opposite to the Portico of Peruzzi<a id="FNanchor_CLXI_161"> </a><a href="#Footnote_CLXI_161" class="fnanchor">[i161]</a>.</p> <p><i>The famous Last Supper</i>, in the Refectory of the Dominican convent -of Santa Maria delle Grazie<a name="FNanchor_CLXII_162" id="FNanchor_CLXII_162"> +of Santa Maria delle Grazie<a id="FNanchor_CLXII_162"> </a><a href="#Footnote_CLXII_162" class="fnanchor">[i162]</a>. A list of the copies made from this celebrated picture has, together with its history, been given in a former page. A print has been engraven from it under the direction of -Pietro Soutman; but he being a scholar<span class="pagenum"><a name="Page_xc" -id="Page_xc">[Pg xc]</a></span> of Rubens, has introduced into -it so much of Rubens’s manner<a name="FNanchor_CLXIII_163" id="FNanchor_CLXIII_163"> +Pietro Soutman; but he being a scholar<span class="pagenum"><a id="Page_xc">[Pg xc]</a></span> of Rubens, has introduced into +it so much of Rubens’s manner<a id="FNanchor_CLXIII_163"> </a><a href="#Footnote_CLXIII_163" class="fnanchor">[i163]</a>, that it can no longer be known for Leonardo da Vinci’s. Besides this, Mariette also mentions two other prints, one of them an engraving, the other an etching, but both by unknown authors. He notices also, that the Count di Caylus had etched it -in aqua fortis<a name="FNanchor_CLXIV_164" id="FNanchor_CLXIV_164"></a><a href="#Footnote_CLXIV_164" +in aqua fortis<a id="FNanchor_CLXIV_164"></a><a href="#Footnote_CLXIV_164" class="fnanchor">[i164]</a>. The print lately engraven of it by Morghen has been already noticed in a former page.</p> <p><i>A Nativity</i>, sent as a present from the Duke of Milan to the -Emperor<a name="FNanchor_CLXV_165" id="FNanchor_CLXV_165"></a><a href="#Footnote_CLXV_165" +Emperor<a id="FNanchor_CLXV_165"></a><a href="#Footnote_CLXV_165" class="fnanchor">[i165]</a>.</p> <p><i>The portraits of Lodovic Sforza, Duke of Milan, and Maximilian his eldest son, and on the other side Beatrix his dutchess, and Francesco his other son</i>, all in one picture, in the same Refectory with the Last -Supper<a name="FNanchor_CLXVI_166" id="FNanchor_CLXVI_166"></a><a href="#Footnote_CLXVI_166" +Supper<a id="FNanchor_CLXVI_166"></a><a href="#Footnote_CLXVI_166" class="fnanchor">[i166]</a>.</p> <p><i>The portraits of two of the handsomest women at Florence</i>, painted by -him as a present to Lewis XII<a name="FNanchor_CLXVII_167" id="FNanchor_CLXVII_167"></a> +him as a present to Lewis XII<a id="FNanchor_CLXVII_167"></a> <a href="#Footnote_CLXVII_167" class="fnanchor">[i167]</a>.</p> -<p><i>The painting in the council-chamber at Florence</i><a name="FNanchor_CLXVIII_168" -id="FNanchor_CLXVIII_168"></a><a href="#Footnote_CLXVIII_168" class="fnanchor">[i168]</a>. The subject of -this is the battle of Attila<a name="FNanchor_CLXIX_169" id="FNanchor_CLXIX_169"></a> +<p><i>The painting in the council-chamber at Florence</i><a id="FNanchor_CLXVIII_168"></a><a href="#Footnote_CLXVIII_168" class="fnanchor">[i168]</a>. The subject of +this is the battle of Attila<a id="FNanchor_CLXIX_169"></a> <a href="#Footnote_CLXIX_169" class="fnanchor">[i169]</a>.</p> -<p><i>A portrait of Ginevra</i>, daughter of Americo Benci<a name="FNanchor_CLXX_170" -id="FNanchor_CLXX_170"></a><a href="#Footnote_CLXX_170" class="fnanchor">[i170]</a>.</p> +<p><i>A portrait of Ginevra</i>, daughter of Americo Benci<a id="FNanchor_CLXX_170"></a><a href="#Footnote_CLXX_170" class="fnanchor">[i170]</a>.</p> <p><i>The portrait of Mona Lisa</i>, the wife of Francesco del Giocondo, painted -for her husband<a name="FNanchor_CLXXI_171" id="FNanchor_CLXXI_171"></a><a href="#Footnote_CLXXI_171" -class="fnanchor">[i171]</a>. Lomazzo<span class="pagenum"><a name="Page_xci" -id="Page_xci">[Pg xci]</a></span> has said, she was a Neapolitan, but this -is supposed a mistake, and that she was a Florentine<a name="FNanchor_CLXXII_172" -id="FNanchor_CLXXII_172"></a><a href="#Footnote_CLXXII_172" class="fnanchor">[i172]</a>. In a note of +for her husband<a id="FNanchor_CLXXI_171"></a><a href="#Footnote_CLXXI_171" +class="fnanchor">[i171]</a>. Lomazzo<span class="pagenum"><a id="Page_xci">[Pg xci]</a></span> has said, she was a Neapolitan, but this +is supposed a mistake, and that she was a Florentine<a id="FNanchor_CLXXII_172"></a><a href="#Footnote_CLXXII_172" class="fnanchor">[i172]</a>. In a note of Mariette’s, Lett. Pitt. vol. ii. p. 175, this picture is said to have been in the collection of Francis I. King of France, who gave for it 4000 crowns.</p> <p><i>A small picture of a child</i>, which was at Pescia, in the possession of -Baldassar Turini. It is not known where this now is<a name="FNanchor_CLXXIII_173" -id="FNanchor_CLXXIII_173"></a><a href="#Footnote_CLXXIII_173" class="fnanchor">[i173]</a>.</p> +Baldassar Turini. It is not known where this now is<a id="FNanchor_CLXXIII_173"></a><a href="#Footnote_CLXXIII_173" class="fnanchor">[i173]</a>.</p> <p><i>A painting of two horsemen struggling for a flag</i>, in the Palais Royal -at Paris<a name="FNanchor_CLXXIV_174" id="FNanchor_CLXXIV_174"></a><a href="#Footnote_CLXXIV_174" +at Paris<a id="FNanchor_CLXXIV_174"></a><a href="#Footnote_CLXXIV_174" class="fnanchor">[i174]</a>.</p> -<p><i>A nobleman of Mantua</i><a name="FNanchor_CLXXV_175" id="FNanchor_CLXXV_175"></a> +<p><i>A nobleman of Mantua</i><a id="FNanchor_CLXXV_175"></a> <a href="#Footnote_CLXXV_175" class="fnanchor">[i175]</a>.</p> <p><i>A picture of Flora</i>, which Du Fresne mentions as being in his time at Paris. This is said to have been once in the cabinet of Mary de -Medicis<a name="FNanchor_CLXXVI_176" id="FNanchor_CLXXVI_176"></a><a href="#Footnote_CLXXVI_176" +Medicis<a id="FNanchor_CLXXVI_176"></a><a href="#Footnote_CLXXVI_176" class="fnanchor">[i176]</a>, and though for some time supposed to have been painted by Leonardo da Vinci, was discovered by Mariette to have been the work of -Francisco Melzi, whose name is upon it<a name="FNanchor_CLXXVII_177" id="FNanchor_CLXXVII_177"> +Francisco Melzi, whose name is upon it<a id="FNanchor_CLXXVII_177"> </a><a href="#Footnote_CLXXVII_177" class="fnanchor">[i177]</a>. In the supplement to the life of Leonardo, inserted in Della Valle’s edition of Vasari, this picture is said to have been painted for the Duke de S. Simone.</p> -<p><i>A head of John the Baptist</i>, in the hands of Camillo Albizzo<a name="FNanchor_CLXXVIII_178" -id="FNanchor_CLXXVIII_178"></a><a href="#Footnote_CLXXVIII_178" class="fnanchor">[i178]</a>.</p> +<p><i>A head of John the Baptist</i>, in the hands of Camillo Albizzo<a id="FNanchor_CLXXVIII_178"></a><a href="#Footnote_CLXXVIII_178" class="fnanchor">[i178]</a>.</p> <p><i>The Conception of the blessed Virgin</i>, for the church of St. Francis -at Milan<a name="FNanchor_CLXXIX_179" id="FNanchor_CLXXIX_179"></a><a href="#Footnote_CLXXIX_179" +at Milan<a id="FNanchor_CLXXIX_179"></a><a href="#Footnote_CLXXIX_179" class="fnanchor">[i179]</a>. This was esteemed a copy, and not worth more than 30 -chequins, till an<span class="pagenum"><a name="Page_xcii" id="Page_xcii">[Pg xcii]</a> +chequins, till an<span class="pagenum"><a id="Page_xcii">[Pg xcii]</a> </span> Englishman came there, who thought a large sum of -money well employed in the purchase of it<a name="FNanchor_CLXXX_180" id="FNanchor_CLXXX_180"> +money well employed in the purchase of it<a id="FNanchor_CLXXX_180"> </a><a href="#Footnote_CLXXX_180" class="fnanchor">[i180]</a>.</p> -<p><i>St. John in the Wilderness</i>, said to be at Paris<a name="FNanchor_CLXXXI_181" -id="FNanchor_CLXXXI_181"></a><a href="#Footnote_CLXXXI_181" class="fnanchor">[i181]</a>. In Lett. Pitt. +<p><i>St. John in the Wilderness</i>, said to be at Paris<a id="FNanchor_CLXXXI_181"></a><a href="#Footnote_CLXXXI_181" class="fnanchor">[i181]</a>. In Lett. Pitt. vol. ii. p. 197, mention is made of a print of St. John the Baptist, half length, by Sig. Jabac, who had the original picture, which was formerly in the King of France’s cabinet.</p> <p><i>Joseph and Potiphar’s wife</i>, which Mons. de Charmois, secretary to the -Duke of Schomberg, had<a name="FNanchor_CLXXXII_182" id="FNanchor_CLXXXII_182"></a> +Duke of Schomberg, had<a id="FNanchor_CLXXXII_182"></a> <a href="#Footnote_CLXXXII_182" class="fnanchor">[i182]</a>.</p> <p><i>A portrait of Raphael</i>, in oil, in the Medici gallery. This is @@ -5447,126 +5383,119 @@ mentioned in Vasari, p. 47; and though not expressly there said to be by Leonardo, is so placed as to make it doubtful whether it was or not.</p> <p><i>A Nun, half length</i>, by Leonardo, in the possession of Abbate -Nicolini<a name="FNanchor_CLXXXIII_183" id="FNanchor_CLXXXIII_183"></a><a href="#Footnote_CLXXXIII_183" +Nicolini<a id="FNanchor_CLXXXIII_183"></a><a href="#Footnote_CLXXXIII_183" class="fnanchor">[i183]</a>.</p> <p><i>Two fine heads</i>, painted in oil by Leonardo, bought at Florence by Sig. Bali di Breteuil, ambassador from Malta to Rome. One of these, representing a woman, was in his first manner. The other, a Virgin, in -his last<a name="FNanchor_CLXXXIV_184" id="FNanchor_CLXXXIV_184"></a><a href="#Footnote_CLXXXIV_184" +his last<a id="FNanchor_CLXXXIV_184"></a><a href="#Footnote_CLXXXIV_184" class="fnanchor">[i184]</a>.</p> <p><i>A Leda</i>, which Lomazzo says was at Fontainebleau, and did not yield in colouring to the portrait of Joconda in the Duke’s gallery. Richardson -says it was in the palace Mattei<a name="FNanchor_CLXXXV_185" id="FNanchor_CLXXXV_185"></a> +says it was in the palace Mattei<a id="FNanchor_CLXXXV_185"></a> <a href="#Footnote_CLXXXV_185" class="fnanchor">[i185]</a>.</p> <p><i>The head of a dead man</i>, with all its minute parts, painted by -Leonardo, formerly in the Mattei palace, but no longer there<a name="FNanchor_CLXXXVI_186" -id="FNanchor_CLXXXVI_186"></a><a href="#Footnote_CLXXXVI_186" class="fnanchor">[i186]</a>.</p> +Leonardo, formerly in the Mattei palace, but no longer there<a id="FNanchor_CLXXXVI_186"></a><a href="#Footnote_CLXXXVI_186" class="fnanchor">[i186]</a>.</p> -<p><span class="pagenum"><a name="Page_xciii" id="Page_xciii">[Pg xciii]</a></span></p> +<p><span class="pagenum"><a id="Page_xciii">[Pg xciii]</a></span></p> <p>A picture containing a study of <i>two most delicate female heads</i>, in the -Barberini palace at Rome<a name="FNanchor_CLXXXVII_187" id="FNanchor_CLXXXVII_187"></a> +Barberini palace at Rome<a id="FNanchor_CLXXXVII_187"></a> <a href="#Footnote_CLXXXVII_187" class="fnanchor">[i187]</a>.</p> <p><i>A portrait of a girl with a book in her hand</i>, in the Strozzi palace in -Rome<a name="FNanchor_CLXXXVIII_188" id="FNanchor_CLXXXVIII_188"></a><a href="#Footnote_CLXXXVIII_188" +Rome<a id="FNanchor_CLXXXVIII_188"></a><a href="#Footnote_CLXXXVIII_188" class="fnanchor">[i188]</a>.</p> <p><i>The Dispute of Jesus with the Doctors</i>, half length, in the Panfili -palace<a name="FNanchor_CLXXXIX_189" id="FNanchor_CLXXXIX_189"></a><a href="#Footnote_CLXXXIX_189" +palace<a id="FNanchor_CLXXXIX_189"></a><a href="#Footnote_CLXXXIX_189" class="fnanchor">[i189]</a>.</p> <p>Five pictures in the Ambrosian library at Milan, the subjects not -mentioned<a name="FNanchor_CXC_190" id="FNanchor_CXC_190"></a><a href="#Footnote_CXC_190" +mentioned<a id="FNanchor_CXC_190"></a><a href="#Footnote_CXC_190" class="fnanchor">[i190]</a>.</p> <p>Some in the gallery of the archbishopric at Milan, the number and -subjects equally unnoticed<a name="FNanchor_CXCI_191" id="FNanchor_CXCI_191"></a> +subjects equally unnoticed<a id="FNanchor_CXCI_191"></a> <a href="#Footnote_CXCI_191" class="fnanchor">[i191]</a>.</p> -<p>One picture in the sacristy of Santa Maria, near St. Celsus at Milan<a name="FNanchor_CXCII_192" -id="FNanchor_CXCII_192"></a><a href="#Footnote_CXCII_192" class="fnanchor">[i192]</a>.</p> +<p>One picture in the sacristy of Santa Maria, near St. Celsus at Milan<a id="FNanchor_CXCII_192"></a><a href="#Footnote_CXCII_192" class="fnanchor">[i192]</a>.</p> <p><i>A small head of Christ</i>, while a youth, mentioned by Lomazzo. Probably this may be the study for the picture of Jesus disputing with the -Doctors, at the Panfili palace<a name="FNanchor_CXCIII_193" id="FNanchor_CXCIII_193"></a> +Doctors, at the Panfili palace<a id="FNanchor_CXCIII_193"></a> <a href="#Footnote_CXCIII_193" class="fnanchor">[i193]</a>.</p> <p><i>St. Michael with a man kneeling</i>, in the King of France’s -collection<a name="FNanchor_CXCIV_194" id="FNanchor_CXCIV_194"></a><a href="#Footnote_CXCIV_194" +collection<a id="FNanchor_CXCIV_194"></a><a href="#Footnote_CXCIV_194" class="fnanchor">[i194]</a>.</p> -<p><i>A Bacchus</i>, in the same collection<a name="FNanchor_CXCV_195" id="FNanchor_CXCV_195"> +<p><i>A Bacchus</i>, in the same collection<a id="FNanchor_CXCV_195"> </a><a href="#Footnote_CXCV_195" class="fnanchor">[i195]</a>.</p> -<p><i>The fair Ferraia</i>, in the same collection<a name="FNanchor_CXCVI_196" -id="FNanchor_CXCVI_196"></a><a href="#Footnote_CXCVI_196" class="fnanchor">[i196]</a>.</p> +<p><i>The fair Ferraia</i>, in the same collection<a id="FNanchor_CXCVI_196"></a><a href="#Footnote_CXCVI_196" class="fnanchor">[i196]</a>.</p> -<p><i>A portrait of a lady</i>, there also<a name="FNanchor_CXCVII_197" id="FNanchor_CXCVII_197"> +<p><i>A portrait of a lady</i>, there also<a id="FNanchor_CXCVII_197"> </a><a href="#Footnote_CXCVII_197" class="fnanchor">[i197]</a>.</p> -<p><i>A Christ with a globe in his hand</i><a name="FNanchor_CXCVIII_198" id="FNanchor_CXCVIII_198"> +<p><i>A Christ with a globe in his hand</i><a id="FNanchor_CXCVIII_198"> </a><a href="#Footnote_CXCVIII_198" class="fnanchor">[i198]</a>. A very fine picture, half length, now in the possession of Richard Troward, Esq. of Pall Mall. -This was engraven by Hollar in 1650, in aqua fortis<a name="FNanchor_CXCIX_199" -id="FNanchor_CXCIX_199"></a><a href="#Footnote_CXCIX_199" class="fnanchor">[i199]</a>.</p> +This was engraven by Hollar in 1650, in aqua fortis<a id="FNanchor_CXCIX_199"></a><a href="#Footnote_CXCIX_199" class="fnanchor">[i199]</a>.</p> -<p><span class="pagenum"><a name="Page_xciv" id="Page_xciv">[Pg xciv]</a></span></p> +<p><span class="pagenum"><a id="Page_xciv">[Pg xciv]</a></span></p> <p><i>The Fall of Phaeton</i>, in the gallery of the Grand Duke of Tuscany, of -which Scannelli speaks, but it is mentioned by no one else<a name="FNanchor_CC_200" -id="FNanchor_CC_200"></a><a href="#Footnote_CC_200" class="fnanchor">[i200]</a>.</p> +which Scannelli speaks, but it is mentioned by no one else<a id="FNanchor_CC_200"></a><a href="#Footnote_CC_200" class="fnanchor">[i200]</a>.</p> <p><i>St. Catherine with a palm-branch</i>, in the gallery of the Duke of -Modena<a name="FNanchor_CCI_201" id="FNanchor_CCI_201"></a><a href="#Footnote_CCI_201" +Modena<a id="FNanchor_CCI_201"></a><a href="#Footnote_CCI_201" class="fnanchor">[i201]</a>.</p> <p><i>The head of a young man armed</i>, in the same collection, very graceful, -but inferior to the St. Catherine<a name="FNanchor_CCII_202" id="FNanchor_CCII_202"></a> +but inferior to the St. Catherine<a id="FNanchor_CCII_202"></a> <a href="#Footnote_CCII_202" class="fnanchor">[i202]</a>.</p> <p><i>A portrait of the Queen of Naples</i>, which was in the Aldobrandini gallery, but afterwards to be found in a chamber of portraits in the Panfili palace. It is not equal in colouring to the Dispute of Jesus -with the Doctors<a name="FNanchor_CCIII_203" id="FNanchor_CCIII_203"></a> +with the Doctors<a id="FNanchor_CCIII_203"></a> <a href="#Footnote_CCIII_203" class="fnanchor">[i203]</a>.</p> <p><i>A portrait in profile of the Dutchess of Milan</i>, mentioned by -Richardson as being in a chamber leading to the Ambrosian library<a name="FNanchor_CCIV_204" -id="FNanchor_CCIV_204"></a><a href="#Footnote_CCIV_204" class="fnanchor">[i204]</a>.</p> +Richardson as being in a chamber leading to the Ambrosian library<a id="FNanchor_CCIV_204"></a><a href="#Footnote_CCIV_204" class="fnanchor">[i204]</a>.</p> <p><i>A beautiful figure of the Virgin, half length</i>, in the palace of Vaprio. It is of a gigantic size, for the head of the Virgin is six common palms in size, and that of the Divine Infant four in circumference. Della Valle speaks of having seen this in the year 1791, and says he is not ignorant that tradition ascribes this Madonna to -Bramante, notwithstanding which he gives it to Leonardo<a name="FNanchor_CCV_205" -id="FNanchor_CCV_205"></a><a href="#Footnote_CCV_205" class="fnanchor">[i205]</a>.</p> +Bramante, notwithstanding which he gives it to Leonardo<a id="FNanchor_CCV_205"></a><a href="#Footnote_CCV_205" class="fnanchor">[i205]</a>.</p> <p><i>A laughing Pomona with three veils</i>, commended by Lomazzo. It was done -for Francis I. King of France<a name="FNanchor_CCVI_206" id="FNanchor_CCVI_206"></a> +for Francis I. King of France<a id="FNanchor_CCVI_206"></a> <a href="#Footnote_CCVI_206" class="fnanchor">[i206]</a>.</p> <p><i>The portrait of Cecilia Gallarani</i>, mentioned by<span class="pagenum"> -<a name="Page_xcv" id="Page_xcv">[Pg xcv]</a></span> Bellincione in one of -his sonnets, as painted by Leonardo<a name="FNanchor_CCVII_207" id="FNanchor_CCVII_207"></a> +<a id="Page_xcv">[Pg xcv]</a></span> Bellincione in one of +his sonnets, as painted by Leonardo<a id="FNanchor_CCVII_207"></a> <a href="#Footnote_CCVII_207" class="fnanchor">[i207]</a>.</p> <p><i>Another of Lucrezia Cavelli</i>, a celebrated performer on the lute, ascribed to him on the same authority. Copies of both this and the -former may be seen at Milan<a name="FNanchor_CCVIII_208" id="FNanchor_CCVIII_208"></a> +former may be seen at Milan<a id="FNanchor_CCVIII_208"></a> <a href="#Footnote_CCVIII_208" class="fnanchor">[i208]</a>.</p> <p><i>Our Saviour before Pilate</i>, in the church of S. Florentino, at Amboise. It is thought that the carton only of this was Leonardo’s, and that the -picture was painted by Andrea Salai, or Melzi<a name="FNanchor_CCIX_209" id="FNanchor_CCIX_209"> +picture was painted by Andrea Salai, or Melzi<a id="FNanchor_CCIX_209"> </a><a href="#Footnote_CCIX_209" class="fnanchor">[i209]</a>.</p> <p><i>A portrait of Leonardo</i> by himself, half length, in the Ambrosian -library at Milan<a name="FNanchor_CCX_210" id="FNanchor_CCX_210"></a> +library at Milan<a id="FNanchor_CCX_210"></a> <a href="#Footnote_CCX_210" class="fnanchor">[i210]</a>. Della Valle has inserted a copy of this before the Supplement to Leonardo’s Life, in his edition of Vasari, for which purpose Sig. Pagave transmitted him a drawing from the original picture. @@ -5574,25 +5503,25 @@ But Leonardo’s own drawing for the picture itself, is in the possession of his Britannic Majesty, and from that Mr. Chamberlaine has prefixed to his publication before mentioned, a plate engraven by Bartolozzi.</p> -<hr class="chap" /> +<hr class="chap" > -<p><span class="pagenum"><a name="Page_1" id="Page_1"></a></span></p> +<p><span class="pagenum"><a id="Page_1"></a></span></p> -<h2><a name="A" id="A"></a><span class="smaller">A</span><br /> +<h2><a id="A"></a><span class="smaller">A</span><br > -<span class="bold">TREATISE,</span><br /> +<span class="bold">TREATISE,</span><br > <i>&c.</i></h2> -<hr class="chap" /> +<hr class="chap" > -<h2 class="gesperrt bold top2"><a name="DRAWING" id="DRAWING"></a>DRAWING.</h2> +<h2 class="gesperrt bold top2"><a id="DRAWING"></a>DRAWING.</h2> -<hr class="smalldouble" /> +<hr class="smalldouble" > -<h2 class="bottom2"><a name="PROPORTION" id="PROPORTION"></a>PROPORTION.</h2> +<h2 class="bottom2"><a id="PROPORTION"></a>PROPORTION.</h2> -<h4><a name="Chap_I" id="Chap_I"></a><span +<h4><a id="Chap_I"></a><span class="smcap">Chap. I.</span>—<i>What the young Student in Painting ought in the first Place to learn.</i></h4> @@ -5603,12 +5532,12 @@ an able master, to accustom him, by degrees, to a good style of drawing the parts. Next, he must study Nature, in order to confirm and fix in his mind the reason of those precepts which he has learnt. He must also bestow some time in viewing the works of various old masters, to form -his eye<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a> +his eye<span class="pagenum"><a id="Page_2">[Pg 2]</a> </span> and judgment, in order that he may be able to put in practice -all that he has been taught<a name="FNanchor_1_211" id="FNanchor_1_211"> +all that he has been taught<a id="FNanchor_1_211"> </a><a href="#Footnote_1_211" class="fnanchor">[1]</a>.</p> -<h4><a name="Chap_II" id="Chap_II"></a><span +<h4><a id="Chap_II"></a><span class="smcap">Chap. II.</span>—<i>Rule for a young Student in Painting.</i></h4> <p><span class="smcap">The</span> organ of sight is one of the quickest, and takes in at a single @@ -5625,13 +5554,12 @@ we shall never be able to attain it.</p> <p>A young man, who has a natural inclination to the study of this art, I would advise to act thus: In order to acquire a true notion of the form of things, he must begin by studying the parts which compose them, -and not pass to a second till he has<span class="pagenum"><a name="Page_3" -id="Page_3">[Pg 3]</a></span> well stored his memory, and +and not pass to a second till he has<span class="pagenum"><a id="Page_3">[Pg 3]</a></span> well stored his memory, and sufficiently practised the first; otherwise he loses his time, and will most certainly protract his studies. And let him remember to acquire accuracy before he attempts quickness.</p> -<h4><a name="Chap_III" id="Chap_III"></a><span +<h4><a id="Chap_III"></a><span class="smcap">Chap. III.</span>—<i>How to discover a young Man’s Disposition for Painting.</i></h4> @@ -5640,27 +5568,26 @@ are, notwithstanding, void of a proper disposition for it. This may be known by their want of perseverance; like boys, who draw every thing in a hurry, never finishing, or shadowing.</p> -<h4><a name="Chap_IV" id="Chap_IV"></a><span +<h4><a id="Chap_IV"></a><span class="smcap">Chap. IV.</span>—<i>Of Painting, and its Divisions.</i></h4> <p><span class="smcap">Painting</span> is divided into two principal parts. The first is the figure, that is, the lines which distinguish the forms of bodies, and their component parts. The second is the colour contained within those limits.</p> -<h4><a name="Chap_V" id="Chap_V"></a><span +<h4><a id="Chap_V"></a><span class="smcap">Chap. V.</span>—<i>Division of the Figure.</i></h4> <p><span class="smcap">The</span> form of bodies is divided into two parts; that is, the proportion of the members to each other, which must correspond with the whole; and the motion, expressive of what passes in the mind of the living figure.</p> -<h4><a name="Chap_VI" id="Chap_VI"></a><span +<h4><a id="Chap_VI"></a><span class="smcap">Chap. VI.</span>—<i>Proportion of Members.</i></h4> <p><span class="smcap">The</span> proportion of members is again divided into two parts, viz. equality, and motion. By equality is meant (besides the measure -corresponding with the<span class="pagenum"><a name="Page_4" -id="Page_4">[Pg 4]</a></span> whole), that you do not confound the members +corresponding with the<span class="pagenum"><a id="Page_4">[Pg 4]</a></span> whole), that you do not confound the members of a young subject with those of old age, nor plump ones with those that are lean; and that, moreover, you do not blend the robust and firm muscles of man with feminine softness: that the attitudes and motions of @@ -5669,7 +5596,7 @@ those of a female figure like those of a vigorous young man. The motions and members of a strong man should be such as to express his perfect state of health.</p> -<h4><a name="Chap_VII" id="Chap_VII"></a><span +<h4><a id="Chap_VII"></a><span class="smcap">Chap. VII.</span>—<i>Of Dimensions in general.</i></h4> <p><span class="smcap">In</span> general, the dimensions of the human body are to be considered in @@ -5682,16 +5609,16 @@ and narrow chests with long arms. Observe also attentively the measure of joints, in which Nature is apt to vary considerably; and imitate her example by doing the same.</p> -<h4><a name="Chap_VIII" id="Chap_VIII"></a> +<h4><a id="Chap_VIII"></a> <span class="smcap">Chap. VIII.</span>—<i>Motion, Changes, and Proportion of Members.</i></h4> <p><span class="smcap">The</span> measures of the human body vary in each member, according as it is more or less bent, or seen in different views, increasing on one side as much as they diminish on the other.</p> -<p><span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span></p> +<p><span class="pagenum"><a id="Page_5">[Pg 5]</a></span></p> -<h4><a name="Chap_IX" id="Chap_IX"></a> +<h4><a id="Chap_IX"></a> <span class="smcap">Chap. IX.</span>—<i>The Difference of Proportion between Children and grown Men.</i></h4> @@ -5702,13 +5629,13 @@ the shoulder to the elbow, and from the elbow to the fingers; but the child has only one, because Nature gives the proper size first to the seat of the intellect, and afterwards to the other parts.</p> -<h4><a name="Chap_X" id="Chap_X"></a> +<h4><a id="Chap_X"></a> <span class="smcap">Chap. X.</span>—<i>The Alterations in the Proportion of the human Body from Infancy to full Age.</i></h4> <p><span class="smcap">A man</span>, in his infancy, has the breadth of his shoulders equal to the length of the face, and to the length of the arm from the shoulder to -the elbow, when the arm is bent<a name="FNanchor_2_212" id="FNanchor_2_212"></a> +the elbow, when the arm is bent<a id="FNanchor_2_212"></a> <a href="#Footnote_2_212" class="fnanchor">[2]</a>. It is the same again from the lower belly to the knee, and from the knee to the foot. But, when a man is arrived at the period of his full growth, every one of these @@ -5717,11 +5644,10 @@ top of the head, undergoes but very little alteration in length. A well-proportioned and full-grown man, therefore, is ten times the length of his face; the breadth of his shoulders will be two faces, and in like manner all the above lengths will be double. The rest will<span -class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> be explained -in the general measurement of the human body<a name="FNanchor_3_213" -id="FNanchor_3_213"></a><a href="#Footnote_3_213" class="fnanchor">[3]</a>.</p> +class="pagenum"><a id="Page_6">[Pg 6]</a></span> be explained +in the general measurement of the human body<a id="FNanchor_3_213"></a><a href="#Footnote_3_213" class="fnanchor">[3]</a>.</p> -<h4><a name="Chap_XI" id="Chap_XI"></a> +<h4><a id="Chap_XI"></a> <span class="smcap">Chap. XI.</span>—<i>Of the Proportion of Members.</i></h4> <p><span class="smcap">All</span> the parts of any animal whatever must be correspondent with the @@ -5732,14 +5658,14 @@ same may be observed in plants, when uninjured by men or tempests; for when thus injured they bud and grow again, making young shoots from old plants, and by those means destroying their natural symmetry.</p> -<h4><a name="Chap_XII" id="Chap_XII"></a> +<h4><a id="Chap_XII"></a> <span class="smcap">Chap. XII.</span>—<i>That every Part be proportioned to its Whole.</i></h4> <p><span class="smcap">If</span> a man be short and thick, be careful that all his members be of the same nature, viz. short arms and thick, large hands, short fingers, with broad joints; and so of the rest.</p> -<h4><a name="Chap_XIII" id="Chap_XIII"></a> +<h4><a id="Chap_XIII"></a> <span class="smcap">Chap. XIII.</span>—<i>Of the Proportion of the Members.</i></h4> <p><span class="smcap">Measure</span> upon yourself the proportion of the parts, and, if you find any @@ -5747,9 +5673,9 @@ of them defective, note it down, and be very careful to avoid it in drawing your own compositions. For this is reckoned a common fault in painters, to delight in the imitation of themselves.</p> -<p><span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span></p> +<p><span class="pagenum"><a id="Page_7">[Pg 7]</a></span></p> -<h4><a name="Chap_XIV" id="Chap_XIV"></a> +<h4><a id="Chap_XIV"></a> <span class="smcap">Chap. XIV.</span>—<i>The Danger of forming an erroneous Judgment in regard to the Proportion and Beauty of the Parts.</i></h4> @@ -5761,19 +5687,19 @@ person, and study by every means to acquire the knowledge of what is most beautiful, and of his own defects, that he may adopt the one and avoid the other.</p> -<h4><a name="Chap_XV" id="Chap_XV"></a> +<h4><a id="Chap_XV"></a> <span class="smcap">Chap. XV.</span>—<i>Another Precept.</i></h4> <p><span class="smcap">The</span> young painter must, in the first instance, accustom his hand to copying the drawings of good masters; and when his hand is thus formed, and ready, he should, with the advice of his director, use himself also to draw from relievos; according to the rules we shall point out in the -treatise on drawing from relievos<a name="FNanchor_4_214" id="FNanchor_4_214"> +treatise on drawing from relievos<a id="FNanchor_4_214"> </a><a href="#Footnote_4_214" class="fnanchor">[4]</a>.</p> -<p><span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span></p> +<p><span class="pagenum"><a id="Page_8">[Pg 8]</a></span></p> -<h4><a name="Chap_XVI" id="Chap_XVI"></a> +<h4><a id="Chap_XVI"></a> <span class="smcap">Chap. XVI.</span>—<i>The Manner of drawing from Relievos, and rendering Paper fit for it.</i></h4> @@ -5781,26 +5707,26 @@ Paper fit for it.</i></h4> And after you have made your outline, put in the darkest shadows, and, last of all, the principal lights, but sparingly, especially the smaller ones; because those are easily lost to the eye at a very moderate -distance<a name="FNanchor_5_215" id="FNanchor_5_215"></a><a href="#Footnote_5_215" +distance<a id="FNanchor_5_215"></a><a href="#Footnote_5_215" class="fnanchor">[5]</a>.</p> -<h4><a name="Chap_XVII" id="Chap_XVII"></a> +<h4><a id="Chap_XVII"></a> <span class="smcap">Chap. XVII.</span>—<i>Of drawing from Casts or Nature.</i></h4> <p><span class="smcap">In</span> drawing from relievo, the draftsman must place himself in such a manner, as that the eye of the figure to be drawn be level with his -own<a name="FNanchor_6_216" id="FNanchor_6_216"></a><a href="#Footnote_6_216" +own<a id="FNanchor_6_216"></a><a href="#Footnote_6_216" class="fnanchor">[6]</a>.</p> -<p><span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span></p> +<p><span class="pagenum"><a id="Page_9">[Pg 9]</a></span></p> -<h4><a name="Chap_XVIII" id="Chap_XVIII"></a> +<h4><a id="Chap_XVIII"></a> <span class="smcap">Chap. XVIII.</span>—<i>To draw Figures from Nature.</i></h4> <p><span class="smcap">Accustom</span> yourself to hold a plummet in your hand, that you may judge of the bearing of the parts.</p> -<h4><a name="Chap_XIX" id="Chap_XIX"></a> +<h4><a id="Chap_XIX"></a> <span class="smcap">Chap. XIX.</span>—<i>Of drawing from Nature.</i></h4> <p><span class="smcap">When</span> you draw from Nature, you must be at the distance of three times @@ -5809,7 +5735,7 @@ mind a certain principal line (suppose a perpendicular); observe well the bearing of the parts towards that line; whether they intersect, are parallel to it, or oblique.</p> -<h4><a name="Chap_XX" id="Chap_XX"></a> +<h4><a id="Chap_XX"></a> <span class="smcap">Chap. XX.</span>—<i>Of drawing Academy Figures.</i></h4> <p><span class="smcap">When</span> you draw from a naked model, always sketch in the whole of the @@ -5819,16 +5745,15 @@ that, whenever you make use of such studies, all the parts may hang together.</p> <p>In composing your attitudes, take care not to turn the head on the same -side as the breast, nor let the arm go in a line with the leg<a name="FNanchor_7_217" -id="FNanchor_7_217"></a><a href="#Footnote_7_217" class="fnanchor">[7]</a>. If +side as the breast, nor let the arm go in a line with the leg<a id="FNanchor_7_217"></a><a href="#Footnote_7_217" class="fnanchor">[7]</a>. If the head turn towards the right shoulder, the parts must be lower on the left side than on the other; but if the chest come forward, and the head turn towards the left, the parts on the right side are to be the highest.</p> -<p><span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span></p> +<p><span class="pagenum"><a id="Page_10">[Pg 10]</a></span></p> -<h4><a name="Chap_XXI" id="Chap_XXI"></a> +<h4><a id="Chap_XXI"></a> <span class="smcap">Chap. XXI.</span>—<i>Of studying in the Dark, on first waking in the Morning, and before going to sleep.</i></h4> @@ -5838,7 +5763,7 @@ studied, particularly such as had appeared the most difficult to comprehend and retain; by this method they will be confirmed and treasured up in the memory.</p> -<h4><a name="Chap_XXII" id="Chap_XXII"></a> +<h4><a id="Chap_XXII"></a> <span class="smcap">Chap. XXII.</span>—<i>Observations on drawing Portraits.</i></h4> <p><span class="smcap">The</span> cartilage, which raises the nose in the middle of the face, varies @@ -5858,17 +5783,16 @@ straight, concave, or round. The first is divided into two parts, viz. it is either convex in the upper part, or in the lower, sometimes both; or else flat above and below.</p> -<p><span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span></p> +<p><span class="pagenum"><a id="Page_11">[Pg 11]</a></span></p> -<h4><a name="Chap_XXIII" id="Chap_XXIII"></a> +<h4><a id="Chap_XXIII"></a> <span class="smcap">Chap. XXIII.</span>—<i>The Method of retaining in the Memory the Likeness of a Man, so as to draw his Profile, after having seen him only once.</i></h4> <p><span class="smcap">You</span> must observe and remember well the variations of the four principal features in the profile; the nose, mouth, chin, and forehead. And first -of the nose, of which there are three different sorts<a name="FNanchor_8_218" -id="FNanchor_8_218"></a><a href="#Footnote_8_218" class="fnanchor">[8]</a>, straight, +of the nose, of which there are three different sorts<a id="FNanchor_8_218"></a><a href="#Footnote_8_218" class="fnanchor">[8]</a>, straight, concave, and convex. Of the straight there are but four variations, short or long, high at the end, or low. Of the concave there are three sorts; some have the concavity above, some in the middle, and some at @@ -5878,16 +5802,15 @@ seems to delight in infinite variety, gives again three changes to those noses which have a projection in the middle; for some have it straight, some concave, and some convex.</p> -<h4><a name="Chap_XXIV" id="Chap_XXIV"></a> +<h4><a id="Chap_XXIV"></a> <span class="smcap">Chap. XXIV.</span>—<i>How to remember the Form of a Face.</i></h4> <p><span class="smcap">If</span> you wish to retain with facility the general look of a face, you must first learn how to draw well several faces, mouths, eyes, noses, chins, throats, necks, and shoulders; in short, all those principal parts which distinguish one man from another. For instance, noses are often -different sorts<a name="FNanchor_9_219" id="FNanchor_9_219"></a><a href="#Footnote_9_219" -class="fnanchor">[9]</a>. Straight,<span class="pagenum"><a name="Page_12" -id="Page_12">[Pg 12]</a></span> bunched, concave, some raised above, +different sorts<a id="FNanchor_9_219"></a><a href="#Footnote_9_219" +class="fnanchor">[9]</a>. Straight,<span class="pagenum"><a id="Page_12">[Pg 12]</a></span> bunched, concave, some raised above, some below the middle, aquiline, flat, round, and sharp. These affect the profile. In the front view there are eleven different sorts. Even, thick in the middle, thin in the middle, thick at the tip, thin at the @@ -5903,7 +5826,7 @@ given a look at the face you mean to draw, retire a little aside, and note down in your book which of the features are similar to it; that you may put it all together at home.</p> -<h4><a name="Chap_XXV" id="Chap_XXV"></a> +<h4><a id="Chap_XXV"></a> <span class="smcap">Chap. XXV.</span>—<i>That a Painter should take Pleasure in the Opinion of every body.</i></h4> @@ -5914,42 +5837,41 @@ a thick leg, or a large hand; whether he be lame, or have any other defect. Now, if we know that men are able to judge of the works of Nature, should we not think them more able to detect our errors?</p> -<p><span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span></p> +<p><span class="pagenum"><a id="Page_13">[Pg 13]</a></span></p> -<hr class="chap" /> +<hr class="chap" > -<h3 class="bottom2"><a name="ANATOMY" id="ANATOMY"></a>ANATOMY.</h3> +<h3 class="bottom2"><a id="ANATOMY"></a>ANATOMY.</h3> -<h4><a name="Chap_XXVI" id="Chap_XXVI"></a> +<h4><a id="Chap_XXVI"></a> <span class="smcap">Chap. XXVI.</span>—<i>What is principally to be observed in Figures.</i></h4> <p><span class="smcap">The</span> principal and most important consideration required in drawing figures, is to set the head well upon the shoulders, the chest upon the hips, the hips and shoulders upon the feet.</p> -<h4><a name="Chap_XXVII" id="Chap_XXVII"></a> +<h4><a id="Chap_XXVII"></a> <span class="smcap">Chap. XXVII.</span>—<i>Mode of Studying.</i></h4> <p><span class="smcap">Study</span> the science first, and then follow the practice which results from that science. Pursue method in your study, and do not quit one part till it be perfectly engraven in the memory; and observe what difference -there is between the members of animals and their joints<a name="FNanchor_10_220" -id="FNanchor_10_220"></a><a href="#Footnote_10_220" class="fnanchor">[10]</a>.</p> +there is between the members of animals and their joints<a id="FNanchor_10_220"></a><a href="#Footnote_10_220" class="fnanchor">[10]</a>.</p> -<h4><a name="Chap_XXVIII" id="Chap_XXVIII"></a> +<h4><a id="Chap_XXVIII"></a> <span class="smcap">Chap. XXVIII.</span>—<i>Of being universal.</i></h4> <p><span class="smcap">It</span> is an easy matter for a man who is well versed in the principles of his art, to become universal in the practice of it, since all animals have a similarity of members, that is, muscles, tendons, bones, &c. These only vary in length or thickness, as will be demonstrated in the -Anatomy<a name="FNanchor_11_221" id="FNanchor_11_221"></a><a href="#Footnote_11_221" +Anatomy<a id="FNanchor_11_221"></a><a href="#Footnote_11_221" class="fnanchor">[11]</a>. As for aquatic animals,<span class="pagenum"> -<a name="Page_14" id="Page_14">[Pg 14]</a></span> of which there is great variety, +<a id="Page_14">[Pg 14]</a></span> of which there is great variety, I shall not persuade the painter to take them as a rule, having no connexion with our purpose.</p> -<h4><a name="Chap_XXIX" id="Chap_XXIX"></a> +<h4><a id="Chap_XXIX"></a> <span class="smcap">Chap. XXIX.</span>—<i>A Precept for the Painter.</i></h4> <p><span class="smcap">It</span> reflects no great honour on a painter to be able to execute only one @@ -5959,7 +5881,7 @@ study; because there is scarcely a person so void of genius as to fail of success, if he apply earnestly to one branch of study, and practise it continually.</p> -<h4><a name="Chap_XXX" id="Chap_XXX"></a> +<h4><a id="Chap_XXX"></a> <span class="smcap">Chap. XXX.</span>—<i>Of the Measures of the human Body, and the bending of Members.</i></h4> @@ -5970,17 +5892,17 @@ appearance. As in the arm, which does not measure the same when bent, as when extended; its difference between the greatest extension and bending, is about one eighth of its length. The increase and diminution of the arm is effected by the bone projecting out of its socket at the -elbow; which, as <span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a> +elbow; which, as <span class="pagenum"><a id="Page_15">[Pg 15]</a> </span>is seen in figure A B, Plate I. is lengthened from the shoulder to the elbow; the angle it forms being less than a right angle. It will appear longer as that angle becomes more acute, and will shorten in proportion as it becomes more open or obtuse.</p> <div class="figcenter"> - <a id="plate_01" name="plate_01"></a> + <a id="plate_01"></a> <img src="images/plate_01.png" alt="Plate 1" - title="Plate 1" /> + title="Plate 1"> <div class="caption"> <p class="right"><a href="#Page_15"><i>Page 15</i>.</a></p> @@ -5991,7 +5913,7 @@ in proportion as it becomes more open or obtuse.</p> </div> -<h4><a name="Chap_XXXI" id="Chap_XXXI"></a> +<h4><a id="Chap_XXXI"></a> <span class="smcap">Chap. XXXI.</span>—<i>Of the small Bones in several Joints of the human Body.</i></h4> @@ -6002,7 +5924,7 @@ of the feet. They are eight in number, one at each shoulder, one at each knee, and two at each foot under the first joint of the great toe towards the heel. These grow extremely hard as a man advances in years.</p> -<h4><a name="Chap_XXXII" id="Chap_XXXII"></a> +<h4><a id="Chap_XXXII"></a> <span class="smcap">Chap. XXXII.</span>—<i>Memorandum to be observed by the Painter.</i></h4> <p><span class="smcap">Note</span> down which muscles and tendons are brought into action by the @@ -6014,18 +5936,18 @@ birth even to decrepitude, describing the changes which the members, and particularly the joints, undergo; which of them grow fat, and which lean.</p> -<p><span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span></p> +<p><span class="pagenum"><a id="Page_16">[Pg 16]</a></span></p> -<h4><a name="Chap_XXXIII" id="Chap_XXXIII"></a> +<h4><a id="Chap_XXXIII"></a> <span class="smcap">Chap. XXXIII.</span>—<i>The Shoulders.</i></h4> <p><span class="smcap">The</span> joints of the shoulders, and other parts which bend, shall be noticed in their places in the Treatise on Anatomy, where the cause of the motions of all the parts which compose the human body shall be -explained<a name="FNanchor_12_222" id="FNanchor_12_222"></a><a href="#Footnote_12_222" +explained<a id="FNanchor_12_222"></a><a href="#Footnote_12_222" class="fnanchor">[12]</a>.</p> -<h4><a name="Chap_XXXIV" id="Chap_XXXIV"></a> +<h4><a id="Chap_XXXIV"></a> <span class="smcap">Chap. XXXIV.</span>—<i>The Difference of Joints between Children and grown Men.</i></h4> @@ -6043,9 +5965,9 @@ fingers, arms, and narrow shoulders. Men, on the contrary, are large and full in the joints, in the arms and legs; and where children have hollows, men are knotty and prominent.</p> -<p><span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span></p> +<p><span class="pagenum"><a id="Page_17">[Pg 17]</a></span></p> -<h4><a name="Chap_XXXV" id="Chap_XXXV"></a> +<h4><a id="Chap_XXXV"></a> <span class="smcap">Chap. XXXV.</span>—<i>Of the Joints of the Fingers.</i></h4> <p><span class="smcap">The</span> joints of the fingers appear larger on all sides when they bend; the @@ -6053,7 +5975,7 @@ more they bend the larger they appear. The contrary is the case when straight. It is the same in the toes, and it will be more perceptible in proportion to their fleshiness.</p> -<h4><a name="Chap_XXXVI" id="Chap_XXXVI"></a> +<h4><a id="Chap_XXXVI"></a> <span class="smcap">Chap. XXXVI.</span>—<i>Of the Joint of the Wrist.</i></h4> <p><span class="smcap">The</span> wrist or joint between the hand and arm lessens on closing the hand, @@ -6064,7 +5986,7 @@ to the wrist; but when the hand is shut, the same muscles swell and shorten. The tendons alone start, being stretched by the clenching of the hand.</p> -<h4><a name="Chap_XXXVII" id="Chap_XXXVII"></a> +<h4><a id="Chap_XXXVII"></a> <span class="smcap">Chap. XXXVII.</span>—<i>Of the Joint of the Foot.</i></h4> <p><span class="smcap">The</span> increase and diminution in the joint of the foot is produced on that @@ -6072,21 +5994,21 @@ side where the tendons are seen, as D E F, <i>Plate I.</i> which increases when the angle is acute, and diminishes when it becomes obtuse. It must be understood of the joint in the front part of the foot A B C.</p> -<h4><a name="Chap_XXXVIII" id="Chap_XXXVIII"></a> +<h4><a id="Chap_XXXVIII"></a> <span class="smcap">Chap. XXXVIII.</span>—<i>Of the Knee.</i></h4> <p><span class="smcap">Of</span> all the members which have pliable joints, the knee is the only one that lessens in the bending, and becomes larger by extension.</p> -<p><span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span></p> +<p><span class="pagenum"><a id="Page_18">[Pg 18]</a></span></p> -<h4><a name="Chap_XXXIX" id="Chap_XXXIX"></a> +<h4><a id="Chap_XXXIX"></a> <span class="smcap">Chap. XXXIX.</span>—<i>Of the Joints.</i></h4> <p><span class="smcap">All</span> the joints of the human body become larger by bending, except that of the leg.</p> -<h4><a name="Chap_XL" id="Chap_XL"></a> +<h4><a id="Chap_XL"></a> <span class="smcap">Chap. XL.</span>—<i>Of the Naked.</i></h4> <p><span class="smcap">When</span> a figure is to appear nimble and delicate, its muscles must never @@ -6096,7 +6018,7 @@ with much flesh upon the bones. They are made light by the want of flesh, and where there is but little flesh there cannot be any thickness of muscles.</p> -<h4><a name="Chap_XLI" id="Chap_XLI"></a> +<h4><a id="Chap_XLI"></a> <span class="smcap">Chap. XLI.</span>—<i>Of the Thickness of the Muscles.</i></h4> <p><span class="smcap">Muscular</span> men have large bones, and are in general thick and short, with @@ -6106,17 +6028,17 @@ them, has no room. The muscles in such thin subjects, not being able to extend, grow in thickness, particularly towards their middle, in the parts most removed from the extremities.</p> -<h4><a name="Chap_XLII" id="Chap_XLII"></a> +<h4><a id="Chap_XLII"></a> <span class="smcap">Chap. XLII.</span>—<i>Fat Subjects have small Muscles.</i></h4> <p><span class="smcap">Though</span> fat people have this in common with muscular men, that they are frequently short and thick, they have thin muscles; but their skin contains a great deal of spongy and soft flesh full of air;<span class="pagenum"> -<a name="Page_19" id="Page_19">[Pg 19]</a></span> for that +<a id="Page_19">[Pg 19]</a></span> for that reason they are lighter upon the water, and swim better than muscular people.</p> -<h4><a name="Chap_XLIII" id="Chap_XLIII"></a> +<h4><a id="Chap_XLIII"></a> <span class="smcap">Chap. XLIII.</span>—<i>Which of the Muscles disappear in the different Motions of the Body.</i></h4> @@ -6126,10 +6048,10 @@ when they bend either inwards or outwards. It is to be observed, that there is more variety of appearances in the shoulders, hips, and neck, than in any other joint, because they are susceptible of the greatest variety of motions. But of this subject I shall make a separate -treatise<a name="FNanchor_13_223" id="FNanchor_13_223"></a> +treatise<a id="FNanchor_13_223"></a> <a href="#Footnote_13_223" class="fnanchor">[13]</a>.</p> -<h4><a name="Chap_XLIV" id="Chap_XLIV"></a> +<h4><a id="Chap_XLIV"></a> <span class="smcap">Chap. XLIV.</span>—<i>Of the Muscles.</i></h4> <p><span class="smcap">The</span> muscles are not to be scrupulously marked all the way, because it @@ -6139,9 +6061,9 @@ pronounced more strongly; for muscles that are at work naturally collect all their parts together, to gain increase of strength, so that some small parts of those muscles will appear, that were not seen before.</p> -<p><span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span></p> +<p><span class="pagenum"><a id="Page_20">[Pg 20]</a></span></p> -<h4><a name="Chap_XLV" id="Chap_XLV"></a> +<h4><a id="Chap_XLV"></a> <span class="smcap">Chap. XLV.</span>—<i>Of the Muscles.</i></h4> <p><span class="smcap">The</span> muscles of young men are not to be marked strongly, nor too much @@ -6152,7 +6074,7 @@ in motion are always more swelled and thicker than those which remain at rest. The intrinsic and central line of the members which are bent, never retains its natural length.</p> -<h4><a name="Chap_XLVI" id="Chap_XLVI"></a> +<h4><a id="Chap_XLVI"></a> <span class="smcap">Chap. XLVI.</span>—<i>The Extension and Contraction of the Muscles.</i></h4> <p><span class="smcap">The</span> muscle at the back part of the thigh shows more variety in its @@ -6163,14 +6085,14 @@ shoulders; and the sixth, those of the Abdomen, which, taking their rise under the breast, terminate under the lower belly; as I shall explain when I speak of each.</p> -<h4><a name="Chap_XLVII" id="Chap_XLVII"></a> +<h4><a id="Chap_XLVII"></a> <span class="smcap">Chap. XLVII.</span>—<i>Of the Muscle between the Chest and the lower Belly.</i></h4> <p><span class="smcap">There</span> is a muscle which begins under the breast at the Sternum, and is inserted into, or terminates at the Os pubis, under the lower belly. It is called the Rectus of the Abdomen; it is divided, lengthways,<span class="pagenum"> -<a name="Page_21" id="Page_21">[Pg 21]</a></span> +<a id="Page_21">[Pg 21]</a></span> into three principal portions, by transverse tendinous intersections or ligaments, viz. the superior part, and a ligament; the second part, with its ligaments; and the third part, with the third ligament; which last @@ -6179,10 +6101,10 @@ the same muscle are intended by nature to facilitate the motion when the body is bent or distended. If it were made of one piece, it would produce too much variety when extended, or contracted, and also would be considerably weaker. When this muscle has but little variety in the -motion of the body, it is more beautiful<a name="FNanchor_14_224" id="FNanchor_14_224"> +motion of the body, it is more beautiful<a id="FNanchor_14_224"> </a><a href="#Footnote_14_224" class="fnanchor">[14]</a>.</p> -<h4><a name="Chap_XLVIII" id="Chap_XLVIII"></a> +<h4><a id="Chap_XLVIII"></a> <span class="smcap">Chap. XLVIII.</span>—<i>Of a Man’s complex Strength, but first of the Arm.</i></h4> @@ -6193,10 +6115,9 @@ humeri. The extensors of the arm arise from behind, and the flexors from before.</p> <p>That a man has more power in pulling than in pushing, has been proved -by the ninth proposition De Ponderibus<a name="FNanchor_15_225" -id="FNanchor_15_225"></a><a href="#Footnote_15_225" +by the ninth proposition De Ponderibus<a id="FNanchor_15_225"></a><a href="#Footnote_15_225" class="fnanchor">[15]</a>, where it is said, that of -two equal<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a> +two equal<span class="pagenum"><a id="Page_22">[Pg 22]</a> </span> weights, that will have the greatest power which is farthest removed from the pole or centre of its balance. It follows then of course, that the muscle N B, <i>Plate II.</i> and the muscle N C, being of @@ -6210,10 +6131,9 @@ notice. The complex power, or strength, is, for instance, this, when the arm is going to act, a second power is added to it (such as the weight of the body and the strength of the legs, in pulling or pushing), consisting in the extension of the parts, as when two men attempt to -throw down a column; the one by pushing, and the other by pulling<a name="FNanchor_16_226" -id="FNanchor_16_226"></a><a href="#Footnote_16_226" class="fnanchor">[16]</a>.</p> +throw down a column; the one by pushing, and the other by pulling<a id="FNanchor_16_226"></a><a href="#Footnote_16_226" class="fnanchor">[16]</a>.</p> -<h4><a name="Chap_XLIX" id="Chap_XLIX"></a> +<h4><a id="Chap_XLIX"></a> <span class="smcap">Chap. XLIX.</span>—<i>In which of the two Actions, Pulling or Pushing, a Man has the greatest Power</i>, Plate II.</h4> @@ -6233,10 +6153,10 @@ does not help more than if a piece of wood were placed from the shoulder to the column meant to be pushed down.</p> <div class="figcenter"> - <a id="plate_02" name="plate_02"></a> + <a id="plate_02"></a> <img src="images/plate_02.png" alt="Plate 2" - title="Plate 2" /> + title="Plate 2"> <div class="caption"> <p class="right"><a href="#Page_22"><i>Page 22</i>.</a></p> @@ -6247,9 +6167,9 @@ to the column meant to be pushed down.</p> </div> -<p><span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p> +<p><span class="pagenum"><a id="Page_23">[Pg 23]</a></span></p> -<h4><a name="Chap_L" id="Chap_L"></a> +<h4><a id="Chap_L"></a> <span class="smcap">Chap. L.</span>—<i>Of the bending of Members, and of the Flesh round the bending Joint.</i></h4> @@ -6261,16 +6181,16 @@ The middle between the convex and concave angle participates of this increase or diminution, but in a greater or less degree as the parts are nearer to, or farther from, the angles of the bending joints.</p> -<h4><a name="Chap_LI" id="Chap_LI"></a> +<h4><a id="Chap_LI"></a> <span class="smcap">Chap. LI.</span>—<i>Of the naked Body.</i></h4> <p><span class="smcap">The</span> members of naked men who work hard in different attitudes, will shew the muscles more strongly on that side where they act forcibly to bring the part into action; and the other muscles will be<span class="pagenum"> -<a name="Page_24" id="Page_24">[Pg 24]</a></span> more or less +<a id="Page_24">[Pg 24]</a></span> more or less marked, in proportion as they co-operate in the same motion.</p> -<h4><a name="Chap_LII" id="Chap_LII"></a> +<h4><a id="Chap_LII"></a> <span class="smcap">Chap. LII.</span>—<i>Of a Ligament without Muscles.</i></h4> <p><span class="smcap">Where</span> the arm joins with the hand, there is a ligament, the largest @@ -6279,13 +6199,13 @@ ligament of the Carpus; it has a square shape, and serves to bind and keep close together the bones of the arm, and the tendons of the fingers, and prevent their dilating, or starting out.</p> -<h4><a name="Chap_LIII" id="Chap_LIII"></a> +<h4><a id="Chap_LIII"></a> <span class="smcap">Chap. LIII.</span>—<i>Of Creases.</i></h4> <p><span class="smcap">In</span> bending the joints the flesh will always form a crease on the opposite side to that where it is tight.</p> -<h4><a name="Chap_LIV" id="Chap_LIV"></a> +<h4><a id="Chap_LIV"></a> <span class="smcap">Chap. LIV.</span>—<i>How near behind the Back one Arm can be brought to the other</i>, Plate III. and IV.</h4> @@ -6297,7 +6217,7 @@ The greatest extension of the arm across the chest is, when the elbow comes over the pit of the stomach; the elbow and the shoulder in this position, will form an equilateral triangle.</p> -<h4><a name="Chap_LV" id="Chap_LV"></a> +<h4><a id="Chap_LV"></a> <span class="smcap">Chap. LV.</span>—<i>Of the Muscles.</i></h4> <p><span class="smcap">A naked</span> figure being strongly marked, so as to give a distinct view of @@ -6307,10 +6227,10 @@ which relax cease to appear in proportion as the others pull strongly and become apparent.</p> <div class="figcenter"> - <a id="plate_03" name="plate_03"></a> + <a id="plate_03"></a> <img src="images/plate_03.png" alt="Plate 3" - title="Plate 3" /> + title="Plate 3"> <div class="caption"> <p class="right"><a href="#Page_24"><i>Page 24</i>.</a></p> @@ -6322,10 +6242,10 @@ and become apparent.</p> </div> <div class="figcenter"> - <a id="plate_04" name="plate_04"></a> + <a id="plate_04"></a> <img src="images/plate_04.png" alt="Plate 4" - title="Plate 4" /> + title="Plate 4"> <div class="caption"> <p class="right"><a href="#Page_24"><i>Page 24</i>.</a></p> @@ -6336,9 +6256,9 @@ and become apparent.</p> </div> -<p><span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span></p> +<p><span class="pagenum"><a id="Page_25">[Pg 25]</a></span></p> -<h4><a name="Chap_LVI" id="Chap_LVI"></a> +<h4><a id="Chap_LVI"></a> <span class="smcap">Chap. LVI.</span>—<i>Of the Muscles.</i></h4> <p><span class="smcap">The</span> muscles of the human body are to be more or less marked according to @@ -6346,25 +6266,25 @@ their degree of action. Those only which act are to be shewn, and the more forcibly they act, the stronger they should be pronounced. Those that do not act at all must remain soft and flat.</p> -<h4><a name="Chap_LVII" id="Chap_LVII"></a> +<h4><a id="Chap_LVII"></a> <span class="smcap">Chap. LVII.</span>—<i>Of the Bending of the Body.</i></h4> <p><span class="smcap">The</span> bodies of men diminish as much on the side which bends, as they increase on the opposite side. That diminution may at last become double, in proportion to the extension on the other side. But of this I -shall make a separate treatise<a name="FNanchor_17_227" id="FNanchor_17_227"> +shall make a separate treatise<a id="FNanchor_17_227"> </a><a href="#Footnote_17_227" class="fnanchor">[17]</a>.</p> -<h4><a name="Chap_LVIII" id="Chap_LVIII"></a> +<h4><a id="Chap_LVIII"></a> <span class="smcap">Chap. LVIII.</span>—<i>The same Subject.</i></h4> <p><span class="smcap">The</span> body which bends, lengthens as much on one side as it shortens on the other; but the central line between them will never lessen or increase.</p> -<p><span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span></p> +<p><span class="pagenum"><a id="Page_26">[Pg 26]</a></span></p> -<h4><a name="Chap_LIX" id="Chap_LIX"></a> +<h4><a id="Chap_LIX"></a> <span class="smcap">Chap. LIX.</span>—<i>The Necessity of anatomical Knowledge.</i></h4> <p><span class="smcap">The</span> painter who has obtained a perfect knowledge of the nature of the @@ -6378,19 +6298,18 @@ the cartilages they surround.</p> adopt, or invent, make use of the same muscles, in the arms, back, or chest, or any other parts.</p> -<hr class="chap" /> +<hr class="chap" > -<h3><a name="MOTION_AND_EQUIPOISE_OF_FIGURES" -id="MOTION_AND_EQUIPOISE_OF_FIGURES"></a>MOTION AND EQUIPOISE OF FIGURES.</h3> +<h3><a id="MOTION_AND_EQUIPOISE_OF_FIGURES"></a>MOTION AND EQUIPOISE OF FIGURES.</h3> -<h4><a name="Chap_LX" id="Chap_LX"></a> +<h4><a id="Chap_LX"></a> <span class="smcap">Chap. LX.</span>—<i>Of the Equipoise of a Figure standing still.</i></h4> <p><span class="smcap">The</span> non-existence of motion in any animal resting on its feet, is owing to the equality of weight distributed on each side of the line of gravity.</p> -<h4><a name="Chap_LXI" id="Chap_LXI"></a> +<h4><a id="Chap_LXI"></a> <span class="smcap">Chap. LXI.</span>—<i>Motion produced by the Loss of Equilibrium.</i></h4> <p><span class="smcap">Motion</span> is created by the loss of due equipoise, that is, by inequality @@ -6399,10 +6318,10 @@ gravity, and the farther that is removed, the quicker and stronger will be the motion.</p> <div class="figcenter"> - <a id="plate_05" name="plate_05"></a> + <a id="plate_05"></a> <img src="images/plate_05.png" alt="Plate 5" - title="Plate 5" /> + title="Plate 5"> <div class="caption"> <p class="right"><a href="#Page_27"><i>Page 27</i>.</a></p> @@ -6413,9 +6332,9 @@ be the motion.</p> </div> -<p><span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span></p> +<p><span class="pagenum"><a id="Page_27">[Pg 27]</a></span></p> -<h4><a name="Chap_LXII" id="Chap_LXII"></a> +<h4><a id="Chap_LXII"></a> <span class="smcap">Chap. LXII.</span>—<i>Of the Equipoise of Bodies</i>, Plate V.</h4> <p><span class="smcap">The</span> balance or equipoise of parts in the human body is of two sorts, @@ -6434,17 +6353,17 @@ lifted him from the ground. He must have as much of his own weight thrown behind the central line of his feet, as the weight of Anteus adds before.</p> -<h4><a name="Chap_LXIII" id="Chap_LXIII"></a> +<h4><a id="Chap_LXIII"></a> <span class="smcap">Chap. LXIII.</span>—<i>Of Positions.</i></h4> <p><span class="smcap">The</span> pit of the neck, between the two Clavicles, falls perpendicularly with the foot which bears the weight of the body. If one of the arms be thrown forwards, this pit will quit that perpendicular; and if one of the legs goes back, that pit is brought forwards,<span class="pagenum"> -<a name="Page_28" id="Page_28">[Pg 28]</a></span> and so changes its +<a id="Page_28">[Pg 28]</a></span> and so changes its situation at every change of posture.</p> -<h4><a name="Chap_LXIV" id="Chap_LXIV"></a> +<h4><a id="Chap_LXIV"></a> <span class="smcap">Chap. LXIV.</span>—<i>Of balancing the Weight round the Centre of Gravity in Bodies.</i></h4> @@ -6457,14 +6376,14 @@ weight on the opposite side, as is equal to that of the extended arm and the accidental weight. And the same I say of every part, which is brought out beyond its usual balance.</p> -<h4><a name="Chap_LXV" id="Chap_LXV"></a> +<h4><a id="Chap_LXV"></a> <span class="smcap">Chap. LXV.</span>—<i>Of Figures that have to lift up, or carry any Weight.</i></h4> <p><span class="smcap">A weight</span> can never be lifted up or carried by any man, if he do not throw more than an equal weight of his own on the opposite side.</p> -<h4><a name="Chap_LXVI" id="Chap_LXVI"></a> +<h4><a id="Chap_LXVI"></a> <span class="smcap">Chap. LXVI.</span>—<i>The Equilibrium of a Man standing upon his Feet</i>, Plate VI.</h4> @@ -6472,17 +6391,17 @@ Plate VI.</h4> on each side of the central or perpendicular line of gravity, which supports him.</p> -<h4><a name="Chap_LXVII" id="Chap_LXVII"></a> +<h4><a id="Chap_LXVII"></a> <span class="smcap">Chap. LXVII.</span>—<i>Of Walking</i>, Plate VII.</h4> <p><span class="smcap bottom1">A man</span> walking will always have the centre of gravity over the centre of the leg which rests upon the ground.</p> <div class="figcenter"> - <a id="plate_06" name="plate_06"></a> + <a id="plate_06"></a> <img src="images/plate_06.png" alt="Plate 6" - title="Plate 6" /> + title="Plate 6"> <div class="caption"> <p class="right"><a href="#Page_28"><i>Page 28</i>.</a></p> @@ -6494,10 +6413,10 @@ the leg which rests upon the ground.</p> </div> <div class="figcenter"> - <a id="plate_07" name="plate_07"></a> + <a id="plate_07"></a> <img src="images/plate_07.png" alt="Plate 7" - title="Plate 7" /> + title="Plate 7"> <div class="caption"> <p class="right"><a href="#Page_28"><i>Page 28</i>.</a></p> @@ -6508,9 +6427,9 @@ the leg which rests upon the ground.</p> </div> -<p><span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span></p> +<p><span class="pagenum"><a id="Page_29">[Pg 29]</a></span></p> -<h4><a name="Chap_LXVIII" id="Chap_LXVIII"></a> +<h4><a id="Chap_LXVIII"></a> <span class="smcap">Chap. LXVIII.</span>—<i>Of the Centre of Gravity in Men and Animals.</i></h4> <p><span class="smcap">The</span> legs, or centre of support, in men and animals, will approach nearer @@ -6518,7 +6437,7 @@ to the centre of gravity, in proportion to the slowness of their motion; and, on the contrary, when the motion is quicker, they will be farther removed from that perpendicular line.</p> -<h4><a name="Chap_LXIX" id="Chap_LXIX"></a> +<h4><a id="Chap_LXIX"></a> <span class="smcap">Chap. LXIX.</span>—<i>Of the corresponding Thickness of Parts on each Side of the Body.</i></h4> @@ -6526,7 +6445,7 @@ Side of the Body.</i></h4> equal on each side, if the corresponding members do not move equally and alike.</p> -<h4><a name="Chap_LXX" id="Chap_LXX"></a> +<h4><a id="Chap_LXX"></a> <span class="smcap">Chap. LXX.</span>—<i>Of the Motions of Animals.</i></h4> <p><span class="smcap">All</span> bipeds in their motions lower the part immediately over the foot @@ -6534,24 +6453,24 @@ that is raised, more than over that resting on the ground, and the highest parts do just the contrary. This is observable in the hips and shoulders of a man when he walks; and also in birds in the head and rump.</p> -<h4><a name="Chap_LXXI" id="Chap_LXXI"></a> +<h4><a id="Chap_LXXI"></a> <span class="smcap">Chap. LXXI.</span>—<i>Of Quadrupeds and their Motions.</i></h4> <p><span class="smcap">The</span> highest parts of quadrupeds are susceptible of more variation when they walk, than when they are still, in a greater or less degree, in proportion to their size. This proceeds from the oblique position of their legs when they touch the ground, which<span class="pagenum"> -<a name="Page_30" id="Page_30">[Pg 30]</a></span> raise the animal when they +<a id="Page_30">[Pg 30]</a></span> raise the animal when they become straight and perpendicular upon the ground.</p> -<h4><a name="Chap_LXXII" id="Chap_LXXII"></a> +<h4><a id="Chap_LXXII"></a> <span class="smcap">Chap. LXXII.</span>—<i>Of the Quickness or Slowness of Motion.</i></h4> <p><span class="smcap">The</span> motion performed by a man, or any other animal whatever, in walking, will have more or less velocity as the centre of their weight is more or less removed from the centre of that foot upon which they are supported.</p> -<h4><a name="Chap_LXXIII" id="Chap_LXXIII"></a> +<h4><a id="Chap_LXXIII"></a> <span class="smcap">Chap. LXXIII.</span>—<i>Of the Motion of Animals.</i></h4> <p><span class="smcap">That</span> figure will appear the swiftest in its course which leans the most @@ -6573,10 +6492,10 @@ be near the middle of the wings, the descent will have very little obliquity.</p> <div class="figcenter"> - <a id="plate_08" name="plate_08"></a> + <a id="plate_08"></a> <img src="images/plate_08.png" alt="Plate 8" - title="Plate 8" /> + title="Plate 8"> <div class="caption"> <p class="right"><a href="#Page_31"><i>Page 31</i>.</a></p> @@ -6587,16 +6506,15 @@ obliquity.</p> </div> -<p><span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span></p> +<p><span class="pagenum"><a id="Page_31">[Pg 31]</a></span></p> -<h4><a name="Chap_LXXIV" id="Chap_LXXIV"></a> +<h4><a id="Chap_LXXIV"></a> <span class="smcap">Chap. LXXIV.</span>—<i>Of a Figure moving against the Wind</i>, Plate VIII.</h4> <p><span class="smcap">A man</span> moving against the wind in any direction does not keep his centre -of gravity duly disposed upon the centre of support<a name="FNanchor_18_228" -id="FNanchor_18_228"></a><a href="#Footnote_18_228" class="fnanchor">[18]</a>.</p> +of gravity duly disposed upon the centre of support<a id="FNanchor_18_228"></a><a href="#Footnote_18_228" class="fnanchor">[18]</a>.</p> -<h4><a name="Chap_LXXV" id="Chap_LXXV"></a> +<h4><a id="Chap_LXXV"></a> <span class="smcap">Chap. LXXV.</span>—<i>Of the Balance of a Figure resting upon its Feet.</i></h4> <p><span class="smcap">The</span> man who rests upon his feet, either bears the weight of his body @@ -6606,23 +6524,23 @@ weight, the opposite extremities of his members will not be equally distant from the perpendicular of his feet. But if he simply carries his own weight, the opposite extremities will be equally distant from the perpendicular of his feet: and on this subject of gravity I shall write -a separate book<a name="FNanchor_19_229" id="FNanchor_19_229"> +a separate book<a id="FNanchor_19_229"> </a><a href="#Footnote_19_229" class="fnanchor">[19]</a>.</p> -<h4><a name="Chap_LXXVI" id="Chap_LXXVI"></a> +<h4><a id="Chap_LXXVI"></a> <span class="smcap">Chap. LXXVI.</span>—<i>A Precept.</i></h4> <p><span class="smcap">The</span> navel is always in the central or middle line of the body, which passes through the pit of the stomach to that of the neck, and must have as much weight, either accidental or natural, on one side of the human figure as on the other. This is demonstrated by extending the arm, -the wrist of which performs<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a> +the wrist of which performs<span class="pagenum"><a id="Page_32">[Pg 32]</a> </span> the office of a weight at the end of a steelyard; and will require some weight to be thrown on the other side of the navel, to counterbalance that of the wrist. It is on that account that the heel is often raised.</p> -<h4><a name="Chap_LXXVII" id="Chap_LXXVII"></a> +<h4><a id="Chap_LXXVII"></a> <span class="smcap">Chap. LXXVII.</span>—<i>Of a Man standing, but resting more upon one Foot than the other.</i></h4> @@ -6634,10 +6552,10 @@ that reason, a young man, strong and healthy, will always rest upon one of his legs, and if he removes a little of his weight upon the other, it is only a necessary preparative to motion, without which it is impossible to move; as we have proved before, that motion proceeds from -inequality<a name="FNanchor_20_230" id="FNanchor_20_230"></a><a href="#Footnote_20_230" +inequality<a id="FNanchor_20_230"></a><a href="#Footnote_20_230" class="fnanchor">[20]</a>.</p> -<h4><a name="Chap_LXXVIII" id="Chap_LXXVIII"></a> +<h4><a id="Chap_LXXVIII"></a> <span class="smcap">Chap. LXXVIII.</span>—<i>Of the Balance of Figures</i>, Plate IX.</h4> <p><span class="smcap bottom1">If</span> the figure rests upon one foot, the shoulder on that side will @@ -6649,10 +6567,10 @@ on its shoulder, and when it does not, either behind or before, throw out that leg which does not support the body.</p> <div class="figcenter"> - <a id="plate_09" name="plate_09"></a> + <a id="plate_09"></a> <img src="images/plate_09.png" alt="Plate 9" - title="Plate 9" /> + title="Plate 9"> <div class="caption"> <p class="right"><a href="#Page_32"><i>Page 32</i>.</a></p> @@ -6664,10 +6582,10 @@ out that leg which does not support the body.</p> </div> <div class="figcenter"> - <a id="plate_10" name="plate_10"></a> + <a id="plate_10"></a> <img src="images/plate_10.png" alt="Plate 10" - title="Plate 10" /> + title="Plate 10"> <div class="caption"> <p class="right"><a href="#Page_33"><i>Page 33</i>.</a></p> @@ -6678,9 +6596,9 @@ out that leg which does not support the body.</p> </div> -<p><span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span></p> +<p><span class="pagenum"><a id="Page_33">[Pg 33]</a></span></p> -<h4><a name="Chap_LXXIX" id="Chap_LXXIX"></a> +<h4><a id="Chap_LXXIX"></a> <span class="smcap">Chap. LXXIX.</span>—<i>In what Manner extending one Arm alters the Balance.</i></h4> @@ -6689,7 +6607,7 @@ figure upon the foot which bears the weight of the whole body: as is observable in rope-dancers, who dance upon the rope with their arms open, without any pole.</p> -<h4><a name="Chap_LXXX" id="Chap_LXXX"></a> +<h4><a id="Chap_LXXX"></a> <span class="smcap">Chap. LXXX.</span>—<i>Of a Man bearing a Weight on his Shoulders</i>, Plate X.</h4> @@ -6706,9 +6624,9 @@ weight he carries; and this cannot be done, unless the loaded shoulder be raised, and the other lowered. This is the resource with which Nature has furnished a man on such occasions.</p> -<p><span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span></p> +<p><span class="pagenum"><a id="Page_34">[Pg 34]</a></span></p> -<h4><a name="Chap_LXXXI" id="Chap_LXXXI"></a> +<h4><a id="Chap_LXXXI"></a> <span class="smcap">Chap. LXXXI.</span>—<i>Of Equilibrium.</i></h4> <p><span class="smcap">Any</span> figure bearing an additional weight out of the central line, must @@ -6723,14 +6641,14 @@ accidental load. We see also, that a man ready to fall sideways and backwards at the same time, always throws out the arm on the opposite side.</p> -<h4><a name="Chap_LXXXII" id="Chap_LXXXII"></a> +<h4><a id="Chap_LXXXII"></a> <span class="smcap">Chap. LXXXII.</span>—<i>Of Motion.</i></h4> <p><span class="smcap">Whether</span> a man moves with velocity or slowness, the parts above the leg which sustains the weight, will always be lower than the others on the opposite side.</p> -<h4><a name="Chap_LXXXIII" id="Chap_LXXXIII"></a> +<h4><a id="Chap_LXXXIII"></a> <span class="smcap">Chap. LXXXIII.</span>—<i>The Level of the Shoulders.</i></h4> <p><span class="smcap bottom1">The</span> shoulders or sides of a man, or any other animal, will preserve less @@ -6744,10 +6662,10 @@ its whole, without giving any of its weight to the collateral parts of the whole.</p> <div class="figcenter"> - <a id="plate_11" name="plate_11"></a> + <a id="plate_11"></a> <img src="images/plate_11.png" alt="Plate 11" - title="Plate 11" /> + title="Plate 11"> <div class="caption"> <p class="right"><a href="#Page_35"><i>Page 35</i>.</a></p> @@ -6759,10 +6677,10 @@ the whole.</p> </div> <div class="figcenter"> - <a id="plate_12" name="plate_12"></a> + <a id="plate_12"></a> <img src="images/plate_12.png" alt="Plate 12" - title="Plate 12" /> + title="Plate 12"> <div class="caption"> <p class="right"><a href="#Page_35"><i>Page 35</i>.</a></p> @@ -6774,10 +6692,10 @@ the whole.</p> </div> <div class="figcenter"> - <a id="plate_13" name="plate_13"></a> + <a id="plate_13"></a> <img src="images/plate_13.png" alt="Plate 13" - title="Plate 13" /> + title="Plate 13"> <div class="caption"> <p class="right"><a href="#Page_35"><i>Page 35</i>.</a></p> @@ -6788,9 +6706,9 @@ the whole.</p> </div> -<p><span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span></p> +<p><span class="pagenum"><a id="Page_35">[Pg 35]</a></span></p> -<h4><a name="Chap_LXXXIV" id="Chap_LXXXIV"></a> +<h4><a id="Chap_LXXXIV"></a> <span class="smcap">Chap. LXXXIV.</span>—<i>Objection to the above answered</i>, Plate XI. and XII.</h4> @@ -6804,7 +6722,7 @@ which is bent at the knee, as is seen in the figures B C. But I shall reply thus, that what is not performed by the shoulders in the figure C, is done by the hip, as is demonstrated in another place.</p> -<h4><a name="Chap_LXXXV" id="Chap_LXXXV"></a> +<h4><a id="Chap_LXXXV"></a> <span class="smcap">Chap. LXXXV.</span>—<i>Of the Position of Figures</i>, Plate XIII.</h4> <p><span class="smcap">In</span> the same proportion as that part of the naked figure marked D A, @@ -6813,7 +6731,7 @@ position the opposite side increases. And this is the reason: the figure resting upon one (suppose the left) foot, that foot becomes the centre of all the weight above; and the pit of the neck, formed by the junction of the two Clavicles, quits also its natural situation at the upper -extremity<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a> +extremity<span class="pagenum"><a id="Page_36">[Pg 36]</a> </span> of the perpendicular line (which passes through the middle surface of the body), to bend over the same foot; and as this line bends with it, it forces the transverse lines, which are always at right @@ -6821,7 +6739,7 @@ angles, to lower their extremities on that side where the foot rests, as appears in A B C. The navel and middle parts always preserve their natural height.</p> -<h4><a name="Chap_LXXXVI" id="Chap_LXXXVI"></a> +<h4><a id="Chap_LXXXVI"></a> <span class="smcap">Chap. LXXXVI.</span>—<i>Of the Joints.</i></h4> <p><span class="smcap">In</span> the bending of the joints it is particularly useful to observe the @@ -6840,7 +6758,7 @@ bending of it is added the twisting, as when the ear leans towards one of the shoulders, the head turning the same way, and the face turned upwards.</p> -<h4><a name="Chap_LXXXVII" id="Chap_LXXXVII"></a> +<h4><a id="Chap_LXXXVII"></a> <span class="smcap">Chap. LXXXVII.</span>—<i>Of the Shoulders.</i></h4> <p><span class="smcap bottom1">Of</span> those which the shoulders can perform, simple motions are the @@ -6854,10 +6772,10 @@ circumference, it follows, that the motions of the shoulders may also be said to be infinite.</p> <div class="figcenter"> - <a id="plate_14" name="plate_14"></a> + <a id="plate_14"></a> <img src="images/plate_14.png" alt="Plate 14" - title="Plate 14" /> + title="Plate 14"> <div class="caption"> <p class="right"><a href="#Page_37"><i>Page 37</i>.</a></p> @@ -6868,9 +6786,9 @@ said to be infinite.</p> </div> -<p><span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span></p> +<p><span class="pagenum"><a id="Page_37">[Pg 37]</a></span></p> -<h4><a name="Chap_LXXXVIII" id="Chap_LXXXVIII"></a> +<h4><a id="Chap_LXXXVIII"></a> <span class="smcap">Chap. LXXXVIII.</span>—<i>Of the Motions of a Man.</i></h4> <p><span class="smcap">When</span> you mean to represent a man removing a weight, consider that the @@ -6886,18 +6804,16 @@ to return to their natural straight situation.</p> <p>A man never ascends or descends, nor walks at all in any direction, without raising the heel of the back foot.</p> -<h4><a name="Chap_LXXXIX" id="Chap_LXXXIX"></a> +<h4><a id="Chap_LXXXIX"></a> <span class="smcap">Chap. LXXXIX.</span>—<i>Of the Disposition of Members preparing to act with great Force</i>, Plate XIV.</h4> <p><span class="smcap">When</span> a man prepares himself to strike a violent blow, he bends and -twists his body as far as he can<span class="pagenum"><a name="Page_38" -id="Page_38">[Pg 38]</a></span> to the side contrary to that which +twists his body as far as he can<span class="pagenum"><a id="Page_38">[Pg 38]</a></span> to the side contrary to that which he means to strike, and collecting all his strength, he, by a complex -motion, returns and falls upon the point he has in view<a name="FNanchor_21_231" -id="FNanchor_21_231"></a><a href="#Footnote_21_231" class="fnanchor">[21]</a>.</p> +motion, returns and falls upon the point he has in view<a id="FNanchor_21_231"></a><a href="#Footnote_21_231" class="fnanchor">[21]</a>.</p> -<h4><a name="Chap_XC" id="Chap_XC"></a> +<h4><a id="Chap_XC"></a> <span class="smcap">Chap. XC.</span>—<i>Of throwing any Thing with Violence</i>, Plate XV.</h4> <p><span class="smcap">A man</span> throwing a dart, a stone, or any thing else with violence, may be @@ -6908,7 +6824,7 @@ will be under the perpendicular line of the pit of the neck; and if it be the right foot, the left shoulder will be perpendicular over the toes of the same foot.</p> -<h4><a name="Chap_XCI" id="Chap_XCI"></a> +<h4><a id="Chap_XCI"></a> <span class="smcap">Chap. XCI.</span>—<i>On the Motion of driving any Thing into or drawing it out of the Ground.</i></h4> @@ -6917,7 +6833,7 @@ will raise the leg and bend the knee opposite to the arm which acts, in order to balance himself upon the foot that rests, without which he could neither drive in, nor pull out any thing.</p> -<h4><a name="Chap_XCII" id="Chap_XCII"></a> +<h4><a id="Chap_XCII"></a> <span class="smcap">Chap. XCII.</span>—<i>Of forcible Motions</i>, Plate XVI.</h4> <p><span class="smcap bottom1">Of</span> the two arms, that will be most powerful in its effort, which, having @@ -6927,10 +6843,10 @@ go. As the man A, who moves the arm with a club E, and brings it to the opposite side B, assisted by the motion of the whole body.</p> <div class="figcenter"> - <a id="plate_15" name="plate_15"></a> + <a id="plate_15"></a> <img src="images/plate_15.png" alt="Plate 15" - title="Plate 15" /> + title="Plate 15"> <div class="caption"> <p class="right"><a href="#Page_38"><i>Page 38</i>.</a></p> @@ -6942,10 +6858,10 @@ opposite side B, assisted by the motion of the whole body.</p> </div> <div class="figcenter"> - <a id="plate_16" name="plate_16"></a> + <a id="plate_16"></a> <img src="images/plate_16.png" alt="Plate 16" - title="Plate 16" /> + title="Plate 16"> <div class="caption"> <p class="right"><a href="#Page_39"><i>Page 39</i>.</a></p> @@ -6956,9 +6872,9 @@ opposite side B, assisted by the motion of the whole body.</p> </div> -<p><span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span></p> +<p><span class="pagenum"><a id="Page_39">[Pg 39]</a></span></p> -<h4><a name="Chap_XCIII" id="Chap_XCIII"></a> +<h4><a id="Chap_XCIII"></a> <span class="smcap">Chap. XCIII.</span>—<i>The Action of Jumping.</i></h4> <p><span class="smcap">Nature</span> will of itself, and without any reasoning in the mind of a man @@ -6972,7 +6888,7 @@ and forwards; so that the disposition of the body tending forwards and upwards, makes it describe a great arch when it springs up, which increases the leap.</p> -<h4><a name="Chap_XCIV" id="Chap_XCIV"></a> +<h4><a id="Chap_XCIV"></a> <span class="smcap">Chap. XCIV.</span>—<i>Of the three Motions in jumping upwards.</i></h4> <p><span class="smcap">When</span> a man jumps upwards, the motion of the head is three times quicker @@ -6980,12 +6896,12 @@ than that of the heel, before the extremity of the foot quits the ground, and twice as quick as that of the hips; because three angles are opened and extended at the same time: the superior one is that formed by the body at its joint with the thigh before, the second is at the -joint of<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a> +joint of<span class="pagenum"><a id="Page_40">[Pg 40]</a> </span> the thighs and legs behind, and the third is at the instep -before<a name="FNanchor_22_232" id="FNanchor_22_232"></a><a href="#Footnote_22_232" +before<a id="FNanchor_22_232"></a><a href="#Footnote_22_232" class="fnanchor">[22]</a>.</p> -<h4><a name="Chap_XCV" id="Chap_XCV"></a> +<h4><a id="Chap_XCV"></a> <span class="smcap">Chap. XCV.</span>—<i>Of the easy Motions of Members.</i></h4> <p><span class="smcap bottom1">In</span> regard to the freedom and ease of motions, it is very necessary to @@ -7006,10 +6922,10 @@ sitting, and the arms have some employment across the body, the breast will turn over the joint of the hip.</p> <div class="figcenter"> - <a id="plate_17" name="plate_17"></a> + <a id="plate_17"></a> <img src="images/plate_17.png" alt="Plate 17" - title="Plate 17" /> + title="Plate 17"> <div class="caption"> <p class="right"><a href="#Page_41"><i>Page 41</i>.</a></p> @@ -7020,9 +6936,9 @@ will turn over the joint of the hip.</p> </div> -<p><span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span></p> +<p><span class="pagenum"><a id="Page_41">[Pg 41]</a></span></p> -<h4><a name="Chap_XCVI" id="Chap_XCVI"></a><span +<h4><a id="Chap_XCVI"></a><span class="smcap">Chap. XCVI.</span>—<i>The greatest Twist which a Man can make, in turning to look at himself behind.</i> Plate XVII.</h4> @@ -7031,10 +6947,10 @@ heels and the front of the face are seen at the same time. It is not done without difficulty, and is effected by bending the leg and lowering the shoulder on that side towards which the head turns. The cause of this motion, and also which of the muscles move first and which last, I -shall explain in my treatise on anatomy<a name="FNanchor_23_233" id="FNanchor_23_233"> +shall explain in my treatise on anatomy<a id="FNanchor_23_233"> </a><a href="#Footnote_23_233" class="fnanchor">[23]</a>.</p> -<h4><a name="Chap_XCVII" id="Chap_XCVII"></a> +<h4><a id="Chap_XCVII"></a> <span class="smcap">Chap. XCVII.</span>—<i>Of turning the Leg without the Thigh.</i></h4> <p><span class="smcap">It</span> is impossible to turn the leg inwards or outwards without turning @@ -7042,7 +6958,7 @@ the thigh by the same motion, because the setting in of the bones at the knee is such, that they have no motion but backwards and forwards, and no more than is necessary for walking or kneeling; never sideways, because the form of the bones at the joint of the knee does not allow -it.<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a> +it.<span class="pagenum"><a id="Page_42">[Pg 42]</a> </span> If this joint had been made pliable on all sides, as that of the shoulder, or that of the thigh bone with the hip, a man would have had his legs bent on each side as often as backwards and forwards, and @@ -7059,7 +6975,7 @@ his hand upon his knee, he at once extends the other arm, raises his head, and straightening the thigh with the body, he springs up, and rests upon the same foot, while he brings up the other.</p> -<h4><a name="Chap_XCVIII" id="Chap_XCVIII"></a> +<h4><a id="Chap_XCVIII"></a> <span class="smcap">Chap. XCVIII.</span>—<i>Postures of Figures.</i></h4> <p><span class="smcap">Figures</span> that are set in a fixed attitude, are nevertheless to have some @@ -7067,14 +6983,14 @@ contrast of parts. If one arm come before, the other remains still or goes behind. If the figure rest upon one leg, the shoulder on that side will be lower than the other. This is observed by artists of judgment, who always take care to balance the figure well upon its feet, for fear -it should<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a> +it should<span class="pagenum"><a id="Page_43">[Pg 43]</a> </span> appear to fall. Because by resting upon one foot, the other leg, being a little bent, does not support the body any more than if it were dead; therefore it is necessary that the parts above that leg should transfer the centre of their weight upon the leg which supports the body.</p> -<h4><a name="Chap_XCIX" id="Chap_XCIX"></a> +<h4><a id="Chap_XCIX"></a> <span class="smcap">Chap. XCIX.</span>—<i>Of the Gracefulness of the Members.</i></h4> <p><span class="smcap">The</span> members are to be suited to the body in graceful motions, expressive @@ -7094,11 +7010,11 @@ little lower than the other, and near the other leg.</p> <p>In regard to the positions of the head and arms, they are infinite, and for that reason I shall not enter into any detailed rule concerning them; suffice it to say, that they are to be easy and free, graceful, -and<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a> +and<span class="pagenum"><a id="Page_44">[Pg 44]</a> </span> varied in their bendings, so that they may not appear stiff like pieces of wood.</p> -<h4><a name="Chap_C" id="Chap_C"></a> +<h4><a id="Chap_C"></a> <span class="smcap">Chap. C.</span>—<i>That it is impossible for any Memory to retain the Aspects and Changes of the Members.</i></h4> @@ -7111,20 +7027,19 @@ a continued quantity, and consequently divisible <i>ad infinitum</i>, and in every part of the motion varies to its view the aspect and figure of the hand; and so it will do if it move round the whole circle. The same will the hand do which is raised in its motion, that is, it will pass over a -space, which is a continued quantity<a name="FNanchor_24_234" -id="FNanchor_24_234"></a><a href="#Footnote_24_234" class="fnanchor">[24]</a>.</p> +space, which is a continued quantity<a id="FNanchor_24_234"></a><a href="#Footnote_24_234" class="fnanchor">[24]</a>.</p> <div class="figcenter"> - <a id="fig_01" name="fig_01"></a> + <a id="fig_01"></a> <img src="images/fig_01.png" alt="Moving Fingers" - title="Aspect of Moving Fingers" /> + title="Aspect of Moving Fingers"> </div> -<p><span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span></p> +<p><span class="pagenum"><a id="Page_45">[Pg 45]</a></span></p> -<h4><a name="Chap_CI" id="Chap_CI"></a> +<h4><a id="Chap_CI"></a> <span class="smcap">Chap. CI.</span>—<i>The Motions of Figures.</i></h4> <p><span class="smcap">Never</span> put the head straight upon the shoulders, but a little turned @@ -7136,10 +7051,10 @@ another from the top to the bottom. But if you wish to introduce such a figure, use it for old age. Never repeat the same motion of arms, or of legs, not only not in the same figure, but in those which are standing by, or near; if the necessity of the case, or the expression of the -subject you represent, do not oblige you to it<a name="FNanchor_25_235" id="FNanchor_25_235"> +subject you represent, do not oblige you to it<a id="FNanchor_25_235"> </a><a href="#Footnote_25_235" class="fnanchor">[25]</a>.</p> -<h4><a name="Chap_CII" id="Chap_CII"></a> +<h4><a id="Chap_CII"></a> <span class="smcap">Chap. CII.</span>—<i>Of common Motions.</i></h4> <p><span class="smcap">The</span> variety of motions in man are equal to the variety of accidents or @@ -7148,15 +7063,15 @@ will operate more or less, according to the temper and age of the subject; for the same cause will in the actions of youth, or of old age, produce very different effects.</p> -<p><span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span></p> +<p><span class="pagenum"><a id="Page_46">[Pg 46]</a></span></p> -<h4><a name="Chap_CIII" id="Chap_CIII"></a> +<h4><a id="Chap_CIII"></a> <span class="smcap">Chap. CIII.</span>—<i>Of simple Motions.</i></h4> <p><span class="smcap">Simple</span> motion is that which a man performs in merely bending backwards or forwards.</p> -<h4><a name="Chap_CIV" id="Chap_CIV"></a> +<h4><a id="Chap_CIV"></a> <span class="smcap">Chap. CIV.</span>—<i>Complex Motion.</i></h4> <p><span class="smcap">Complex</span> motion is that which, to produce some particular action, @@ -7166,7 +7081,7 @@ motions according to the nature of the subject, and not to weaken or destroy the effect of it by introducing figures with simple motions, without any connexion with the subject.</p> -<h4><a name="Chap_CV" id="Chap_CV"></a> +<h4><a id="Chap_CV"></a> <span class="smcap">Chap. CV.</span>—<i>Motions appropriated to the Subject.</i></h4> <p><span class="smcap">The</span> motions of your figures are to be expressive of the quantity of @@ -7175,14 +7090,14 @@ be used to take up a stick as would easily raise a piece of timber. Therefore shew great variety in the expression of strength, according to the quality of the load to be managed.</p> -<h4><a name="Chap_CVI" id="Chap_CVI"></a> +<h4><a id="Chap_CVI"></a> <span class="smcap">Chap. CVI.</span>—<i>Appropriate Motions.</i></h4> <p><span class="smcap">There</span> are some emotions of the mind which are not expressed by any particular motion of the body, while in others, the expression cannot be shewn without it. In the first, the arms fall down, the hands and all the other parts, which in general are<span class="pagenum"> -<a name="Page_47" id="Page_47">[Pg 47]</a></span> the most active, remain at rest. +<a id="Page_47">[Pg 47]</a></span> the most active, remain at rest. But such emotions of the soul as produce bodily action, must put the members into such motions as are appropriated to the intention of the mind. This, however, is an ample subject, and we have a great deal to @@ -7192,20 +7107,20 @@ nor the other. This last belongs to insensibility, or fury, and should be ranked with madness or stupidity; and so adapted only to grotesque or Moresco work.</p> -<h4><a name="Chap_CVII" id="Chap_CVII"></a> +<h4><a id="Chap_CVII"></a> <span class="smcap">Chap. CVII.</span>—<i>Of the Postures of Women and young People.</i></h4> <p><span class="smcap">It</span> is not becoming in women and young people to have their legs too much asunder, because it denotes boldness; while the legs close together shew modesty.</p> -<h4><a name="Chap_CVIII" id="Chap_CVIII"></a> +<h4><a id="Chap_CVIII"></a> <span class="smcap">Chap. CVIII.</span>—<i>Of the Postures of Children.</i></h4> <p><span class="smcap">Children</span> and old people are not to express quick motions, in what concerns their legs.</p> -<h4><a name="Chap_CIX" id="Chap_CIX"></a> +<h4><a id="Chap_CIX"></a> <span class="smcap">Chap. CIX.</span>—<i>Of the Motion of the Members.</i></h4> <p><span class="smcap">Let</span> every member be employed in performing its proper functions. For @@ -7214,9 +7129,9 @@ or awake. A foot bearing the weight of the whole body, should not be playing its toes up and down, but flat upon the ground; except when it rests entirely upon the heel.</p> -<p><span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span></p> +<p><span class="pagenum"><a id="Page_48">[Pg 48]</a></span></p> -<h4><a name="Chap_CX" id="Chap_CX"></a> +<h4><a id="Chap_CX"></a> <span class="smcap">Chap. CX.</span>—<i>Of mental Motions.</i></h4> <p><span class="smcap">A mere</span> thought, or operation of the mind, excites only simple and easy @@ -7224,7 +7139,7 @@ motions of the body; not this way, and that way, because its object is in the mind, which does not affect the senses when it is collected within itself.</p> -<h4><a name="Chap_CXI" id="Chap_CXI"></a> +<h4><a id="Chap_CXI"></a> <span class="smcap">Chap. CXI.</span>—<i>Effect of the Mind upon the Motions of the Body, occasioned by some outward Object.</i></h4> @@ -7234,25 +7149,25 @@ turn towards it the organs most necessary, the eyes; leaving its feet in the same place; and will only move the thighs, hips, and knees a little towards the same side, to which the eyes are directed.</p> -<hr class="chap" /> +<hr class="chap" > -<h3 class="bottom2"><a name="LINEAR_PERSPECTIVE" id="LINEAR_PERSPECTIVE"></a>LINEAR PERSPECTIVE.</h3> +<h3 class="bottom2"><a id="LINEAR_PERSPECTIVE"></a>LINEAR PERSPECTIVE.</h3> -<h4><a name="Chap_CXII" id="Chap_CXII"></a> +<h4><a id="Chap_CXII"></a> <span class="smcap">Chap. CXII.</span>—<i>Of those who apply themselves to the Practice, without having learnt the Theory of the Art.</i></h4> <p><span class="smcap">Those</span> who become enamoured of the practice of the art, without having previously applied to the diligent study of the scientific part of it, may be compared to mariners, who put to sea in a ship<span class="pagenum"> -<a name="Page_49" id="Page_49">[Pg 49]</a></span> without rudder or +<a id="Page_49">[Pg 49]</a></span> without rudder or compass, and therefore cannot be certain of arriving at the wished-for port.</p> <p>Practice must always be founded on good theory; to this, Perspective is the guide and entrance, without which nothing can be well done.</p> -<h4><a name="Chap_CXIII" id="Chap_CXIII"></a> +<h4><a id="Chap_CXIII"></a> <span class="smcap">Chap. CXIII.</span>—<i>Precepts in Painting.</i></h4> <p><span class="smcap">Perspective</span> is to Painting what the bridle is to a horse, and the rudder @@ -7263,7 +7178,7 @@ to a ship.</p> <p>If a figure be seen of the natural size, remember that it denotes its being near to the eye.</p> -<h4><a name="Chap_CXIV" id="Chap_CXIV"></a> +<h4><a id="Chap_CXIV"></a> <span class="smcap">Chap. CXIV.</span>—<i>Of the Boundaries of Objects called Outlines or Contours.</i></h4> @@ -7273,20 +7188,20 @@ to recognise the features of a friend or relation, if it were not for their clothes and general appearance. So that by the knowledge of the whole it comes to know the parts.</p> -<h4><a name="Chap_CXV" id="Chap_CXV"></a> +<h4><a id="Chap_CXV"></a> <span class="smcap">Chap. CXV.</span>—<i>Of linear Perspective.</i></h4> <p><span class="smcap">Linear</span> Perspective consists in giving, by established rules, the true dimensions of objects, according to their respective distances; so that the second object be less than the first, the third than the second, and by degrees at last they become invisible. I find by experience, that, if -the second object be at<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a> +the second object be at<span class="pagenum"><a id="Page_50">[Pg 50]</a> </span> the same distance from the first, as the first is from the eye, though they be of the same size, the second will appear half the size of the first; and, if the third be at the same distance behind the second, it will diminish two thirds; and so on, by degrees, they will, at equal distances, diminish in proportion; provided that the -interval be not more than twenty cubits<a name="FNanchor_26_236" id="FNanchor_26_236"> +interval be not more than twenty cubits<a id="FNanchor_26_236"> </a><a href="#Footnote_26_236" class="fnanchor">[26]</a>; at which distance it will lose two fourths of its size: at forty it will diminish three fourths; and at sixty it will lose five sixths, and so on progressively. But you @@ -7294,12 +7209,12 @@ must be distant from your picture twice the size of it; for, if you be only once the size, it will make a great difference in the measure from the first to the second.</p> -<h4><a name="Chap_CXVI" id="Chap_CXVI"></a> +<h4><a id="Chap_CXVI"></a> <span class="smcap">Chap. CXVI.</span>—<i>What Parts of Objects disappear first by Distance.</i></h4> <p><span class="smcap">Those</span> parts which are of less magnitude will first vanish from the -sight<a name="FNanchor_27_237" id="FNanchor_27_237"></a><a href="#Footnote_27_237" +sight<a id="FNanchor_27_237"></a><a href="#Footnote_27_237" class="fnanchor">[27]</a>. This happens, because the shape of small objects, at an equal distance, comes to the eye under a more acute angle than the large ones, and the perception of them is less, in proportion as they @@ -7308,15 +7223,15 @@ being removed to a great distance, and consequently coming to the eye by a small angle, are almost lost to the sight, the small objects will entirely disappear.</p> -<p><span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span></p> +<p><span class="pagenum"><a id="Page_51">[Pg 51]</a></span></p> -<h4><a name="Chap_CXVII" id="Chap_CXVII"></a> +<h4><a id="Chap_CXVII"></a> <span class="smcap">Chap. CXVII.</span>—<i>Of remote Objects.</i></h4> <p><span class="smcap">The</span> outlines of objects will be less seen, in proportion as they are more distant from the eye.</p> -<h4><a name="Chap_CXVIII" id="Chap_CXVIII"></a> +<h4><a id="Chap_CXVIII"></a> <span class="smcap">Chap. CXVIII.</span>—<i>Of the Point of Sight.</i></h4> <p><span class="smcap">The</span> point of sight must be on a level with the eyes of a common-sized @@ -7324,7 +7239,7 @@ man, and placed upon the horizon, which is the line formed by a flat country terminating with the sky. An exception must be made as to mountains, which are above that line.</p> -<h4><a name="Chap_CXIX" id="Chap_CXIX"></a> +<h4><a id="Chap_CXIX"></a> <span class="smcap">Chap. CXIX.</span>—<i>A Picture is to be viewed from one Point only.</i></h4> <p><span class="smcap">This</span> will be proved by one single example. If you mean to represent a @@ -7333,19 +7248,19 @@ necessary to make it oblong, like the shape of an egg, and to place yourself (that is, the eye, or point of view) so far back, as that its outline or circumference may appear round.</p> -<h4><a name="Chap_CXX" id="Chap_CXX"></a> +<h4><a id="Chap_CXX"></a> <span class="smcap">Chap. CXX.</span>—<i>Of the Dimensions of the first Figure in an historical Painting.</i></h4> <p><span class="smcap">The</span> first figure in your picture will be less than Nature, in proportion as it recedes from the front of the picture, or the bottom line; and by the same rule the others behind it will go on lessening in an equal -degree<a name="FNanchor_28_238" id="FNanchor_28_238"></a><a href="#Footnote_28_238" +degree<a id="FNanchor_28_238"></a><a href="#Footnote_28_238" class="fnanchor">[28]</a>.</p> -<p><span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span></p> +<p><span class="pagenum"><a id="Page_52">[Pg 52]</a></span></p> -<h4><a name="Chap_CXXI" id="Chap_CXXI"></a> +<h4><a id="Chap_CXXI"></a> <span class="smcap">Chap. CXXI.</span>—<i>Of Objects that are lost to the Sight in Proportion to their Distance.</i></h4> @@ -7356,7 +7271,7 @@ the thickness of legs and feet; and so in succession the small parts are lost to the sight, till nothing remains but a confused mass, without any distinct parts.</p> -<h4><a name="Chap_CXXII" id="Chap_CXXII"></a> +<h4><a id="Chap_CXXII"></a> <span class="smcap">Chap. CXXII.</span>—<i>Errors not so easily seen in small Objects as in large ones.</i></h4> @@ -7369,7 +7284,7 @@ the distance of two hundred yards, and with all due attention mean to form a judgment, whether he be handsome or ugly, deformed or well made, you will find that, with all your endeavours, you can hardly venture to decide. The reason is, that the man diminishes so much by the -distance, that it is impossible<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a> +distance, that it is impossible<span class="pagenum"><a id="Page_53">[Pg 53]</a> </span> to distinguish the parts minutely. If you wish to know by demonstration the diminution of the above figure, hold your finger up before your eye at about nine inches distance, so @@ -7380,7 +7295,7 @@ diminution of that object. Hence it often happens, that we are doubtful, and can scarcely, at some distance, distinguish the form of even a friend.</p> -<h4><a name="Chap_CXXIII" id="Chap_CXXIII"></a> +<h4><a id="Chap_CXXIII"></a> <span class="smcap">Chap. CXXIII.</span>—<i>Historical Subjects one above another on the same Wall to be avoided.</i></h4> @@ -7397,7 +7312,7 @@ which is very ill judged in those matters.</p> you ask, how is a series of subjects, such as the life of a saint, to be represented, in different compartments on the same wall? I answer, that you are to place the principal event in the largest compartment, -and make the point of<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a> +and make the point of<span class="pagenum"><a id="Page_54">[Pg 54]</a> </span> sight as high as the eye of the spectator. Begin that subject with large figures; and as you go up, lessen the objects, as well the figures, as buildings, varying the plans according to the @@ -7407,10 +7322,9 @@ where terrestrial objects can be seen no more, except the tops of trees, or clouds and birds; or if you introduce figures, they must be aerial, such as angels, or saints in glory, or the like, if they suit the purpose of your history. If not, do not undertake this kind of painting, -for your work will be faulty, and justly reprehensible<a name="FNanchor_29_239" -id="FNanchor_29_239"></a><a href="#Footnote_29_239" class="fnanchor">[29]</a>.</p> +for your work will be faulty, and justly reprehensible<a id="FNanchor_29_239"></a><a href="#Footnote_29_239" class="fnanchor">[29]</a>.</p> -<h4><a name="Chap_CXXIV" id="Chap_CXXIV"></a> +<h4><a id="Chap_CXXIV"></a> <span class="smcap">Chap. CXXIV.</span>—<i>Why Objects in Painting can never detach, as natural Objects do.</i></h4> @@ -7418,8 +7332,7 @@ natural Objects do.</i></h4> observing, that their pictures have not the same relief, nor the same life, as natural objects have in a looking-glass, though they both appear upon a plain surface. They say, they have colours which surpass -in brightness the quality of the lights,<span class="pagenum"><a name="Page_55" -id="Page_55">[Pg 55]</a></span> and in darkness the quality of +in brightness the quality of the lights,<span class="pagenum"><a id="Page_55">[Pg 55]</a></span> and in darkness the quality of the shades of the objects seen in the looking-glass; but attribute this circumstance to their own ignorance, and not to the true cause, because they do not know it. It is impossible that objects in painting should @@ -7434,30 +7347,30 @@ and you look with the other S, the body F will entirely cover the body R, because the visual rays beginning at one point, form a triangle, of which the body F is the base, and being prolonged, they form two diverging tangents at the two extremities of F, which cannot touch the -body R behind it, therefore can never see it<a name="FNanchor_30_240" id="FNanchor_30_240"> +body R behind it, therefore can never see it<a id="FNanchor_30_240"> </a><a href="#Footnote_30_240" class="fnanchor">[30]</a>.</p> <div class="figcenter"> - <a id="fig_02" name="fig_02"></a> + <a id="fig_02"></a> <img src="images/fig_02.png" alt="Objects Covering Each Other" - title="Viewing Objects with One and Two Eyes" /> + title="Viewing Objects with One and Two Eyes"> </div> -<p><span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span></p> +<p><span class="pagenum"><a id="Page_56">[Pg 56]</a></span></p> -<p class="bottom1"><span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span></p> +<p class="bottom1"><span class="pagenum"><a id="Page_57">[Pg 57]</a></span></p> -<h4><a name="Chap_CXXV" id="Chap_CXXV"></a> +<h4><a id="Chap_CXXV"></a> <span class="smcap">Chap. CXXV.</span>—<i>How to give the proper Dimension to Objects in Painting.</i></h4> <div class="figcenter"> - <a id="fig_03" name="fig_03"></a> + <a id="fig_03"></a> <img src="images/fig_03.png" alt="Objects at Different Distances" - title="Objects at Different Distances" /> + title="Objects at Different Distances"> </div> @@ -7478,14 +7391,13 @@ picture B C, and more so than the figure M N transferred upon the glass F G; because, supposing the figure P O to be as much finished as the natural one in B C, the perspective of O P would be false, since, though in regard to the diminution of the figure it would be right, B C being -diminished in P O, the finishing would not<span class="pagenum"><a name="Page_58" -id="Page_58">[Pg 58]</a></span> agree with the distance, +diminished in P O, the finishing would not<span class="pagenum"><a id="Page_58">[Pg 58]</a></span> agree with the distance, because in giving it the perfection of the natural B C, B C would appear as near as O P; but, if you search for the diminution of O P, O P will be found at the distance B C, and the diminution of the finishing as at F G.</p> -<h4><a name="Chap_CXXVI" id="Chap_CXXVI"></a> +<h4><a id="Chap_CXXVI"></a> <span class="smcap">Chap. CXXVI.</span>—<i>How to draw accurately any particular Spot.</i></h4> <p><span class="smcap">Take</span> a glass as large as your paper, fasten it well between your eye @@ -7496,7 +7408,7 @@ glass all that you see through it. After that, trace upon paper what you have drawn on the glass, which tracing you may paint at pleasure, observing the aerial perspective.</p> -<h4><a name="Chap_CXXVII" id="Chap_CXXVII"></a> +<h4><a id="Chap_CXXVII"></a> <span class="smcap">Chap. CXXVII.</span>—<i>Disproportion to be avoided, even in the accessory Parts.</i></h4> @@ -7505,22 +7417,21 @@ blamed, that is, to represent the habitations of men, and other parts of their compositions, so low, that the doors do not reach as high as the knees of their inhabitants, though, according to their situation, they are nearer to the eye of the spectator, than the men who seem willing -to<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a> +to<span class="pagenum"><a id="Page_59">[Pg 59]</a> </span> enter them. I have seen some pictures with porticos, supported by columns loaded with figures; one grasping a column against which it leans, as if it were a walking-stick, and other similar errors, which are to be avoided with the greatest care.</p> -<hr class="chap" /> +<hr class="chap" > -<p><span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span></p> +<p><span class="pagenum"><a id="Page_60">[Pg 60]</a></span></p> -<h2 class="gesperrt bold top2"><a name="INVENTION_OR_COMPOSITION" -id="INVENTION_OR_COMPOSITION"></a>INVENTION, <span class="smcap">or</span> COMPOSITION.</h2> +<h2 class="gesperrt bold top2"><a id="INVENTION_OR_COMPOSITION"></a>INVENTION, <span class="smcap">or</span> COMPOSITION.</h2> -<hr class="smalldouble" /> +<hr class="smalldouble" > -<h4><a name="Chap_CXXVIII" id="Chap_CXXVIII"></a> +<h4><a id="Chap_CXXVIII"></a> <span class="smcap">Chap. CXXVIII.</span>—<i>Precept for avoiding a bad Choice in the Style or Proportion of Figures.</i></h4> @@ -7538,11 +7449,11 @@ not a woman, however plain in her person, who may not find her admirer, if she be not a monster. Against this bent of the mind you ought very cautiously to be on your guard.</p> -<h4><a name="Chap_CXXIX" id="Chap_CXXIX"></a> +<h4><a id="Chap_CXXIX"></a> <span class="smcap">Chap. CXXIX.</span>—<i>Variety in Figures.</i></h4> <p><span class="smcap">A painter</span> ought to aim at universal excellence; for he will be greatly -wanting in dignity, if he do<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a> +wanting in dignity, if he do<span class="pagenum"><a id="Page_61">[Pg 61]</a> </span> one thing well and another badly, as many do, who study only the naked figure, measured and proportioned by a pair of compasses in their hands, and do not seek for variety. A man may be @@ -7552,7 +7463,7 @@ which are all existing in Nature in its most perfect state, will produce figures as if cast in one and the same mould, which is highly reprehensible.</p> -<h4><a name="Chap_CXXX" id="Chap_CXXX"></a> +<h4><a id="Chap_CXXX"></a> <span class="smcap">Chap. CXXX.</span>—<i>How a Painter ought to proceed in his Studies.</i></h4> <p><span class="smcap">The</span> painter ought always to form in his mind a kind of system of @@ -7560,7 +7471,7 @@ reasoning or discussion within himself on any remarkable object before him. He should stop, take notes, and form some rule upon it; considering the place, the circumstances, the lights and shadows.</p> -<h4><a name="Chap_CXXXI" id="Chap_CXXXI"></a> +<h4><a id="Chap_CXXXI"></a> <span class="smcap">Chap. CXXXI.</span>—<i>Of sketching Histories and Figures.</i></h4> <p><span class="smcap">Sketches</span> of historical subjects must be slight, attending only to the @@ -7568,12 +7479,12 @@ situation of the figures, without regard to the finishing of particular members, which may be done afterwards at leisure, when the mind is so disposed.</p> -<h4><a name="Chap_CXXXII" id="Chap_CXXXII"></a> +<h4><a id="Chap_CXXXII"></a> <span class="smcap">Chap. CXXXII.</span>—<i>How to study Composition.</i></h4> <p><span class="smcap">The</span> young student should begin by sketching slightly some single figure, and turn that on all sides, knowing already how to contract, -and how to extend<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a> +and how to extend<span class="pagenum"><a id="Page_62">[Pg 62]</a> </span> the members; after which, he may put two together in various attitudes, we will suppose in the act of fighting boldly. This composition also he must try on all sides, and in a variety of ways, @@ -7582,19 +7493,19 @@ courageous, while the other is a coward. Let these attitudes, and many other accidental affections of the mind, be with great care studied, examined, and dwelt upon.</p> -<h4><a name="Chap_CXXXIII" id="Chap_CXXXIII"></a> +<h4><a id="Chap_CXXXIII"></a> <span class="smcap">Chap. CXXXIII.</span>—<i>Of the Attitudes of Men.</i></h4> <p><span class="smcap">The</span> attitudes and all the members are to be disposed in such a manner, that by them the intentions of the mind may be easily discovered.</p> -<h4><a name="Chap_CXXXIV" id="Chap_CXXXIV"></a> +<h4><a id="Chap_CXXXIV"></a> <span class="smcap">Chap. CXXXIV.</span>—<i>Variety of Positions.</i></h4> <p><span class="smcap">The</span> positions of the human figure are to be adapted to the age and rank; and to be varied according to the difference of the sexes, men or women.</p> -<h4><a name="Chap_CXXXV" id="Chap_CXXXV"></a> +<h4><a id="Chap_CXXXV"></a> <span class="smcap">Chap. CXXXV.</span>—<i>Of Studies from Nature for History.</i></h4> <p><span class="smcap">It</span> is necessary to consider well the situation @@ -7604,9 +7515,9 @@ historical picture; and set himself as much below the object, as the picture is to be above the eye of the spectator, otherwise the work will be faulty.</p> -<p><span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span></p> +<p><span class="pagenum"><a id="Page_63">[Pg 63]</a></span></p> -<h4><a name="Chap_CXXXVI" id="Chap_CXXXVI"></a> +<h4><a id="Chap_CXXXVI"></a> <span class="smcap">Chap. CXXXVI.</span>—<i>Of the Variety of Figures in History Painting.</i></h4> <p><span class="smcap">History</span> painting must exhibit variety in its fullest extent. In temper, @@ -7617,7 +7528,7 @@ be with curled hair, and some with straight; some short, some long, some quick in their motions, and some slow, with a variety of dresses and colours, according as the subject may require.</p> -<h4><a name="Chap_CXXXVII" id="Chap_CXXXVII"></a> +<h4><a id="Chap_CXXXVII"></a> <span class="smcap">Chap. CXXXVII.</span>—<i>Of Variety in History.</i></h4> <p><span class="smcap">A painter</span> should delight in introducing great variety into his @@ -7633,16 +7544,16 @@ ones; for Nature dictates that the cheerful be attended by others of the same disposition of mind. Laughter is productive of laughter, and <i>vice versâ</i>.</p> -<p><span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span></p> +<p><span class="pagenum"><a id="Page_64">[Pg 64]</a></span></p> -<h4><a name="Chap_CXXXVIII" id="Chap_CXXXVIII"></a> +<h4><a id="Chap_CXXXVIII"></a> <span class="smcap">Chap. CXXXVIII.</span>—<i>Of the Age of Figures.</i></h4> <p><span class="smcap">Do</span> not bring together a number of boys with as many old men, nor young men with infants, nor women with men; if the subject you mean to represent does not oblige you to it.</p> -<h4><a name="Chap_CXXXIX" id="Chap_CXXXIX"></a> +<h4><a id="Chap_CXXXIX"></a> <span class="smcap">Chap. CXXXIX.</span>—<i>Of Variety of Faces.</i></h4> <p><span class="smcap">The</span> Italian painters have been accused of a common fault, that is, @@ -7664,16 +7575,16 @@ suited to what he means to express; and after he has adopted, accurately drawn, and even well finished them, he will be loth to rub out and change them for others.</p> -<p><span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span></p> +<p><span class="pagenum"><a id="Page_65">[Pg 65]</a></span></p> -<h4><a name="Chap_CXL" id="Chap_CXL"></a> +<h4><a id="Chap_CXL"></a> <span class="smcap">Chap. CXL.</span>—<i>A Fault in Painters.</i></h4> <p><span class="smcap">It</span> is a very great fault in a painter to repeat the same motions in figures, and the same folds in draperies in the same composition, as also to make all the faces alike.</p> -<h4><a name="Chap_CXLI" id="Chap_CXLI"></a> +<h4><a id="Chap_CXLI"></a> <span class="smcap">Chap. CXLI.</span>—<i>How you may learn to compose Groups for History Painting.</i></h4> @@ -7691,9 +7602,9 @@ because forms and motions of bodies are so infinitely various, that the memory is not able to retain them; therefore preserve these sketches as your assistants and masters.</p> -<p><span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span></p> +<p><span class="pagenum"><a id="Page_66">[Pg 66]</a></span></p> -<h4><a name="Chap_CXLII" id="Chap_CXLII"></a> +<h4><a id="Chap_CXLII"></a> <span class="smcap">Chap. CXLII.</span>—<i>How to study the Motions of the human Body.</i></h4> <p><span class="smcap">The</span> first requisite towards a perfect acquaintance with the various @@ -7716,9 +7627,9 @@ painter. One is the exact outline and shape of the figure; the other, the true expression of what passes in the mind of that figure, which he must feel, and that is very important.</p> -<p><span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span></p> +<p><span class="pagenum"><a id="Page_67">[Pg 67]</a></span></p> -<h4><a name="Chap_CXLIII" id="Chap_CXLIII"></a> +<h4><a id="Chap_CXLIII"></a> <span class="smcap">Chap. CXLIII.</span>—<i>Of Dresses, and of Draperies and Folds.</i></h4> <p><span class="smcap">The</span> draperies with which you dress figures ought to have their folds @@ -7742,16 +7653,16 @@ folds, produced by thick woollen cloth; others, being dressed in thinner stuff, may have them narrower; some sharp and straight, others soft and undulating.</p> -<p><span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span></p> +<p><span class="pagenum"><a id="Page_68">[Pg 68]</a></span></p> -<h4><a name="Chap_CXLIV" id="Chap_CXLIV"></a> +<h4><a id="Chap_CXLIV"></a> <span class="smcap">Chap. CXLIV.</span>—<i>Of the Nature of Folds in Draperies.</i></h4> <p><span class="smcap">Many</span> painters prefer making the folds of their draperies with acute angles, deep and precise; others with angles hardly perceptible; and some with none at all; but instead of them, certain curved lines.</p> -<h4><a name="Chap_CXLV" id="Chap_CXLV"></a> +<h4><a id="Chap_CXLV"></a> <span class="smcap">Chap. CXLV.</span>—<i>How the Folds of Draperies ought to be represented</i>, Plate XVIII.</h4> @@ -7771,10 +7682,10 @@ Therefore C being the farthest, will be broader and more extended than any other part.</p> <div class="figcenter"> - <a id="plate_18" name="plate_18"></a> + <a id="plate_18"></a> <img src="images/plate_18.png" alt="Plate 18" - title="Plate 18" /> + title="Plate 18"> <div class="caption"> <p class="right"><a href="#Page_68"><i>Page 68</i>.</a></p> @@ -7786,10 +7697,10 @@ any other part.</p> </div> <div class="figcenter"> - <a id="plate_19" name="plate_19"></a> + <a id="plate_19"></a> <img src="images/plate_19.png" alt="Plate 19" - title="Plate 19" /> + title="Plate 19"> <div class="caption"> <p class="right"><a href="#Page_69"><i>Page 69</i>.</a></p> @@ -7800,9 +7711,9 @@ any other part.</p> </div> -<p><span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span></p> +<p><span class="pagenum"><a id="Page_69">[Pg 69]</a></span></p> -<h4><a name="Chap_CXLVI" id="Chap_CXLVI"></a> +<h4><a id="Chap_CXLVI"></a> <span class="smcap">Chap. CXLVI.</span>—<i>How the Folds in Draperies ought to be made.</i></h4> <p><span class="smcap">Draperies</span> are not to be encumbered with many folds: on the contrary, @@ -7815,7 +7726,7 @@ be distinguished by the nature of the folds. But never copy them, as some do, after models dressed in paper, or thin leather, for it greatly misleads.</p> -<h4><a name="Chap_CXLVII" id="Chap_CXLVII"></a> +<h4><a id="Chap_CXLVII"></a> <span class="smcap">Chap. CXLVII.</span>—<i>Fore-shortening of Folds</i>, Plate XIX.</h4> <p><span class="smcap">Where</span> the figure is fore-shortened, there ought to appear a greater @@ -7827,11 +7738,11 @@ other figure the outlines of these circular folds will appear almost straight, because it is situated opposite the eye; but in P and Q quite the contrary, as in N and M.</p> -<h4><a name="Chap_CXLVIII" id="Chap_CXLVIII"></a> +<h4><a id="Chap_CXLVIII"></a> <span class="smcap">Chap. CXLVIII.</span>—<i>Of Folds.</i></h4> <p><span class="smcap">The</span> folds of draperies, whatever be the motion of the figure, ought -always to shew, by the form<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a> +always to shew, by the form<span class="pagenum"><a id="Page_70">[Pg 70]</a> </span> of their outlines, the attitude of such figure; so as to leave, in the mind of the beholder, no doubt or confusion in regard to the true position of the body; and let there be @@ -7850,7 +7761,7 @@ the extremities of the part they surround.</p> produce other folds on that side where the member is diminished by fore-shortening, and be more extended on the opposite side.</p> -<h4><a name="Chap_CXLIX" id="Chap_CXLIX"></a> +<h4><a id="Chap_CXLIX"></a> <span class="smcap">Chap. CXLIX.</span>—<i>Of Decorum.</i></h4> <p><span class="smcap">Observe</span> decorum in every thing you represent, that is, fitness of @@ -7862,7 +7773,7 @@ reverence and admiration, and appear as noble, in dresses suitable to a royal court.</p> <p>On the contrary, in the representation of a mean<span class="pagenum"> -<a name="Page_71" id="Page_71">[Pg 71]</a></span> subject, let the +<a id="Page_71">[Pg 71]</a></span> subject, let the figures appear low and despicable; those about them with similar countenances, and actions, denoting base and presumptuous minds, and meanly clad. In short, in both cases, the parts must correspond with the @@ -7872,7 +7783,7 @@ general sentiment of the composition.</p> a woman to those of a man; nor should the latter be the same as those of a boy.</p> -<h4><a name="Chap_CL" id="Chap_CL"></a> +<h4><a id="Chap_CL"></a> <span class="smcap">Chap. CL.</span>—<i>The Character of Figures in Composition.</i></h4> <p><span class="smcap">In</span> general, the painter ought to introduce very few old men, in the @@ -7884,7 +7795,7 @@ the subject require an appearance of gravity, a meeting on important business, as a council, for instance, let there be few young men introduced, for youth willingly avoids such meetings.</p> -<h4><a name="Chap_CLI" id="Chap_CLI"></a> +<h4><a id="Chap_CLI"></a> <span class="smcap">Chap. CLI.</span>—<i>The Motion of the Muscles, when the Figures are in natural Positions.</i></h4> @@ -7892,11 +7803,11 @@ natural Positions.</i></h4> passions, by which we suppose it animated, will appear to indicate that its muscles are not obedient to its will, and the painter very deficient in judgment. For that reason, a figure is<span class="pagenum"> -<a name="Page_72" id="Page_72">[Pg 72]</a></span> to shew great eagerness and +<a id="Page_72">[Pg 72]</a></span> to shew great eagerness and meaning; and its position is to be so well appropriated to that meaning, that it cannot be mistaken, nor made use of for any other.</p> -<h4><a name="Chap_CLII" id="Chap_CLII"></a> +<h4><a id="Chap_CLII"></a> <span class="smcap">Chap. CLII.</span>—<i>A Precept in Painting.</i></h4> <p><span class="smcap">The</span> painter ought to notice those quick motions, which men are apt to @@ -7906,7 +7817,7 @@ his pocket-book, in order to make use of them when they may answer his purpose; and then to put a living model in the same position, to see the quality and aspect of the muscles which are in action.</p> -<h4><a name="Chap_CLIII" id="Chap_CLIII"></a> +<h4><a id="Chap_CLIII"></a> <span class="smcap">Chap. CLIII.</span>—<i>Of the Motion of Man</i>, Plates XX. and XXI.</h4> <p class="bottom1"><span class="smcap">The</span> first and principal part of the art is composition of any sort, or @@ -7945,10 +7856,10 @@ and he will have acquired only power sufficient to serve him to return to where he was at first.</p> <div class="figcenter"> - <a id="plate_20" name="plate_20"></a> + <a id="plate_20"></a> <img src="images/plate_20.png" alt="Plate 20" - title="Plate 20" /> + title="Plate 20"> <div class="caption"> <p class="right"><a href="#Page_72"><i>Page 72</i>.</a></p> @@ -7960,10 +7871,10 @@ to where he was at first.</p> </div> <div class="figcenter"> - <a id="plate_21" name="plate_21"></a> + <a id="plate_21"></a> <img src="images/plate_21.png" alt="Plate 21" - title="Plate 21" /> + title="Plate 21"> <div class="caption"> <p class="right"><a href="#Page_72"><i>Page 72</i>.</a></p> @@ -7974,10 +7885,10 @@ to where he was at first.</p> </div> -<p><span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span></p> -<p><span class="pagenum"><a name="Page_74" id="Page_74"></a></span></p> +<p><span class="pagenum"><a id="Page_73">[Pg 73]</a></span></p> +<p><span class="pagenum"><a id="Page_74"></a></span></p> -<h4><a name="Chap_CLIV" id="Chap_CLIV"></a> +<h4><a id="Chap_CLIV"></a> <span class="smcap">Chap. CLIV.</span>—<i>Of Attitudes, and the Motions of the Members.</i></h4> <p><span class="smcap">The</span> same attitude is not to be repeated in the same picture, nor the @@ -7993,10 +7904,10 @@ principles. In battles, complex motions display great art, giving spirit and animation to the whole. By complex motion is meant, for instance, that of a single figure shewing the front of the legs, and at the same time the profile of the shoulder. But of this I shall treat in another -place<a name="FNanchor_31_241" id="FNanchor_31_241"></a><a href="#Footnote_31_241" +place<a id="FNanchor_31_241"></a><a href="#Footnote_31_241" class="fnanchor">[31]</a>.</p> -<h4><a name="Chap_CLV" id="Chap_CLV"></a> +<h4><a id="Chap_CLV"></a> <span class="smcap">Chap. CLV.</span>—<i>Of a single Figure separate from an historical Group.</i></h4> @@ -8004,16 +7915,16 @@ Group.</i></h4> mean to be alone; for instance, if the figure be represented running, it must not throw both hands forward; but one forward and the other backward, or else it cannot run. If the right foot come forward, the -right arm must<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a> +right arm must<span class="pagenum"><a id="Page_75">[Pg 75]</a> </span> go backward and the left forward, because, without such disposition and contraste of parts, it is impossible to run well. If another figure be supposed to follow this, one of its legs should be brought somewhat forward, and the other be perpendicular under the head; the arm on the same side should pass forward. But of this we shall treat -more fully in the book on motion<a name="FNanchor_32_242" id="FNanchor_32_242"> +more fully in the book on motion<a id="FNanchor_32_242"> </a><a href="#Footnote_32_242" class="fnanchor">[32]</a>.</p> -<h4><a name="Chap_CLVI" id="Chap_CLVI"></a> +<h4><a id="Chap_CLVI"></a> <span class="smcap">Chap. CLVI.</span>—<i>On the Attitudes of the human Figure.</i></h4> <p><span class="smcap">A painter</span> is to be attentive to the motions and actions of men, @@ -8026,14 +7937,13 @@ action from nature, as it occurs, and then to have a model set in the same attitude to help the recollection, and find out something to the purpose, according to the subject in hand.</p> -<h4><a name="Chap_CLVII" id="Chap_CLVII"></a> +<h4><a id="Chap_CLVII"></a> <span class="smcap">Chap. CLVII.</span>—<i>How to represent a Storm.</i></h4> <p><span class="smcap">To</span> form a just idea of a storm, you must consider it attentively in its effects. When the wind blows violently over the sea or land, it removes and carries off with it every thing that is not firmly fixed to the -general mass. The clouds must appear straggling<span class="pagenum"><a name="Page_76" -id="Page_76">[Pg 76]</a></span> and broken, carried +general mass. The clouds must appear straggling<span class="pagenum"><a id="Page_76">[Pg 76]</a></span> and broken, carried according to the direction and the force of the wind, and blended with clouds of dust raised from the sandy shore. Branches and leaves of trees must be represented as carried along by the violence of the storm, and, @@ -8056,12 +7966,12 @@ broken masts fallen across the hulk, already on its side amidst the tempestuous waves. Some of the crew should be represented as if crying aloud for help, and clinging to the remains of the shattered vessel. Let the clouds appear as driven by tempestuous winds against the summits of -lofty mountains, enveloping those<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a> +lofty mountains, enveloping those<span class="pagenum"><a id="Page_77">[Pg 77]</a> </span> mountains, and breaking and recoiling with redoubled force, like waves against a rocky shore. The air should be rendered awfully dark, by the mist, dust, and thick clouds.</p> -<h4><a name="Chap_CLVIII" id="Chap_CLVIII"></a> +<h4><a id="Chap_CLVIII"></a> <span class="smcap">Chap. CLVIII.</span>—<i>How to compose a Battle.</i></h4> <p><span class="smcap">First</span>, let the air exhibit a confused mixture of smoke, arising from the @@ -8082,7 +7992,7 @@ and the more confused will they be in their lights and shades. Let the faces of the musketeers, their bodies, and every object near them, be tinged with a reddish hue, even the air or cloud of dust; in short, all that surrounds them. This red tinge you will diminish, in proportion to -their distance,<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a> +their distance,<span class="pagenum"><a id="Page_78">[Pg 78]</a> </span> from the primary cause. The groups of figures, which appear at a distance between the spectator and the light, will form a dark mass upon a light ground; and their legs will be more undetermined @@ -8109,7 +8019,7 @@ of every member properly contrasted; for instance, in moving the right foot forwards, the left arm must be brought forwards also. If you make any of them fallen down, mark the trace of his fall on the slippery, gore-stained dust; and where the ground is less impregnated with blood, -let the print of men’s feet<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a> +let the print of men’s feet<span class="pagenum"><a id="Page_79">[Pg 79]</a> </span> and of horses, that have passed that way, be marked. Let there be some horses dragging the bodies of their riders, and leaving behind them a furrow, made by the body thus trailed @@ -8134,7 +8044,7 @@ with the dust, it forms a reddish kind of mud. Some should be in the agonies of death; their teeth shut, their eyes wildly staring, their fists clenched, and their legs in a distorted position. Some may appear disarmed, and beaten down by the enemy, still fighting with their fists -and teeth, and endeavouring<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a> +and teeth, and endeavouring<span class="pagenum"><a id="Page_80">[Pg 80]</a> </span> to take a passionate, though unavailing revenge. There may be also a straggling horse without a rider, running in wild disorder; his mane flying in the wind, beating down with his @@ -8156,9 +8066,9 @@ with horses fording it, dashing the water about between their legs, and in the air, covering all the adjacent ground with water and foam. Not a spot is to be left without some marks of blood and carnage.</p> -<p><span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span></p> +<p><span class="pagenum"><a id="Page_81">[Pg 81]</a></span></p> -<h4><a name="Chap_CLIX" id="Chap_CLIX"></a> +<h4><a id="Chap_CLIX"></a> <span class="smcap">Chap. CLIX.</span>—<i>The Representation of an Orator and his Audience.</i></h4> <p><span class="smcap">If</span> you have to represent a man who is speaking to a large assembly of @@ -8183,9 +8093,9 @@ one of their knees; some with one knee upon the other, and upon that, one hand receiving the elbow, the other supporting the chin, covered with a venerable beard.</p> -<p><span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span></p> +<p><span class="pagenum"><a id="Page_82">[Pg 82]</a></span></p> -<h4><a name="Chap_CLX" id="Chap_CLX"></a> +<h4><a id="Chap_CLX"></a> <span class="smcap">Chap. CLX.</span>—<i>Of demonstrative Gestures.</i></h4> <p><span class="smcap">The</span> action by which a figure points at any thing near, either in regard @@ -8194,7 +8104,7 @@ from the body. But if the same thing is far distant, the hand must also be far removed from the body, and the face of the figure pointing, must be turned towards those to whom he is pointing it out.</p> -<h4><a name="Chap_CLXI" id="Chap_CLXI"></a> +<h4><a id="Chap_CLXI"></a> <span class="smcap">Chap. CLXI.</span>—<i>Of the Attitudes of the By-standers at some remarkable Event.</i></h4> @@ -8212,9 +8122,9 @@ lament together. If the event be terrific, let the faces of those who run away from the fight, be strongly expressive of fright, with various motions; as shall be described in the tract on Motion.</p> -<p><span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span></p> +<p><span class="pagenum"><a id="Page_83">[Pg 83]</a></span></p> -<h4><a name="Chap_CLXII" id="Chap_CLXII"></a> +<h4><a id="Chap_CLXII"></a> <span class="smcap">Chap. CLXII.</span>—<i>How to represent Night.</i></h4> <p><span class="smcap">Those</span> objects which are entirely deprived of light, are lost to the @@ -8237,9 +8147,9 @@ the contrary side, as if ready to run away from it. The most remote will only be shading their eyes with their hands, as if hurt by the too great glare.</p> -<p><span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span></p> +<p><span class="pagenum"><a id="Page_84">[Pg 84]</a></span></p> -<h4><a name="Chap_CLXIII" id="Chap_CLXIII"></a> +<h4><a id="Chap_CLXIII"></a> <span class="smcap">Chap. CLXIII.</span>—<i>The Method of awakening the Mind to a Variety of Inventions.</i></h4> @@ -8254,7 +8164,7 @@ compositions, landscapes, battles, figures in quick motion, strange countenances, and dresses, with an infinity of other objects. By these confused lines the inventive genius is excited to new exertions.</p> -<h4><a name="Chap_CLXIV" id="Chap_CLXIV"></a> +<h4><a id="Chap_CLXIV"></a> <span class="smcap">Chap. CLXIV.</span>—<i>Of Composition in History.</i></h4> <p><span class="smcap">When</span> the painter has only a single figure to represent, he must avoid @@ -8268,14 +8178,14 @@ where of course many shortenings and contortions of figures happen, amongst such an enraged multitude of actors, possessed, as it were, of a brutal madness.</p> -<hr class="chap" /> +<hr class="chap" > -<p><span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span></p> +<p><span class="pagenum"><a id="Page_85">[Pg 85]</a></span></p> -<h3 class="bottom2"><a name="EXPRESSION_and_CHARACTER" id="EXPRESSION_and_CHARACTER"></a> +<h3 class="bottom2"><a id="EXPRESSION_and_CHARACTER"></a> <span class="smcap">EXPRESSION and CHARACTER.</span></h3> -<h4><a name="Chap_CLXV" id="Chap_CLXV"></a> +<h4><a id="Chap_CLXV"></a> <span class="smcap">Chap. CLXV.</span>—<i>Of expressive Motions.</i></h4> <p><span class="smcap">Let</span> your figures have actions appropriated to what they are intended @@ -8289,30 +8199,30 @@ school, attend well to this maxim, and apply it to the different qualities of the figures he represents, and to the nature of the subject in which they are actors.</p> -<h4><a name="Chap_CLXVI" id="Chap_CLXVI"></a> +<h4><a id="Chap_CLXVI"></a> <span class="smcap">Chap. CLXVI.</span>—<i>How to paint Children.</i></h4> <p><span class="smcap">Children</span> are to be represented with quick and contorted motions, when they are sitting; but when standing, with fearful and timid motions.</p> -<h4><a name="Chap_CLXVII" id="Chap_CLXVII"></a> +<h4><a id="Chap_CLXVII"></a> <span class="smcap">Chap. CLXVII.</span>—<i>How to represent old Men.</i></h4> <p><span class="smcap">Old</span> men must have slow and heavy motions; their legs and knees must be bent when they are standing, and their feet placed parallel and wide asunder. Let them be bowed downwards, the<span class="pagenum"> -<a name="Page_86" id="Page_86">[Pg 86]</a></span> head leaning much forward, +<a id="Page_86">[Pg 86]</a></span> head leaning much forward, and their arms very little extended.</p> -<h4><a name="Chap_CLXVIII" id="Chap_CLXVIII"></a> +<h4><a id="Chap_CLXVIII"></a> <span class="smcap">Chap. CLXVIII.</span>—<i>How to paint old Women.</i></h4> <p><span class="smcap">Old</span> women, on the contrary, are to be represented bold and quick, with -passionate motions, like furies<a name="FNanchor_33_243" id="FNanchor_33_243"> +passionate motions, like furies<a id="FNanchor_33_243"> </a><a href="#Footnote_33_243" class="fnanchor">[33]</a>. But the motions are to appear a great deal quicker in their arms than in their legs.</p> -<h4><a name="Chap_CLXIX" id="Chap_CLXIX"></a> +<h4><a id="Chap_CLXIX"></a> <span class="smcap">Chap. CLXIX.</span>—<i>How to paint Women.</i></h4> <p><span class="smcap">Women</span> are to be represented in modest and reserved attitudes, with their @@ -8320,7 +8230,7 @@ knees rather close, their arms drawing near each other, or folded about the body; their heads looking downwards, and leaning a little on one side.</p> -<h4><a name="Chap_CLXX" id="Chap_CLXX"></a> +<h4><a id="Chap_CLXX"></a> <span class="smcap">Chap. CLXX.</span>—<i>Of the Variety of Faces.</i></h4> <p><span class="smcap">The</span> countenances of your figures should be expressive of their different @@ -8328,13 +8238,12 @@ situations: men at work, at rest, weeping, laughing, crying out, in fear, or joy, and the like. The attitudes also, and all the members, ought to correspond with the sentiment expressed in the faces.</p> -<h4><a name="Chap_CLXXI" id="Chap_CLXXI"></a> +<h4><a id="Chap_CLXXI"></a> <span class="smcap">Chap.CLXXI.</span>—<i>The Parts of the Face, and their Motions.</i></h4> <p><span class="smcap">The</span> motions of the different parts of the face, occasioned by sudden -agitations of the mind, are<span class="pagenum"><a name="Page_87" -id="Page_87">[Pg 87]</a></span> many. The principal of these are, +agitations of the mind, are<span class="pagenum"><a id="Page_87">[Pg 87]</a></span> many. The principal of these are, Laughter, Weeping, Calling out, Singing, either in a high or low pitch, Admiration, Anger, Joy, Sadness, Fear, Pain, and others, of which I propose to treat. First, of Laughing and Weeping, which are very similar @@ -8353,13 +8262,13 @@ forward; with actions that denote admiration, respect, pain, suspicion, fear, and joy, according as the occasion, for which they are brought together, may require. Endeavour that different points of history be not placed one above the other on the same canvass, nor walls with different -horizons<a name="FNanchor_34_244" id="FNanchor_34_244"></a> +horizons<a id="FNanchor_34_244"></a> <a href="#Footnote_34_244" class="fnanchor">[34]</a>, as if it were a jeweller’s shop, shewing the goods in different square caskets.</p> -<p><span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span></p> +<p><span class="pagenum"><a id="Page_88">[Pg 88]</a></span></p> -<h4><a name="Chap_CLXXII" id="Chap_CLXXII"></a> +<h4><a id="Chap_CLXXII"></a> <span class="smcap">Chap. CLXXII.</span>—<i>Laughing and Weeping.</i></h4> <p><span class="smcap">Between</span> the expression of laughter and that of weeping there is no @@ -8382,9 +8291,9 @@ the nose, forming many wrinkles on the forehead, and the corners of the mouth are turned downwards. Those who laugh have them turned upwards, and the brows open and extended.</p> -<p><span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span></p> +<p><span class="pagenum"><a id="Page_89">[Pg 89]</a></span></p> -<h4><a name="Chap_CLXXIII" id="Chap_CLXXIII"></a> +<h4><a id="Chap_CLXXIII"></a> <span class="smcap">Chap. CLXXIII.</span>—<i>Of Anger.</i></h4> <p><span class="smcap">If</span> you represent a man in a violent fit of anger, make him seize another @@ -8395,7 +8304,7 @@ straight; his teeth close, and seen at the corner of the mouth; his neck swelled, and his body covered in the Abdomen with creases, occasioned by his bending over his enemy, and the excess of his passion.</p> -<h4><a name="Chap_CLXXIV" id="Chap_CLXXIV"></a> +<h4><a id="Chap_CLXXIV"></a> <span class="smcap">Chap. CLXXIV.</span>—<i>Despair.</i></h4> <p><span class="smcap">The</span> last act of despondency is, when a man is in the act of putting a @@ -8405,16 +8314,16 @@ open with the other. His garments and hair should be already torn. He will be standing with his feet asunder, his knees a little bent, and his body leaning forward, as if ready to fall to the ground.</p> -<p><span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span></p> +<p><span class="pagenum"><a id="Page_90">[Pg 90]</a></span></p> -<hr class="chap" /> +<hr class="chap" > -<h2 class="gesperrt bold top2"><a name="LIGHT_AND_SHADOW" id="LIGHT_AND_SHADOW"></a>LIGHT +<h2 class="gesperrt bold top2"><a id="LIGHT_AND_SHADOW"></a>LIGHT <span class="smcap">and</span> SHADOW.</h2> -<hr class="smalldouble" /> +<hr class="smalldouble" > -<h4><a name="Chap_CLXXV" id="Chap_CLXXV"></a> +<h4><a id="Chap_CLXXV"></a> <span class="smcap">Chap. CLXXV.</span>—<i>The Course of Study to be pursued.</i></h4> <p><span class="smcap">The</span> student who is desirous of making great proficiency in the art @@ -8423,7 +8332,7 @@ figures or other objects, and be able to delineate them with truth and precision, but he must also accompany them with their proper lights and shadows, according to the situation in which those objects appear.</p> -<h4><a name="Chap_CLXXVI" id="Chap_CLXXVI"></a> +<h4><a id="Chap_CLXXVI"></a> <span class="smcap">Chap. CLXXVI.</span>—<i>Which of the two is the most useful Knowledge, the Outlines of Figures, or that of Light and Shadow.</i></h4> @@ -8434,22 +8343,22 @@ bend, are invariably the same. But the knowledge of the situation, quality, and quantity of shadows, being infinite, requires the most extensive study.</p> -<h4><a name="Chap_CLXXVII" id="Chap_CLXXVII"></a> +<h4><a id="Chap_CLXXVII"></a> <span class="smcap">Chap. CLXXVII.</span>—<i>Which is the most important, the Shadows or Outlines in Painting.</i></h4> <p><span class="smcap">It</span> requires much more observation and study to arrive at perfection in -the shadowing of a picture,<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a> +the shadowing of a picture,<span class="pagenum"><a id="Page_91">[Pg 91]</a> </span> than in merely drawing the lines of it. The proof of this is, that the lines may be traced upon a veil or a flat glass placed between the eye and the object to be imitated. But that cannot be of any use in shadowing, on account of the infinite gradation of shades, and the blending of them, which does not allow of any precise termination; and most frequently they are confused, as will -be demonstrated in another place<a name="FNanchor_35_245" id="FNanchor_35_245"> +be demonstrated in another place<a id="FNanchor_35_245"> </a><a href="#Footnote_35_245" class="fnanchor">[35]</a>.</p> -<h4><a name="Chap_CLXXVIII" id="Chap_CLXXVIII"></a> +<h4><a id="Chap_CLXXVIII"></a> <span class="smcap">Chap. CLXXVIII.</span>—<i>What is a Painter’s first Aim, and Object.</i></h4> <p><span class="smcap">The</span> first object of a painter is to make a simple flat surface appear @@ -8462,21 +8371,20 @@ despicable to real connoisseurs, for the sake of acquiring the esteem of vulgar and ignorant admirers of fine colours, who never have any knowledge of relievo.</p> -<h4><a name="Chap_CLXXIX" id="Chap_CLXXIX"></a> +<h4><a id="Chap_CLXXIX"></a> <span class="smcap">Chap. CLXXIX.</span>—<i>The Difference of Superficies, in regard to Painting.</i></h4> <p><span class="smcap">Solid</span> bodies are of two sorts: the one has the surface curvilinear, -oval, or spherical; the other has<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a> +oval, or spherical; the other has<span class="pagenum"><a id="Page_92">[Pg 92]</a> </span> several surfaces, or sides producing angles, either regular or irregular. Spherical, or oval bodies, will always appear detached from their ground, though they are exactly of the same colour. Bodies also of different sides and angles will always detach, because they are always disposed so as to produce shades on some -of their sides, which cannot happen to a plain superficies<a name="FNanchor_36_246" -id="FNanchor_36_246"></a><a href="#Footnote_36_246" class="fnanchor">[36]</a>.</p> +of their sides, which cannot happen to a plain superficies<a id="FNanchor_36_246"></a><a href="#Footnote_36_246" class="fnanchor">[36]</a>.</p> -<h4><a name="Chap_CLXXX" id="Chap_CLXXX"></a> +<h4><a id="Chap_CLXXX"></a> <span class="smcap">Chap. CLXXX.</span>—<i>How a Painter may become universal.</i></h4> <p><span class="smcap">The</span> painter who wishes to be universal, and please a variety of judges, @@ -8484,7 +8392,7 @@ must unite in the same composition, objects susceptible of great force in the shadows, and great sweetness in the management of them; accounting, however, in every instance, for such boldness and softenings.</p> -<h4><a name="Chap_CLXXXI" id="Chap_CLXXXI"></a> +<h4><a id="Chap_CLXXXI"></a> <span class="smcap">Chap. CLXXXI.</span>—<i>Accuracy ought to be learnt before Dispatch in the Execution.</i></h4> @@ -8495,7 +8403,7 @@ are darker than others, and in what manner they blend together; compare the quality and quantity of one with the other, and observe to what part they are directed. Be careful also in your outlines, or divisions of the members. Remark well what quantity of parts are to be on one side, and<span class="pagenum"> -<a name="Page_93" id="Page_93">[Pg 93]</a></span> +<a id="Page_93">[Pg 93]</a></span> what on the other; and where they are more or less apparent, or broad, or slender. Lastly, take care that the shadows and lights be united, or lost in each other; without any hard strokes, or lines: as smoke loses @@ -8503,10 +8411,10 @@ itself in the air, so are your lights and shadows to pass from the one to the other, without any apparent separation.</p> <p>When you have acquired the habit, and formed your hand to accuracy, -quickness of execution will come of itself<a name="FNanchor_37_247" id="FNanchor_37_247"></a> +quickness of execution will come of itself<a id="FNanchor_37_247"></a> <a href="#Footnote_37_247" class="fnanchor">[37]</a>.</p> -<h4><a name="Chap_CLXXXII" id="Chap_CLXXXII"></a> +<h4><a id="Chap_CLXXXII"></a> <span class="smcap">Chap. CLXXXII.</span>—<i>How the Painter is to place himself in regard to the Light, and his Model.</i></h4> @@ -8516,27 +8424,27 @@ and his model, as D, so that he may see his object partly in the light and partly in the shadow.</p> <div class="figcenter"> - <a id="fig_04" name="fig_04"></a> + <a id="fig_04"></a> <img src="images/fig_04.png" alt="Painter, Light, and Model" - title="The Painter, the Light and His Model" /> + title="The Painter, the Light and His Model"> </div> -<h4><a name="Chap_CLXXXIII" id="Chap_CLXXXIII"></a> +<h4><a id="Chap_CLXXXIII"></a> <span class="smcap">Chap. CLXXXIII.</span>—<i>Of the best Light.</i></h4> <p><span class="smcap">The</span> light from on high, and not too powerful, will be found the best calculated to shew the parts to advantage.</p> -<p><span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span></p> +<p><span class="pagenum"><a id="Page_94">[Pg 94]</a></span></p> -<h4><a name="Chap_CLXXXIV" id="Chap_CLXXXIV"></a> +<h4><a id="Chap_CLXXXIV"></a> <span class="smcap">Chap. CLXXXIV.</span>—<i>Of Drawing by Candle-light.</i></h4> <p><span class="smcap">To</span> this artificial light apply a paper blind, and you will see the shadows undetermined and soft.</p> -<h4><a name="Chap_CLXXXV" id="Chap_CLXXXV"></a> +<h4><a id="Chap_CLXXXV"></a> <span class="smcap">Chap. CLXXXV.</span>—<i>Of those Painters who draw at Home from one Light, and afterwards adapt their Studies to another Situation in the Country, and a different Light.</i></h4> @@ -8549,7 +8457,7 @@ This painter would put dark shadows, where Nature would either produce none, or, if any, so very faint as to be almost imperceptible; and he would throw reflected lights where it is impossible there should be any.</p> -<h4><a name="Chap_CLXXXVI" id="Chap_CLXXXVI"></a> +<h4><a id="Chap_CLXXXVI"></a> <span class="smcap">Chap. CLXXXVI.</span>—<i>How high the Light should be in drawing from Nature.</i></h4> @@ -8559,9 +8467,9 @@ that the sun, in going round, may not alter the shadows. The situation of the light should be such as to produce upon the ground a shadow from your model as long as that is high.</p> -<p><span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span></p> +<p><span class="pagenum"><a id="Page_95">[Pg 95]</a></span></p> -<h4><a name="Chap_CLXXXVII" id="Chap_CLXXXVII"></a> +<h4><a id="Chap_CLXXXVII"></a> <span class="smcap">Chap. CLXXXVII.</span>—<i>What Light the Painter must make use of to give most Relief to his Figures.</i></h4> @@ -8575,19 +8483,19 @@ nothing is seen of the figure but what the light strikes on, the rest being blended and lost in the darkness of the back ground. This is to be applied only to the imitation of night subjects with very little light.</p> -<h4><a name="Chap_CLXXXVIII" id="Chap_CLXXXVIII"></a> +<h4><a id="Chap_CLXXXVIII"></a> <span class="smcap">Chap. CLXXXVIII.</span>—<i>Advice to Painters.</i></h4> <p><span class="smcap">Be</span> very careful, in painting, to observe, that between the shadows there are other shadows, almost imperceptible, both for darkness and shape; -and this is proved by the third proposition<a name="FNanchor_38_248" id="FNanchor_38_248"></a> +and this is proved by the third proposition<a id="FNanchor_38_248"></a> <a href="#Footnote_38_248" class="fnanchor">[38]</a>, which says, that the surfaces of globular or convex bodies have as great a variety of lights and shadows as the bodies that surround them have.</p> -<p><span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span></p> +<p><span class="pagenum"><a id="Page_96">[Pg 96]</a></span></p> -<h4><a name="Chap_CLXXXIX" id="Chap_CLXXXIX"></a> +<h4><a id="Chap_CLXXXIX"></a> <span class="smcap">Chap. CLXXXIX.</span>—<i>Of Shadows.</i></h4> <p><span class="smcap">Those</span> shadows which in Nature are undetermined, and the extremities of @@ -8596,7 +8504,7 @@ the same manner, never to be precisely finished, but left confused and blended. This apparent neglect will shew great judgment, and be the ingenious result of your observation of Nature.</p> -<h4><a name="Chap_CXC" id="Chap_CXC"></a> +<h4><a id="Chap_CXC"></a> <span class="smcap">Chap. CXC.</span>—<i>Of the Kind of Light proper for drawing from Relievos, or from Nature.</i></h4> @@ -8607,7 +8515,7 @@ be illumined by the sun; but may suppose some transparent clouds interposed, so that the sun not being visible, the termination of the shadows will be also imperceptible and soft.</p> -<h4><a name="Chap_CXCI" id="Chap_CXCI"></a> +<h4><a id="Chap_CXCI"></a> <span class="smcap">Chap. CXCI.</span>—<i>Whether the Light should be admitted in Front or sideways; and which is most pleasing and graceful.</i></h4> @@ -8616,7 +8524,7 @@ that are dark, will cause them to have great relievo, particularly if the light be placed high; and the reason is, that the most prominent parts of those faces are illumined by the general light striking them in front, which light produces very<span class="pagenum"> -<a name="Page_97" id="Page_97">[Pg 97]</a></span> faint shadows on the part where it +<a id="Page_97">[Pg 97]</a></span> faint shadows on the part where it strikes; but as it turns towards the sides, it begins to participate of the dark shadows of the room, which grow darker in proportion as it sinks into them. Besides, when the light comes from on high, it @@ -8627,7 +8535,7 @@ the mouth, and the chin from the neck, and such other parts. This, by concentrating the light upon the most projecting parts, produces a very great relief.</p> -<h4><a name="Chap_CXCII" id="Chap_CXCII"></a> +<h4><a id="Chap_CXCII"></a> <span class="smcap">Chap. CXCII.</span>—<i>Of the Difference of Lights according to the Situation.</i></h4> @@ -8639,13 +8547,13 @@ the latter will appear like a demi-tint to the other, as the sky round the sun. And the bodies which receive the light from the one, will serve as demi-tints to those which receive the light from the other.</p> -<h4><a name="Chap_CXCIII" id="Chap_CXCIII"></a> +<h4><a id="Chap_CXCIII"></a> <span class="smcap">Chap. CXCIII.</span>—<i>How to distribute the Light on Figures.</i></h4> <p><span class="smcap">The</span> lights are to be distributed according to the natural situation you mean your figures should occupy. If you suppose them in sunshine, the shades must be dark, the lights broad and extended, and<span class="pagenum"> -<a name="Page_98" id="Page_98">[Pg 98]</a></span> the shadows of +<a id="Page_98">[Pg 98]</a></span> the shadows of all the surrounding objects distinctly marked upon the ground. If seen in a gloomy day, there will be very little difference between the lights and shades, and no shadows at the feet. If the figures be represented @@ -8666,16 +8574,16 @@ curious to observe, that there is not a face ever so well known amongst your acquaintance, but would be recognised with difficulty, if it were enlightened from beneath.</p> -<h4><a name="Chap_CXCIV" id="Chap_CXCIV"></a> +<h4><a id="Chap_CXCIV"></a> <span class="smcap">Chap. CXCIV.</span>—<i>Of the Beauty of Faces.</i></h4> <p><span class="smcap">You</span> must not mark any muscles with hardness of line, but let the soft light glide upon them, and terminate imperceptibly in delightful shadows: from this will arise grace and beauty to the face.</p> -<p><span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span></p> +<p><span class="pagenum"><a id="Page_99">[Pg 99]</a></span></p> -<h4><a name="Chap_CXCV" id="Chap_CXCV"></a> +<h4><a id="Chap_CXCV"></a> <span class="smcap">Chap. CXCV.</span>—<i>How, in drawing a Face, to give it Grace, by the Management of Light and Shade.</i></h4> @@ -8686,7 +8594,7 @@ of brightness from the open air, the shadows on this side becoming almost insensible; and from this augmentation of light and shadow, the face has much relief, and acquires great beauty.</p> -<h4><a name="Chap_CXCVI" id="Chap_CXCVI"></a> +<h4><a id="Chap_CXCVI"></a> <span class="smcap">Chap. CXCVI.</span>—<i>How to give Grace and Relief to Faces.</i></h4> <p><span class="smcap">In</span> streets running towards the west, when the sun is in the meridian, @@ -8701,7 +8609,7 @@ of that face, which are before him, perfectly illumined, while both sides of it, towards the walls, will be in shadow. What gives additional grace is, that these shades do not appear cutting, hard, or dry, but softly blended and lost in each other. The reason of it is,<span class="pagenum"> -<a name="Page_100" id="Page_100">[Pg 100]</a></span> that the +<a id="Page_100">[Pg 100]</a></span> that the light which is spread all over in the air, strikes also the pavement of the street, and reflecting upon the shady part of the face, it tinges that slightly with the same hue: while the great light which comes from @@ -8719,15 +8627,15 @@ under parts of the face, and under the chin.</p> points A B C D E.</p> <div class="figcenter"> - <a id="fig_05" name="fig_05"></a> + <a id="fig_05"></a> <img src="images/fig_05.png" alt="Faces" - title="Grace and Relief Given to Faces" /> + title="Grace and Relief Given to Faces"> </div> -<p><span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span></p> +<p><span class="pagenum"><a id="Page_101">[Pg 101]</a></span></p> -<h4><a name="Chap_CXCVII" id="Chap_CXCVII"></a> +<h4><a id="Chap_CXCVII"></a> <span class="smcap">Chap. CXCVII.</span>—<i>Of the Termination of Bodies upon each other.</i></h4> <p><span class="smcap">When</span> a body, of a cylindrical or convex surface, terminates upon another @@ -8736,14 +8644,14 @@ body upon which it terminates. And any flat body, adjacent to a white surface, will appear very dark; but upon a dark ground it will appear lighter than any other part, though the lights be equal.</p> -<h4><a name="Chap_CXCVIII" id="Chap_CXCVIII"></a> +<h4><a id="Chap_CXCVIII"></a> <span class="smcap">Chap. CXCVIII.</span>—<i>Of the Back-grounds of painted Objects.</i></h4> <p><span class="smcap">The</span> ground which surrounds the figures in any painting, ought to be darker than the light part of those figures, and lighter than the shadowed part.</p> -<h4><a name="Chap_CXCIX" id="Chap_CXCIX"></a> +<h4><a id="Chap_CXCIX"></a> <span class="smcap">Chap. CXCIX.</span>—<i>How to detach and bring forward Figures out of their Back-ground.</i></h4> @@ -8751,36 +8659,36 @@ their Back-ground.</i></h4> upon a dark ground; and if it be partly light and partly dark, as is generally the case, contrive that the dark part of the figure be upon the light part of the ground, and the light side of it against the -dark<a name="FNanchor_39_249" id="FNanchor_39_249"></a> +dark<a id="FNanchor_39_249"></a> <a href="#Footnote_39_249" class="fnanchor">[39]</a>.</p> -<h4><a name="Chap_CC" id="Chap_CC"></a> +<h4><a id="Chap_CC"></a> <span class="smcap">Chap. CC.</span>—<i>Of proper Back-grounds.</i></h4> <p><span class="smcap bottom1">It</span> is of the greatest importance to consider well the nature of back-grounds, upon which any opake<span class="pagenum"> -<a name="Page_102" id="Page_102">[Pg 102]</a></span> body is to be placed. In order to +<a id="Page_102">[Pg 102]</a></span> body is to be placed. In order to detach it properly, you should place the light part of such opake body against the dark part of the back-ground, and the dark parts on a light -ground<a name="FNanchor_40_250" id="FNanchor_40_250"></a><a href="#Footnote_40_250" -class="fnanchor">[40]</a>; as in the cut<a name="FNanchor_41_251" id="FNanchor_41_251"></a> +ground<a id="FNanchor_40_250"></a><a href="#Footnote_40_250" +class="fnanchor">[40]</a>; as in the cut<a id="FNanchor_41_251"></a> <a href="#Footnote_41_251" class="fnanchor">[41]</a>.</p> <div class="figcenter"> - <a id="fig_06" name="fig_06"></a> + <a id="fig_06"></a> <img src="images/fig_06.png" alt="Back-grounds" - title="Proper Back-grounds" /> + title="Proper Back-grounds"> </div> -<h4><a name="Chap_CCI" id="Chap_CCI"></a> +<h4><a id="Chap_CCI"></a> <span class="smcap">Chap. CCI.</span>—<i>Of the general Light diffused over Figures.</i></h4> <p><span class="smcap bottom1">In</span> compositions of many figures and animals, observe, that the parts of these different objects ought to be darker in proportion as they are lower, and as they are nearer the middle of the groups, though they are all of an uniform colour. This is necessary, because a smaller portion -of the sky (from which all<span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a> +of the sky (from which all<span class="pagenum"><a id="Page_103">[Pg 103]</a> </span> bodies are illuminated) can give light to the lower spaces between these different figures, than to the upper parts of the spaces. It is proved thus: A B C D is that portion of the @@ -8792,23 +8700,23 @@ the whole space A B (a larger portion than C D); therefore it will be lighter in E than in F.</p> <div class="figcenter"> - <a id="fig_07" name="fig_07"></a> + <a id="fig_07"></a> <img src="images/fig_07.png" alt="Diffused Light" - title="General Light Diffused over Figures" /> + title="General Light Diffused over Figures"> </div> -<p><span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span></p> +<p><span class="pagenum"><a id="Page_104">[Pg 104]</a></span></p> -<h4><a name="Chap_CCII" id="Chap_CCII"></a> +<h4><a id="Chap_CCII"></a> <span class="smcap">Chap. CCII.</span>—<i>Of those Parts in Shadows which appear the darkest at a Distance.</i></h4> <div class="figcenter"> - <a id="fig_08" name="fig_08"></a> + <a id="fig_08"></a> <img src="images/fig_08.png" alt="Darkest Shadows" - title="Shadows Darkest at a Distance" /> + title="Shadows Darkest at a Distance"> </div> <p><span class="smcap">The</span> neck, or any other part which is raised straight upwards, and has a @@ -8826,7 +8734,7 @@ sockets of the eyes, and other similar recesses, which are always dark), and at last the whole face becomes obscured; because the greatest lights (being small in proportion to the demi-tints) are lost. The quality, therefore, and quantity of the principal<span class="pagenum"> -<a name="Page_105" id="Page_105">[Pg 105]</a></span> lights and shades are by means +<a id="Page_105">[Pg 105]</a></span> lights and shades are by means of great distance blended together into a general half-tint; and this is the reason why trees and other objects are found to be in appearance darker at some distance than they are in reality, when nearer to the @@ -8835,7 +8743,7 @@ will render them light again by tinging them with azure, rather in the shades than in the lights; for the lights will preserve the truth of the different colours much longer.</p> -<h4><a name="Chap_CCIII" id="Chap_CCIII"></a> +<h4><a id="Chap_CCIII"></a> <span class="smcap">Chap. CCIII.</span>—<i>Of the Eye viewing the Folds of Draperies surrounding a Figure.</i></h4> @@ -8845,7 +8753,7 @@ generated are more directly opposite the eye. This is to be observed only when the eye is placed between the light and the shady part of the figure.</p> -<h4><a name="Chap_CCIV" id="Chap_CCIV"></a> +<h4><a id="Chap_CCIV"></a> <span class="smcap">Chap. CCIV.</span>—<i>Of the Relief of Figures remote from the Eye.</i></h4> <p><span class="smcap">Any</span> opake body appears less relieved in proportion as it is farther @@ -8854,9 +8762,9 @@ such body, being lighter than the shadow of it, it tarnishes and weakens that shadow, lessens its power, and consequently lessens also its relief.</p> -<p><span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span></p> +<p><span class="pagenum"><a id="Page_106">[Pg 106]</a></span></p> -<h4><a name="Chap_CCV" id="Chap_CCV"></a> +<h4><a id="Chap_CCV"></a> <span class="smcap">Chap. CCV.</span>—<i>Of Outlines of Objects on the Side towards the Light.</i></h4> @@ -8864,10 +8772,10 @@ Light.</i></h4> will appear darker if upon a lighter ground, and lighter if seen upon a darker ground. But if such body be flat, and seen upon a ground equal in point of light with itself, and of the same colour, such boundaries, or -outlines, will be entirely lost to the sight<a name="FNanchor_42_252" id="FNanchor_42_252"></a> +outlines, will be entirely lost to the sight<a id="FNanchor_42_252"></a> <a href="#Footnote_42_252" class="fnanchor">[42]</a>.</p> -<h4><a name="Chap_CCVI" id="Chap_CCVI"></a> +<h4><a id="Chap_CCVI"></a> <span class="smcap">Chap. CCVI.</span>—<i>How to make Objects detach from their Ground, that is to say, from the Surface on which they are painted.</i></h4> @@ -8880,68 +8788,64 @@ lost in the general mass of shadows. But to give it grace, roundness, and effect, those dark shades are always attended by reflexes, or else they would either cut too hard upon the ground, or stick to it, by the similarity of shade, and relieve the less as the ground is darker; for -at some distance nothing would be seen<span class="pagenum"><a name="Page_107" -id="Page_107">[Pg 107]</a></span> but the light parts, therefore +at some distance nothing would be seen<span class="pagenum"><a id="Page_107">[Pg 107]</a></span> but the light parts, therefore your figures would appear mutilated of all that remains lost in the back-ground.</p> -<hr class="chap" /> +<hr class="chap" > -<h3 class="bottom2"><a name="CONTRASTE_AND_EFFECT" id="CONTRASTE_AND_EFFECT"></a>CONTRASTE AND EFFECT.</h3> +<h3 class="bottom2"><a id="CONTRASTE_AND_EFFECT"></a>CONTRASTE AND EFFECT.</h3> -<h4><a name="Chap_CCVII" id="Chap_CCVII"></a> +<h4><a id="Chap_CCVII"></a> <span class="smcap">Chap. CCVII.</span>—<i>A Precept.</i></h4> <p><span class="smcap">Figures</span> will have more grace, placed in the open and general light, than in any particular or small one; because the powerful and extended light will surround and embrace the objects: and works done in that kind -of light appear pleasant and graceful when placed at a distance<a name="FNanchor_43_253" -id="FNanchor_43_253"></a><a href="#Footnote_43_253" class="fnanchor">[43]</a>, +of light appear pleasant and graceful when placed at a distance<a id="FNanchor_43_253"></a><a href="#Footnote_43_253" class="fnanchor">[43]</a>, while those which are drawn in a narrow light, will receive great force of shadow, but will never appear at a great distance, but as painted objects.</p> -<h4><a name="Chap_CCVIII" id="Chap_CCVIII"></a> +<h4><a id="Chap_CCVIII"></a> <span class="smcap">Chap. CCVIII.</span>—<i>Of the Interposition of transparent Bodies between the Eye and the Object.</i></h4> <p><span class="smcap">The</span> greater the transparent interposition is between the eye and the object, the more the colour of that object will participate of, or be -changed into that of the transparent medium<a name="FNanchor_44_254" id="FNanchor_44_254"></a> +changed into that of the transparent medium<a id="FNanchor_44_254"></a> <a href="#Footnote_44_254" class="fnanchor">[44]</a>.</p> -<p><span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span></p> +<p><span class="pagenum"><a id="Page_108">[Pg 108]</a></span></p> <p>When an opake body is situated between the eye and the luminary, so that the central line of the one passes also through the centre of the other, that object will be entirely deprived of light.</p> -<h4><a name="Chap_CCIX" id="Chap_CCIX"></a> +<h4><a id="Chap_CCIX"></a> <span class="smcap">Chap. CCIX.</span>—<i>Of proper Back-grounds for Figures.</i></h4> <p><span class="smcap">As</span> we find by experience, that all bodies are surrounded by lights and shadows, I would have the painter to accommodate that part which is enlightened, so as to terminate upon something dark; and to manage the dark parts so that they may terminate on a light ground. This will be of -great assistance in detaching and bringing out his figures<a name="FNanchor_45_255" -id="FNanchor_45_255"></a><a href="#Footnote_45_255" class="fnanchor">[45]</a>.</p> +great assistance in detaching and bringing out his figures<a id="FNanchor_45_255"></a><a href="#Footnote_45_255" class="fnanchor">[45]</a>.</p> -<h4><a name="Chap_CCX" id="Chap_CCX"></a> +<h4><a id="Chap_CCX"></a> <span class="smcap">Chap. CCX.</span>—<i>Of Back-grounds.</i></h4> <p><span class="smcap">To</span> give a great effect to figures, you must oppose to a light one a dark ground, and to a dark figure a light ground, contrasting white with black, and black with white. In general, all contraries give a -particular force and brilliancy of effect by their opposition<a name="FNanchor_46_256" -id="FNanchor_46_256"></a><a href="#Footnote_46_256" class="fnanchor">[46]</a>.</p> +particular force and brilliancy of effect by their opposition<a id="FNanchor_46_256"></a><a href="#Footnote_46_256" class="fnanchor">[46]</a>.</p> -<p><span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span></p> +<p><span class="pagenum"><a id="Page_109">[Pg 109]</a></span></p> -<hr class="chap" /> +<hr class="chap" > -<h3 class="bottom2"><a name="REFLEXES" id="REFLEXES"></a>REFLEXES.</h3> +<h3 class="bottom2"><a id="REFLEXES"></a>REFLEXES.</h3> -<h4><a name="Chap_CCXI" id="Chap_CCXI"></a> +<h4><a id="Chap_CCXI"></a> <span class="smcap">Chap. CCXI.</span>—<i>Of Objects placed on a light Ground, and why such a Practice is useful in Painting.</i></h4> @@ -8953,7 +8857,7 @@ surface which is enlightened, will not carry its principal light to the extremities, but have between the ground and the principal light a certain demi-tint, darker than either the ground or that light.</p> -<h4><a name="Chap_CCXII" id="Chap_CCXII"></a> +<h4><a id="Chap_CCXII"></a> <span class="smcap">Chap. CCXII.</span>—<i>Of the different Effects of White, according to the Difference of Back-grounds.</i></h4> @@ -8964,12 +8868,12 @@ against the sky, than when we see it against an open window, which (owing to the darkness of the inside of the house) makes it appear very white. Observe also, that snow appears to fall very quick and in a great quantity when near the eye; but when at some distance, it seems to come -down slowly, and in a smaller quantity<a name="FNanchor_47_257" id="FNanchor_47_257"></a> +down slowly, and in a smaller quantity<a id="FNanchor_47_257"></a> <a href="#Footnote_47_257" class="fnanchor">[47]</a>.</p> -<p><span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span></p> +<p><span class="pagenum"><a id="Page_110">[Pg 110]</a></span></p> -<h4><a name="Chap_CCXIII" id="Chap_CCXIII"></a> +<h4><a id="Chap_CCXIII"></a> <span class="smcap">Chap. CCXIII.</span>—<i>Of Reverberation.</i></h4> <p><span class="smcap">Reverberations</span> are produced by all bodies of a bright nature, that have @@ -8977,7 +8881,7 @@ a smooth and tolerably hard surface, which, repelling the light it receives, makes it rebound like a foot-ball against the first object opposed to it.</p> -<h4><a name="Chap_CCXIV" id="Chap_CCXIV"></a> +<h4><a id="Chap_CCXIV"></a> <span class="smcap">Chap. CCXIV.</span>—<i>Where there cannot be any Reverberation of Light.</i></h4> @@ -8994,9 +8898,9 @@ every one of these parts produces upon the others, is so great, that, upon the whole, the light, not forming a compact mass, loses its effect, so that those objects cannot reflect any light upon the opposite bodies.</p> -<p><span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span></p> +<p><span class="pagenum"><a id="Page_111">[Pg 111]</a></span></p> -<h4><a name="Chap_CCXV" id="Chap_CCXV"></a> +<h4><a id="Chap_CCXV"></a> <span class="smcap">Chap. CCXV.</span>—<i>In what Part the Reflexes have more or less Brightness.</i></h4> @@ -9006,10 +8910,10 @@ if the ground be darker than the reflex, then this reflex will appear stronger on account of the great difference of colour. But, on the contrary, if this reflexion has behind it a ground lighter than itself, it will appear dark, in comparison to the brightness which is close to -it, and therefore it will be hardly perceptible<a name="FNanchor_48_258" id="FNanchor_48_258"></a> +it, and therefore it will be hardly perceptible<a id="FNanchor_48_258"></a> <a href="#Footnote_48_258" class="fnanchor">[48]</a>.</p> -<h4><a name="Chap_CCXVI" id="Chap_CCXVI"></a> +<h4><a id="Chap_CCXVI"></a> <span class="smcap">Chap. CCXVI.</span>—<i>Of the reflected Lights which surround the Shadows.</i></h4> @@ -9023,12 +8927,11 @@ and acting as they themselves do. The best way is to steer a middle course, and not to admit of any reflected light, but when the cause of it is evident to every eye; and <i>vice versâ</i>, if you introduce none at all, let it appear evident that there was no reasonable cause for it. In -doing so, you will neither be totally<span class="pagenum"><a name="Page_112" -id="Page_112">[Pg 112]</a></span> blamed nor praised by the variety +doing so, you will neither be totally<span class="pagenum"><a id="Page_112">[Pg 112]</a></span> blamed nor praised by the variety of opinion, which, if not proceeding from entire ignorance, will ensure to you the approbation of both parties.</p> -<h4><a name="Chap_CCXVII" id="Chap_CCXVII"></a> +<h4><a id="Chap_CCXVII"></a> <span class="smcap">Chap. CCXVII.</span>—<i>Where Reflexes are to be most apparent.</i></h4> <p><span class="smcap">Of</span> all reflected lights, that is to be the most apparent, bold, and @@ -9036,10 +8939,9 @@ precise, which detaches from the darkest ground; and, on the contrary, that which is upon a lighter ground will be less apparent. And this proceeds from the contraste of shades, by which the faintest makes the dark ones appear still darker; so in contrasted lights, the brightest -cause the others to appear less bright than they really are<a name="FNanchor_49_259" -id="FNanchor_49_259"></a><a href="#Footnote_49_259" class="fnanchor">[49]</a>.</p> +cause the others to appear less bright than they really are<a id="FNanchor_49_259"></a><a href="#Footnote_49_259" class="fnanchor">[49]</a>.</p> -<h4><a name="Chap_CCXVIII" id="Chap_CCXVIII"></a> +<h4><a id="Chap_CCXVIII"></a> <span class="smcap">Chap. CCXVIII.</span>—<i>What Part of a Reflex is to be the lightest.</i></h4> <p class="bottom1"><span class="smcap">That</span> part will be the brightest which receives the reflected light @@ -9051,34 +8953,32 @@ E at the base will not be reflected by equal angles, as it is evident that the angle E A B is more obtuse than the angle E B A. The angle A F B however, though it is between angles of less quality than the angle E, and has a common base B A, is between angles more nearly equal -than E, therefore it will be lighter in F than<span class="pagenum"><a name="Page_113" -id="Page_113">[Pg 113]</a></span> in E; and it will also +than E, therefore it will be lighter in F than<span class="pagenum"><a id="Page_113">[Pg 113]</a></span> in E; and it will also be brighter, because it is nearer to the part which gives them light. -According to the 6th rule<a name="FNanchor_50_260" id="FNanchor_50_260"></a> +According to the 6th rule<a id="FNanchor_50_260"></a> <a href="#Footnote_50_260" class="fnanchor">[50]</a>, which says, that part of the body is to be the lightest, which is nearest to the luminary.</p> <div class="figcenter"> - <a id="fig_09" name="fig_09"></a> + <a id="fig_09"></a> <img src="images/fig_09.png" alt="Lightest Part of a Reflex" - title="The Lightest Part of a Reflex" /> + title="The Lightest Part of a Reflex"> </div> -<h4><a name="Chap_CCXIX" id="Chap_CCXIX"></a> +<h4><a id="Chap_CCXIX"></a> <span class="smcap">Chap. CCXIX.</span>—<i>Of the Termination of Reflexes on their Grounds.</i></h4> <p><span class="smcap">The</span> termination of a reflected light on a ground lighter than that reflex, will not be perceivable; but if such a reflex terminates upon a ground darker than itself, it will be plainly seen; and the more so in -proportion as that ground is darker, and <i>vice versa</i><a name="FNanchor_51_261" -id="FNanchor_51_261"></a><a href="#Footnote_51_261" class="fnanchor">[51]</a>.</p> +proportion as that ground is darker, and <i>vice versa</i><a id="FNanchor_51_261"></a><a href="#Footnote_51_261" class="fnanchor">[51]</a>.</p> -<h4><a name="Chap_CCXX" id="Chap_CCXX"></a> +<h4><a id="Chap_CCXX"></a> <span class="smcap">Chap. CCXX.</span>—<i>Of double and treble Reflexions of Light.</i></h4> <p class="bottom1"><span class="smcap">Double</span> reflexes are stronger than single ones, and the shadows which -interpose between the common<span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a> +interpose between the common<span class="pagenum"><a id="Page_114">[Pg 114]</a> </span> light and these reflexes are very faint. For instance, let A be the luminous body, A N, A S, are the direct rays, and S N the parts which receive the light from them. O and E are @@ -9091,13 +8991,13 @@ from the enlightened bodies B D and D R co-operating together; and the shadows which are between N O and S O will be very faint.</p> <div class="figcenter"> - <a id="fig_10" name="fig_10"></a> + <a id="fig_10"></a> <img src="images/fig_10.png" alt="Double and Treble Reflexions" - title="Double and Treble Reflexions of Light" /> + title="Double and Treble Reflexions of Light"> </div> -<h4><a name="Chap_CCXXI" id="Chap_CCXXI"></a> +<h4><a id="Chap_CCXXI"></a> <span class="smcap">Chap. CCXXI.</span>—<i>Reflexes in the Water, and particularly those of the Air.</i></h4> @@ -9106,18 +9006,17 @@ be that which is reflected by the surface of the water to the eye between equal angles; that is to say, the angle of incidence must be equal to the angle of reflexion.</p> -<p><span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span></p> +<p><span class="pagenum"><a id="Page_115">[Pg 115]</a></span></p> -<hr class="chap" /> +<hr class="chap" > -<h2 class="gesperrt bold top2"><a name="COLOURS_AND_COLOURING" -id="COLOURS_AND_COLOURING"></a>COLOURS <span class="smcap">and</span> COLOURING.</h2> +<h2 class="gesperrt bold top2"><a id="COLOURS_AND_COLOURING"></a>COLOURS <span class="smcap">and</span> COLOURING.</h2> -<hr class="smalldouble" /> +<hr class="smalldouble" > -<h3 class="bottom2"><a name="COLOURS" id="COLOURS"></a>COLOURS.</h3> +<h3 class="bottom2"><a id="COLOURS"></a>COLOURS.</h3> -<h4><a name="Chap_CCXXII" id="Chap_CCXXII"></a> +<h4><a id="Chap_CCXXII"></a> <span class="smcap">Chap. CCXXII.</span>—<i>What Surface is best calculated to receive most Colours.</i></h4> @@ -9130,16 +9029,16 @@ receive such as are conveyed to it from any other enlightened body, and will participate more of the colour than black can do; which latter, like a broken vessel, is not able to contain any thing.</p> -<h4><a name="Chap_CCXXIII" id="Chap_CCXXIII"></a> +<h4><a id="Chap_CCXXIII"></a> <span class="smcap">Chap. CCXXIII.</span>—<i>What Surface will shew most perfectly its true Colour.</i></h4> <p><span class="smcap">That</span> opake body will shew its colour more perfect and beautiful, which has near it another body of the same colour.</p> -<p><span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span></p> +<p><span class="pagenum"><a id="Page_116">[Pg 116]</a></span></p> -<h4><a name="Chap_CCXXIV" id="Chap_CCXXIV"></a> +<h4><a id="Chap_CCXXIV"></a> <span class="smcap">Chap. CCXXIV.</span>—<i>On what Surfaces the true Colour is least apparent.</i></h4> @@ -9149,7 +9048,7 @@ being smooth and glossy, will reflect the colour of the sun, and the air, where they strike, so that the parts which receive the light do not shew their natural colour.</p> -<h4><a name="Chap_CCXXV" id="Chap_CCXXV"></a> +<h4><a id="Chap_CCXXV"></a> <span class="smcap">Chap. CCXXV.</span>—<i>What Surfaces shew most of their true and genuine Colour.</i></h4> @@ -9161,14 +9060,14 @@ be confused by that of another body casting on them reflexions of an opposite colour, such as the redness of the setting sun, when all the clouds are tinged with its colour.</p> -<h4><a name="Chap_CCXXVI" id="Chap_CCXXVI"></a> +<h4><a id="Chap_CCXXVI"></a> <span class="smcap">Chap. CCXXVI.</span>—<i>Of the Mixture of Colours.</i></h4> <p><span class="smcap">Although</span> the mixture of colours may be extended to an infinite variety, almost impossible to be described, I will not omit touching slightly upon it, setting down at first a certain number of simple colours to serve as a foundation, and with each of these mixing one of the others; -one with one, then<span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a> +one with one, then<span class="pagenum"><a id="Page_117">[Pg 117]</a> </span> two with two, and three with three, proceeding in this manner to the full mixture of all the colors together: then I would begin again, mixing two of these colours with two others, and three with @@ -9187,14 +9086,14 @@ and White come Blue and Yellow, then Green, and Tawny or Umber, and then Purple and Red. These eight colours are all that Nature produces. With these I begin my mixtures, first Black and White, Black and Yellow, Black and Red; then Yellow and Red: but I shall treat more at length of -these mixtures in a separate work<a name="FNanchor_52_262" id="FNanchor_52_262"></a> +these mixtures in a separate work<a id="FNanchor_52_262"></a> <a href="#Footnote_52_262" class="fnanchor">[52]</a>, which will be of great utility, nay very necessary. I shall place this subject between theory and practice.</p> -<p><span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span></p> +<p><span class="pagenum"><a id="Page_118">[Pg 118]</a></span></p> -<h4><a name="Chap_CCXXVII" id="Chap_CCXXVII"></a> +<h4><a id="Chap_CCXXVII"></a> <span class="smcap">Chap. CCXXVII.</span>—<i>Of the Colours produced by the Mixture of other Colours, called secondary Colours.</i></h4> @@ -9219,11 +9118,11 @@ be improved, or greatly impaired by it. Black and White will be most altered, while Green and Yellow will be meliorated. In the same manner you may go through all the mixtures of colours, which are infinite. Select those which are new and agreeable to the sight; and following -the<span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a> +the<span class="pagenum"><a id="Page_119">[Pg 119]</a> </span> same method you may go on with two glasses, or three, till you have found what will best answer your purpose.</p> -<h4><a name="Chap_CCXXVIII" id="Chap_CCXXVIII"></a> +<h4><a id="Chap_CCXXVIII"></a> <span class="smcap">Chap. CCXXVIII.</span>—<i>Of Verdegris.</i></h4> <p><span class="smcap">This</span> green, which is made of copper, though it be mixed with oil, will @@ -9233,7 +9132,7 @@ the ground upon which it is painted, particularly in damp weather; because verdegris is produced by the strength of salts, which easily dissolve in rainy weather, but still more if washed with a wet sponge.</p> -<h4><a name="Chap_CCXXIX" id="Chap_CCXXIX"></a> +<h4><a id="Chap_CCXXIX"></a> <span class="smcap">Chap. CCXXIX.</span>—<i>How to increase the Beauty of Verdegris.</i></h4> <p><span class="smcap">If</span> you mix with the Verdegris some Caballine Aloe, it will add to it a @@ -9245,9 +9144,9 @@ dissolved Aloe, and it will produce a very fine colour. This Aloe may be ground also in oil by itself, or with the Verdegris, or any other colour, at pleasure.</p> -<p><span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span></p> +<p><span class="pagenum"><a id="Page_120">[Pg 120]</a></span></p> -<h4><a name="Chap_CCXXX" id="Chap_CCXXX"></a> +<h4><a id="Chap_CCXXX"></a> <span class="smcap">Chap. CCXXX.</span>—<i>How to paint a Picture that will last almost for ever.</i></h4> @@ -9261,14 +9160,14 @@ priming of pitch and brickdust, take a flat tile well vitrified, then apply the coat of white and Naples yellow, and all the rest as before. But before the glass is applied to it, the painting must be perfectly dried in a stove, and varnished with nut oil and amber, or else with -purified nut oil alone, thickened in the sun<a name="FNanchor_53_263" id="FNanchor_53_263"></a> +purified nut oil alone, thickened in the sun<a id="FNanchor_53_263"></a> <a href="#Footnote_53_263" class="fnanchor">[53]</a>.</p> -<p><span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span></p> +<p><span class="pagenum"><a id="Page_121">[Pg 121]</a></span></p> -<h4><a name="Chap_CCXXXI" id="Chap_CCXXXI"></a> +<h4><a id="Chap_CCXXXI"></a> <span class="smcap">Chap. CCXXXI.</span>—<i>The Mode of painting on Canvass, or Linen -Cloth</i><a name="FNanchor_54_264" id="FNanchor_54_264"></a> +Cloth</i><a id="FNanchor_54_264"></a> <a href="#Footnote_54_264" class="fnanchor">[54]</a>.</h4> <p><span class="smcap">Stretch</span> your canvass upon a frame, then give it a coat of weak size, let @@ -9281,25 +9180,25 @@ this first coat, or dead colour, and let it dry, you may retouch over it with lake and other colours, and gum water that has been a long while made and kept liquid, because in that state it becomes better, and does not leave any gloss. Again, to make the shades darker, take the lake and -gum as above, and ink<a name="FNanchor_55_265" id="FNanchor_55_265"></a> +gum as above, and ink<a id="FNanchor_55_265"></a> <a href="#Footnote_55_265" class="fnanchor">[55]</a>; and with this you may shade or glaze many colours, because it is transparent; such as azure, lake, and several others. As for the lights, you may retouch or glaze them slightly with gum water and pure lake, particularly vermilion.</p> -<h4><a name="Chap_CCXXXII" id="Chap_CCXXXII"></a> +<h4><a id="Chap_CCXXXII"></a> <span class="smcap">Chap. CCXXXII.</span>—<i>Of lively and beautiful Colours.</i></h4> <p><span class="smcap">For</span> those colours which you mean should appear beautiful, prepare a ground of pure white. This is meant only for transparent colours: as -for<span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a> +for<span class="pagenum"><a id="Page_122">[Pg 122]</a> </span> those that have a body, and are opake, it matters not what ground they have, and a white one is of no use. This is exemplified by painted glasses; when placed between the eye and clear air, they exhibit most excellent and beautiful colours, which is not the case, when they have thick air, or some opake body behind them.</p> -<h4><a name="Chap_CCXXXIII" id="Chap_CCXXXIII"></a> +<h4><a id="Chap_CCXXXIII"></a> <span class="smcap">Chap. CCXXXIII.</span>—<i>Of transparent Colours.</i></h4> <p><span class="smcap">When</span> a transparent colour is laid upon another of a different nature, @@ -9312,7 +9211,7 @@ colour; yellow upon blue turns to green; saffron upon white becomes yellow; white scumbled upon a dark ground appears blue, and is more or less beautiful, as the white and the ground are more or less pure.</p> -<h4><a name="Chap_CCXXXIV" id="Chap_CCXXXIV"></a> +<h4><a id="Chap_CCXXXIV"></a> <span class="smcap">Chap. CCXXXIV.</span>—<i>In what Part a Colour will appear in its greatest Beauty.</i></h4> @@ -9320,13 +9219,13 @@ greatest Beauty.</i></h4> most perfect purity; whether in the strongest light or deepest shadow, in the demi-tint, or in the reflex. It would be necessary to determine first, of what colour we mean to treat, because different colours differ -materially in that respect.<span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a> +materially in that respect.<span class="pagenum"><a id="Page_123">[Pg 123]</a> </span> Black is most beautiful in the shades; white in the strongest light; blue and green in the half-tint; yellow and red in the principal light; gold in the reflexes; and lake in the half-tint.</p> -<h4><a name="Chap_CCXXXV" id="Chap_CCXXXV"></a> +<h4><a id="Chap_CCXXXV"></a> <span class="smcap">Chap. CCXXXV.</span>—<i>How any Colour without Gloss, is more beautiful in the Lights than in the Shades.</i></h4> @@ -9337,13 +9236,13 @@ destroy its beauty, preventing the discovery of its nature. If, on the contrary, black be more beautiful in the shadows, it is because black is not a colour.</p> -<h4><a name="Chap_CCXXXVI" id="Chap_CCXXXVI"></a> +<h4><a id="Chap_CCXXXVI"></a> <span class="smcap">Chap. CCXXXVI.</span>—<i>Of the Appearance of Colours.</i></h4> <p><span class="smcap">The</span> lighter a colour is in its nature, the more so it will appear when removed to some distance; but with dark colours it is quite the reverse.</p> -<h4><a name="Chap_CCXXXVII" id="Chap_CCXXXVII"></a> +<h4><a id="Chap_CCXXXVII"></a> <span class="smcap">Chap. CCXXXVII.</span>—<i>What Part of a Colour is to be the most beautiful.</i></h4> @@ -9352,18 +9251,18 @@ cannot receive that light, but only the reflexion from B, which we shall suppose to be red. In that case, the light it produces being red, it will tinge with red the object E; and if E happen to be also red before, you will see that colour increase in beauty, and appear redder than B; -but if E were<span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a> +but if E were<span class="pagenum"><a id="Page_124">[Pg 124]</a> </span> yellow, you will see a new colour, participating of the red and the yellow.</p> <div class="figcenter"> - <a id="fig_11" name="fig_11"></a> + <a id="fig_11"></a> <img src="images/fig_11.png" alt="Beautiful Parts of a Colour" - title="The Most Beautiful Part of a Colour" /> + title="The Most Beautiful Part of a Colour"> </div> -<h4><a name="Chap_CCXXXVIII" id="Chap_CCXXXVIII"></a> +<h4><a id="Chap_CCXXXVIII"></a> <span class="smcap">Chap. CCXXXVIII.</span>—<i>That the Beauty of a Colour is to be found in the Lights.</i></h4> @@ -9372,20 +9271,20 @@ natural to conclude, that where there is most light, there also the true quality of the colour is to be seen; and where there is most shadow the colour will participate of, and be tinged with the colour of that shadow. Remember then to shew the true quality of the colour in the -light parts only<a name="FNanchor_56_266" id="FNanchor_56_266"></a> +light parts only<a id="FNanchor_56_266"></a> <a href="#Footnote_56_266" class="fnanchor">[56]</a>.</p> -<h4><a name="Chap_CCXXXIX" id="Chap_CCXXXIX"></a> +<h4><a id="Chap_CCXXXIX"></a> <span class="smcap">Chap. CCXXXIX.</span>—<i>Of Colours.</i></h4> <p><span class="smcap">The</span> colour which is between the light and the shadow will not be so beautiful as that which is in the full light. Therefore the chief beauty -of colours will be found in the principal lights<a name="FNanchor_57_267" id="FNanchor_57_267"> +of colours will be found in the principal lights<a id="FNanchor_57_267"> </a><a href="#Footnote_57_267" class="fnanchor">[57]</a>.</p> -<p><span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span></p> +<p><span class="pagenum"><a id="Page_125">[Pg 125]</a></span></p> -<h4><a name="Chap_CCXL" id="Chap_CCXL"></a> +<h4><a id="Chap_CCXL"></a> <span class="smcap">Chap. CCXL.</span>—<i>No Object appears in its true Colour, unless the Light which strikes upon it be of the same Colour.</i></h4> @@ -9394,10 +9293,10 @@ reflexion, and throwing a light on other folds opposite to them, make them appear in their natural colour. The same effect is produced by gold leaves casting their light reciprocally on each other. The effect is quite contrary if the light be received from an object of a different -colour<a name="FNanchor_58_268" id="FNanchor_58_268"></a> +colour<a id="FNanchor_58_268"></a> <a href="#Footnote_58_268" class="fnanchor">[58]</a>.</p> -<h4><a name="Chap_CCXLI" id="Chap_CCXLI"></a> +<h4><a id="Chap_CCXLI"></a> <span class="smcap">Chap. CCXLI.</span>—<i>Of the Colour of Shadows.</i></h4> <p><span class="smcap">The</span> colour of the shadows of an object can never be pure if the body @@ -9410,14 +9309,14 @@ true shade of that beautiful blue, because it will be corrupted by the reflexions from the green wall; and it would be still worse if the walls were of a darkish brown.</p> -<h4><a name="Chap_CCXLII" id="Chap_CCXLII"></a> +<h4><a id="Chap_CCXLII"></a> <span class="smcap">Chap. CCXLII.</span>—<i>Of Colours.</i></h4> <p><span class="smcap">Colours</span> placed in shadow will preserve more or less of their original beauty, as they are more or less immersed in the shade. But colours situated in a light space will shew their natural beauty in proportion to the brightness of that light. Some say,<span class="pagenum"> -<a name="Page_126" id="Page_126">[Pg 126]</a></span> that there is as great +<a id="Page_126">[Pg 126]</a></span> that there is as great variety in the colours of shadows, as in the colours of objects shaded by them. It may be answered, that colours placed in shadow will shew less variety amongst themselves as the shadows are darker. We shall @@ -9425,7 +9324,7 @@ soon convince ourselves of this truth, if, from a large square, we look through the open door of a church, where pictures, though enriched with a variety of colours, appear all clothed in darkness.</p> -<h4><a name="Chap_CCXLIII" id="Chap_CCXLIII"></a> +<h4><a id="Chap_CCXLIII"></a> <span class="smcap">Chap. CCXLIII.</span>—<i>Whether it be possible for all Colours to appear alike by means of the same Shadow.</i></h4> @@ -9437,14 +9336,13 @@ reflected lights, by which the form and colour of bodies are seen; it is evident, that the cause being removed the effect ceases, and the objects are entirely lost to the sight.</p> -<h4><a name="Chap_CCXLIV" id="Chap_CCXLIV"></a> +<h4><a id="Chap_CCXLIV"></a> <span class="smcap">Chap. CCXLIV.</span>—<i>Why White is not reckoned among the Colours.</i></h4> <p><span class="smcap">White</span> is not a colour, but has the power of receiving all the other colours. When it is placed in a high situation in the country, all its -shades are azure; according to the fourth proposition<a name="FNanchor_59_269" -id="FNanchor_59_269"></a><a href="#Footnote_59_269" class="fnanchor">[59]</a>, which<span -class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span> says, +shades are azure; according to the fourth proposition<a id="FNanchor_59_269"></a><a href="#Footnote_59_269" class="fnanchor">[59]</a>, which<span +class="pagenum"><a id="Page_127">[Pg 127]</a></span> says, that the surface of any opake body participates of the colour of any other body sending the light to it. Therefore white being deprived of the light of the sun by the interposition of any other body, will remain @@ -9456,7 +9354,7 @@ the way to the horizon, nor could receive any light from that horizon, without doubt it would appear of one simple and uniform colour, viz. that of the air.</p> -<h4><a name="Chap_CCXLV" id="Chap_CCXLV"></a> +<h4><a id="Chap_CCXLV"></a> <span class="smcap">Chap. CCXLV.</span>—<i>Of Colours.</i></h4> <p><span class="smcap">The</span> light of the fire tinges every thing of a reddish yellow; but this @@ -9468,14 +9366,14 @@ upon any part of the room, and there still remains a candle burning. Without such a trial the difference is hardly perceivable, particularly in those colours which have most similarity; such as white and yellow, light green and light blue; because the light which strikes the blue, -being yellow, will naturally<span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a> +being yellow, will naturally<span class="pagenum"><a id="Page_128">[Pg 128]</a> </span> turn it green; as we have said in another -place<a name="FNanchor_60_270" id="FNanchor_60_270"></a><a href="#Footnote_60_270" +place<a id="FNanchor_60_270"></a><a href="#Footnote_60_270" class="fnanchor">[60]</a>, that a mixture of blue and yellow produces green. And if to a green colour you add some yellow, it will make it of a more beautiful green.</p> -<h4><a name="Chap_CCXLVI" id="Chap_CCXLVI"></a> +<h4><a id="Chap_CCXLVI"></a> <span class="smcap">Chap. CCXLVI.</span>—<i>Of the Colouring of remote Objects.</i></h4> <p><span class="smcap">The</span> painter, who is to represent objects at some distance from the eye, @@ -9492,12 +9390,12 @@ which in themselves are white; in short, the lightest touch upon any particular object ought to denote the beauty of its proper and natural colour.</p> -<h4><a name="Chap_CCXLVII" id="Chap_CCXLVII"></a> +<h4><a id="Chap_CCXLVII"></a> <span class="smcap">Chap. CCXLVII.</span>—<i>The Surface of all opake Bodies participates of the Colour of the surrounding Objects.</i></h4> <p class="bottom1"><span class="smcap">The</span> painter ought to know, that if any white object is placed between -two walls, one of which is<span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a> +two walls, one of which is<span class="pagenum"><a id="Page_129">[Pg 129]</a> </span> also white, and the other black, there will be found between the shady side of that object and the light side, a similar proportion to that of the two walls; and if that object be @@ -9520,19 +9418,19 @@ other, cutting sharply at the angle; but if it be round, draw lines from the extremities of the walls to the centre of the object, and put the darkest shade between equal angles, where the lines intersect upon the superficies of it; then begin to make them lighter and<span class="pagenum"> -<a name="Page_130" id="Page_130">[Pg 130]</a></span> lighter +<a id="Page_130">[Pg 130]</a></span> lighter gradually to the point N O, lessening the strength of the shadows as much as that place participates of the light A D, and mixing that colour with the darkest shade A B, in the same proportion.</p> <div class="figcenter"> - <a id="fig_12" name="fig_12"></a> + <a id="fig_12"></a> <img src="images/fig_12.png" alt="Surface of Opaque Bodies" - title="Surface of Opaque Bodies" /> + title="Surface of Opaque Bodies"> </div> -<h4><a name="Chap_CCXLVIII" id="Chap_CCXLVIII"></a> +<h4><a id="Chap_CCXLVIII"></a> <span class="smcap">Chap. CCXLVIII.</span>—<i>General Remarks on Colours.</i></h4> <p><span class="smcap">Blue</span> and green are not simple colours in their nature, for blue is @@ -9548,7 +9446,7 @@ the colour of the mirror. That object will appear of the strongest and most lively colour in the mirror, which has the most affinity to the colour of the mirror itself.</p> -<p><span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span></p> +<p><span class="pagenum"><a id="Page_131">[Pg 131]</a></span></p> <p>Of coloured bodies, the purest white will be seen at the greatest distance, therefore the darker the colour, the less it will bear @@ -9579,17 +9477,16 @@ air, which fills the space between the eye and the planets.</p> are not occupied by any kind of shade, and have not any gloss (if it be a polished surface).</p> -<p><span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span></p> +<p><span class="pagenum"><a id="Page_132">[Pg 132]</a></span></p> <p>I say, that white terminating abruptly upon a dark ground, will cause that part where it terminates to appear darker, and the white whiter.</p> -<hr class="chap" /> +<hr class="chap" > -<h3 class="bottom2"><a name="COLOURS_IN_REGARD_TO_LIGHT_AND_SHADOW" -id="COLOURS_IN_REGARD_TO_LIGHT_AND_SHADOW"></a>COLOURS IN REGARD TO LIGHT AND SHADOW.</h3> +<h3 class="bottom2"><a id="COLOURS_IN_REGARD_TO_LIGHT_AND_SHADOW"></a>COLOURS IN REGARD TO LIGHT AND SHADOW.</h3> -<h4><a name="Chap_CCXLIX" id="Chap_CCXLIX"></a> +<h4><a id="Chap_CCXLIX"></a> <span class="smcap">Chap. CCXLIX.</span>—<i>Of the Light proper for painting Flesh Colour from Nature.</i></h4> @@ -9599,7 +9496,7 @@ else your walls on the south side of the room must be so high, as that the sun-beams cannot strike on the opposite side, in order that the reflexion of those beams may not destroy the shadows.</p> -<h4><a name="Chap_CCL" id="Chap_CCL"></a> +<h4><a id="Chap_CCL"></a> <span class="smcap">Chap. CCL.</span>—<i>Of the Painter’s Window.</i></h4> <p><span class="smcap">The</span> window which gives light to a painting-room, ought to be made of @@ -9607,27 +9504,26 @@ oiled paper, without any cross bar, or projecting edge at the opening, or any sharp angle in the inside of the wall, but should be slanting by degrees the whole thickness of it; and the sides be painted black.</p> -<h4><a name="Chap_CCLI" id="Chap_CCLI"></a> +<h4><a id="Chap_CCLI"></a> <span class="smcap">Chap. CCLI.</span>—<i>The Shadows of Colours.</i></h4> <p><span class="smcap">The</span> shadows of any colour whatever must participate of that colour more -or less, as it is nearer to,<span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a> +or less, as it is nearer to,<span class="pagenum"><a id="Page_133">[Pg 133]</a> </span> or more remote from the mass of shadows; and also in proportion to its distance from, or proximity to the mass of light.</p> -<h4><a name="Chap_CCLII" id="Chap_CCLII"></a> +<h4><a id="Chap_CCLII"></a> <span class="smcap">Chap. CCLII.</span>—<i>Of the Shadows of White.</i></h4> <p><span class="smcap">To</span> any white body receiving the light from the sun, or the air, the shadows should be of a blueish cast; because white is no colour, but a -receiver of all colours; and as by the fourth proposition<a name="FNanchor_61_271" -id="FNanchor_61_271"></a><a href="#Footnote_61_271" class="fnanchor">[61]</a> we learn, +receiver of all colours; and as by the fourth proposition<a id="FNanchor_61_271"></a><a href="#Footnote_61_271" class="fnanchor">[61]</a> we learn, that the surface of any object participates of the colours of other objects near it, it is evident that a white surface will participate of the colour of the air by which it is surrounded.</p> -<h4><a name="Chap_CCLIII" id="Chap_CCLIII"></a> +<h4><a id="Chap_CCLIII"></a> <span class="smcap">Chap. CCLIII.</span>—<i>Which of the Colours will produce the darkest Shade.</i></h4> @@ -9639,19 +9535,19 @@ surrounding objects, but principally of black or any other dark colour, which being the most opposite to its nature, produces the most sensible difference between the shadows and the lights.</p> -<h4><a name="Chap_CCLIV" id="Chap_CCLIV"></a> +<h4><a id="Chap_CCLIV"></a> <span class="smcap">Chap. CCLIV.</span>—<i>How to manage, when a White terminates upon another White.</i></h4> <p><span class="smcap">When</span> one white body terminates on another of the same colour, the white -of these two bodies will<span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a> +of these two bodies will<span class="pagenum"><a id="Page_134">[Pg 134]</a> </span> be either alike or not. If they be alike, that object which of the two is nearest to the eye, should be made a little darker than the other, upon the rounding of the outline; but if the object which serves as a ground to the other be not quite so white, the latter will detach of itself, without the help of any darker termination.</p> -<h4><a name="Chap_CCLV" id="Chap_CCLV"></a> +<h4><a id="Chap_CCLV"></a> <span class="smcap">Chap. CCLV.</span>—<i>On the Back-grounds of Figures.</i></h4> <p><span class="smcap">Of</span> two objects equally light, one will appear less so if seen upon a @@ -9661,14 +9557,14 @@ a red ground, and a pale colour will appear redder upon a yellow ground. In short, colours will appear what they are not, according to the ground which surrounds them.</p> -<h4><a name="Chap_CCLVI" id="Chap_CCLVI"></a> +<h4><a id="Chap_CCLVI"></a> <span class="smcap">Chap. CCLVI.</span>—<i>The Mode of composing History.</i></h4> <p><span class="smcap">Amongst</span> the figures which compose an historical picture, those which are meant to appear the nearest to the eye, must have the greatest force; -according to the second proposition<a name="FNanchor_62_272" id="FNanchor_62_272"></a> +according to the second proposition<a id="FNanchor_62_272"></a> <a href="#Footnote_62_272" class="fnanchor">[62]</a> of the third book, which<span class="pagenum"> -<a name="Page_135" id="Page_135">[Pg 135]</a></span> says, +<a id="Page_135">[Pg 135]</a></span> says, that colour will be seen in the greatest perfection which has less air interposed between it and the eye of the beholder; and for that reason the shadows (by which we express the relievo of bodies) appear darker @@ -9676,22 +9572,20 @@ when near than when at a distance, being then deadened by the air which interposes. This does not happen to those shadows which are near the eye, where they will produce the greatest relievo when they are darkest.</p> -<h4><a name="Chap_CCLVII" id="Chap_CCLVII"></a> +<h4><a id="Chap_CCLVII"></a> <span class="smcap">Chap. CCLVII.</span>—<i>Remarks concerning Lights and Shadows.</i></h4> <p><span class="smcap">Observe</span>, that where the shadows end, there be always a kind of half-shadow to blend them with the lights. The shadow derived from any object will mix more with the light at its termination, in proportion as it is more distant from that object. But the colour of the shadow will -never be simple: this is proved by the ninth proposition<a name="FNanchor_63_273" -id="FNanchor_63_273"></a><a href="#Footnote_63_273" class="fnanchor">[63]</a>, which +never be simple: this is proved by the ninth proposition<a id="FNanchor_63_273"></a><a href="#Footnote_63_273" class="fnanchor">[63]</a>, which says, that the superficies of any object participates of the colours of other bodies, by which it is surrounded, although it were transparent, such as water, air, and the like: because the air receives its light from the sun, and darkness is produced by the privation of it. But as the air has no colour in itself any more than water, it receives all the -colours that are between the object<span class="pagenum"><a name="Page_136" -id="Page_136">[Pg 136]</a></span> and the eye. The vapours mixing +colours that are between the object<span class="pagenum"><a id="Page_136">[Pg 136]</a></span> and the eye. The vapours mixing with the air in the lower regions near the earth, render it thick, and apt to reflect the sun’s rays on all sides, while the air above remains dark; and because light (that is, white) and darkness (that is, black), @@ -9699,24 +9593,24 @@ mixed together, compose the azure that becomes the colour of the sky, which is lighter or darker in proportion as the air is more or less mixed with damp vapours.</p> -<h4 class="bottom1"><a name="Chap_CCLVIII" id="Chap_CCLVIII"></a> +<h4 class="bottom1"><a id="Chap_CCLVIII"></a> <span class="smcap">Chap. CCLVIII.</span>—<i>Why the Shadows of Bodies upon a white Wall are blueish towards Evening.</i></h4> <div class="figcenter"> - <a id="fig_13" name="fig_13"></a> + <a id="fig_13"></a> <img src="images/fig_13.png" alt="Shadows Blueish towards Evening" - title="Shadows Blueish towards Evening" /> + title="Shadows Blueish towards Evening"> </div> <p><span class="smcap">The</span> shadows of bodies produced by the redness of the setting sun, will always be blueish. This is accounted for by the eleventh -proposition<a name="FNanchor_64_274" id="FNanchor_64_274"></a><a href="#Footnote_64_274" +proposition<a id="FNanchor_64_274"></a><a href="#Footnote_64_274" class="fnanchor">[64]</a>, which says, that the superficies of any opake body participates of the colour of the object from which it receives the light; therefore the white wall being deprived entirely of colour, is -tinged by the colour of<span class="pagenum"><a name="Page_137" id="Page_137">[Pg 137]</a> +tinged by the colour of<span class="pagenum"><a id="Page_137">[Pg 137]</a> </span> those bodies from which it receives the light, which in this case are the sun and the sky. But because the sun is red towards the evening, and the sky is blue, the shadow on the wall not @@ -9724,7 +9618,7 @@ being enlightened by the sun, receives only the reflexion of the sky, and therefore will appear blue; and the rest of the wall, receiving light immediately from the sun, will participate of its red colour.</p> -<h4><a name="Chap_CCLIX" id="Chap_CCLIX"></a> +<h4><a id="Chap_CCLIX"></a> <span class="smcap">Chap. CCLIX.</span>—<i>Of the Colour of Faces.</i></h4> <p><span class="smcap">The</span> colour of any object will appear more or less distinct in proportion @@ -9736,7 +9630,7 @@ only the shadows, which being in a greater quantity, the whole of the face appears dark, and the more so if that face has on the head, or at the back, something whiter.</p> -<h4><a name="Chap_CCLX" id="Chap_CCLX"></a> +<h4><a id="Chap_CCLX"></a> <span class="smcap">Chap. CCLX.</span>—<i>A Precept relating to Painting.</i></h4> <p><span class="smcap">Where</span> the shadows terminate upon the lights, observe well what parts @@ -9744,14 +9638,14 @@ of them are lighter than the others, and where they are more or less softened and blended; but above all remember, that young people have no sharp shadings: their flesh is transparent, something like what we observe when we put our hand between the sun and eyes; it appears<span class="pagenum"> -<a name="Page_138" id="Page_138">[Pg 138]</a></span> +<a id="Page_138">[Pg 138]</a></span> reddish, and of a transparent brightness. If you wish to know what kind of shadow will suit the flesh colour you are painting, place one of your fingers close to your picture, so as to cast a shadow upon it, and according as you wish it either lighter or darker, put it nearer or farther from it, and imitate it.</p> -<h4><a name="Chap_CCLXI" id="Chap_CCLXI"></a> +<h4><a id="Chap_CCLXI"></a> <span class="smcap">Chap. CCLXI.</span>—<i>Of Colours in Shadow.</i></h4> <p><span class="smcap">It</span> happens very often that the shadows of an opake body do not retain @@ -9768,11 +9662,11 @@ the shades of a blueish cast; this we observe particularly in mountains covered with snow, at sun-set, when the effulgence of its rays makes the horizon appear all on fire.</p> -<h4><a name="Chap_CCLXII" id="Chap_CCLXII"></a> +<h4><a id="Chap_CCLXII"></a> <span class="smcap">Chap. CCLXII.</span>—<i>Of the Choice of Lights.</i></h4> <p><span class="smcap">Whatever</span> object you intend to represent is to be supposed situated in -a particular light, and that<span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a> +a particular light, and that<span class="pagenum"><a id="Page_139">[Pg 139]</a> </span> entirely of your own choosing. If you imagine such objects to be in the country, and the sun be overcast, they will be surrounded by a great quantity of general light. If the @@ -9796,25 +9690,24 @@ false and absurd. But if a figure be situated within a house, and seen from without, such figure will have its shadows very soft; and if the beholder stands in the line of the light, it will acquire grace, and do credit to the painter, as it will have great relief in the lights, and -soft and <span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a> +soft and <span class="pagenum"><a id="Page_140">[Pg 140]</a> </span>well-blended shadows, particularly in those parts where the inside of the room appears less obscure, because there the shadows are almost imperceptible: the cause of which we shall explain in its proper place.</p> -<hr class="chap" /> +<hr class="chap" > -<h3 class="bottom2"><a name="COLOURS_IN_REGARD_TO_BACK-GROUNDS" -id="COLOURS_IN_REGARD_TO_BACK-GROUNDS"></a>COLOURS IN REGARD TO BACK-GROUNDS.</h3> +<h3 class="bottom2"><a id="COLOURS_IN_REGARD_TO_BACK-GROUNDS"></a>COLOURS IN REGARD TO BACK-GROUNDS.</h3> -<h4><a name="Chap_CCLXIII" id="Chap_CCLXIII"></a> +<h4><a id="Chap_CCLXIII"></a> <span class="smcap">Chap. CCLXIII.</span>—<i>Of avoiding hard Outlines.</i></h4> <p><span class="smcap">Do</span> not make the boundaries of your figures with any other colour than that of the back-ground, on which they are placed; that is, avoid making dark outlines.</p> -<h4><a name="Chap_CCLXIV" id="Chap_CCLXIV"></a> +<h4><a id="Chap_CCLXIV"></a> <span class="smcap">Chap. CCLXIV.</span>—<i>Of Outlines.</i></h4> <p><span class="smcap">The</span> extremities of objects which are at some distance, are not seen @@ -9827,11 +9720,11 @@ of mathematical lines, but not of real lines. The end of any colour is only the beginning of another, and it ought not to be called a line, for nothing interposes between them, except the termination of the one against the other, which being nothing in itself, cannot be -perceivable;<span class="pagenum"><a name="Page_141" id="Page_141">[Pg 141]</a> +perceivable;<span class="pagenum"><a id="Page_141">[Pg 141]</a> </span> therefore the painter ought not to pronounce it in distant objects.</p> -<h4><a name="Chap_CCLXV" id="Chap_CCLXV"></a> +<h4><a id="Chap_CCLXV"></a> <span class="smcap">Chap. CCLXV.</span>—<i>Of Back-grounds.</i></h4> <p><span class="smcap">One</span> of the principal parts of painting is the nature and quality of @@ -9848,18 +9741,18 @@ since the intention is to make the objects appear as it were out of the ground. The above case would produce the contrary effect, not only in painting, but also in objects of real relievo.</p> -<h4><a name="Chap_CCLXVI" id="Chap_CCLXVI"></a> +<h4><a id="Chap_CCLXVI"></a> <span class="smcap">Chap. CCLXVI.</span>—<i>How to detach Figures from the Ground.</i></h4> <p><span class="smcap">All</span> solid bodies will appear to have a greater relief, and to come more out of the canvass, on a ground of an undetermined colour, with the greatest variety of lights and shades against the confines of such bodies (as will be demonstrated in its place),<span class="pagenum"> -<a name="Page_142" id="Page_142">[Pg 142]</a></span> provided a proper +<a id="Page_142">[Pg 142]</a></span> provided a proper diminution of lights in the white tints, and of darkness in the shades, be judiciously observed.</p> -<h4><a name="Chap_CCLXVII" id="Chap_CCLXVII"></a> +<h4><a id="Chap_CCLXVII"></a> <span class="smcap">Chap. CCLXVII.</span>—<i>Of Uniformity and Variety of Colours upon plain Surfaces.</i></h4> @@ -9868,7 +9761,7 @@ quantity of light, will never appear separated from each other; <i>vice versâ</i>, they will appear separated if they are of different colours or lights.</p> -<h4><a name="Chap_CCLXVIII" id="Chap_CCLXVIII"></a> +<h4><a id="Chap_CCLXVIII"></a> <span class="smcap">Chap. CCLXVIII.</span>—<i>Of Back-grounds suitable both to Shadows and Lights.</i></h4> @@ -9878,22 +9771,21 @@ is, if a dark colour does not terminate upon another dark colour, but upon a very different one; as white, or partaking of white, but lowered, and approximated to the dark shade.</p> -<h4><a name="Chap_CCLXIX" id="Chap_CCLXIX"></a> +<h4><a id="Chap_CCLXIX"></a> <span class="smcap">Chap. CCLXIX.</span>—<i>The apparent Variation of Colours, occasioned by the Contraste of the Ground upon which they are placed.</i></h4> <p><span class="smcap">No</span> colour appears uniform and equal in all its parts unless it terminate on a ground of the same colour. This is very apparent when a black terminates on a white ground, where the contraste of colour<span class="pagenum"> -<a name="Page_143" id="Page_143">[Pg 143]</a></span> gives more +<a id="Page_143">[Pg 143]</a></span> gives more strength and richness to the extremities than to the middle.</p> -<hr class="chap" /> +<hr class="chap" > -<h3 class="bottom2"><a name="CONTRASTE_HARMONY_AND_REFLEXES_IN_REGARD_TO_COLOURS" -id="CONTRASTE_HARMONY_AND_REFLEXES_IN_REGARD_TO_COLOURS"></a>CONTRASTE, HARMONY, AND REFLEXES, IN REGARD TO COLOURS.</h3> +<h3 class="bottom2"><a id="CONTRASTE_HARMONY_AND_REFLEXES_IN_REGARD_TO_COLOURS"></a>CONTRASTE, HARMONY, AND REFLEXES, IN REGARD TO COLOURS.</h3> -<h4><a name="Chap_CCLXX" id="Chap_CCLXX"></a> +<h4><a id="Chap_CCLXX"></a> <span class="smcap">Chap. CCLXX.</span>—<i>Gradation in Painting.</i></h4> <p><span class="smcap">What</span> is fine is not always beautiful and good: I address this to such @@ -9904,7 +9796,7 @@ strength of shadows. Such persons may be compared to those speakers who in conversation make use of many fine words without meaning, which altogether scarcely form one good sentence.</p> -<h4><a name="Chap_CCLXXI" id="Chap_CCLXXI"></a> +<h4><a id="Chap_CCLXXI"></a> <span class="smcap">Chap. CCLXXI.</span>—<i>How to assort Colours in such a Manner as that they may add Beauty to each other.</i></h4> @@ -9912,10 +9804,10 @@ they may add Beauty to each other.</i></h4> another that terminates near it, observe the rays of the sun in the composition of the rainbow, the colours of which are generated by the falling rain, when each drop in its descent takes every colour of that -bow, as is demonstrated in its place<a name="FNanchor_65_275" id="FNanchor_65_275"></a> +bow, as is demonstrated in its place<a id="FNanchor_65_275"></a> <a href="#Footnote_65_275" class="fnanchor">[65]</a>.</p> -<p><span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span></p> +<p><span class="pagenum"><a id="Page_144">[Pg 144]</a></span></p> <p>If you mean to represent great darkness, it must be done by contrasting it with great light; on the contrary, if you want to produce great @@ -9932,27 +9824,27 @@ the effect would be quite the reverse, if placed near blue.</p> colours, such as blue with pale yellow or white, and the like; as will be noticed in its place.</p> -<h4><a name="Chap_CCLXXII" id="Chap_CCLXXII"></a> +<h4><a id="Chap_CCLXXII"></a> <span class="smcap">Chap. CCLXXII.</span>—<i>Of detaching the Figures.</i></h4> <p><span class="smcap">Let</span> the colours of which the draperies of your figures are composed, be such as to form a pleasing variety, to distinguish one from the other; and although, for the sake of harmony, they should be of the -same nature<a name="FNanchor_66_276" id="FNanchor_66_276"></a><a href="#Footnote_66_276" +same nature<a id="FNanchor_66_276"></a><a href="#Footnote_66_276" class="fnanchor">[66]</a>, they must not stick together,<span class="pagenum"> -<a name="Page_145" id="Page_145">[Pg 145]</a></span> but vary in point of +<a id="Page_145">[Pg 145]</a></span> but vary in point of light, according to the distance and interposition of the air between them. By the same rule, the outlines are to be more precise, or lost, in proportion to their distance or proximity.</p> -<h4><a name="Chap_CCLXXIII" id="Chap_CCLXXIII"></a> +<h4><a id="Chap_CCLXXIII"></a> <span class="smcap">Chap. CCLXXIII.</span>—<i>Of the Colour of Reflexes.</i></h4> <p><span class="smcap">All</span> reflected colours are less brilliant and strong, than those which receive a direct light, in the same proportion as there is between the light of a body and the cause of that light.</p> -<h4><a name="Chap_CCLXXIV" id="Chap_CCLXXIV"></a> +<h4><a id="Chap_CCLXXIV"></a> <span class="smcap">Chap. CCLXXIV.</span>—<i>What Body will be the most strongly tinged with the Colour of any other Object.</i></h4> @@ -9961,7 +9853,7 @@ nearest to it, because a great quantity of the species of colour will be conveyed to it; whereas such colour would be broken and disturbed if coming from a more distant object.</p> -<h4><a name="Chap_CCLXXV" id="Chap_CCLXXV"></a> +<h4><a id="Chap_CCLXXV"></a> <span class="smcap">Chap. CCLXXV.</span>—<i>Of Reflexes.</i></h4> <p><span class="smcap">Reflexes</span> will partake, more or less, both of the colour of the object @@ -9969,9 +9861,9 @@ which produces them, and of the colour of that object on which they are produced, in proportion as this latter body is of a smoother or more polished surface, than that by which they are produced.</p> -<p><span class="pagenum"><a name="Page_146" id="Page_146">[Pg 146]</a></span></p> +<p><span class="pagenum"><a id="Page_146">[Pg 146]</a></span></p> -<h4><a name="Chap_CCLXXVI" id="Chap_CCLXXVI"></a> +<h4><a id="Chap_CCLXXVI"></a> <span class="smcap">Chap. CCLXXVI.</span>—<i>Of the Surface of all shadowed Bodies.</i></h4> <p><span class="smcap">The</span> surface of any opake body placed in shadow, will participate of the @@ -9982,7 +9874,7 @@ colour. We shall conclude then, that if the opake body be yellow, and that which reflects the light blue, the part reflected will be green, because green is composed of blue and yellow.</p> -<h4><a name="Chap_CCLXXVII" id="Chap_CCLXXVII"></a> +<h4><a id="Chap_CCLXXVII"></a> <span class="smcap">Chap. CCLXXVII.</span>—<i>That no reflected Colour is simple, but is mixed with the Nature of the other Colours.</i></h4> @@ -9996,15 +9888,15 @@ if the ground be white, it will produce a green reflexion, because it is proved that a mixture of blue and yellow produces a very fine green.</p> <div class="figcenter"> - <a id="fig_14" name="fig_14"></a> + <a id="fig_14"></a> <img src="images/fig_14.png" alt="Reflected Colours" - title="Reflected Colours" /> + title="Reflected Colours"> </div> -<p><span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span></p> +<p><span class="pagenum"><a id="Page_147">[Pg 147]</a></span></p> -<h4><a name="Chap_CCLXXVIII" id="Chap_CCLXXVIII"></a> +<h4><a id="Chap_CCLXXVIII"></a> <span class="smcap">Chap. CCLXXVIII.</span>—<i>Of the Colour of Lights and Reflexes.</i></h4> <p><span class="smcap">When</span> two lights strike upon an opake body, they can vary only in two @@ -10020,9 +9912,9 @@ be equal in colour, in degree of shade, and in brightness. It will be unequally enlightened by them when the spaces happen to be of different degrees of darkness.</p> -<p><span class="pagenum"><a name="Page_148" id="Page_148">[Pg 148]</a></span></p> +<p><span class="pagenum"><a id="Page_148">[Pg 148]</a></span></p> -<h4><a name="Chap_CCLXXIX" id="Chap_CCLXXIX"></a> +<h4><a id="Chap_CCLXXIX"></a> <span class="smcap">Chap. CCLXXIX.</span>—<i>Why reflected Colours seldom partake of the Colour of the Body where they meet.</i></h4> @@ -10035,21 +9927,21 @@ green tinge, being B C, acted on by the natural light of the air, or the sun.</p> <div class="figcenter"> - <a id="fig_15" name="fig_15"></a> + <a id="fig_15"></a> <img src="images/fig_15.png" alt="Reflected Colours and a Body" - title="Reflected Colours Meeting a Body" /> + title="Reflected Colours Meeting a Body"> </div> -<h4><a name="Chap_CCLXXX" id="Chap_CCLXXX"></a> +<h4><a id="Chap_CCLXXX"></a> <span class="smcap">Chap. CCLXXX.</span>—<i>The Reflexes of Flesh Colours.</i></h4> <p><span class="smcap">The</span> lights upon the flesh colours, which are reflected by the light striking upon another flesh-coloured body, are redder and more lively than any other part of the human figure; and that happens according -to the third proposition of the second book<a name="FNanchor_67_277" id="FNanchor_67_277"></a> +to the third proposition of the second book<a id="FNanchor_67_277"></a> <a href="#Footnote_67_277" class="fnanchor">[67]</a>,<span class="pagenum"> -<a name="Page_149" id="Page_149">[Pg 149]</a></span> which says, the +<a id="Page_149">[Pg 149]</a></span> which says, the surface of any opake body participates of the colour of the object which reflects the light, in proportion as it is near to or remote from it, and also in proportion to the size of it; because, being @@ -10057,27 +9949,27 @@ large, it prevents the variety of colours in smaller objects round it, from interfering with, and discomposing the principal colour, which is nearer. Nevertheless it does not prevent its participating more of the colour of a small object near it, than of a large one more remote. -See the sixth proposition<a name="FNanchor_68_278" id="FNanchor_68_278"> +See the sixth proposition<a id="FNanchor_68_278"> </a><a href="#Footnote_68_278" class="fnanchor">[68]</a> of perspective, which says, that large objects may be situated at such a distance as to appear less than small ones that are near.</p> -<h4><a name="Chap_CCLXXXI" id="Chap_CCLXXXI"></a> +<h4><a id="Chap_CCLXXXI"></a> <span class="smcap">Chap. CCLXXXI.</span>—<i>Of the Nature of Comparison.</i></h4> <p><span class="smcap">Black</span> draperies will make the flesh of the human figure appear whiter -than in reality it is<a name="FNanchor_69_279" id="FNanchor_69_279"></a> +than in reality it is<a id="FNanchor_69_279"></a> <a href="#Footnote_69_279" class="fnanchor">[69]</a>; and white draperies, on the contrary, will make it appear darker. Yellow will render it higher coloured, while red will make it pale.</p> -<h4><a name="Chap_CCLXXXII" id="Chap_CCLXXXII"></a> +<h4><a id="Chap_CCLXXXII"></a> <span class="smcap">Chap. CCLXXXII.</span>—<i>Where the Reflexes are seen.</i></h4> <p><span class="smcap">Of</span> all reflexions of the same shape, size, and strength, that will be more or less strong, which terminates on a ground more or less dark.</p> -<p><span class="pagenum"><a name="Page_150" id="Page_150">[Pg 150]</a></span></p> +<p><span class="pagenum"><a id="Page_150">[Pg 150]</a></span></p> <p>The surface of those bodies will partake most of the colour of the object that reflects it, which receive that reflexion by the most nearly @@ -10102,13 +9994,13 @@ on the human body, particularly on the flesh colour, mix some of the colour of the drapery which comes nearest to it; but not pronounce it too distinctly, if there be not good reason for it.</p> -<p><span class="pagenum"><a name="Page_151" id="Page_151">[Pg 151]</a></span></p> +<p><span class="pagenum"><a id="Page_151">[Pg 151]</a></span></p> -<hr class="chap" /> +<hr class="chap" > -<h3 class="bottom2"><a name="PERSPECTIVE_OF_COLOURS" id="PERSPECTIVE_OF_COLOURS"></a>PERSPECTIVE OF COLOURS.</h3> +<h3 class="bottom2"><a id="PERSPECTIVE_OF_COLOURS"></a>PERSPECTIVE OF COLOURS.</h3> -<h4><a name="Chap_CCLXXXIII" id="Chap_CCLXXXIII"></a> +<h4><a id="Chap_CCLXXXIII"></a> <span class="smcap">Chap. CCLXXXIII.</span>—<i>A Precept of Perspective in regard to Painting.</i></h4> @@ -10124,15 +10016,15 @@ same object appear more remote.</p> two objects variously distant, by means of the linear perspective alone, if not assisted by the perspective of colours.</p> -<h4><a name="Chap_CCLXXXIV" id="Chap_CCLXXXIV"></a> +<h4><a id="Chap_CCLXXXIV"></a> <span class="smcap">Chap. CCLXXXIV.</span>—<i>Of the Perspective of Colours.</i></h4> <p class="bottom1"><span class="smcap">The</span> air will participate less of the azure of the sky, in proportion as it comes nearer to the horizon, as it is proved by the third and ninth -proposition<a name="FNanchor_70_280" id="FNanchor_70_280"></a> +proposition<a id="FNanchor_70_280"></a> <a href="#Footnote_70_280" class="fnanchor">[70]</a>, that pure and subtile bodies (such as compose the air) will be less illuminated by the sun than those<span class="pagenum"> -<a name="Page_152" id="Page_152">[Pg 152]</a></span> of thicker and grosser +<a id="Page_152">[Pg 152]</a></span> of thicker and grosser substance: and as it is certain that the air which is remote from the earth, is thinner than that which is near it, it will follow, that the latter will be more impregnated with the rays of the sun, which giving @@ -10143,10 +10035,10 @@ sky; because there is more of the thick air between our eyes and the horizon, than between our eyes and that part of the sky above our heads.</p> <div class="figcenter"> - <a id="fig_16" name="fig_16"></a> + <a id="fig_16"></a> <img src="images/fig_16.png" alt="Perspective of Colours" - title="Perspective of Colours" /> + title="Perspective of Colours"> </div> <p>For instance: if the eye placed in P, looks through the air along the @@ -10155,24 +10047,24 @@ to appear a little whiter, because there is more of the thick air in this space than in the first. And if it be still removed lower, so as to look straight at the horizon, no more of that blue sky will be perceived which was observable along the first line P R, because there<span class="pagenum"> -<a name="Page_153" id="Page_153">[Pg 153]</a></span> is a much +<a id="Page_153">[Pg 153]</a></span> is a much greater quantity of thick air along the horizontal line P D, than along the oblique P S, or the perpendicular P R.</p> -<h4><a name="Chap_CCLXXXV" id="Chap_CCLXXXV"></a> +<h4><a id="Chap_CCLXXXV"></a> <span class="smcap">Chap. CCLXXXV.</span>—<i>The Cause of the Diminution of Colours.</i></h4> <p><span class="smcap">The</span> natural colour of any visible object will be diminished in proportion to the density of any other substance which interposes between that object and the eye.</p> -<h4><a name="Chap_CCLXXXVI" id="Chap_CCLXXXVI"></a> +<h4><a id="Chap_CCLXXXVI"></a> <span class="smcap">Chap. CCLXXXVI.</span>—<i>Of the Diminution of Colours and Objects.</i></h4> <p><span class="smcap">Let</span> the colours vanish in proportion as the objects diminish in size, according to the distance.</p> -<h4><a name="Chap_CCLXXXVII" id="Chap_CCLXXXVII"></a> +<h4><a id="Chap_CCLXXXVII"></a> <span class="smcap">Chap. CCLXXXVII.</span>—<i>Of the Variety observable in Colours, according to their Distance, or Proximity.</i></h4> @@ -10183,14 +10075,14 @@ from the eye. In general, all objects that are darker or lighter than the air, are discoloured by distance, which changes their quality, so that the lighter appears darker, and the darker lighter.</p> -<p><span class="pagenum"><a name="Page_154" id="Page_154">[Pg 154]</a></span></p> +<p><span class="pagenum"><a id="Page_154">[Pg 154]</a></span></p> -<h4><a name="Chap_CCLXXXVIII" id="Chap_CCLXXXVIII"></a> +<h4><a id="Chap_CCLXXXVIII"></a> <span class="smcap">Chap. CCLXXXVIII.</span>—<i>At what Distance Colours are entirely lost.</i></h4> <p><span class="smcap">Local</span> colours are entirely lost at a greater or less distance, according as the eye and the object are more or less elevated from the earth. This -is proved by the seventh proposition<a name="FNanchor_71_281" id="FNanchor_71_281"></a> +is proved by the seventh proposition<a id="FNanchor_71_281"></a> <a href="#Footnote_71_281" class="fnanchor">[71]</a>, which says, the air is more or less pure, as it is near to, or remote from the earth. If the eye then, and the object are near the earth, the thickness of the air which @@ -10203,20 +10095,20 @@ which change according to the different hours of the day, and the thickness or purity of the air, through which the colour of the object is conveyed to the eye.</p> -<h4><a name="Chap_CCLXXXIX" id="Chap_CCLXXXIX"></a> +<h4><a id="Chap_CCLXXXIX"></a> <span class="smcap">Chap. CCLXXXIX.</span>—<i>Of the Change observable in the same Colour, according to its Distance from the Eye.</i></h4> <p><span class="smcap">Among</span> several colours of the same nature, that which is the nearest to the eye will alter the least; because the air which interposes between the eye and the object seen, envelopes, in some measure,<span class="pagenum"> -<a name="Page_155" id="Page_155">[Pg 155]</a></span> that object. +<a id="Page_155">[Pg 155]</a></span> that object. If the air, which interposes, be in great quantity, the object seen will be strongly tinged with the colour of that air; but if the air be thin, then the view of that object, and its colour, will be very little obstructed.</p> -<h4><a name="Chap_CCXC" id="Chap_CCXC"></a> +<h4><a id="Chap_CCXC"></a> <span class="smcap">Chap. CCXC.</span>—<i>Of the blueish Appearance of remote Objects in a Landscape.</i></h4> @@ -10225,7 +10117,7 @@ or accidental, will appear the most tinged with azure. By the natural darkness is meant the proper colour of the object; the accidental one is produced by the shadow of some other body.</p> -<h4><a name="Chap_CCXCI" id="Chap_CCXCI"></a> +<h4><a id="Chap_CCXCI"></a> <span class="smcap">Chap. CCXCI.</span>—<i>Of the Qualities in the Surface which first lose themselves by Distance.</i></h4> @@ -10235,12 +10127,12 @@ second that diminishes by being farther removed, is the light, because it is less in quantity than the shadow. The third is the principal shadows, nothing remaining at last but a kind of middling obscurity.</p> -<h4><a name="Chap_CCXCII" id="Chap_CCXCII"></a> +<h4><a id="Chap_CCXCII"></a> <span class="smcap">Chap. CCXCII.</span>—<i>From what Cause the Azure of the Air proceeds.</i></h4> <p><span class="smcap">The</span> azure of the sky is produced by the transparent body of the air, illumined by the sun, and interposed between the darkness of the expanse -above,<span class="pagenum"><a name="Page_156" id="Page_156">[Pg 156]</a> +above,<span class="pagenum"><a id="Page_156">[Pg 156]</a> </span> and the earth below. The air in itself has no quality of smell, taste, or colour, but is easily impregnated with the quality of other matter surrounding it; and will appear bluer in proportion to the @@ -10250,7 +10142,7 @@ instance the air appears of the most beautiful azure, while on the other side that receives the light, it shews through that more of the natural colour of the mountain.</p> -<h4><a name="Chap_CCXCIII" id="Chap_CCXCIII"></a> +<h4><a id="Chap_CCXCIII"></a> <span class="smcap">Chap. CCXCIII.</span>—<i>Of the Perspective of Colours.</i></h4> <p><span class="smcap">The</span> same colour being placed at various distances and equal elevation, @@ -10266,11 +10158,11 @@ will follow, that the first colour, E, will pass to the eye through one degree of thick air, E S, and through another degree, S A, of thinner air. And B will send its colour to the eye in A, through two degrees of thick air, and through two others of the thinner sort. C will send it -through three degrees<span class="pagenum"><a name="Page_157" id="Page_157">[Pg 157]</a> +through three degrees<span class="pagenum"><a id="Page_157">[Pg 157]</a> </span> of the thin, and three of the thick sort, while D goes through four degrees of the one, and four of the other. This demonstrates, that the gradation of colours is in proportion to their -distance from the eye<a name="FNanchor_72_282" id="FNanchor_72_282"></a> +distance from the eye<a id="FNanchor_72_282"></a> <a href="#Footnote_72_282" class="fnanchor">[72]</a>. But this happens only to those colours which are on a level with the eye; as for those which happen to be at unequal elevations, we cannot observe the same rule, because they are in that @@ -10278,22 +10170,22 @@ case situated in different qualities of air, which alter and diminish these colours in various manners.</p> <div class="figcenter"> - <a id="fig_17" name="fig_17"></a> + <a id="fig_17"></a> <img src="images/fig_17.png" alt="Of the Perspective of Colours" - title="Of the Perspective of Colours" /> + title="Of the Perspective of Colours"> </div> -<h4><a name="Chap_CCXCIV" id="Chap_CCXCIV"></a> +<h4><a id="Chap_CCXCIV"></a> <span class="smcap">Chap. CCXCIV.</span>—<i>Of the Perspective of Colours in dark Places.</i></h4> <p><span class="smcap">In</span> any place where the light diminishes in a gradual proportion till it terminates in total darkness, the colours also will lose themselves and be dissolved in proportion as they recede from the eye.</p> -<p><span class="pagenum"><a name="Page_158" id="Page_158">[Pg 158]</a></span></p> +<p><span class="pagenum"><a id="Page_158">[Pg 158]</a></span></p> -<h4><a name="Chap_CCXCV" id="Chap_CCXCV"></a> +<h4><a id="Chap_CCXCV"></a> <span class="smcap">Chap. CCXCV.</span>—<i>Of the Perspective of Colours.</i></h4> <p><span class="smcap">The</span> principal colours, or those nearest to the eye, should be pure and @@ -10303,7 +10195,7 @@ more they will possess of the purity of those colours, and they will partake of the colour of the horizon in proportion as they approach to it.</p> -<h4><a name="Chap_CCXCVI" id="Chap_CCXCVI"></a> +<h4><a id="Chap_CCXCVI"></a> <span class="smcap">Chap. CCXCVI.</span>—<i>Of Colours.</i></h4> <p><span class="smcap">Of</span> all the colours which are not blue, those that are nearest to black @@ -10315,7 +10207,7 @@ are most dissimilar to black.</p> yellow, or white, which will preserve their natural colour at a greater distance than that, or even red.</p> -<h4><a name="Chap_CCXCVII" id="Chap_CCXCVII"></a> +<h4><a id="Chap_CCXCVII"></a> <span class="smcap">Chap. CCXCVII.</span>—<i>How it happens that Colours do not change, though placed in different Qualities of Air.</i></h4> @@ -10323,7 +10215,7 @@ though placed in different Qualities of Air.</i></h4> the quality of air have a reciprocal proportion. What it loses by the distance it regains by the purity of the air, viz. if we suppose the first or lowest air to have four degrees of thickness, and the colour to -be at one degree from the eye,<span class="pagenum"><a name="Page_159" id="Page_159">[Pg 159]</a> +be at one degree from the eye,<span class="pagenum"><a id="Page_159">[Pg 159]</a> </span> and the second air above to have three degrees. The air having lost one degree of thickness, the colour will acquire one degree upon the distance. And when the air still higher @@ -10337,21 +10229,21 @@ the colour which is below and nearer; because in rising it has acquired those three degrees which it was losing by the same distance from the eye; and this is what was meant to be proved.</p> -<h4 class="bottom1"><a name="Chap_CCXCVIII" id="Chap_CCXCVIII"></a> +<h4 class="bottom1"><a id="Chap_CCXCVIII"></a> <span class="smcap">Chap. CCXCVIII.</span>—<i>Why Colours experience no apparent Change, though placed in different Qualities of Air.</i></h4> <div class="figcenter"> - <a id="fig_18" name="fig_18"></a> + <a id="fig_18"></a> <img src="images/fig_18.png" alt="No Apparent Change in Colours" - title="No Apparent Change in Colours" /> + title="No Apparent Change in Colours"> </div> <p><span class="smcap">It</span> may happen that a colour does not alter, though placed at different distances, when the thickness of the air and the distance are in the same inverse proportion. It is proved thus: let A be the<span class="pagenum"> -<a name="Page_160" id="Page_160">[Pg 160]</a></span> eye, and H +<a id="Page_160">[Pg 160]</a></span> eye, and H any colour whatever, placed at one degree of distance from the eye, in a quality of air of four degrees of thickness; but because the second degree above, A M N L, contains a thinner air by one half, which air @@ -10374,8 +10266,7 @@ whole degree of the air above would, which air above is twice as thin as the air below, with which it terminates; so that by calculating the thickness of the air, and the distances, you will find that the colours have changed places without undergoing any alteration in their beauty. -And we shall prove it thus: reckoning<span class="pagenum"><a name="Page_161" -id="Page_161">[Pg 161]</a></span> first the thickness of air, the +And we shall prove it thus: reckoning<span class="pagenum"><a id="Page_161">[Pg 161]</a></span> first the thickness of air, the colour H is placed in four degrees of thickness, the colour G in two degrees, and E at one degree. Now let us see whether the distances are in an equal inverse proportion; the colour E is at two degrees and a @@ -10399,9 +10290,9 @@ equal to a whole degree of thin air above. This proves the truth of the proposition, that the colour H G E does not undergo any alteration by these different distances.</p> -<p><span class="pagenum"><a name="Page_162" id="Page_162">[Pg 162]</a></span></p> +<p><span class="pagenum"><a id="Page_162">[Pg 162]</a></span></p> -<h4><a name="Chap_CCXCIX" id="Chap_CCXCIX"></a> +<h4><a id="Chap_CCXCIX"></a> <span class="smcap">Chap. CCXCIX.</span>—<i>Contrary Opinions in regard to Objects seen afar off.</i></h4> @@ -10409,7 +10300,7 @@ afar off.</i></h4> are removed from the eye; but this cannot be true, unless the objects seen be white; as shall be examined in the next chapter.</p> -<h4><a name="Chap_CCC" id="Chap_CCC"></a> +<h4><a id="Chap_CCC"></a> <span class="smcap">Chap. CCC.</span>—<i>Of the Colour of Objects remote from the Eye.</i></h4> <p><span class="smcap">The</span> air tinges objects with its own colour more or less in proportion to @@ -10428,12 +10319,12 @@ in this case no space of light fields can be perceived, but the trees appear thick together, accumulating the shadow on each other. It also happens, that as the shady parts of plants are much broader than the light ones, the colour of the plants becoming darker by the multiplied -shadows, is preserved, and<span class="pagenum"><a name="Page_163" id="Page_163">[Pg 163]</a> +shadows, is preserved, and<span class="pagenum"><a id="Page_163">[Pg 163]</a> </span> conveyed to the eye more strongly than that of the other parts; these masses, therefore, will carry the strongest parts of their colour to a greater distance.</p> -<h4><a name="Chap_CCCI" id="Chap_CCCI"></a> +<h4><a id="Chap_CCCI"></a> <span class="smcap">Chap. CCCI.</span>—<i>Of the Colour of Mountains.</i></h4> <p><span class="smcap">The</span> darker the mountain is in itself, the bluer it will appear at a @@ -10451,12 +10342,12 @@ object which is nearest to a dark one, will appear the whitest, and the less so as it is removed from it; and any dark object will appear darker, the nearer it is to a white one; and less so, if removed from it.</p> -<h4><a name="Chap_CCCII" id="Chap_CCCII"></a> +<h4><a id="Chap_CCCII"></a> <span class="smcap">Chap. CCCII.</span>—<i>Why the Colour and Shape of Objects are lost in some Situations apparently dark, though not so in Reality.</i></h4> <p><span class="smcap">There</span> are some situations which, though light, appear dark, and in -which objects are deprived both<span class="pagenum"><a name="Page_164" id="Page_164">[Pg 164]</a> +which objects are deprived both<span class="pagenum"><a id="Page_164">[Pg 164]</a> </span> of form and colour. This is caused by the great light which pervades the intervening air; as is observable by looking in through a window at some distance from the eye, when @@ -10467,10 +10358,10 @@ effect is produced by the great brightness of the air, which contracts considerably the pupil of the eye, and by so doing diminishes its power. But in dark places the pupil is enlarged, and acquires as much in strength, as it increases in size. This is proved in my second -proposition of perspective<a name="FNanchor_73_283" id="FNanchor_73_283"></a> +proposition of perspective<a id="FNanchor_73_283"></a> <a href="#Footnote_73_283" class="fnanchor">[73]</a>.</p> -<h4><a name="Chap_CCCIII" id="Chap_CCCIII"></a> +<h4><a id="Chap_CCCIII"></a> <span class="smcap">Chap. CCCIII.</span>—<i>Various Precepts in Painting.</i></h4> <p><span class="smcap">The</span> termination and shape of the parts in general are very little seen, @@ -10484,10 +10375,10 @@ such objects; and the third treats of the diminution of the perception altogether of those objects, and of the degree of precision they ought to exhibit at various distances.</p> -<p><span class="pagenum"><a name="Page_165" id="Page_165">[Pg 165]</a></span></p> +<p><span class="pagenum"><a id="Page_165">[Pg 165]</a></span></p> <p>The azure of the sky is produced by a mixture composed of light and -darkness<a name="FNanchor_74_284" id="FNanchor_74_284"></a><a href="#Footnote_74_284" +darkness<a id="FNanchor_74_284"></a><a href="#Footnote_74_284" class="fnanchor">[74]</a>; I say of light, because of the moist particles floating in the air, which reflect the light. By darkness, I mean the pure air, which has none of these extraneous particles to stop and reflect the @@ -10499,8 +10390,7 @@ of the mountain which is light, particularly when it is covered with snow.</p> <p>Among objects of equal darkness and equal distance, those will appear -darker that terminate upon a lighter ground, and <i>vice versâ</i><a name="FNanchor_75_285" -id="FNanchor_75_285"></a><a href="#Footnote_75_285" class="fnanchor">[75]</a>.</p> +darker that terminate upon a lighter ground, and <i>vice versâ</i><a id="FNanchor_75_285"></a><a href="#Footnote_75_285" class="fnanchor">[75]</a>.</p> <p>That object which is painted with the most white and the most black, will shew greater relief than any other; for that reason I would @@ -10512,13 +10402,13 @@ object is obscured in the shades; and if it be represented as originally so all over, there will be but little difference between the lights and the shades, while lively colours will shew a striking difference.</p> -<p><span class="pagenum"><a name="Page_166" id="Page_166">[Pg 166]</a></span></p> +<p><span class="pagenum"><a id="Page_166">[Pg 166]</a></span></p> -<hr class="chap" /> +<hr class="chap" > -<h3 class="bottom2"><a name="AERIAL_PERSPECTIVE" id="AERIAL_PERSPECTIVE"></a>AERIAL PERSPECTIVE.</h3> +<h3 class="bottom2"><a id="AERIAL_PERSPECTIVE"></a>AERIAL PERSPECTIVE.</h3> -<h4><a name="Chap_CCCIV" id="Chap_CCCIV"></a> +<h4><a id="Chap_CCCIV"></a> <span class="smcap">Chap. CCCIV.</span>—<i>Aerial Perspective.</i></h4> <p><span class="smcap">There</span> is another kind of perspective called aerial, because by the @@ -10540,9 +10430,9 @@ which appeared all of the same size, and upon the same line, will be distinctly perceived to be of different dimensions, and at different distances.</p> -<p><span class="pagenum"><a name="Page_167" id="Page_167">[Pg 167]</a></span></p> +<p><span class="pagenum"><a id="Page_167">[Pg 167]</a></span></p> -<h4><a name="Chap_CCCV" id="Chap_CCCV"></a> +<h4><a id="Chap_CCCV"></a> <span class="smcap">Chap. CCCV.</span>—<i>The Parts of the Smallest Objects will first disappear in Painting.</i></h4> @@ -10550,7 +10440,7 @@ disappear in Painting.</i></h4> to the sight; from which it follows, that the largest will be the last to disappear. The painter, therefore, ought not to finish the parts of those objects which are very far off, but follow the rule given in the -sixth book<a name="FNanchor_76_286" id="FNanchor_76_286"></a><a href="#Footnote_76_286" +sixth book<a id="FNanchor_76_286"></a><a href="#Footnote_76_286" class="fnanchor">[76]</a>.</p> <p>How many, in the representation of towns, and other objects remote from @@ -10566,9 +10456,9 @@ be seen), considering that angles are formed by the concurrence of two lines into one point, and that a point has no parts; it is therefore invisible.</p> -<p><span class="pagenum"><a name="Page_168" id="Page_168">[Pg 168]</a></span></p> +<p><span class="pagenum"><a id="Page_168">[Pg 168]</a></span></p> -<h4><a name="Chap_CCCVI" id="Chap_CCCVI"></a> +<h4><a id="Chap_CCCVI"></a> <span class="smcap">Chap. CCCVI.</span>—<i>Small Figures ought not to be too much finished.</i></h4> <p><span class="smcap">Objects</span> appear smaller than they really are when they are distant from @@ -10582,7 +10472,7 @@ account of their great distance from the eye; that distance includes a great quantity of air, which, forming a dense body, obstructs the light, and prevents our seeing the minute parts of the objects.</p> -<h4><a name="Chap_CCCVII" id="Chap_CCCVII"></a> +<h4><a id="Chap_CCCVII"></a> <span class="smcap">Chap. CCCVII.</span>—<i>Why the Air is to appear whiter as it approaches nearer to the Earth.</i></h4> @@ -10594,14 +10484,14 @@ meet with more resistance.</p> <p>If the sky terminate low, at the end of a plain, that part of it nearest to the horizon, being seen only through the thick air, will alter and -break its natural<span class="pagenum"><a name="Page_169" id="Page_169">[Pg 169]</a> +break its natural<span class="pagenum"><a id="Page_169">[Pg 169]</a> </span> colour, and will appear whiter than over your head, where the visual ray does not pass through so much of that gross air, corrupted by earthy vapours. But if you turn towards the east, the air will be darker the nearer it approaches the earth; for the air being thicker, does not admit the light of the sun to pass so freely.</p> -<h4><a name="Chap_CCCVIII" id="Chap_CCCVIII"></a> +<h4><a id="Chap_CCCVIII"></a> <span class="smcap">Chap. CCCVIII.</span>—<i>How to paint the distant Part of a Landscape.</i></h4> <p><span class="smcap">It</span> is evident that the air is in some parts thicker and grosser than in @@ -10619,18 +10509,18 @@ thinner, passing from a pure air into another which is purer; so that a painter who has mountains to represent in a landscape, ought to observe, that from one hill to another, the tops will appear always clearer than the bases. In proportion as the distance from one to another is greater, -the top will be<span class="pagenum"><a name="Page_170" id="Page_170">[Pg 170]</a> +the top will be<span class="pagenum"><a id="Page_170">[Pg 170]</a> </span> clearer; and the higher they are, the more they will shew their variety of form and colour.</p> -<h4><a name="Chap_CCCIX" id="Chap_CCCIX"></a> +<h4><a id="Chap_CCCIX"></a> <span class="smcap">Chap. CCCIX.</span>—<i>Of precise and confused Objects.</i></h4> <p><span class="smcap">The</span> parts that are near in the fore-ground should be finished in a bold determined manner; but those in the distance must be unfinished, and confused in their outlines.</p> -<h4><a name="Chap_CCCX" id="Chap_CCCX"></a> +<h4><a id="Chap_CCCX"></a> <span class="smcap">Chap. CCCX.</span>—<i>Of distant Objects.</i></h4> <p><span class="smcap">That</span> part of any object which is nearest to the luminary from which it @@ -10641,32 +10531,32 @@ degrees of its strength; that is, in proportion as the object is more remote from the eye it will be less perceivable through the air in its representation.</p> -<h4 class="bottom2"><a name="Chap_CCCXI" id="Chap_CCCXI"></a> +<h4 class="bottom2"><a id="Chap_CCCXI"></a> <span class="smcap">Chap. CCCXI.</span>—<i>Of Buildings seen in a thick Air.</i></h4> <div class="figcenter"> - <a id="fig_19" name="fig_19"></a> + <a id="fig_19"></a> <img src="images/fig_19.png" alt="Buildings in Thick Air" - title="Buildings seen in Thick Air" /> + title="Buildings seen in Thick Air"> </div> <p><span class="smcap">That</span> part of a building seen through a thick air, will appear less distinct than another part seen through a thinner air. Therefore the -eye, N, looking at the<span class="pagenum"><a name="Page_171" id="Page_171">[Pg 171]</a> +eye, N, looking at the<span class="pagenum"><a id="Page_171">[Pg 171]</a> </span> tower A D, will see it more confusedly in the lower degrees, but at the same time lighter; and as it ascends to the other degrees it will appear more distinct, but somewhat darker.</p> -<h4 class="bottom2"><a name="Chap_CCCXII" id="Chap_CCCXII"></a> +<h4 class="bottom2"><a id="Chap_CCCXII"></a> <span class="smcap">Chap. CCCXII.</span>—<i>Of Towns and other Objects seen through a thick Air.</i></h4> <div class="figcenter"> - <a id="fig_20" name="fig_20"></a> + <a id="fig_20"></a> <img src="images/fig_20.png" alt="Towns in Thick Air" - title="Towns Seen through Thick Air" /> + title="Towns Seen through Thick Air"> </div> <p><span class="smcap">Buildings</span> or towns seen through a fog, or the air made thick by smoke or @@ -10678,8 +10568,7 @@ the cut, where the tower, A F, is seen by the eye N, in a thick air, from B to F, which is divided into four degrees, growing thicker as they are nearer the bottom. The less the quantity of air interposed between the eye and its object is, the less also will the colour of the object -participate of the colour of that air. It<span class="pagenum"><a name="Page_172" -id="Page_172">[Pg 172]</a></span> follows, that the greater +participate of the colour of that air. It<span class="pagenum"><a id="Page_172">[Pg 172]</a></span> follows, that the greater the quantity of the air interposed between the eye and the object seen, is, the more this object will participate of the colour of the air. It is demonstrated thus: N being the eye looking at the five parts of @@ -10694,7 +10583,7 @@ the tower B C F, exceeds the proportion of the lines; because the line M F, besides its being longer than the line S B, passes by unequal degrees through a quality of air which is unequal in thickness.</p> -<h4><a name="Chap_CCCXIII" id="Chap_CCCXIII"></a> +<h4><a id="Chap_CCCXIII"></a> <span class="smcap">Chap. CCCXIII.</span>—<i>Of the inferior Extremities of distant Objects.</i></h4> @@ -10704,14 +10593,13 @@ the tops of which detach from the sides of other mountains behind. We see the tops of these more determined and distinctly than their bases; because the upper extremities are darker, being less encompassed by thick air, which always remains in the lower regions, and makes them -appear dim and confused. It is the<span class="pagenum"><a name="Page_173" -id="Page_173">[Pg 173]</a></span> same with trees, buildings, and +appear dim and confused. It is the<span class="pagenum"><a id="Page_173">[Pg 173]</a></span> same with trees, buildings, and other objects high up. From this effect it often happens that a high tower, seen at a great distance, will appear broad at top, and narrow at bottom; because the thin air towards the top does not prevent the angles on the sides and other different parts of the tower from being seen, as the thick air does at bottom. This is demonstrated by the seventh -proposition<a name="FNanchor_77_287" id="FNanchor_77_287"></a><a href="#Footnote_77_287" +proposition<a id="FNanchor_77_287"></a><a href="#Footnote_77_287" class="fnanchor">[77]</a>, which says, that the thick air interposed between the eye and the sun, is lighter below than above, and where the air is whiteish, it confuses the dark objects more than if such air were blueish @@ -10722,7 +10610,7 @@ very much diminished, and being removed still farther, will disappear entirely, and the fort shew only the straight wall, as if there were no battlements.</p> -<h4><a name="Chap_CCCXIV" id="Chap_CCCXIV"></a> +<h4><a id="Chap_CCCXIV"></a> <span class="smcap">Chap. CCCXIV.</span>—<i>Which Parts of Objects disappear first by being removed farther from the Eye, and which preserve their Appearance.</i></h4> @@ -10730,12 +10618,12 @@ removed farther from the Eye, and which preserve their Appearance.</i></h4> appearance first; this may be observed in the gloss upon spherical bodies, or columns, and the slender parts of animals; as in a stag, the first sight of which does not discover its legs and horns so soon as its -body, which, being<span class="pagenum"><a name="Page_174" id="Page_174">[Pg 174]</a> +body, which, being<span class="pagenum"><a id="Page_174">[Pg 174]</a> </span> broader, will be perceived from a greater distance. But the parts which disappear the very first, are the lines which describe the members, and terminate the surface and shape of bodies.</p> -<h4><a name="Chap_CCCXV" id="Chap_CCCXV"></a> +<h4><a id="Chap_CCCXV"></a> <span class="smcap">Chap. CCCXV.</span>—<i>Why Objects are less distinguished in proportion as they are farther removed from the Eye.</i></h4> @@ -10743,11 +10631,11 @@ as they are farther removed from the Eye.</i></h4> point of size, are also lost at a somewhat greater distance, and so on successively; the parts by degrees melting away, the perception of the object is diminished; and at last all the parts, and the whole, are -entirely lost to the sight<a name="FNanchor_78_288" id="FNanchor_78_288"></a> +entirely lost to the sight<a id="FNanchor_78_288"></a> <a href="#Footnote_78_288" class="fnanchor">[78]</a>. Colours also disappear on account of the density of the air interposed between the eye and the object.</p> -<h4><a name="Chap_CCCXVI" id="Chap_CCCXVI"></a> +<h4><a id="Chap_CCCXVI"></a> <span class="smcap">Chap. CCCXVI.</span>—<i>Why Faces appear dark at a Distance.</i></h4> <p><span class="smcap">It</span> is evident that the similitude of all objects placed before us, @@ -10757,8 +10645,7 @@ and of the earth is admitted, the faces of men (which are scarcely any thing in comparison of such large objects), being still diminished by the distance, will occupy so little of the eye, that they become almost imperceptible. Besides, having to pass through a dark medium from the -surface to the <i>Retina</i> in the<span class="pagenum"><a name="Page_175" -id="Page_175">[Pg 175]</a></span> inside, where the impression is made, +surface to the <i>Retina</i> in the<span class="pagenum"><a id="Page_175">[Pg 175]</a></span> inside, where the impression is made, the colour of faces (not being very strong, and rendered still more obscure by the darkness of the tube) when arrived at the focus appears dark. No other reason can be given on that point, except that the speck @@ -10768,7 +10655,7 @@ board, which on looking into it appears black; and that those things which are seen through both a light and dark air, become confused and obscure.</p> -<h4><a name="Chap_CCCXVII" id="Chap_CCCXVII"></a> +<h4><a id="Chap_CCCXVII"></a> <span class="smcap">Chap. CCCXVII.</span>—<i>Of Towns and other Buildings seen through a Fog in the Morning or Evening.</i></h4> @@ -10778,7 +10665,7 @@ enlightened by the sun towards the horizon; and the parts of those buildings which are not turned towards the sun remain confused and almost of the colour of the fog.</p> -<h4><a name="Chap_CCCXVIII" id="Chap_CCCXVIII"></a> +<h4><a id="Chap_CCCXVIII"></a> <span class="smcap">Chap. CCCXVIII.</span>—<i>Of the Height of Buildings seen in a Fog.</i></h4> <p><span class="smcap">Of</span> a building near the eye the top parts will appear more confused than @@ -10786,15 +10673,13 @@ the bottom, because there is more fog between the eye and the top than at the base. And a square tower, seen at a great distance through a fog, will appear narrower at the base than at the summit. This is accounted for in Chapter cccxiii. which says, that the fog will appear whiter and -thicker as it approaches the ground;<span class="pagenum"><a name="Page_176" -id="Page_176">[Pg 176]</a></span> and as it is said before<a name="FNanchor_79_289" -id="FNanchor_79_289"></a><a href="#Footnote_79_289" class="fnanchor">[79]</a>, +thicker as it approaches the ground;<span class="pagenum"><a id="Page_176">[Pg 176]</a></span> and as it is said before<a id="FNanchor_79_289"></a><a href="#Footnote_79_289" class="fnanchor">[79]</a>, that a dark object will appear smaller in proportion as it is placed on a whiter ground. Therefore the fog being whiter at bottom than at top, it follows that the tower (being darkish) will appear narrower at the base than at the summit.</p> -<h4><a name="Chap_CCCXIX" id="Chap_CCCXIX"></a> +<h4><a id="Chap_CCCXIX"></a> <span class="smcap">Chap. CCCXIX.</span>—<i>Why Objects which are high, appear darker at a Distance than those which are low, though the Fog be uniform, and of equal Thickness.</i></h4> @@ -10808,40 +10693,39 @@ thickness; and the top B, in one degree only; therefore the top C will appear darker than the top of the tower B.</p> <div class="figcenter"> - <a id="fig_21" name="fig_21"></a> + <a id="fig_21"></a> <img src="images/fig_21.png" alt="High Objects Darker" - title="High Objects Darker at a Distance" /> + title="High Objects Darker at a Distance"> </div> -<p><span class="pagenum"><a name="Page_177" id="Page_177">[Pg 177]</a></span></p> +<p><span class="pagenum"><a id="Page_177">[Pg 177]</a></span></p> -<h4><a name="Chap_CCCXX" id="Chap_CCCXX"></a> +<h4><a id="Chap_CCCXX"></a> <span class="smcap">Chap. CCCXX.</span>—<i>Of Objects seen in a Fog.</i></h4> <p><span class="smcap">Objects</span> seen through a fog will appear larger than they are in reality, because the aerial perspective does not agree with the linear, viz. the -colour does not agree with the magnitude of the object<a name="FNanchor_80_290" -id="FNanchor_80_290"></a><a href="#Footnote_80_290" class="fnanchor">[80]</a>; such a fog +colour does not agree with the magnitude of the object<a id="FNanchor_80_290"></a><a href="#Footnote_80_290" class="fnanchor">[80]</a>; such a fog being similar to the thickness of air interposed between the eye and the horizon in fine weather. But in this case the fog is near the eye, and though the object be also near, it makes it appear as if it were as far off as the horizon; where a great tower would appear no bigger than a man placed near the eye.</p> -<p><span class="pagenum"><a name="Page_178" id="Page_178">[Pg 178]</a></span></p> +<p><span class="pagenum"><a id="Page_178">[Pg 178]</a></span></p> -<h4><a name="Chap_CCCXXI" id="Chap_CCCXXI"></a> +<h4><a id="Chap_CCCXXI"></a> <span class="smcap">Chap. CCCXXI.</span>—<i>Of those Objects which the Eyes perceive through a Mist or thick Air.</i></h4> <p><span class="smcap">The</span> nearer the air is to water, or to the ground, the thicker it becomes. It is proved by the nineteenth proposition of the second -book<a name="FNanchor_81_291" id="FNanchor_81_291"></a><a href="#Footnote_81_291" +book<a id="FNanchor_81_291"></a><a href="#Footnote_81_291" class="fnanchor">[81]</a>, that bodies rise in proportion to their weight; and it follows, that a light body will rise higher than another which is heavy.</p> -<h4><a name="Chap_CCCXXII" id="Chap_CCCXXII"></a> +<h4><a id="Chap_CCCXXII"></a> <span class="smcap">Chap. CCCXXII.</span>—<i>Miscellaneous Observations.</i></h4> <p><span class="smcap">Of</span> different objects equal in magnitude, form, shade, and distance from @@ -10853,11 +10737,11 @@ observed of a pole placed between the sun and the eye.</p> <p>Parallel bodies placed upright, and seen through a fog, will appear larger at top than at bottom. This is proved by the ninth -proposition<a name="FNanchor_82_292" id="FNanchor_82_292"></a><a href="#Footnote_82_292" +proposition<a id="FNanchor_82_292"></a><a href="#Footnote_82_292" class="fnanchor">[82]</a>, which says, that a fog, or thick air, penetrated by the rays of the sun, will appear whiter the lower they are.</p> -<p><span class="pagenum"><a name="Page_179" id="Page_179">[Pg 179]</a></span></p> +<p><span class="pagenum"><a id="Page_179">[Pg 179]</a></span></p> <p>Things seen afar off will appear out of proportion, because the parts which are the lightest will send their image with stronger rays than the @@ -10865,18 +10749,17 @@ parts which are darkest. I have seen a woman dressed in black, with a white veil over her head, which appeared twice as large as her shoulders covered with black.</p> -<p><span class="pagenum"><a name="Page_180" id="Page_180">[Pg 180]</a></span></p> +<p><span class="pagenum"><a id="Page_180">[Pg 180]</a></span></p> -<hr class="chap" /> +<hr class="chap" > -<h2 class="gesperrt bold top2"><a name="MISCELLANEOUS_OBSERVATIONS" -id="MISCELLANEOUS_OBSERVATIONS"></a>MISCELLANEOUS OBSERVATIONS.</h2> +<h2 class="gesperrt bold top2"><a id="MISCELLANEOUS_OBSERVATIONS"></a>MISCELLANEOUS OBSERVATIONS.</h2> -<hr class="smalldouble" /> +<hr class="smalldouble" > -<h3 class="bottom2"><a name="LANDSCAPE" id="LANDSCAPE"></a>LANDSCAPE.</h3> +<h3 class="bottom2"><a id="LANDSCAPE"></a>LANDSCAPE.</h3> -<h4><a name="Chap_CCCXXIII" id="Chap_CCCXXIII"></a> +<h4><a id="Chap_CCCXXIII"></a> <span class="smcap">Chap. CCCXXIII.</span>—<i>Of Objects seen at a Distance.</i></h4> <p><span class="smcap">Any</span> dark object will appear lighter when removed to some distance from @@ -10887,7 +10770,7 @@ farther from the eye at the bottom than at the top; for that reason the lower parts of a mountain appear farther off than its top, which is in reality the farthest.</p> -<h4><a name="Chap_CCCXXIV" id="Chap_CCCXXIV"></a> +<h4><a id="Chap_CCCXXIV"></a> <span class="smcap">Chap. CCCXXIV.</span>—<i>Of a Town seen through a thick Air.</i></h4> <p><span class="smcap">The</span> eye which, looking downwards, sees a town immersed in very thick @@ -10896,9 +10779,9 @@ than the bottom. The tops detach against a light ground, because they are seen against the low and thick air which is beyond them. This is a consequence of what has been explained in the preceding chapter.</p> -<p><span class="pagenum"><a name="Page_181" id="Page_181">[Pg 181]</a></span></p> +<p><span class="pagenum"><a id="Page_181">[Pg 181]</a></span></p> -<h4><a name="Chap_CCCXXV" id="Chap_CCCXXV"></a> +<h4><a id="Chap_CCCXXV"></a> <span class="smcap">Chap. CCCXXV.</span>—<i>How to draw a Landscape.</i></h4> <p><span class="smcap">Contrive</span> that the trees in your landscape be half in shadow and half in @@ -10906,30 +10789,30 @@ the light. It is better to represent them as when the sun is veiled with thin clouds, because in that case the trees receive a general light from the sky, and are darkest in those parts which are nearest to the earth.</p> -<h4><a name="Chap_CCCXXVI" id="Chap_CCCXXVI"></a> +<h4><a id="Chap_CCCXXVI"></a> <span class="smcap">Chap. CCCXXVI.</span>—<i>Of the Green of the Country.</i></h4> <p><span class="smcap">Of</span> the greens seen in the country, that of trees and other plants will appear darker than that of fields and meadows, though they may happen to be of the same quality.</p> -<h4><a name="Chap_CCCXXVII" id="Chap_CCCXXVII"></a> +<h4><a id="Chap_CCCXXVII"></a> <span class="smcap">Chap. CCCXXVII.</span>—<i>What Greens will appear most of a blueish Cast.</i></h4> <p><span class="smcap">Those</span> greens will appear to approach nearest to blue which are of the darkest shade when remote. This is proved by the seventh -proposition<a name="FNanchor_83_293" id="FNanchor_83_293"></a><a href="#Footnote_83_293" +proposition<a id="FNanchor_83_293"></a><a href="#Footnote_83_293" class="fnanchor">[83]</a>, which says, that blue is composed of black and white seen at a great distance.</p> -<h4><a name="Chap_CCCXXVIII" id="Chap_CCCXXVIII"></a> +<h4><a id="Chap_CCCXXVIII"></a> <span class="smcap">Chap. CCCXXVIII.</span>—<i>The Colour of the Sea from different Aspects.</i></h4> <p><span class="smcap">When</span> the sea is a little ruffled it has no sameness of colour; for whoever looks at it from the shore, will see it of a dark colour, in a -greater degree as it<span class="pagenum"><a name="Page_182" id="Page_182">[Pg 182]</a> +greater degree as it<span class="pagenum"><a id="Page_182">[Pg 182]</a> </span> approaches towards the horizon, and will perceive also certain lights moving slowly on the surface like a flock of sheep. Whoever looks at the sea from on board a ship, at a distance from the @@ -10938,7 +10821,7 @@ colour of the earth reflected by the water, as in a looking-glass; but at sea the azure of the air is reflected to the eye by the waves in the same manner.</p> -<h4><a name="Chap_CCCXXIX" id="Chap_CCCXXIX"></a> +<h4><a id="Chap_CCCXXIX"></a> <span class="smcap">Chap. CCCXXIX.</span>—<i>Why the same Prospect appears larger at some Times than at others.</i></h4> @@ -10955,13 +10838,13 @@ nearer, being seen through a thinner air.</p> air which is between them and the eye be of proportionable inequality of thickness, viz. if the thickest air be interposed between the eye and the smallest of the objects. This is proved by the perspective of -colours<a name="FNanchor_84_294" id="FNanchor_84_294"></a><a href="#Footnote_84_294" +colours<a id="FNanchor_84_294"></a><a href="#Footnote_84_294" class="fnanchor">[84]</a>, which is so deceitful that a mountain which would appear small by the compasses, will seem larger than a small hill near<span class="pagenum"> -<a name="Page_183" id="Page_183">[Pg 183]</a></span> the +<a id="Page_183">[Pg 183]</a></span> the eye; as a finger placed near the eye will cover a large mountain far off.</p> -<h4><a name="Chap_CCCXXX" id="Chap_CCCXXX"></a> +<h4><a id="Chap_CCCXXX"></a> <span class="smcap">Chap. CCCXXX.</span>—<i>Of Smoke.</i></h4> <p><span class="smcap">Smoke</span> is more transparent, though darker towards the extremities of its @@ -10988,16 +10871,16 @@ issue from different places, with flames at the origin, and the most dense part of it. The tops of mountains will be more seen than the lower parts, as in a fog.</p> -<h4><a name="Chap_CCCXXXI" id="Chap_CCCXXXI"></a> +<h4><a id="Chap_CCCXXXI"></a> <span class="smcap">Chap. CCCXXXI.</span>—<i>In what Part Smoke is lightest.</i></h4> <p><span class="smcap">Smoke</span> which is seen between the sun and the eye will be lighter and more -transparent than any other<span class="pagenum"><a name="Page_184" id="Page_184">[Pg 184]</a> +transparent than any other<span class="pagenum"><a id="Page_184">[Pg 184]</a> </span> in the landscape. The same is observed of dust, and of fog; while, if you place yourself between the sun and those objects, they will appear dark.</p> -<h4><a name="Chap_CCCXXXII" id="Chap_CCCXXXII"></a> +<h4><a id="Chap_CCCXXXII"></a> <span class="smcap">Chap. CCCXXXII.</span>—<i>Of the Sun-beams passing through the Openings of Clouds.</i></h4> @@ -11007,7 +10890,7 @@ pass, and tinge with their own colour all the dark places that are behind: which dark places are only seen in the intervals between the rays.</p> -<h4><a name="Chap_CCCXXXIII" id="Chap_CCCXXXIII"></a> +<h4><a id="Chap_CCCXXXIII"></a> <span class="smcap">Chap. CCCXXXIII.</span>—<i>Of the Beginning of Rain.</i></h4> <p><span class="smcap">When</span> the rain begins to fall, it tarnishes and darkens the air, giving @@ -11023,9 +10906,9 @@ on the other they lose both their lights and shadows, the lights mixing with the light part of the rain, and the shadows are also considerably weakened by it.</p> -<p><span class="pagenum"><a name="Page_185" id="Page_185">[Pg 185]</a></span></p> +<p><span class="pagenum"><a id="Page_185">[Pg 185]</a></span></p> -<h4><a name="Chap_CCCXXXIV" id="Chap_CCCXXXIV"></a> +<h4><a id="Chap_CCCXXXIV"></a> <span class="smcap">Chap. CCCXXXIV.</span>—<i>The Seasons are to be observed.</i></h4> <p><span class="smcap">In</span> Autumn you will represent the objects according as it is more or less @@ -11037,7 +10920,7 @@ of green. Endeavour to vary the colour of meadows, stones, trunks of trees, and all other objects, as much as possible, for Nature abounds in variety <i>ad infinitum</i>.</p> -<h4><a name="Chap_CCCXXXV" id="Chap_CCCXXXV"></a> +<h4><a id="Chap_CCCXXXV"></a> <span class="smcap">Chap. CCCXXXV.</span>—<i>The Difference of Climates to be observed.</i></h4> <p><span class="smcap">Near</span> the sea-shore, and in southern parts, you will be careful not to @@ -11046,15 +10929,15 @@ you would do in places more inland, and in northern countries, except when these are covered with ever-greens, which shoot afresh all the year round.</p> -<h4><a name="Chap_CCCXXXVI" id="Chap_CCCXXXVI"></a> +<h4><a id="Chap_CCCXXXVI"></a> <span class="smcap">Chap. CCCXXXVI.</span>—<i>Of Dust.</i></h4> <p><span class="smcap">Dust</span> becomes lighter the higher it rises, and appears darker the less it is raised, when it is seen between the eye and the sun.</p> -<p><span class="pagenum"><a name="Page_186" id="Page_186">[Pg 186]</a></span></p> +<p><span class="pagenum"><a id="Page_186">[Pg 186]</a></span></p> -<h4><a name="Chap_CCCXXXVII" id="Chap_CCCXXXVII"></a> +<h4><a id="Chap_CCCXXXVII"></a> <span class="smcap">Chap. CCCXXXVII.</span>—<i>How to represent the Wind.</i></h4> <p><span class="smcap">In</span> representing the effect of the wind, besides the bending of trees, @@ -11062,30 +10945,30 @@ and leaves twisting the wrong side upwards, you will also express the small dust whirling upwards till it mixes in a confused manner with the air.</p> -<h4><a name="Chap_CCCXXXVIII" id="Chap_CCCXXXVIII"></a> +<h4><a id="Chap_CCCXXXVIII"></a> <span class="smcap">Chap. CCCXXXVIII.</span>—<i>Of a Wilderness.</i></h4> <p><span class="smcap">Those</span> trees and shrubs which are by their nature more loaded with small branches, ought to be touched smartly in the shadows, but those which have larger foliage, will cause broader shadows.</p> -<h4><a name="Chap_CCCXXXIX" id="Chap_CCCXXXIX"></a> +<h4><a id="Chap_CCCXXXIX"></a> <span class="smcap">Chap. CCCXXXIX.</span>—<i>Of the Horizon seen in the Water.</i></h4> -<p><span class="smcap">By</span> the sixth proposition<a name="FNanchor_85_295" id="FNanchor_85_295"></a> +<p><span class="smcap">By</span> the sixth proposition<a id="FNanchor_85_295"></a> <a href="#Footnote_85_295" class="fnanchor">[85]</a>, the horizon will be seen in the water as in a looking-glass, on that side which is opposite the eye. And if the painter has to represent a spot covered with water, let him remember that the colour of it cannot be either lighter or darker than that of the neighbouring objects.</p> -<h4><a name="Chap_CCCXL" id="Chap_CCCXL"></a> +<h4><a id="Chap_CCCXL"></a> <span class="smcap">Chap. CCCXL.</span>—<i>Of the Shadow of Bridges on the Surface of the Water.</i></h4> <p><span class="smcap">The</span> shadows of bridges can never be seen on the surface of the water, unless it should have lost its transparent and reflecting quality, and -become troubled<span class="pagenum"><a name="Page_187" id="Page_187">[Pg 187]</a> +become troubled<span class="pagenum"><a id="Page_187">[Pg 187]</a> </span> and muddy; because clear water being polished and smooth on its surface, the image of the bridge is formed in it as in a looking-glass, and reflected in all the points situated between the @@ -11094,14 +10977,14 @@ arches. These circumstances cannot happen when the water is muddy, because it does not reflect the objects any longer, but receives the shadow of the bridge in the same manner as a dusty road would receive it.</p> -<h4><a name="Chap_CCCXLI" id="Chap_CCCXLI"></a> +<h4><a id="Chap_CCCXLI"></a> <span class="smcap">Chap. CCCXLI.</span>—<i>How a Painter ought to put in Practice the Perspective of Colours.</i></h4> <p><span class="smcap">To</span> put in practice that perspective which teaches the alteration, the lessening, and even the entire loss of the very essence of colours, you must take some points in the country at the distance of about sixty-five -yards<a name="FNanchor_86_296" id="FNanchor_86_296"></a><a href="#Footnote_86_296" +yards<a id="FNanchor_86_296"></a><a href="#Footnote_86_296" class="fnanchor">[86]</a> from each other; as trees, men, or some other remarkable objects. In regard to the first tree, you will take a glass, and having fixed that well, and also your eye, draw upon it, with the greatest @@ -11110,15 +10993,15 @@ and compare it closely with the natural one, and colour it, so that in shape and colour it may resemble the original, and that by shutting one eye they may both appear painted, and at the same distance. The same rule may be applied to the second and third tree at the distance you -have fixed. These<span class="pagenum"><a name="Page_188" id="Page_188">[Pg 188]</a> +have fixed. These<span class="pagenum"><a id="Page_188">[Pg 188]</a> </span> studies will be very useful if managed with judgment, where they may be wanted in the offscape of a picture. I have observed that the second tree is less by four fifths than the first, at the distance of thirteen yards.</p> -<hr class="tb" /> +<hr class="tb" > -<h4><a name="Chap_CCCXLII" id="Chap_CCCXLII"></a> +<h4><a id="Chap_CCCXLII"></a> <span class="smcap">Chap. CCCXLII.</span>—<i>Various Precepts in Painting.</i></h4> <p><span class="smcap">The</span> superficies of any opake body participates of the colour of the @@ -11143,7 +11026,7 @@ shadow.</p> <p>When you give strength and precision to objects seen at a great distance, they will appear as if they were very near. Endeavour that your imitation be such as to give a just idea of distances. If the -object<span class="pagenum"><a name="Page_189" id="Page_189">[Pg 189]</a> +object<span class="pagenum"><a id="Page_189">[Pg 189]</a> </span> in nature appear confused in the outlines, let the same be observed in your picture.</p> @@ -11169,10 +11052,10 @@ of that redness, and will produce a mixture between the azure and red, which renders the prospect lively and pleasant; all the opake bodies which receive that light will appear distinct, and of a reddish colour, and the air, being transparent, will be impregnated with it, and appear -of the colour of lilies<a name="FNanchor_87_297" id="FNanchor_87_297"></a> +of the colour of lilies<a id="FNanchor_87_297"></a> <a href="#Footnote_87_297" class="fnanchor">[87]</a>.</p> -<p><span class="pagenum"><a name="Page_190" id="Page_190">[Pg 190]</a></span></p> +<p><span class="pagenum"><a id="Page_190">[Pg 190]</a></span></p> <p>The air which is between the earth and the sun when it rises or sets, will always dim the objects it surrounds, more than the air any where @@ -11201,10 +11084,10 @@ upon a light ground.</p> <p>Of objects situated above the eye, at equal heights, the farthest removed from the eye will appear the lowest; and if situated below the eye, the nearest to it will appear the lowest. The parallel lines -situated sidewise will concur to one point<a name="FNanchor_88_298" id="FNanchor_88_298"> +situated sidewise will concur to one point<a id="FNanchor_88_298"> </a><a href="#Footnote_88_298" class="fnanchor">[88]</a>.</p> -<p><span class="pagenum"><a name="Page_191" id="Page_191">[Pg 191]</a></span></p> +<p><span class="pagenum"><a id="Page_191">[Pg 191]</a></span></p> <p>Those objects which are near a river, or a lake, in the distant part of a landscape, are less apparent and distinct than those that are remote @@ -11225,7 +11108,7 @@ outlines of such object undetermined and confused, and make it appear of a larger size than it is in reality; because the linear perspective does not diminish the angle which conveys the object to the eye. The aerial perspective carries it farther off, so that the one removes it from the -eye, while the other preserves its magnitude<a name="FNanchor_89_299" id="FNanchor_89_299"></a> +eye, while the other preserves its magnitude<a id="FNanchor_89_299"></a> <a href="#Footnote_89_299" class="fnanchor">[89]</a>.</p> <p>When the sun is in the West the vapours of the earth fall down again @@ -11233,12 +11116,12 @@ and thicken the air, so that objects not enlightened by the sun remain dark and confused, but those which receive its light will be tinged yellow and red, according to the sun’s appearance on the horizon. Again, those that receive its light are very distinct, particularly public -buildings<span class="pagenum"><a name="Page_192" id="Page_192">[Pg 192]</a> +buildings<span class="pagenum"><a id="Page_192">[Pg 192]</a> </span> and houses in towns and villages, because their shadows are dark, and it seems as if those parts which are plainly seen were coming out of confused and undetermined foundations, because at that time every thing is of one and the same colour, except what is enlightened by the -sun<a name="FNanchor_90_300" id="FNanchor_90_300"></a><a href="#Footnote_90_300" +sun<a id="FNanchor_90_300"></a><a href="#Footnote_90_300" class="fnanchor">[90]</a>.</p> <p>Any object receiving the light from the sun, receives also the general @@ -11260,7 +11143,7 @@ he has painted the sun, and employ it in all those parts of his work which receive its light.</p> <p>It also happens very often, that a cloud will appear<span class="pagenum"> -<a name="Page_193" id="Page_193">[Pg 193]</a></span> dark without +<a id="Page_193">[Pg 193]</a></span> dark without receiving any shadow from a separate cloud, according to the situation of the eye; because it will see only the shady part of the one, while it sees both the enlightened and shady parts of the other.</p> @@ -11274,13 +11157,13 @@ also when, on account of the rays of the setting or rising sun, a dark cloud appears higher than another which is light.</p> <div class="figcenter"> - <a id="fig_22" name="fig_22"></a> + <a id="fig_22"></a> <img src="images/fig_22.png" alt="Objects of Equal Height" - title="Objects of Equal Height at Different Distances" /> + title="Objects of Equal Height at Different Distances"> </div> -<h4><a name="Chap_CCCXLIII" id="Chap_CCCXLIII"></a> +<h4><a id="Chap_CCCXLIII"></a> <span class="smcap">Chap. CCCXLIII.</span>—<i>The Brilliancy of a Landscape.</i></h4> <p><span class="smcap">The</span> vivacity and brightness of colours in a landscape will never bear @@ -11288,23 +11171,22 @@ any comparison with a landscape in nature when illumined by the sun, unless the picture be placed so as to receive the same light from the sun itself.</p> -<p><span class="pagenum"><a name="Page_194" id="Page_194">[Pg 194]</a></span></p> +<p><span class="pagenum"><a id="Page_194">[Pg 194]</a></span></p> -<hr class="chap" /> +<hr class="chap" > -<h3 class="bottom2"><a name="MISCELLANEOUS_OBSERVATIONS_" -id="MISCELLANEOUS_OBSERVATIONS_"></a>MISCELLANEOUS OBSERVATIONS.</h3> +<h3 class="bottom2"><a id="MISCELLANEOUS_OBSERVATIONS_"></a>MISCELLANEOUS OBSERVATIONS.</h3> -<h4 class="bottom1"><a name="Chap_CCCXLIV" id="Chap_CCCXLIV"></a> +<h4 class="bottom1"><a id="Chap_CCCXLIV"></a> <span class="smcap">Chap. CCCXLIV.</span>—<i>Why a painted Object does not appear so far distant as a real one, though they be conveyed to the Eye by equal Angles.</i></h4> <div class="figcenter"> - <a id="fig_23" name="fig_23"></a> + <a id="fig_23"></a> <img src="images/fig_23.png" alt="Real and Painted Objects" - title="Distances of Real and Painted Objects" /> + title="Distances of Real and Painted Objects"> </div> <p><span class="smcap">If</span> a house be painted on the pannel B C, at the apparent distance of one @@ -11312,14 +11194,14 @@ mile, and by the side of it a real one be perceived at the true distance of one mile also; which objects are so disposed, that the pannel, or picture, A C, intersects the pyramidical rays with the same opening of angles; yet these two objects will never appear of the same size, nor at -the same distance, if seen with both eyes<a name="FNanchor_91_301" id="FNanchor_91_301"> +the same distance, if seen with both eyes<a id="FNanchor_91_301"> </a><a href="#Footnote_91_301" class="fnanchor">[91]</a>.</p> -<p><span class="pagenum"><a name="Page_195" id="Page_195">[Pg 195]</a></span></p> +<p><span class="pagenum"><a id="Page_195">[Pg 195]</a></span></p> -<h4><a name="Chap_CCCXLV" id="Chap_CCCXLV"></a><span class="smcap">Chap. +<h4><a id="Chap_CCCXLV"></a><span class="smcap">Chap. CCCXLV.</span>—<i>How to draw a Figure standing upon its Feet, -to appear forty Braccia</i><a name="FNanchor_92_302" id="FNanchor_92_302"></a> +to appear forty Braccia</i><a id="FNanchor_92_302"></a> <a href="#Footnote_92_302" class="fnanchor">[92]</a> <i>high, in a Space of twenty Braccia, with proportionate Members.</i></h4> @@ -11332,15 +11214,15 @@ landscape, or any thing else. Nevertheless a curved surface, such as F R G, would be the best, because it has no angles.</p> <div class="figcenter"> - <a id="fig_24" name="fig_24"></a> + <a id="fig_24"></a> <img src="images/fig_24.png" alt="Figure Standing upon Its Feet" - title="Drawing a Figure Standing upon Its Feet" /> + title="Drawing a Figure Standing upon Its Feet"> </div> -<p><span class="pagenum"><a name="Page_196" id="Page_196">[Pg 196]</a></span></p> +<p><span class="pagenum"><a id="Page_196">[Pg 196]</a></span></p> -<h4><a name="Chap_CCCXLVI" id="Chap_CCCXLVI"></a> +<h4><a id="Chap_CCCXLVI"></a> <span class="smcap">Chap. CCCXLVI.</span>—<i>How to draw a Figure twenty-four Braccia high, upon a Wall twelve Braccia high.</i> Plate XXII.</h4> @@ -11359,10 +11241,10 @@ drawing. The whole must be traced afterwards upon the real spot, which is similar to M N. This is a good and safe method.</p> <div class="figcenter"> - <a id="plate_22" name="plate_22"></a> + <a id="plate_22"></a> <img src="images/plate_22.png" alt="Plate 22" - title="Plate 22" /> + title="Plate 22"> <div class="caption"> <p class="right"><a href="#Page_196"><i>Page 196</i>.</a></p> @@ -11373,7 +11255,7 @@ is similar to M N. This is a good and safe method.</p> </div> -<h4><a name="Chap_CCCXLVII" id="Chap_CCCXLVII"></a> +<h4><a id="Chap_CCCXLVII"></a> <span class="smcap">Chap. CCCXLVII.</span>—<i>Why, on measuring a Face, and then painting it of the same Size, it will appear larger than the natural one.</i></h4> @@ -11382,31 +11264,29 @@ the paper at the distance C F, where the cheeks are, and it would have to stand back all A C, and then the temples would be carried to the distance O R of the lines A F, B F; so that there is the difference C O and R D. It follows that the line C F, and the line D F, in order -to become shorter<a name="FNanchor_93_303" id="FNanchor_93_303"></a> +to become shorter<a id="FNanchor_93_303"></a> <a href="#Footnote_93_303" class="fnanchor">[93]</a>, have to go and find the paper where the whole height is drawn, that is to say, the lines F A, and F B, where the true size is; and so it makes the difference, as I have said, of C O, and R D.</p> <div class="figcenter"> - <a id="fig_25" name="fig_25"></a> + <a id="fig_25"></a> <img src="images/fig_25.png" alt="Measuring a Face" - title="Measuring a Face" /> + title="Measuring a Face"> </div> -<p><span class="pagenum"><a name="Page_197" id="Page_197">[Pg 197]</a></span></p> +<p><span class="pagenum"><a id="Page_197">[Pg 197]</a></span></p> -<h4><a name="Chap_CCCXLVIII" id="Chap_CCCXLVIII"></a> +<h4><a id="Chap_CCCXLVIII"></a> <span class="smcap">Chap. CCCXLVIII.</span>—<i>Why the most perfect Imitation of Nature will not appear to have the same Relief as Nature itself.</i></h4> <p class="bottom1"><span class="smcap">If</span> nature is seen with two eyes, it will be impossible to imitate it upon a picture so as to appear with the same relief, though the lines, -the lights, shades, and colour, be perfectly imitated<a name="FNanchor_94_304" -id="FNanchor_94_304"></a><a href="#Footnote_94_304" class="fnanchor">[94]</a>. It is proved +the lights, shades, and colour, be perfectly imitated<a id="FNanchor_94_304"></a><a href="#Footnote_94_304" class="fnanchor">[94]</a>. It is proved thus: let the eyes A B, look at the object C, with the concurrence of -both the central visual rays A C<span class="pagenum"><a name="Page_198" -id="Page_198">[Pg 198]</a></span> and B C. I say, that the sides of the +both the central visual rays A C<span class="pagenum"><a id="Page_198">[Pg 198]</a></span> and B C. I say, that the sides of the visual angles (which contain these central rays) will see the space G D, behind the object C. The eye A will see all the space FD, and the eye B all the space G E. Therefore the two eyes will see behind the object @@ -11416,25 +11296,24 @@ which nothing is hidden. This cannot happen if an object were seen with one eye only, provided it be larger than the eye. From all that has been said, we may conclude, that a painted object, occupying all the space it has behind, leaves no possible way to see any part of the ground, which -it covers entirely by its own circumference<a name="FNanchor_95_305" -id="FNanchor_95_305"></a><a href="#Footnote_95_305" class="fnanchor">[95]</a>.</p> +it covers entirely by its own circumference<a id="FNanchor_95_305"></a><a href="#Footnote_95_305" class="fnanchor">[95]</a>.</p> <div class="figcenter"> - <a id="fig_26" name="fig_26"></a> + <a id="fig_26"></a> <img src="images/fig_26.png" alt="Relief of Imitation of Nature" - title="Relief of Imitation of Nature" /> + title="Relief of Imitation of Nature"> </div> -<p><span class="pagenum"><a name="Page_199" id="Page_199">[Pg 199]</a></span></p> +<p><span class="pagenum"><a id="Page_199">[Pg 199]</a></span></p> -<h4><a name="Chap_CCCXLIX" id="Chap_CCCXLIX"></a> +<h4><a id="Chap_CCCXLIX"></a> <span class="smcap">Chap. CCCXLIX.</span>—<i>Universality of Painting; a Precept.</i></h4> <p><span class="smcap">A painter</span> cannot be said to aim at universality in the art, unless he love equally every species of that art. For instance, if he delight only in landscape, his can be esteemed only as a simple investigation; -and, as our friend Botticello<a name="FNanchor_96_306" id="FNanchor_96_306"></a> +and, as our friend Botticello<a id="FNanchor_96_306"></a> <a href="#Footnote_96_306" class="fnanchor">[96]</a> remarks, is but a vain study; since, by throwing a sponge impregnated with various colours against a wall, it leaves some spots upon it, which may appear like a landscape. It is @@ -11447,9 +11326,9 @@ also, those spots may furnish hints for compositions, though they do not teach us how to finish any particular part; and the imitators of them are but sorry landscape-painters.</p> -<p><span class="pagenum"><a name="Page_200" id="Page_200">[Pg 200]</a></span></p> +<p><span class="pagenum"><a id="Page_200">[Pg 200]</a></span></p> -<h4><a name="Chap_CCCL" id="Chap_CCCL"></a> +<h4><a id="Chap_CCCL"></a> <span class="smcap">Chap. CCCL.</span>—<i>In what Manner the Mirror is the true Master of Painters.</i></h4> @@ -11473,12 +11352,12 @@ lighter than the lightest part of your model, and also some darker than the strongest shades; from which it follows, that you ought to represent Nature as seen in your looking-glass, when you look at it with one eye only; because both eyes surround the objects too much, particularly when -they are small<a name="FNanchor_97_307" id="FNanchor_97_307"></a><a href="#Footnote_97_307" +they are small<a id="FNanchor_97_307"></a><a href="#Footnote_97_307" class="fnanchor">[97]</a>.</p> -<p><span class="pagenum"><a name="Page_201" id="Page_201">[Pg 201]</a></span></p> +<p><span class="pagenum"><a id="Page_201">[Pg 201]</a></span></p> -<h4><a name="Chap_CCCLI" id="Chap_CCCLI"></a> +<h4><a id="Chap_CCCLI"></a> <span class="smcap">Chap. CCCLI.</span>—<i>Which Painting is to be esteemed the best.</i></h4> <p><span class="smcap">That</span> painting is the most commendable which has the greatest conformity @@ -11492,24 +11371,23 @@ to a child a year old, the proportions of a man of thirty. They have so often practised, and seen others practise these errors, that they have converted them into habit, which has taken so deep a root in their corrupted judgment, that they persuade themselves that Nature and her -imitators are wrong in not following their own practice<a name="FNanchor_98_308" -id="FNanchor_98_308"></a><a href="#Footnote_98_308" class="fnanchor">[98]</a>.</p> +imitators are wrong in not following their own practice<a id="FNanchor_98_308"></a><a href="#Footnote_98_308" class="fnanchor">[98]</a>.</p> -<h4><a name="Chap_CCCLII" id="Chap_CCCLII"></a> +<h4><a id="Chap_CCCLII"></a> <span class="smcap">Chap. CCCLII.</span>—<i>Of the Judgment to be made of a Painter’s Work.</i></h4> <p><span class="smcap">The</span> first thing to be considered is, whether the figures have their proper relief, according to their respective situations, and the light they are in: that the shadows be not the same at the extremities of the groups, as in the middle; because being surrounded by<span class="pagenum"> -<a name="Page_202" id="Page_202">[Pg 202]</a></span> shadows, or +<a id="Page_202">[Pg 202]</a></span> shadows, or shaded only on one side, produce very different effects. The groups in the middle are surrounded by shadows from the other figures, which are between them and the light. Those which are at the extremities have the shadows only on one side, and receive the light on the other. The strongest and smartest touches of shadows are to be in the interstice between the figures of the principal group where the light cannot -penetrate<a name="FNanchor_99_309" id="FNanchor_99_309"></a><a href="#Footnote_99_309" +penetrate<a id="FNanchor_99_309"></a><a href="#Footnote_99_309" class="fnanchor">[99]</a>.</p> <p>Secondly, that by the order and disposition of the figures they appear @@ -11519,7 +11397,7 @@ history in question.</p> <p>Thirdly, that the figures appear alive to the occasion which brought them together, with expressions suited to their attitudes.</p> -<h4><a name="Chap_CCCLIII" id="Chap_CCCLIII"></a> +<h4><a id="Chap_CCCLIII"></a> <span class="smcap">Chap. CCCLIII.</span>—<i>How to make an imaginary Animal appear natural.</i></h4> @@ -11530,12 +11408,11 @@ some known animal.</p> <p>If you wish, therefore, to make a chimera, or imaginary animal, appear natural (let us suppose a serpent); take the head of a mastiff, the eyes of a cat, the ears of a porcupine, the mouth of a hare, the brows of a -lion, the temples of an old cock, and the neck of a sea tortoise<a name="FNanchor_100_310" -id="FNanchor_100_310"></a><a href="#Footnote_100_310" class="fnanchor">[100]</a>.</p> +lion, the temples of an old cock, and the neck of a sea tortoise<a id="FNanchor_100_310"></a><a href="#Footnote_100_310" class="fnanchor">[100]</a>.</p> -<p><span class="pagenum"><a name="Page_203" id="Page_203">[Pg 203]</a></span></p> +<p><span class="pagenum"><a id="Page_203">[Pg 203]</a></span></p> -<h4><a name="Chap_CCCLIV" id="Chap_CCCLIV"></a> +<h4><a id="Chap_CCCLIV"></a> <span class="smcap">Chap. CCCLIV.</span>—<i>Painters are not to imitate one another.</i></h4> <p><span class="smcap">One</span> painter ought never to imitate the manner of any other; because in @@ -11544,7 +11421,7 @@ It is always best to have recourse to Nature, which is replete with such abundance of objects, than to the productions of other masters, who learnt every thing from her.</p> -<h4><a name="Chap_CCCLV" id="Chap_CCCLV"></a> +<h4><a id="Chap_CCCLV"></a> <span class="smcap">Chap. CCCLV.</span>—<i>How to judge of one’s own Work.</i></h4> <p><span class="smcap">It</span> is an acknowledged fact, that we perceive errors in the works of @@ -11563,9 +11440,9 @@ relaxation, that his judgment may be clearer at his return; for too great application and sitting still is sometimes the cause of many gross errors.</p> -<p><span class="pagenum"><a name="Page_204" id="Page_204">[Pg 204]</a></span></p> +<p><span class="pagenum"><a id="Page_204">[Pg 204]</a></span></p> -<h4><a name="Chap_CCCLVI" id="Chap_CCCLVI"></a> +<h4><a id="Chap_CCCLVI"></a> <span class="smcap">Chap. CCCLVI.</span>—<i>Of correcting Errors which you discover.</i></h4> <p><span class="smcap">Remember</span>, that when, by the exercise of your own judgment, or the @@ -11583,14 +11460,13 @@ is food both for mind and body. How many philosophers, born to great riches, have given them away, that they might not be retarded in their pursuits!</p> -<h4><a name="Chap_CCCLVII" id="Chap_CCCLVII"></a> +<h4><a id="Chap_CCCLVII"></a> <span class="smcap">Chap. CCCLVII.</span>—<i>The best Place for looking at a Picture.</i></h4> <p class="bottom1"><span class="smcap">Let</span> us suppose, that A B is the picture, receiving the light from D; I say, that whoever is placed between C and E, will see the picture very badly, particularly if it be painted in oil, or varnished; because it -will shine, and will appear almost of the<span class="pagenum"><a name="Page_205" -id="Page_205">[Pg 205]</a></span> nature of a looking-glass. +will shine, and will appear almost of the<span class="pagenum"><a id="Page_205">[Pg 205]</a></span> nature of a looking-glass. For these reasons, the nearer you go towards C, the less you will be able to see, because of the light from the window upon the picture, sending its reflection to that point. But if you place yourself between @@ -11599,13 +11475,13 @@ nearer to the point D, because that place is less liable to be struck by the reflected rays.</p> <div class="figcenter"> - <a id="fig_27" name="fig_27"></a> + <a id="fig_27"></a> <img src="images/fig_27.png" alt="Lookint at a Picture" - title="Best Place for Looking at a Picture" /> + title="Best Place for Looking at a Picture"> </div> -<h4><a name="Chap_CCCLVIII" id="Chap_CCCLVIII"></a> +<h4><a id="Chap_CCCLVIII"></a> <span class="smcap">Chap. CCCLVIII.</span>—<i>Of Judgment.</i></h4> <p><span class="smcap">There</span> is nothing more apt to deceive us than our own judgment, in @@ -11614,16 +11490,16 @@ having our faults pointed out by our enemies, than by hearing the opinions of our friends, because they are too much like ourselves, and may deceive us as much as our own judgment.</p> -<h4><a name="Chap_CCCLIX" id="Chap_CCCLIX"></a> +<h4><a id="Chap_CCCLIX"></a> <span class="smcap">Chap. CCCLIX.</span>—<i>Of Employment anxiously wished for by Painters.</i></h4> <p><span class="smcap">And</span> you, painter, who are desirous of great practice, understand, that if you do not rest it on the good foundation of Nature, you will labour with little honour and less profit; and if you do it on a good<span class="pagenum"> -<a name="Page_206" id="Page_206">[Pg 206]</a></span> ground +<a id="Page_206">[Pg 206]</a></span> ground your works will be many and good, to your great honour and advantage.</p> -<h4><a name="Chap_CCCLX" id="Chap_CCCLX"></a> +<h4><a id="Chap_CCCLX"></a> <span class="smcap">Chap. CCCLX.</span>—<i>Advice to Painters.</i></h4> <p><span class="smcap">A painter</span> ought to study universal Nature, and reason much within @@ -11632,7 +11508,7 @@ compose the species of every object before him. His mind will by this method be like a mirror, reflecting truly every object placed before it, and become, as it were, a second Nature.</p> -<h4><a name="Chap_CCCLXI" id="Chap_CCCLXI"></a> +<h4><a id="Chap_CCCLXI"></a> <span class="smcap">Chap. CCCLXI.</span>—<i>Of Statuary.</i></h4> <p><span class="smcap">To</span> execute a figure in marble, you must first make a model of it in @@ -11647,19 +11523,17 @@ block of marble in its stead, take so much out of it, till all the pegs go in at the same holes to the marks you had made. To facilitate the work, contrive your frame so that every part of it, separately, or all together, may be lifted up, except the bottom, which<span class="pagenum"> -<a name="Page_207" id="Page_207">[Pg 207]</a></span> must remain under -the marble. By this method you may chop it off with great facility<a name="FNanchor_101_311" -id="FNanchor_101_311"></a><a href="#Footnote_101_311" class="fnanchor">[101]</a>.</p> +<a id="Page_207">[Pg 207]</a></span> must remain under +the marble. By this method you may chop it off with great facility<a id="FNanchor_101_311"></a><a href="#Footnote_101_311" class="fnanchor">[101]</a>.</p> -<h4><a name="Chap_CCCLXII" id="Chap_CCCLXII"></a> +<h4><a id="Chap_CCCLXII"></a> <span class="smcap">Chap. CCCLXII.</span>—<i>On the Measurement and Division of Statues into Parts.</i></h4> <p><span class="smcap">Divide</span> the head into twelve parts, each part into twelve degrees, each -degree into twelve minutes, and these minutes into seconds<a name="FNanchor_102_312" -id="FNanchor_102_312"></a><a href="#Footnote_102_312" class="fnanchor">[102]</a>.</p> +degree into twelve minutes, and these minutes into seconds<a id="FNanchor_102_312"></a><a href="#Footnote_102_312" class="fnanchor">[102]</a>.</p> -<h4><a name="Chap_CCCLXIII" id="Chap_CCCLXIII"></a> +<h4><a id="Chap_CCCLXIII"></a> <span class="smcap">Chap. CCCLXIII.</span>—<i>A Precept for the Painter.</i></h4> <p><span class="smcap">The</span> painter who entertains no doubt of his own ability, will attain very @@ -11667,19 +11541,19 @@ little. When the work succeeds beyond the judgment, the artist acquires nothing; but when the judgment is superior to the work, he never ceases improving, if the love of gain do not retard his progress.</p> -<h4><a name="Chap_CCCLXIV" id="Chap_CCCLXIV"></a> +<h4><a id="Chap_CCCLXIV"></a> <span class="smcap">Chap. CCCLXIV.</span>—<i>On the Judgment of Painters.</i></h4> <p><span class="smcap">When</span> the work is equal to the knowledge and judgment of the painter, it is a bad sign; and when it surpasses the judgment, it is still worse, as is the case with those who wonder at having succeeded so<span class="pagenum"> -<a name="Page_208" id="Page_208">[Pg 208]</a></span> well. But +<a id="Page_208">[Pg 208]</a></span> well. But when the judgment surpasses the work, it is a perfectly good sign; and the young painter who possesses that rare disposition, will, no doubt, arrive at great perfection. He will produce few works, but they will be such as to fix the admiration of every beholder.</p> -<h4><a name="Chap_CCCLXV" id="Chap_CCCLXV"></a> +<h4><a id="Chap_CCCLXV"></a> <span class="smcap">Chap. CCCLXV.</span>—<i>That a Man ought not to trust to himself, but ought to consult Nature.</i></h4> @@ -11687,21 +11561,21 @@ ought to consult Nature.</i></h4> effects of Nature, is deceived, for our memory is not so capacious; therefore consult Nature for every thing.</p> -<p><span class="pagenum"><a name="Page_209" id="Page_209">[Pg 209]</a></span></p> +<p><span class="pagenum"><a id="Page_209">[Pg 209]</a></span></p> -<hr class="chap" /> +<hr class="chap" > <p class="s3 center top2">THE END.</p> -<hr class="chap" /> +<hr class="chap" > <div class="add"> -<p class="s2 center"><a name="BOOKS" id="BOOKS">BOOKS</a></p> +<p class="s2 center"><a id="BOOKS">BOOKS</a></p> <p class="s3 center"><i>PRINTED FOR J. TAYLOR.</i></p> -<hr class="tb" /> +<hr class="tb" > <p>1. SKETCHES for COUNTRY HOUSES, VILLAS, and RURAL DWELLINGS; calculated for Persons of moderate Income, and for comfortable Retirement. Also @@ -11710,7 +11584,7 @@ Materials; with Plans and general Estimates. By <span class="smcap">John Plaw</s Elegantly engraved in Aquatinta on Forty-two Plates. Quarto, 1<i>l.</i> 11<i>s.</i> 6<i>d.</i> in boards.</p> -<hr class="r5" /> +<hr class="r5" > <p>2. FERME ORNÉE, or RURAL IMPROVEMENTS; a Series of domestic and ornamental Designs, suited to Parks, Plantations, Rides, Walks, Rivers, @@ -11721,14 +11595,14 @@ Effects. By <span class="smcap">John Plaw</span>, Architect. Engraved in Aquatin Thirty-eight Plates, with appropriate Scenery, Plans, and Explanations. Quarto; in boards, 1<i>l.</i> 11<i>s.</i> 6<i>d.</i></p> -<hr class="r5" /> +<hr class="r5" > <p>3. RURAL ARCHITECTURE, or Designs from the simple Cottage to the decorated Villa, including some which have been executed. By <span class="smcap">John Plaw</span>. On Sixty-two Plates, with Scenery, in Aquatinta. Half-bound, 2<i>l.</i> 2<i>s.</i></p> -<hr class="r5" /> +<hr class="r5" > <p>4. HINTS for DWELLINGS, consisting of original Designs for Cottages, Farm-houses, Villas, &c. Plain and Ornamental; with Plans to each, in @@ -11737,7 +11611,7 @@ Economy. Including some Designs for Town-houses. By <span class="smcap">D. Laing Architect and Surveyor. Elegantly engraved on Thirty-four Plates in Aquatinta, with appropriate Scenery, Quarto, 1<i>l.</i> 5<i>s.</i> in boards.</p> -<hr class="r5" /> +<hr class="r5" > <p>5. SKETCHES for COTTAGES, VILLAS, &c. with their Plans and appropriate Scenery. By <span class="smcap">John Soane</span>. To which are added, Six Designs for @@ -11745,7 +11619,7 @@ improving and embellishing Grounds, with Explanations by an Amateur, on Fifty-four Plates, elegantly engraved in Aquatinta; Folio, 2<i>l.</i> 12<i>s.</i> 6<i>d.</i> half-bound.</p> -<hr class="r5" /> +<hr class="r5" > <p>6. THE ARCHITECT and BUILDER’s MISCELLANY, or Pocket Library; containing original picturesque Designs, in Architecture, for Cottages, Farm, @@ -11755,15 +11629,15 @@ Stables, Monumental Tombs, Garden Seats, &c. By <span class="smcap">Charles Middleton</span>, Architect; on Sixty Plates, Octavo, coloured, 1<i>l.</i> 1<i>s.</i> bound.</p> -<hr class="r5" /> +<hr class="r5" > <p>7. DESIGNS for GATES and RAILS, suitable to Parks, Pleasure-grounds, Balconies, &c. Also some Designs for Trellis Work, on Twenty-seven Plates. By <span class="smcap">C. Middleton</span>, 6<i>s.</i> Octavo.</p> -<hr class="smalleft top3" /> +<hr class="smalleft top3" > -<p class="bottom3">Printed by <span class="smcap">S. Gosnell</span>,<br /> +<p class="bottom3">Printed by <span class="smcap">S. Gosnell</span>,<br > Little Queen Street, Holborn, London.</p> </div> @@ -11771,7 +11645,7 @@ Little Queen Street, Holborn, London.</p> <div class="footnotes"><p class="s2 center">FOOTNOTES:</p> <div class="footnote"> -<p><a name="Footnote_I._1" id="Footnote_I._1"></a><a href="#FNanchor_I._1"> +<p><a id="Footnote_I._1"></a><a href="#FNanchor_I._1"> <span class="label">[i1]</span></a> Vasari, Vite de Pittori, edit. Della Valle, 8vo. Siena 1792, vol. v. p. 22. Du Fresne, in the life prefixed to the Italian editions of this Treatise on Painting. Venturi, Essai sur les Ouvrages @@ -11779,180 +11653,180 @@ de Leonard de Vinci, 4to. Paris, 1797, p. 3, 36.</p> </div> <div class="footnote"> -<p><a name="Footnote_II._2" id="Footnote_II._2"></a><a href="#FNanchor_II._2"> +<p><a id="Footnote_II._2"></a><a href="#FNanchor_II._2"> <span class="label">[i2]</span></a> Venturi, p. 3.</p> </div> <div class="footnote"> -<p><a name="Footnote_III._3" id="Footnote_III._3"></a><a href="#FNanchor_III._3"> +<p><a id="Footnote_III._3"></a><a href="#FNanchor_III._3"> <span class="label">[i3]</span></a> Vasari, 23.</p> </div> <div class="footnote"> -<p><a name="Footnote_IV._4" id="Footnote_IV._4"></a><a href="#FNanchor_IV._4"> +<p><a id="Footnote_IV._4"></a><a href="#FNanchor_IV._4"> <span class="label">[i4]</span></a> Du Fresne.</p></div> <div class="footnote"> -<p><a name="Footnote_V._5" id="Footnote_V._5"></a><a href="#FNanchor_V._5"> +<p><a id="Footnote_V._5"></a><a href="#FNanchor_V._5"> <span class="label">[i5]</span></a> Du Fresne. Vasari, 25.</p></div> <div class="footnote"> -<p><a name="Footnote_VI._6" id="Footnote_VI._6"></a><a href="#FNanchor_VI._6"> +<p><a id="Footnote_VI._6"></a><a href="#FNanchor_VI._6"> <span class="label">[i6]</span></a> Vasari, 26. Du Fresne.</p></div> <div class="footnote"> -<p><a name="Footnote_VII._7" id="Footnote_VII._7"></a><a href="#FNanchor_VII._7"> +<p><a id="Footnote_VII._7"></a><a href="#FNanchor_VII._7"> <span class="label">[i7]</span></a> Du Fresne.</p></div> <div class="footnote"> -<p><a name="Footnote_VIII._8" id="Footnote_VIII._8"></a><a href="#FNanchor_VIII._8"> +<p><a id="Footnote_VIII._8"></a><a href="#FNanchor_VIII._8"> <span class="label">[i8]</span></a> Vasari, 26.</p></div> <div class="footnote"> -<p><a name="Footnote_IX._9" id="Footnote_IX._9"></a><a href="#FNanchor_IX._9"> +<p><a id="Footnote_IX._9"></a><a href="#FNanchor_IX._9"> <span class="label">[i9]</span></a> Vasari, 28.</p></div> <div class="footnote"> -<p><a name="Footnote_X._10" id="Footnote_X._10"></a><a href="#FNanchor_X._10"> +<p><a id="Footnote_X._10"></a><a href="#FNanchor_X._10"> <span class="label">[i10]</span></a> Du Fresne. Vasari, 28.</p> </div> <div class="footnote"> -<p><a name="Footnote_XI._11" id="Footnote_XI._11"></a><a href="#FNanchor_XI._11"> +<p><a id="Footnote_XI._11"></a><a href="#FNanchor_XI._11"> <span class="label">[i11]</span></a> Du Fresne. Vasari, 28.</p> </div> <div class="footnote"> -<p><a name="Footnote_XII._12" id="Footnote_XII._12"></a><a href="#FNanchor_XII._12"> +<p><a id="Footnote_XII._12"></a><a href="#FNanchor_XII._12"> <span class="label">[i12]</span></a> Vasari, 28.</p> </div> <div class="footnote"> -<p><a name="Footnote_XIII._13" id="Footnote_XIII._13"></a><a href="#FNanchor_XIII._13"> +<p><a id="Footnote_XIII._13"></a><a href="#FNanchor_XIII._13"> <span class="label">[i13]</span></a> It is impossible in a translation to preserve the jingle between the name Vinci, and the Latin verb <i>vincit</i> which occurs in the original.</p> </div> <div class="footnote"> -<p><a name="Footnote_XIV._14" id="Footnote_XIV._14"></a><a href="#FNanchor_XIV._14"> +<p><a id="Footnote_XIV._14"></a><a href="#FNanchor_XIV._14"> <span class="label">[i14]</span></a> Du Fresne, Vasari, 28.</p> </div> <div class="footnote"> -<p><a name="Footnote_XV._15" id="Footnote_XV._15"></a><a href="#FNanchor_XV._15"> +<p><a id="Footnote_XV._15"></a><a href="#FNanchor_XV._15"> <span class="label">[i15]</span></a> Vasari, 22.</p> </div> <div class="footnote"> -<p><a name="Footnote_XVI._16" id="Footnote_XVI._16"></a><a href="#FNanchor_XVI._16"> +<p><a id="Footnote_XVI._16"></a><a href="#FNanchor_XVI._16"> <span class="label">[i16]</span></a> Vasari, 22 and 23.</p> </div> <div class="footnote"> -<p><a name="Footnote_XVII._17" id="Footnote_XVII._17"></a><a href="#FNanchor_XVII._17"> +<p><a id="Footnote_XVII._17"></a><a href="#FNanchor_XVII._17"> <span class="label">[i17]</span></a> Lomazzo, Trattato della Pittura, p. 282.</p> </div> <div class="footnote"> -<p><a name="Footnote_XVIII._18" id="Footnote_XVIII._18"></a><a href="#FNanchor_XVIII._18"> +<p><a id="Footnote_XVIII._18"></a><a href="#FNanchor_XVIII._18"> <span class="label">[i18]</span></a> Vasari, 23. Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_XIX._19" id="Footnote_XIX._19"></a><a href="#FNanchor_XIX._19"> +<p><a id="Footnote_XIX._19"></a><a href="#FNanchor_XIX._19"> <span class="label">[i19]</span></a> Venturi, 37.</p> </div> <div class="footnote"> -<p><a name="Footnote_XX._20" id="Footnote_XX._20"></a><a href="#FNanchor_XX._20"> +<p><a id="Footnote_XX._20"></a><a href="#FNanchor_XX._20"> <span class="label">[i20]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_XXI._21" id="Footnote_XXI._21"></a><a href="#FNanchor_XXI._21"> +<p><a id="Footnote_XXI._21"></a><a href="#FNanchor_XXI._21"> <span class="label">[i21]</span></a> Venturi, 36.</p> </div> <div class="footnote"> -<p><a name="Footnote_XXII._22" id="Footnote_XXII._22"></a><a href="#FNanchor_XXII._22"> +<p><a id="Footnote_XXII._22"></a><a href="#FNanchor_XXII._22"> <span class="label">[i22]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_XXIII._23" id="Footnote_XXIII._23"></a><a href="#FNanchor_XXIII._23"> +<p><a id="Footnote_XXIII._23"></a><a href="#FNanchor_XXIII._23"> <span class="label">[i23]</span></a> Vasari, 30. Lettere Pittoriche, vol. ii. p. 184.</p> </div> <div class="footnote"> -<p><a name="Footnote_XXIV._24" id="Footnote_XXIV._24"></a><a href="#FNanchor_XXIV._24"> +<p><a id="Footnote_XXIV._24"></a><a href="#FNanchor_XXIV._24"> <span class="label">[i24]</span></a> Venturi, 3.</p> </div> <div class="footnote"> -<p><a name="Footnote_XXV._25" id="Footnote_XXV._25"></a><a href="#FNanchor_XXV._25"> +<p><a id="Footnote_XXV._25"></a><a href="#FNanchor_XXV._25"> <span class="label">[i25]</span></a> Suppl. to Life of L. da Vinci, in Vasari, 65. Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_XXVI._26" id="Footnote_XXVI._26"></a><a href="#FNanchor_XXVI._26"> +<p><a id="Footnote_XXVI._26"></a><a href="#FNanchor_XXVI._26"> <span class="label">[i26]</span></a> Venturi, 36; who mentions also, that Leonardo at this time constructed a machine for the theatre.</p> </div> <div class="footnote"> -<p><a name="Footnote_XXVII._27" id="Footnote_XXVII._27"></a><a href="#FNanchor_XXVII._27"> +<p><a id="Footnote_XXVII._27"></a><a href="#FNanchor_XXVII._27"> <span class="label">[i27]</span></a> Venturi, p. 44.</p> </div> <div class="footnote"> -<p><a name="Footnote_XXVIII._28" id="Footnote_XXVIII._28"></a><a href="#FNanchor_XXVIII._28"> +<p><a id="Footnote_XXVIII._28"></a><a href="#FNanchor_XXVIII._28"> <span class="label">[i28]</span></a> Suppl. in Vasari, 74.</p> </div> <div class="footnote"> -<p><a name="Footnote_XXIX._29" id="Footnote_XXIX._29"></a><a href="#FNanchor_XXIX._29"> +<p><a id="Footnote_XXIX._29"></a><a href="#FNanchor_XXIX._29"> <span class="label">[i29]</span></a> Suppl. in Vasari, 63.</p> </div> <div class="footnote"> -<p><a name="Footnote_XXX._30" id="Footnote_XXX._30"></a><a href="#FNanchor_XXX._30"> +<p><a id="Footnote_XXX._30"></a><a href="#FNanchor_XXX._30"> <span class="label">[i30]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_XXXI._31" id="Footnote_XXXI._31"></a><a href="#FNanchor_XXXI._31"> +<p><a id="Footnote_XXXI._31"></a><a href="#FNanchor_XXXI._31"> <span class="label">[i31]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_XXXII._32" id="Footnote_XXXII._32"></a><a href="#FNanchor_XXXII._32"> +<p><a id="Footnote_XXXII._32"></a><a href="#FNanchor_XXXII._32"> <span class="label">[i32]</span></a> De Piles, in the Life of Leonardo. See Lettere Pittoriche, vol. ii. p. 187.</p> </div> <div class="footnote"> -<p><a name="Footnote_XXXIII._33" id="Footnote_XXXIII._33"></a><a href="#FNanchor_XXXIII._33"> +<p><a id="Footnote_XXXIII._33"></a><a href="#FNanchor_XXXIII._33"> <span class="label">[i33]</span></a> Lettere Pittoriche, vol. ii. p. 187.</p> </div> <div class="footnote"> -<p><a name="Footnote_XXXIV._34" id="Footnote_XXXIV._34"></a><a href="#FNanchor_XXXIV._34"> +<p><a id="Footnote_XXXIV._34"></a><a href="#FNanchor_XXXIV._34"> <span class="label">[i34]</span></a> Du Fresne. Lettere Pitt. vol. ii. p. 186.</p> </div> <div class="footnote"> -<p><a name="Footnote_XXXV._35" id="Footnote_XXXV._35"></a><a href="#FNanchor_XXXV._35"> +<p><a id="Footnote_XXXV._35"></a><a href="#FNanchor_XXXV._35"> <span class="label">[i35]</span></a> Vasari, 31, in a note.</p> </div> <div class="footnote"> -<p><a name="Footnote_XXXVI._36" id="Footnote_XXXVI._36"></a><a href="#FNanchor_XXXVI._36"> +<p><a id="Footnote_XXXVI._36"></a><a href="#FNanchor_XXXVI._36"> <span class="label">[i36]</span></a> Let. Pit. vol. ii. 183.</p> </div> <div class="footnote"> -<p><a name="Footnote_XXXVII._37" id="Footnote_XXXVII._37"></a><a href="#FNanchor_XXXVII._37"> +<p><a id="Footnote_XXXVII._37"></a><a href="#FNanchor_XXXVII._37"> <span class="label">[i37]</span></a> Additions to the Life in Vasari, 53. My worthy friend, Mr. Rigaud, who has more than once seen the original picture, gives this account of it: “The cutting of the wall for the sake of @@ -11966,12 +11840,12 @@ have undertaken to repair it.”</p> </div> <div class="footnote"> -<p><a name="Footnote_XXXVIII._38" id="Footnote_XXXVIII._38"></a><a href="#FNanchor_XXXVIII._38"> +<p><a id="Footnote_XXXVIII._38"></a><a href="#FNanchor_XXXVIII._38"> <span class="label">[i38]</span></a> Additions to the Life in Vasari, 53.</p> </div> <div class="footnote"> -<p><a name="Footnote_XXXIX._39" id="Footnote_XXXIX._39"></a><a href="#FNanchor_XXXIX._39"> +<p><a id="Footnote_XXXIX._39"></a><a href="#FNanchor_XXXIX._39"> <span class="label">[i39]</span></a> COPIES EXISTING IN MILAN OR ELSEWHERE.</p> <p> @@ -12028,8 +11902,8 @@ heightened with bistre. </p> <p> 11. Another in the refectory of the fathers Girolamini, in the monastery -of St. Laurence, in the Escurial in Spain. It was presented to King -Philip II. while he was in Valentia; and by his order placed in the said +of St. Laurence, in the Escorial in Spain. It was presented to King +Philip II. while he was in Valencia; and by his order placed in the said room where the monks dine, and is believed to be by some able scholar of Leonardo. </p> @@ -12050,197 +11924,197 @@ it is among those which Mr. Rogers published from drawings.</p> </div> <div class="footnote"> -<p><a name="Footnote_XL._40" id="Footnote_XL._40"></a><a href="#FNanchor_XL._40"> +<p><a id="Footnote_XL._40"></a><a href="#FNanchor_XL._40"> <span class="label">[i40]</span></a> Vasari, 34. Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_XLI._41" id="Footnote_XLI._41"></a><a href="#FNanchor_XLI._41"> +<p><a id="Footnote_XLI._41"></a><a href="#FNanchor_XLI._41"> <span class="label">[i41]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_XLII._42" id="Footnote_XLII._42"></a><a href="#FNanchor_XLII._42"> +<p><a id="Footnote_XLII._42"></a><a href="#FNanchor_XLII._42"> <span class="label">[i42]</span></a> Vasari, 36. Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_XLIII._43" id="Footnote_XLIII._43"></a><a href="#FNanchor_XLIII._43"> +<p><a id="Footnote_XLIII._43"></a><a href="#FNanchor_XLIII._43"> <span class="label">[i43]</span></a> Vasari, 37. Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_XLIV._44" id="Footnote_XLIV._44"></a><a href="#FNanchor_XLIV._44"> +<p><a id="Footnote_XLIV._44"></a><a href="#FNanchor_XLIV._44"> <span class="label">[i44]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_XLV._45" id="Footnote_XLV._45"></a><a href="#FNanchor_XLV._45"> +<p><a id="Footnote_XLV._45"></a><a href="#FNanchor_XLV._45"> <span class="label">[i45]</span></a> Suppl. in Vasari, 64.</p> </div> <div class="footnote"> -<p><a name="Footnote_XLVI._46" id="Footnote_XLVI._46"></a><a href="#FNanchor_XLVI._46"> +<p><a id="Footnote_XLVI._46"></a><a href="#FNanchor_XLVI._46"> <span class="label">[i46]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_XLVII._47" id="Footnote_XLVII._47"></a><a href="#FNanchor_XLVII._47"> +<p><a id="Footnote_XLVII._47"></a><a href="#FNanchor_XLVII._47"> <span class="label">[i47]</span></a> Suppl. in Vasari, 75, 76, 77, 78.</p> </div> <div class="footnote"> -<p><a name="Footnote_XLVIII._48" id="Footnote_XLVIII._48"></a><a href="#FNanchor_XLVIII._48"> +<p><a id="Footnote_XLVIII._48"></a><a href="#FNanchor_XLVIII._48"> <span class="label">[i48]</span></a> Vasari, 38. Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_XLIX._49" id="Footnote_XLIX._49"></a><a href="#FNanchor_XLIX._49"> +<p><a id="Footnote_XLIX._49"></a><a href="#FNanchor_XLIX._49"> <span class="label">[i49]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_L._50" id="Footnote_L._50"></a><a href="#FNanchor_L._50"> +<p><a id="Footnote_L._50"></a><a href="#FNanchor_L._50"> <span class="label">[i50]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_LI._51" id="Footnote_LI._51"></a><a href="#FNanchor_LI._51"> +<p><a id="Footnote_LI._51"></a><a href="#FNanchor_LI._51"> <span class="label">[i51]</span></a> Vasari, 39. Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_LII._52" id="Footnote_LII._52"></a><a href="#FNanchor_LII._52"> +<p><a id="Footnote_LII._52"></a><a href="#FNanchor_LII._52"> <span class="label">[i52]</span></a> Vasari, 39. Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_LIII._53" id="Footnote_LIII._53"></a><a href="#FNanchor_LIII._53"> +<p><a id="Footnote_LIII._53"></a><a href="#FNanchor_LIII._53"> <span class="label">[i53]</span></a> Vasari, 39. Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_LIV._54" id="Footnote_LIV._54"></a><a href="#FNanchor_LIV._54"> +<p><a id="Footnote_LIV._54"></a><a href="#FNanchor_LIV._54"> <span class="label">[i54]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_LV._55" id="Footnote_LV._55"></a><a href="#FNanchor_LV._55"> +<p><a id="Footnote_LV._55"></a><a href="#FNanchor_LV._55"> <span class="label">[i55]</span></a> Supp. in Vasari, 81.</p> </div> <div class="footnote"> -<p><a name="Footnote_LVI._56" id="Footnote_LVI._56"></a><a href="#FNanchor_LVI._56"> +<p><a id="Footnote_LVI._56"></a><a href="#FNanchor_LVI._56"> <span class="label">[i56]</span></a> Suppl. in Vasari, 68.</p> </div> <div class="footnote"> -<p><a name="Footnote_LVII._57" id="Footnote_LVII._57"></a><a href="#FNanchor_LVII._57"> +<p><a id="Footnote_LVII._57"></a><a href="#FNanchor_LVII._57"> <span class="label">[i57]</span></a> Vasari, 42. Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_LVIII._58" id="Footnote_LVIII._58"></a><a href="#FNanchor_LVIII._58"> +<p><a id="Footnote_LVIII._58"></a><a href="#FNanchor_LVIII._58"> <span class="label">[i58]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_LIX._59" id="Footnote_LIX._59"></a><a href="#FNanchor_LIX._59"> +<p><a id="Footnote_LIX._59"></a><a href="#FNanchor_LIX._59"> <span class="label">[i59]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_LX._60" id="Footnote_LX._60"></a><a href="#FNanchor_LX._60"> +<p><a id="Footnote_LX._60"></a><a href="#FNanchor_LX._60"> <span class="label">[i60]</span></a> Venturi, 37.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXI._61" id="Footnote_LXI._61"></a><a href="#FNanchor_LXI._61"> +<p><a id="Footnote_LXI._61"></a><a href="#FNanchor_LXI._61"> <span class="label">[i61]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXII._62" id="Footnote_LXII._62"></a><a href="#FNanchor_LXII._62"> +<p><a id="Footnote_LXII._62"></a><a href="#FNanchor_LXII._62"> <span class="label">[i62]</span></a> Venturi, 37.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXIII._63" id="Footnote_LXIII._63"></a><a href="#FNanchor_LXIII._63"> +<p><a id="Footnote_LXIII._63"></a><a href="#FNanchor_LXIII._63"> <span class="label">[i63]</span></a> Venturi, 38.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXIV._64" id="Footnote_LXIV._64"></a><a href="#FNanchor_LXIV._64"> +<p><a id="Footnote_LXIV._64"></a><a href="#FNanchor_LXIV._64"> <span class="label">[i64]</span></a> Venturi, 37.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXV._65" id="Footnote_LXV._65"></a><a href="#FNanchor_LXV._65"> +<p><a id="Footnote_LXV._65"></a><a href="#FNanchor_LXV._65"> <span class="label">[i65]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXVI._66" id="Footnote_LXVI._66"></a><a href="#FNanchor_LXVI._66"> +<p><a id="Footnote_LXVI._66"></a><a href="#FNanchor_LXVI._66"> <span class="label">[i66]</span></a> Venturi, 38.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXVII._67" id="Footnote_LXVII._67"></a><a href="#FNanchor_LXVII._67"> +<p><a id="Footnote_LXVII._67"></a><a href="#FNanchor_LXVII._67"> <span class="label">[i67]</span></a> Venturi, 38.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXVIII._68" id="Footnote_LXVIII._68"></a><a href="#FNanchor_LXVIII._68"> +<p><a id="Footnote_LXVIII._68"></a><a href="#FNanchor_LXVIII._68"> <span class="label">[i68]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXIX._69" id="Footnote_LXIX._69"></a><a href="#FNanchor_LXIX._69"> +<p><a id="Footnote_LXIX._69"></a><a href="#FNanchor_LXIX._69"> <span class="label">[i69]</span></a> Vasari, 44. Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXX._70" id="Footnote_LXX._70"></a><a href="#FNanchor_LXX._70"> +<p><a id="Footnote_LXX._70"></a><a href="#FNanchor_LXX._70"> <span class="label">[i70]</span></a> Vasari, 44. Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXXI._71" id="Footnote_LXXI._71"></a><a href="#FNanchor_LXXI._71"> +<p><a id="Footnote_LXXI._71"></a><a href="#FNanchor_LXXI._71"> <span class="label">[i71]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXXII._72" id="Footnote_LXXII._72"></a><a href="#FNanchor_LXXII._72"> +<p><a id="Footnote_LXXII._72"></a><a href="#FNanchor_LXXII._72"> <span class="label">[i72]</span></a> Suppl. in Vasari, 79, 80.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXXIII._73" id="Footnote_LXXIII._73"></a><a href="#FNanchor_LXXIII._73"> +<p><a id="Footnote_LXXIII._73"></a><a href="#FNanchor_LXXIII._73"> <span class="label">[i73]</span></a> Suppl. in Vasari, 80.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXXIV._74" id="Footnote_LXXIV._74"></a><a href="#FNanchor_LXXIV._74"> +<p><a id="Footnote_LXXIV._74"></a><a href="#FNanchor_LXXIV._74"> <span class="label">[i74]</span></a> Suppl. in Vasari, 65.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXXV._75" id="Footnote_LXXV._75"></a><a href="#FNanchor_LXXV._75"> +<p><a id="Footnote_LXXV._75"></a><a href="#FNanchor_LXXV._75"> <span class="label">[i75]</span></a> Vasari, 45. Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXXVI._76" id="Footnote_LXXVI._76"></a><a href="#FNanchor_LXXVI._76"> +<p><a id="Footnote_LXXVI._76"></a><a href="#FNanchor_LXXVI._76"> <span class="label">[i76]</span></a> Venturi, 39. Suppl. in Vasari, 80.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXXVII._77" id="Footnote_LXXVII._77"></a><a href="#FNanchor_LXXVII._77"> +<p><a id="Footnote_LXXVII._77"></a><a href="#FNanchor_LXXVII._77"> <span class="label">[i77]</span></a> Venturi, p. 4.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXXVIII._78" id="Footnote_LXXVIII._78"></a><a href="#FNanchor_LXXVIII._78"> +<p><a id="Footnote_LXXVIII._78"></a><a href="#FNanchor_LXXVIII._78"> <span class="label">[i78]</span></a> Sect. 1. Of the Descent of heavy Bodies, combined with the Rotation of the Earth. 2. Of the Earth divided into Particles. 3. Of the Earth and the Moon. 4. Of the Action of the Sun on the Sea. 5. @@ -12252,24 +12126,24 @@ Processes. 15. Of Method.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXXIX._79" id="Footnote_LXXIX._79"></a><a href="#FNanchor_LXXIX._79"> +<p><a id="Footnote_LXXIX._79"></a><a href="#FNanchor_LXXIX._79"> <span class="label">[i79]</span></a> See the Life prefixed to Mr. Chamberlaine’s publication of the Designs of Leonardo da Vinci, p. 11.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXXX._80" id="Footnote_LXXX._80"></a><a href="#FNanchor_LXXX._80"> +<p><a id="Footnote_LXXX._80"></a><a href="#FNanchor_LXXX._80"> <span class="label">[i80]</span></a> Fac similes of some of the pages of the original work, are also to be found in this publication.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXXXI._81" id="Footnote_LXXXI._81"></a><a href="#FNanchor_LXXXI._81"> +<p><a id="Footnote_LXXXI._81"></a><a href="#FNanchor_LXXXI._81"> <span class="label">[i81]</span></a> P. 33.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXXXII._82" id="Footnote_LXXXII._82"></a><a href="#FNanchor_LXXXII._82"> +<p><a id="Footnote_LXXXII._82"></a><a href="#FNanchor_LXXXII._82"> <span class="label">[i82]</span></a> “J. A. Mazenta died in 1635. He gave the designs for the fortifications of Livorno in Tuscany; and has written on the method of rendering the Adda navigable. Argelati Script. Mediol. vol. ii.” @@ -12277,25 +12151,25 @@ Venturi, 33.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXXXIII._83" id="Footnote_LXXXIII._83"></a><a href="#FNanchor_LXXXIII._83"> +<p><a id="Footnote_LXXXIII._83"></a><a href="#FNanchor_LXXXIII._83"> <span class="label">[i83]</span></a> “We shall see afterwards that this man was Leonardo’s heir: he had carried back these writings and drawings from France to Milan.” Venturi, 34.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXXXIV._84" id="Footnote_LXXXIV._84"></a><a href="#FNanchor_LXXXIV._84"> +<p><a id="Footnote_LXXXIV._84"></a><a href="#FNanchor_LXXXIV._84"> <span class="label">[i84]</span></a> “This was in 1587.” Venturi, p. 34.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXXXV._85" id="Footnote_LXXXV._85"></a><a href="#FNanchor_LXXXV._85"> +<p><a id="Footnote_LXXXV._85"></a><a href="#FNanchor_LXXXV._85"> <span class="label">[i85]</span></a> “J. Amb. Mazenta made himself a Barnabite in 1590.” Venturi, 34.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXXXVI._86" id="Footnote_LXXXVI._86"></a><a href="#FNanchor_LXXXVI._86"> +<p><a id="Footnote_LXXXVI._86"></a><a href="#FNanchor_LXXXVI._86"> <span class="label">[i86]</span></a> “The drawings and books of Vinci are come for the most part into the hands of Pompeo Leoni, who has obtained them from the son of Francisco Melzo. There are some also of these books in the @@ -12304,19 +12178,19 @@ possession of Guy Mazenta Lomazzo, Tempio della Pittura, in 4º, Milano </div> <div class="footnote"> -<p><a name="Footnote_LXXXVII._87" id="Footnote_LXXXVII._87"></a><a href="#FNanchor_LXXXVII._87"> +<p><a id="Footnote_LXXXVII._87"></a><a href="#FNanchor_LXXXVII._87"> <span class="label">[i87]</span></a> “It is volume C. There is printed on it in gold, <i>Vidi Mazenta Patritii Mediolanensis liberalitate An. 1603</i>.” Venturi, 35.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXXXVIII._88" id="Footnote_LXXXVIII._88"></a><a href="#FNanchor_LXXXVIII._88"> +<p><a id="Footnote_LXXXVIII._88"></a><a href="#FNanchor_LXXXVIII._88"> <span class="label">[i88]</span></a> “He died in 1613.” Venturi, 35.</p> </div> <div class="footnote"> -<p><a name="Footnote_LXXXIX._89" id="Footnote_LXXXIX._89"></a><a href="#FNanchor_LXXXIX._89"> +<p><a id="Footnote_LXXXIX._89"></a><a href="#FNanchor_LXXXIX._89"> <span class="label">[i89]</span></a> “This is volume N, in the National Library. It is in folio, of a large size, and has 392 leaves: it bears on the cover this title: <i>Disegni di Macchine delle Arti secreti et altre Cose di Leonardo @@ -12324,51 +12198,51 @@ da Vinci, raccolte da Pompeo Leoni</i>.” Venturi, 35.</p> </div> <div class="footnote"> -<p><a name="Footnote_XC._90" id="Footnote_XC._90"></a><a href="#FNanchor_XC._90"> +<p><a id="Footnote_XC._90"></a><a href="#FNanchor_XC._90"> <span class="label">[i90]</span></a> P. 36.</p> </div> <div class="footnote"> -<p><a name="Footnote_XCI._91" id="Footnote_XCI._91"></a><a href="#FNanchor_XCI._91"> +<p><a id="Footnote_XCI._91"></a><a href="#FNanchor_XCI._91"> <span class="label">[i91]</span></a> “A memorial is preserved of this liberality by an inscription.” Venturi, 36.</p> </div> <div class="footnote"> -<p><a name="Footnote_XCII._92" id="Footnote_XCII._92"></a><a href="#FNanchor_XCII._92"> +<p><a id="Footnote_XCII._92"></a><a href="#FNanchor_XCII._92"> <span class="label">[i92]</span></a> “This is marked at p. 1 of the same volume.” Venturi, 36.</p> </div> <div class="footnote"> -<p><a name="Footnote_XCIII._93" id="Footnote_XCIII._93"></a><a href="#FNanchor_XCIII._93"> +<p><a id="Footnote_XCIII._93"></a><a href="#FNanchor_XCIII._93"> <span class="label">[i93]</span></a> Venturi, 36.</p> </div> <div class="footnote"> -<p><a name="Footnote_XCIV._94" id="Footnote_XCIV._94"></a><a href="#FNanchor_XCIV._94"> +<p><a id="Footnote_XCIV._94"></a><a href="#FNanchor_XCIV._94"> <span class="label">[i94]</span></a> “Lettere Pittoriche, vol. ii.” Venturi, 36.</p> </div> <div class="footnote"> -<p><a name="Footnote_XCV._95" id="Footnote_XCV._95"></a><a href="#FNanchor_XCV._95"> +<p><a id="Footnote_XCV._95"></a><a href="#FNanchor_XCV._95"> <span class="label">[i95]</span></a> P. 36. His authority is Gerli, Disegni del Vinci, Milano, 1784, fol.</p> </div> <div class="footnote"> -<p><a name="Footnote_XCVI._96" id="Footnote_XCVI._96"></a><a href="#FNanchor_XCVI._96"> +<p><a id="Footnote_XCVI._96"></a><a href="#FNanchor_XCVI._96"> <span class="label">[i96]</span></a> P. 42.</p> </div> <div class="footnote"> -<p><a name="Footnote_XCVII._97" id="Footnote_XCVII._97"></a><a href="#FNanchor_XCVII._97"> +<p><a id="Footnote_XCVII._97"></a><a href="#FNanchor_XCVII._97"> <span class="label">[i97]</span></a> It is said, that this compilation is now in the Albani library. Venturi, 42.</p> </div> <div class="footnote"> -<p><a name="Footnote_XCVIII._98" id="Footnote_XCVIII._98"></a><a href="#FNanchor_XCVIII._98"> +<p><a id="Footnote_XCVIII._98"></a><a href="#FNanchor_XCVIII._98"> <span class="label">[i98]</span></a> The sketches to illustrate his meaning, were probably in Leonardo’s original manuscripts so slight as to require that more perfect drawings should be made from them before they could be fit for @@ -12376,7 +12250,7 @@ publication.</p> </div> <div class="footnote"> -<p><a name="Footnote_XCIX._99" id="Footnote_XCIX._99"></a><a href="#FNanchor_XCIX._99"> +<p><a id="Footnote_XCIX._99"></a><a href="#FNanchor_XCIX._99"> <span class="label">[i99]</span></a> The identical manuscript of this Treatise, formerly belonging to Mons. Chardin, one of the two copies from which the edition in Italian was printed, is now the property of Mr. Edwards of @@ -12387,50 +12261,50 @@ distinct chapters, are in the printed edition consolidated together.</p> </div> <div class="footnote"> -<p><a name="Footnote_C._100" id="Footnote_C._100"></a><a href="#FNanchor_C._100"> +<p><a id="Footnote_C._100"></a><a href="#FNanchor_C._100"> <span class="label">[i100]</span></a> Vasari, p. 37, gives the initials N. N.</p> </div> <div class="footnote"> -<p><a name="Footnote_CI._101" id="Footnote_CI._101"></a><a href="#FNanchor_CI._101"> +<p><a id="Footnote_CI._101"></a><a href="#FNanchor_CI._101"> <span class="label">[i101]</span></a> Which Venturi, p. 6, professes his intention of publishing from the manuscript collections of Leonardo.</p> </div> <div class="footnote"> -<p><a name="Footnote_CII._102" id="Footnote_CII._102"></a><a href="#FNanchor_CII._102"> +<p><a id="Footnote_CII._102"></a><a href="#FNanchor_CII._102"> <span class="label">[i102]</span></a> Bibliotheca Smithiana, 4to. Ven. 1755. Venturi, 44.</p> </div> <div class="footnote"> -<p><a name="Footnote_CIII._103" id="Footnote_CIII._103"></a><a href="#FNanchor_CIII._103"> +<p><a id="Footnote_CIII._103"></a><a href="#FNanchor_CIII._103"> <span class="label">[i103]</span></a> Libreria Nani, 4to. Ven. 1776. Venturi, 44.</p> </div> <div class="footnote"> -<p><a name="Footnote_CIV._104" id="Footnote_CIV._104"></a><a href="#FNanchor_CIV._104"> +<p><a id="Footnote_CIV._104"></a><a href="#FNanchor_CIV._104"> <span class="label">[i104]</span></a> Gori Simbolæ literar. Flor. 1751, vol. viii. p. 66. Venturi, 44.</p> </div> <div class="footnote"> -<p><a name="Footnote_CV._105" id="Footnote_CV._105"></a><a href="#FNanchor_CV._105"> +<p><a id="Footnote_CV._105"></a><a href="#FNanchor_CV._105"> <span class="label">[i105]</span></a> See his Traité des Pratiques Geometrales et Perspectives, 8vo. Paris, 1665.</p> </div> <div class="footnote"> -<p><a name="Footnote_CVI._106" id="Footnote_CVI._106"></a><a href="#FNanchor_CVI._106"> +<p><a id="Footnote_CVI._106"></a><a href="#FNanchor_CVI._106"> <span class="label">[i106]</span></a> P. 128.</p> </div> <div class="footnote"> -<p><a name="Footnote_CVII._107" id="Footnote_CVII._107"></a> +<p><a id="Footnote_CVII._107"></a> <a href="#FNanchor_CVII._107"><span class="label">[i107]</span></a> P. 134.</p> </div> <div class="footnote"> -<p><a name="Footnote_CVIII._108" id="Footnote_CVIII._108"></a><a href="#FNanchor_CVIII._108"> +<p><a id="Footnote_CVIII._108"></a><a href="#FNanchor_CVIII._108"> <span class="label">[i108]</span></a> He observed criminals when led to execution (Lett. Pitt. vol. ii. p. 182; on the authority of Lomazzo); noted down any countenance that struck him (Vasari, 29); in forming the animal for @@ -12441,102 +12315,102 @@ by him in the course of the Treatise on Painting.</p> </div> <div class="footnote"> -<p><a name="Footnote_CIX._109" id="Footnote_CIX._109"></a><a href="#FNanchor_CIX._109"> +<p><a id="Footnote_CIX._109"></a><a href="#FNanchor_CIX._109"> <span class="label">[i109]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_CX._110" id="Footnote_CX._110"></a><a href="#FNanchor_CX._110"> +<p><a id="Footnote_CX._110"></a><a href="#FNanchor_CX._110"> <span class="label">[i110]</span></a> Venturi, 35, in a note.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXI_111" id="Footnote_CXI_111"></a> +<p><a id="Footnote_CXI_111"></a> <a href="#FNanchor_CXI_111"><span class="label">[i111]</span></a> Vasari, 23.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXII_112" id="Footnote_CXII_112"></a> +<p><a id="Footnote_CXII_112"></a> <a href="#FNanchor_CXII_112"><span class="label">[i112]</span></a> Vasari, 24.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXIII_113" id="Footnote_CXIII_113"></a><a href="#FNanchor_CXIII_113"> +<p><a id="Footnote_CXIII_113"></a><a href="#FNanchor_CXIII_113"> <span class="label">[i113]</span></a> Suppl. in Vasari, 67.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXIV_114" id="Footnote_CXIV_114"></a><a href="#FNanchor_CXIV_114"> +<p><a id="Footnote_CXIV_114"></a><a href="#FNanchor_CXIV_114"> <span class="label">[i114]</span></a> Vasari, 23.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXV_115" id="Footnote_CXV_115"></a><a href="#FNanchor_CXV_115"> +<p><a id="Footnote_CXV_115"></a><a href="#FNanchor_CXV_115"> <span class="label">[i115]</span></a> Ibid.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXVI_116" id="Footnote_CXVI_116"></a><a href="#FNanchor_CXVI_116"> +<p><a id="Footnote_CXVI_116"></a><a href="#FNanchor_CXVI_116"> <span class="label">[i116]</span></a> Vasari, 45.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXVII_117" id="Footnote_CXVII_117"></a><a href="#FNanchor_CXVII_117"> +<p><a id="Footnote_CXVII_117"></a><a href="#FNanchor_CXVII_117"> <span class="label">[i117]</span></a> Additions to the life in Vasari, p. 47.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXVIII_118" id="Footnote_CXVIII_118"></a><a href="#FNanchor_CXVIII_118"> +<p><a id="Footnote_CXVIII_118"></a><a href="#FNanchor_CXVIII_118"> <span class="label">[i118]</span></a> Suppl. in Vasari, 74.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXIX_119" id="Footnote_CXIX_119"></a><a href="#FNanchor_CXIX_119"> +<p><a id="Footnote_CXIX_119"></a><a href="#FNanchor_CXIX_119"> <span class="label">[i119]</span></a> Vasari, 24.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXX_120" id="Footnote_CXX_120"></a><a href="#FNanchor_CXX_120"> +<p><a id="Footnote_CXX_120"></a><a href="#FNanchor_CXX_120"> <span class="label">[i120]</span></a> Vasari, 26.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXXI_121" id="Footnote_CXXI_121"></a><a href="#FNanchor_CXXI_121"> +<p><a id="Footnote_CXXI_121"></a><a href="#FNanchor_CXXI_121"> <span class="label">[i121]</span></a> Vasari, 29.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXXII_122" id="Footnote_CXXII_122"></a><a href="#FNanchor_CXXII_122"> +<p><a id="Footnote_CXXII_122"></a><a href="#FNanchor_CXXII_122"> <span class="label">[i122]</span></a> Additions to the life in Vasari, 61.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXXIII_123" id="Footnote_CXXIII_123"></a><a href="#FNanchor_CXXIII_123"> +<p><a id="Footnote_CXXIII_123"></a><a href="#FNanchor_CXXIII_123"> <span class="label">[i123]</span></a> Lett. Pitt. vol. ii. 171.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXXIV_124" id="Footnote_CXXIV_124"></a><a href="#FNanchor_CXXIV_124"> +<p><a id="Footnote_CXXIV_124"></a><a href="#FNanchor_CXXIV_124"> <span class="label">[i124]</span></a> Vasari, 29.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXXV_125" id="Footnote_CXXV_125"></a><a href="#FNanchor_CXXV_125"> +<p><a id="Footnote_CXXV_125"></a><a href="#FNanchor_CXXV_125"> <span class="label">[i125]</span></a> Ibid.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXXVI_126" id="Footnote_CXXVI_126"></a><a href="#FNanchor_CXXVI_126"> +<p><a id="Footnote_CXXVI_126"></a><a href="#FNanchor_CXXVI_126"> <span class="label">[i126]</span></a> Ibid.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXXVII_127" id="Footnote_CXXVII_127"></a><a href="#FNanchor_CXXVII_127"> +<p><a id="Footnote_CXXVII_127"></a><a href="#FNanchor_CXXVII_127"> <span class="label">[i127]</span></a> Venturi, 42.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXXVIII_128" id="Footnote_CXXVIII_128"></a><a href="#FNanchor_CXXVIII_128"> +<p><a id="Footnote_CXXVIII_128"></a><a href="#FNanchor_CXXVIII_128"> <span class="label">[i128]</span></a> Vasari, 39. In a note in Lettere Pittoriche, vol. ii. p. 174, on the before cited letter of Mariette, it is said that Bernardino Lovino was a scholar of Leonardo, and had in his possession the carton @@ -12550,426 +12424,426 @@ Academy, at London.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXXIX_129" id="Footnote_CXXIX_129"></a><a href="#FNanchor_CXXIX_129"> +<p><a id="Footnote_CXXIX_129"></a><a href="#FNanchor_CXXIX_129"> <span class="label">[i129]</span></a> Vasari, p. 39, in a note.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXXX_130" id="Footnote_CXXX_130"></a><a href="#FNanchor_CXXX_130"> +<p><a id="Footnote_CXXX_130"></a><a href="#FNanchor_CXXX_130"> <span class="label">[i130]</span></a> Vasari, 41. In the suppl. to the life, Vasari, 68, the subject painted in the council-chamber at Florence is said to be the wonderful battle against Attila.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXXXI_131" id="Footnote_CXXXI_131"></a><a href="#FNanchor_CXXXI_131"> +<p><a id="Footnote_CXXXI_131"></a><a href="#FNanchor_CXXXI_131"> <span class="label">[i131]</span></a> Du Fresne. Vasari, 28.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXXXII_132" id="Footnote_CXXXII_132"></a><a href="#FNanchor_CXXXII_132"> +<p><a id="Footnote_CXXXII_132"></a><a href="#FNanchor_CXXXII_132"> <span class="label">[i132]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXXXIII_133" id="Footnote_CXXXIII_133"></a><a href="#FNanchor_CXXXIII_133"> +<p><a id="Footnote_CXXXIII_133"></a><a href="#FNanchor_CXXXIII_133"> <span class="label">[i133]</span></a> Additions to the Life in Vasari, 48.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXXXIV_134" id="Footnote_CXXXIV_134"></a><a href="#FNanchor_CXXXIV_134"> +<p><a id="Footnote_CXXXIV_134"></a><a href="#FNanchor_CXXXIV_134"> <span class="label">[i134]</span></a> Ibid.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXXXV_135" id="Footnote_CXXXV_135"></a><a href="#FNanchor_CXXXV_135"> +<p><a id="Footnote_CXXXV_135"></a><a href="#FNanchor_CXXXV_135"> <span class="label">[i135]</span></a> Additions to the Life in Vasari, 60.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXXXVI_136" id="Footnote_CXXXVI_136"></a><a href="#FNanchor_CXXXVI_136"> +<p><a id="Footnote_CXXXVI_136"></a><a href="#FNanchor_CXXXVI_136"> <span class="label">[i136]</span></a> Lett. Pitt. vol. ii. p. 198.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXXXVII_137" id="Footnote_CXXXVII_137"></a><a href="#FNanchor_CXXXVII_137"> +<p><a id="Footnote_CXXXVII_137"></a><a href="#FNanchor_CXXXVII_137"> <span class="label">[i137]</span></a> Lett. Pitt. vol. ii. p. 200.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXXXVIII_138" id="Footnote_CXXXVIII_138"></a><a href="#FNanchor_CXXXVIII_138"> +<p><a id="Footnote_CXXXVIII_138"></a><a href="#FNanchor_CXXXVIII_138"> <span class="label">[i138]</span></a> Additions to the Life in Vasari, 68.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXXXIX_139" id="Footnote_CXXXIX_139"></a><a href="#FNanchor_CXXXIX_139"> +<p><a id="Footnote_CXXXIX_139"></a><a href="#FNanchor_CXXXIX_139"> <span class="label">[i139]</span></a> Ibid.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXL_140" id="Footnote_CXL_140"></a><a href="#FNanchor_CXL_140"> +<p><a id="Footnote_CXL_140"></a><a href="#FNanchor_CXL_140"> <span class="label">[i140]</span></a> Ibid.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXLI_141" id="Footnote_CXLI_141"></a><a href="#FNanchor_CXLI_141"> +<p><a id="Footnote_CXLI_141"></a><a href="#FNanchor_CXLI_141"> <span class="label">[i141]</span></a> Ibid.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXLII_142" id="Footnote_CXLII_142"></a><a href="#FNanchor_CXLII_142"> +<p><a id="Footnote_CXLII_142"></a><a href="#FNanchor_CXLII_142"> <span class="label">[i142]</span></a> Lett. Pitt. vol. ii. 198.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXLIII_143" id="Footnote_CXLIII_143"></a><a href="#FNanchor_CXLIII_143"> +<p><a id="Footnote_CXLIII_143"></a><a href="#FNanchor_CXLIII_143"> <span class="label">[i143]</span></a> Vasari, 28.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXLIV_144" id="Footnote_CXLIV_144"></a><a href="#FNanchor_CXLIV_144"> +<p><a id="Footnote_CXLIV_144"></a><a href="#FNanchor_CXLIV_144"> <span class="label">[i144]</span></a> The Datary is the Pope’s officer who nominates to vacant benefices.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXLV_145" id="Footnote_CXLV_145"></a><a href="#FNanchor_CXLV_145"> +<p><a id="Footnote_CXLV_145"></a><a href="#FNanchor_CXLV_145"> <span class="label">[i145]</span></a> Vasari, 44.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXLVI_146" id="Footnote_CXLVI_146"></a><a href="#FNanchor_CXLVI_146"> +<p><a id="Footnote_CXLVI_146"></a><a href="#FNanchor_CXLVI_146"> <span class="label">[i146]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXLVII_147" id="Footnote_CXLVII_147"></a><a href="#FNanchor_CXLVII_147"> +<p><a id="Footnote_CXLVII_147"></a><a href="#FNanchor_CXLVII_147"> <span class="label">[i147]</span></a> Du Fresne. Additions in Vasari, 60.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXLVIII_148" id="Footnote_CXLVIII_148"></a><a href="#FNanchor_CXLVIII_148"> +<p><a id="Footnote_CXLVIII_148"></a><a href="#FNanchor_CXLVIII_148"> <span class="label">[i148]</span></a> Lett. Pitt. vol. ii. 196.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXLIX_149" id="Footnote_CXLIX_149"></a><a href="#FNanchor_CXLIX_149"> +<p><a id="Footnote_CXLIX_149"></a><a href="#FNanchor_CXLIX_149"> <span class="label">[i149]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_CL_150" id="Footnote_CL_150"></a><a href="#FNanchor_CL_150"> +<p><a id="Footnote_CL_150"></a><a href="#FNanchor_CL_150"> <span class="label">[i150]</span></a> Du Fresne. Additions to Vasari, 60.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLI_151" id="Footnote_CLI_151"></a><a href="#FNanchor_CLI_151"> +<p><a id="Footnote_CLI_151"></a><a href="#FNanchor_CLI_151"> <span class="label">[i151]</span></a> Additions to Vasari, 59.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLII_152" id="Footnote_CLII_152"></a><a href="#FNanchor_CLII_152"> +<p><a id="Footnote_CLII_152"></a><a href="#FNanchor_CLII_152"> <span class="label">[i152]</span></a> Additions to Vasari, 60.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLIII_153" id="Footnote_CLIII_153"></a><a href="#FNanchor_CLIII_153"> +<p><a id="Footnote_CLIII_153"></a><a href="#FNanchor_CLIII_153"> <span class="label">[i153]</span></a> Additions to Vasari, 60.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLIV_154" id="Footnote_CLIV_154"></a><a href="#FNanchor_CLIV_154"> +<p><a id="Footnote_CLIV_154"></a><a href="#FNanchor_CLIV_154"> <span class="label">[i154]</span></a> Additions in Vasari, 61.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLV_155" id="Footnote_CLV_155"></a><a href="#FNanchor_CLV_155"> +<p><a id="Footnote_CLV_155"></a><a href="#FNanchor_CLV_155"> <span class="label">[i155]</span></a> Suppl. in Vasari, 68.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLVI_156" id="Footnote_CLVI_156"></a><a href="#FNanchor_CLVI_156"> +<p><a id="Footnote_CLVI_156"></a><a href="#FNanchor_CLVI_156"> <span class="label">[i156]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLVII_157" id="Footnote_CLVII_157"></a><a href="#FNanchor_CLVII_157"> +<p><a id="Footnote_CLVII_157"></a><a href="#FNanchor_CLVII_157"> <span class="label">[i157]</span></a> Additions to Vasari, 59.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLVIII_158" id="Footnote_CLVIII_158"></a><a href="#FNanchor_CLVIII_158"> +<p><a id="Footnote_CLVIII_158"></a><a href="#FNanchor_CLVIII_158"> <span class="label">[i158]</span></a> Vasari, 25.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLIX_159" id="Footnote_CLIX_159"></a><a href="#FNanchor_CLIX_159"> +<p><a id="Footnote_CLIX_159"></a><a href="#FNanchor_CLIX_159"> <span class="label">[i159]</span></a> Vasari, 28.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLX_160" id="Footnote_CLX_160"></a><a href="#FNanchor_CLX_160"> +<p><a id="Footnote_CLX_160"></a><a href="#FNanchor_CLX_160"> <span class="label">[i160]</span></a> Vasari, 29.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXI_161" id="Footnote_CLXI_161"></a><a href="#FNanchor_CLXI_161"> +<p><a id="Footnote_CLXI_161"></a><a href="#FNanchor_CLXI_161"> <span class="label">[i161]</span></a> Vasari, 30. In p. 29, it is said in a note, that there is in the Medici gallery an Adoration of the Magi, by Leonardo, unfinished, which may probably be the picture of which Vasari speaks.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXII_162" id="Footnote_CLXII_162"></a><a href="#FNanchor_CLXII_162"> +<p><a id="Footnote_CLXII_162"></a><a href="#FNanchor_CLXII_162"> <span class="label">[i162]</span></a> Vasari, 30.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXIII_163" id="Footnote_CLXIII_163"></a><a href="#FNanchor_CLXIII_163"> +<p><a id="Footnote_CLXIII_163"></a><a href="#FNanchor_CLXIII_163"> <span class="label">[i163]</span></a> Lett. Pitt. vol. ii. 184. The real fact is known to be, that it was engraven from a drawing made by Rubens himself, who, as I am informed, had in it altered the back-ground.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXIV_164" id="Footnote_CLXIV_164"></a><a href="#FNanchor_CLXIV_164"> +<p><a id="Footnote_CLXIV_164"></a><a href="#FNanchor_CLXIV_164"> <span class="label">[i164]</span></a> Lett. Pitt. vol. ii. 195.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXV_165" id="Footnote_CLXV_165"></a><a href="#FNanchor_CLXV_165"> +<p><a id="Footnote_CLXV_165"></a><a href="#FNanchor_CLXV_165"> <span class="label">[i165]</span></a> Vasari, 30.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXVI_166" id="Footnote_CLXVI_166"></a><a href="#FNanchor_CLXVI_166"> +<p><a id="Footnote_CLXVI_166"></a><a href="#FNanchor_CLXVI_166"> <span class="label">[i166]</span></a> Vasari, 33.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXVII_167" id="Footnote_CLXVII_167"></a><a href="#FNanchor_CLXVII_167"> +<p><a id="Footnote_CLXVII_167"></a><a href="#FNanchor_CLXVII_167"> <span class="label">[i167]</span></a> Venturi, 4.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXVIII_168" id="Footnote_CLXVIII_168"></a><a href="#FNanchor_CLXVIII_168"> +<p><a id="Footnote_CLXVIII_168"></a><a href="#FNanchor_CLXVIII_168"> <span class="label">[i168]</span></a> Venturi, 37.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXIX_169" id="Footnote_CLXIX_169"></a><a href="#FNanchor_CLXIX_169"> +<p><a id="Footnote_CLXIX_169"></a><a href="#FNanchor_CLXIX_169"> <span class="label">[i169]</span></a> Suppl. in Vasari, 68.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXX_170" id="Footnote_CLXX_170"></a><a href="#FNanchor_CLXX_170"> +<p><a id="Footnote_CLXX_170"></a><a href="#FNanchor_CLXX_170"> <span class="label">[i170]</span></a> Vasari, 39.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXXI_171" id="Footnote_CLXXI_171"></a><a href="#FNanchor_CLXXI_171"> +<p><a id="Footnote_CLXXI_171"></a><a href="#FNanchor_CLXXI_171"> <span class="label">[i171]</span></a> Ibid.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXXII_172" id="Footnote_CLXXII_172"></a><a href="#FNanchor_CLXXII_172"> +<p><a id="Footnote_CLXXII_172"></a><a href="#FNanchor_CLXXII_172"> <span class="label">[i172]</span></a> Suppl. in Vasari, 60.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXXIII_173" id="Footnote_CLXXIII_173"></a><a href="#FNanchor_CLXXIII_173"> +<p><a id="Footnote_CLXXIII_173"></a><a href="#FNanchor_CLXXIII_173"> <span class="label">[i173]</span></a> Vasari, 44.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXXIV_174" id="Footnote_CLXXIV_174"></a><a href="#FNanchor_CLXXIV_174"> +<p><a id="Footnote_CLXXIV_174"></a><a href="#FNanchor_CLXXIV_174"> <span class="label">[i174]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXXV_175" id="Footnote_CLXXV_175"></a><a href="#FNanchor_CLXXV_175"> +<p><a id="Footnote_CLXXV_175"></a><a href="#FNanchor_CLXXV_175"> <span class="label">[i175]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXXVI_176" id="Footnote_CLXXVI_176"></a><a href="#FNanchor_CLXXVI_176"> +<p><a id="Footnote_CLXXVI_176"></a><a href="#FNanchor_CLXXVI_176"> <span class="label">[i176]</span></a> Suppl. in Vasari, 61.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXXVII_177" id="Footnote_CLXXVII_177"></a><a href="#FNanchor_CLXXVII_177"> +<p><a id="Footnote_CLXXVII_177"></a><a href="#FNanchor_CLXXVII_177"> <span class="label">[i177]</span></a> Ibid. 81.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXXVIII_178" id="Footnote_CLXXVIII_178"></a><a href="#FNanchor_CLXXVIII_178"> +<p><a id="Footnote_CLXXVIII_178"></a><a href="#FNanchor_CLXXVIII_178"> <span class="label">[i178]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXXIX_179" id="Footnote_CLXXIX_179"></a><a href="#FNanchor_CLXXIX_179"> +<p><a id="Footnote_CLXXIX_179"></a><a href="#FNanchor_CLXXIX_179"> <span class="label">[i179]</span></a> Du Fresne. Add. to the Life in Vasari, 60.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXXX_180" id="Footnote_CLXXX_180"></a><a href="#FNanchor_CLXXX_180"> +<p><a id="Footnote_CLXXX_180"></a><a href="#FNanchor_CLXXX_180"> <span class="label">[i180]</span></a> Suppl. in Vasari, 69.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXXXI_181" id="Footnote_CLXXXI_181"></a><a href="#FNanchor_CLXXXI_181"> +<p><a id="Footnote_CLXXXI_181"></a><a href="#FNanchor_CLXXXI_181"> <span class="label">[i181]</span></a> Du Fresne. Add. to Vasari, 60.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXXXII_182" id="Footnote_CLXXXII_182"></a><a href="#FNanchor_CLXXXII_182"> +<p><a id="Footnote_CLXXXII_182"></a><a href="#FNanchor_CLXXXII_182"> <span class="label">[i182]</span></a> Du Fresne.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXXXIII_183" id="Footnote_CLXXXIII_183"></a><a href="#FNanchor_CLXXXIII_183"> +<p><a id="Footnote_CLXXXIII_183"></a><a href="#FNanchor_CLXXXIII_183"> <span class="label">[i183]</span></a> Add. in Vasari, 47.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXXXIV_184" id="Footnote_CLXXXIV_184"></a><a href="#FNanchor_CLXXXIV_184"> +<p><a id="Footnote_CLXXXIV_184"></a><a href="#FNanchor_CLXXXIV_184"> <span class="label">[i184]</span></a> Add. to Vasari, 48.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXXXV_185" id="Footnote_CLXXXV_185"></a><a href="#FNanchor_CLXXXV_185"> +<p><a id="Footnote_CLXXXV_185"></a><a href="#FNanchor_CLXXXV_185"> <span class="label">[i185]</span></a> Add. in Vasari, 57.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXXXVI_186" id="Footnote_CLXXXVI_186"></a><a href="#FNanchor_CLXXXVI_186"> +<p><a id="Footnote_CLXXXVI_186"></a><a href="#FNanchor_CLXXXVI_186"> <span class="label">[i186]</span></a> Add. to Vasari, 58.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXXXVII_187" id="Footnote_CLXXXVII_187"></a><a href="#FNanchor_CLXXXVII_187"> +<p><a id="Footnote_CLXXXVII_187"></a><a href="#FNanchor_CLXXXVII_187"> <span class="label">[i187]</span></a> Add. to Vasari, 59.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXXXVIII_188" id="Footnote_CLXXXVIII_188"></a><a href="#FNanchor_CLXXXVIII_188"> +<p><a id="Footnote_CLXXXVIII_188"></a><a href="#FNanchor_CLXXXVIII_188"> <span class="label">[i188]</span></a> Ibid.</p> </div> <div class="footnote"> -<p><a name="Footnote_CLXXXIX_189" id="Footnote_CLXXXIX_189"></a><a href="#FNanchor_CLXXXIX_189"> +<p><a id="Footnote_CLXXXIX_189"></a><a href="#FNanchor_CLXXXIX_189"> <span class="label">[i189]</span></a> Ibid. This is the picture lately exhibited in Brook Street, Grosvenor Square, and is said to have been purchased by the Earl of Warwick.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXC_190" id="Footnote_CXC_190"></a><a href="#FNanchor_CXC_190"> +<p><a id="Footnote_CXC_190"></a><a href="#FNanchor_CXC_190"> <span class="label">[i190]</span></a> Add. to Vasari, 59.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXCI_191" id="Footnote_CXCI_191"></a><a href="#FNanchor_CXCI_191"> +<p><a id="Footnote_CXCI_191"></a><a href="#FNanchor_CXCI_191"> <span class="label">[i191]</span></a> Ibid.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXCII_192" id="Footnote_CXCII_192"></a><a href="#FNanchor_CXCII_192"> +<p><a id="Footnote_CXCII_192"></a><a href="#FNanchor_CXCII_192"> <span class="label">[i192]</span></a> Ibid.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXCIII_193" id="Footnote_CXCIII_193"></a><a href="#FNanchor_CXCIII_193"> +<p><a id="Footnote_CXCIII_193"></a><a href="#FNanchor_CXCIII_193"> <span class="label">[i193]</span></a> Ibid.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXCIV_194" id="Footnote_CXCIV_194"></a><a href="#FNanchor_CXCIV_194"> +<p><a id="Footnote_CXCIV_194"></a><a href="#FNanchor_CXCIV_194"> <span class="label">[i194]</span></a> Ibid. 60.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXCV_195" id="Footnote_CXCV_195"></a><a href="#FNanchor_CXCV_195"> +<p><a id="Footnote_CXCV_195"></a><a href="#FNanchor_CXCV_195"> <span class="label">[i195]</span></a> Ibid.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXCVI_196" id="Footnote_CXCVI_196"></a><a href="#FNanchor_CXCVI_196"> +<p><a id="Footnote_CXCVI_196"></a><a href="#FNanchor_CXCVI_196"> <span class="label">[i196]</span></a> Ibid.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXCVII_197" id="Footnote_CXCVII_197"></a><a href="#FNanchor_CXCVII_197"> +<p><a id="Footnote_CXCVII_197"></a><a href="#FNanchor_CXCVII_197"> <span class="label">[i197]</span></a> Ibid.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXCVIII_198" id="Footnote_CXCVIII_198"></a><a href="#FNanchor_CXCVIII_198"> +<p><a id="Footnote_CXCVIII_198"></a><a href="#FNanchor_CXCVIII_198"> <span class="label">[i198]</span></a> Ibid.</p> </div> <div class="footnote"> -<p><a name="Footnote_CXCIX_199" id="Footnote_CXCIX_199"></a><a href="#FNanchor_CXCIX_199"> +<p><a id="Footnote_CXCIX_199"></a><a href="#FNanchor_CXCIX_199"> <span class="label">[i199]</span></a> Lett. Pitt. vol. ii. 197.</p> </div> <div class="footnote"> -<p><a name="Footnote_CC_200" id="Footnote_CC_200"></a><a href="#FNanchor_CC_200"> +<p><a id="Footnote_CC_200"></a><a href="#FNanchor_CC_200"> <span class="label">[i200]</span></a> Add. in Vasari, 60.</p> </div> <div class="footnote"> -<p><a name="Footnote_CCI_201" id="Footnote_CCI_201"></a><a href="#FNanchor_CCI_201"> +<p><a id="Footnote_CCI_201"></a><a href="#FNanchor_CCI_201"> <span class="label">[i201]</span></a> Add. in Vasari, 61.</p> </div> <div class="footnote"> -<p><a name="Footnote_CCII_202" id="Footnote_CCII_202"></a><a href="#FNanchor_CCII_202"> +<p><a id="Footnote_CCII_202"></a><a href="#FNanchor_CCII_202"> <span class="label">[i202]</span></a> Ibid.</p> </div> <div class="footnote"> -<p><a name="Footnote_CCIII_203" id="Footnote_CCIII_203"></a><a href="#FNanchor_CCIII_203"> +<p><a id="Footnote_CCIII_203"></a><a href="#FNanchor_CCIII_203"> <span class="label">[i203]</span></a> Ibid.</p> </div> <div class="footnote"> -<p><a name="Footnote_CCIV_204" id="Footnote_CCIV_204"></a><a href="#FNanchor_CCIV_204"> +<p><a id="Footnote_CCIV_204"></a><a href="#FNanchor_CCIV_204"> <span class="label">[i204]</span></a> Ibid.</p> </div> <div class="footnote"> -<p><a name="Footnote_CCV_205" id="Footnote_CCV_205"></a><a href="#FNanchor_CCV_205"> +<p><a id="Footnote_CCV_205"></a><a href="#FNanchor_CCV_205"> <span class="label">[i205]</span></a> Supp. in Vasari, 67.</p> </div> <div class="footnote"> -<p><a name="Footnote_CCVI_206" id="Footnote_CCVI_206"></a><a href="#FNanchor_CCVI_206"> +<p><a id="Footnote_CCVI_206"></a><a href="#FNanchor_CCVI_206"> <span class="label">[i206]</span></a> Ibid. 68.</p> </div> <div class="footnote"> -<p><a name="Footnote_CCVII_207" id="Footnote_CCVII_207"></a><a href="#FNanchor_CCVII_207"> +<p><a id="Footnote_CCVII_207"></a><a href="#FNanchor_CCVII_207"> <span class="label">[i207]</span></a> Supp. in Vasari, 75.</p> </div> <div class="footnote"> -<p><a name="Footnote_CCVIII_208" id="Footnote_CCVIII_208"></a><a href="#FNanchor_CCVIII_208"> +<p><a id="Footnote_CCVIII_208"></a><a href="#FNanchor_CCVIII_208"> <span class="label">[i208]</span></a> Ibid.</p> </div> <div class="footnote"> -<p><a name="Footnote_CCIX_209" id="Footnote_CCIX_209"></a><a href="#FNanchor_CCIX_209"> +<p><a id="Footnote_CCIX_209"></a><a href="#FNanchor_CCIX_209"> <span class="label">[i209]</span></a> Supp. in Vasari, 80.</p> </div> <div class="footnote bottom2"> -<p><a name="Footnote_CCX_210" id="Footnote_CCX_210"></a><a href="#FNanchor_CCX_210"> +<p><a id="Footnote_CCX_210"></a><a href="#FNanchor_CCX_210"> <span class="label">[i210]</span></a> Supp. in Vasari, 81.</p> </div> <div class="footnote"> -<p><a name="Footnote_1_211" id="Footnote_1_211"></a><a href="#FNanchor_1_211"> +<p><a id="Footnote_1_211"></a><a href="#FNanchor_1_211"> <span class="label">[1]</span></a> This passage has been by some persons much misunderstood, and supposed to require, that the student should be a deep proficient in perspective, before he commences the study of painting; but it is @@ -12981,17 +12855,17 @@ Perspective.</p> </div> <div class="footnote"> -<p><a name="Footnote_2_212" id="Footnote_2_212"></a><a href="#FNanchor_2_212"> +<p><a id="Footnote_2_212"></a><a href="#FNanchor_2_212"> <span class="label">[2]</span></a> See Chap. 351.</p> </div> <div class="footnote"> -<p><a name="Footnote_3_213" id="Footnote_3_213"></a><a href="#FNanchor_3_213"> +<p><a id="Footnote_3_213"></a><a href="#FNanchor_3_213"> <span class="label">[3]</span></a> Not to be found in this work.</p> </div> <div class="footnote"> -<p><a name="Footnote_4_214" id="Footnote_4_214"></a><a href="#FNanchor_4_214"> +<p><a id="Footnote_4_214"></a><a href="#FNanchor_4_214"> <span class="label">[4]</span></a> From this, and many other similar passages, it is evident, that the author intended at some future time to arrange his manuscript collections, and to publish them as separate treatises. @@ -13017,7 +12891,7 @@ also equally applicable to this.</p> </div> <div class="footnote"> -<p><a name="Footnote_5_215" id="Footnote_5_215"></a><a href="#FNanchor_5_215"> +<p><a id="Footnote_5_215"></a><a href="#FNanchor_5_215"> <span class="label">[5]</span></a> The meaning of this is, that the last touches of light, such as the shining parts (which are always narrow), must be given sparingly. In short, that the drawing must be kept in broad masses as @@ -13025,34 +12899,34 @@ much as possible.</p> </div> <div class="footnote"> -<p><a name="Footnote_6_216" id="Footnote_6_216"></a><a href="#FNanchor_6_216"> +<p><a id="Footnote_6_216"></a><a href="#FNanchor_6_216"> <span class="label">[6]</span></a> This is not an absolute rule, but it is a very good one for drawing of portraits.</p> </div> <div class="footnote"> -<p><a name="Footnote_7_217" id="Footnote_7_217"></a><a href="#FNanchor_7_217"> +<p><a id="Footnote_7_217"></a><a href="#FNanchor_7_217"> <span class="label">[7]</span></a> See Chap. ci.</p> </div> <div class="footnote"> -<p><a name="Footnote_8_218" id="Footnote_8_218"></a><a href="#FNanchor_8_218"> +<p><a id="Footnote_8_218"></a><a href="#FNanchor_8_218"> <span class="label">[8]</span></a> See the preceding chapter.</p> </div> <div class="footnote"> -<p><a name="Footnote_9_219" id="Footnote_9_219"></a><a href="#FNanchor_9_219"> +<p><a id="Footnote_9_219"></a><a href="#FNanchor_9_219"> <span class="label">[9]</span></a> See the two preceding chapters.</p> </div> <div class="footnote"> -<p><a name="Footnote_10_220" id="Footnote_10_220"></a><a href="#FNanchor_10_220"> +<p><a id="Footnote_10_220"></a><a href="#FNanchor_10_220"> <span class="label">[10]</span></a> Man being the highest of the animal creation, ought to be the chief object of study.</p> </div> <div class="footnote"> -<p><a name="Footnote_11_221" id="Footnote_11_221"></a><a href="#FNanchor_11_221"> +<p><a id="Footnote_11_221"></a><a href="#FNanchor_11_221"> <span class="label">[11]</span></a> An intended Treatise, as it seems, on Anatomy, which however never was published; but there are several chapters in the present work on the subject of Anatomy, most of which will be found @@ -13064,12 +12938,12 @@ xlviii. xlix. l. li. lii. cxxix.</p> </div> <div class="footnote"> -<p><a name="Footnote_12_222" id="Footnote_12_222"></a><a href="#FNanchor_12_222"> +<p><a id="Footnote_12_222"></a><a href="#FNanchor_12_222"> <span class="label">[12]</span></a> See chap. lxxxvii.</p> </div> <div class="footnote"> -<p><a name="Footnote_13_223" id="Footnote_13_223"></a><a href="#FNanchor_13_223"> +<p><a id="Footnote_13_223"></a><a href="#FNanchor_13_223"> <span class="label">[13]</span></a> It does not appear that this intention was ever carried into execution; but there are many chapters in this work on the subject of motion, where all that is necessary for a painter in this branch will @@ -13077,7 +12951,7 @@ be found.</p> </div> <div class="footnote"> -<p><a name="Footnote_14_224" id="Footnote_14_224"></a><a href="#FNanchor_14_224"> +<p><a id="Footnote_14_224"></a><a href="#FNanchor_14_224"> <span class="label">[14]</span></a> Anatomists have divided this muscle into four or five sections; but painters, following the ancient sculptors, shew only the three principal ones; and, in fact, we find that a greater number @@ -13087,18 +12961,18 @@ three, though there may be more hid under the skin.</p> </div> <div class="footnote"> -<p><a name="Footnote_15_225" id="Footnote_15_225"></a><a href="#FNanchor_15_225"> +<p><a id="Footnote_15_225"></a><a href="#FNanchor_15_225"> <span class="label">[15]</span></a> A treatise on weights, like many others, intended by this author, but never published.</p> </div> <div class="footnote"> -<p><a name="Footnote_16_226" id="Footnote_16_226"></a><a href="#FNanchor_16_226"> +<p><a id="Footnote_16_226"></a><a href="#FNanchor_16_226"> <span class="label">[16]</span></a> See the next chapter.</p> </div> <div class="footnote"> -<p><a name="Footnote_17_227" id="Footnote_17_227"></a><a href="#FNanchor_17_227"> +<p><a id="Footnote_17_227"></a><a href="#FNanchor_17_227"> <span class="label">[17]</span></a> It is believed that this treatise, like many others promised by the author, was never written; and to save the necessity of frequently repeating this fact, the reader is here informed, once for @@ -13108,27 +12982,27 @@ his intentions have been carried into effect.</p> </div> <div class="footnote"> -<p><a name="Footnote_18_228" id="Footnote_18_228"></a><a href="#FNanchor_18_228"> +<p><a id="Footnote_18_228"></a><a href="#FNanchor_18_228"> <span class="label">[18]</span></a> See chap. lxiv.</p> </div> <div class="footnote"> -<p><a name="Footnote_19_229" id="Footnote_19_229"></a><a href="#FNanchor_19_229"> +<p><a id="Footnote_19_229"></a><a href="#FNanchor_19_229"> <span class="label">[19]</span></a> See in this work from chap. lx. to lxxxi.</p> </div> <div class="footnote"> -<p><a name="Footnote_20_230" id="Footnote_20_230"></a><a href="#FNanchor_20_230"> +<p><a id="Footnote_20_230"></a><a href="#FNanchor_20_230"> <span class="label">[20]</span></a> See chapters lxi. lxiv.</p> </div> <div class="footnote"> -<p><a name="Footnote_21_231" id="Footnote_21_231"></a><a href="#FNanchor_21_231"> +<p><a id="Footnote_21_231"></a><a href="#FNanchor_21_231"> <span class="label">[21]</span></a> See chapters civ. cliv.</p> </div> <div class="footnote"> -<p><a name="Footnote_22_232" id="Footnote_22_232"></a><a href="#FNanchor_22_232"> +<p><a id="Footnote_22_232"></a><a href="#FNanchor_22_232"> <span class="label">[22]</span></a> The author here means to compare the different quickness of the motion of the head and the heel, when employed in the same action of jumping; and he states the proportion of the former to be three times @@ -13145,13 +13019,13 @@ must be regulated by the number of operations necessary in the latter.</p> </div> <div class="footnote"> -<p><a name="Footnote_23_233" id="Footnote_23_233"></a><a href="#FNanchor_23_233"> +<p><a id="Footnote_23_233"></a><a href="#FNanchor_23_233"> <span class="label">[23]</span></a> It is explained in this work, or at least there is something respecting it in the preceding chapter, and in chap. cli.</p> </div> <div class="footnote"> -<p><a name="Footnote_24_234" id="Footnote_24_234"></a><a href="#FNanchor_24_234"> +<p><a id="Footnote_24_234"></a><a href="#FNanchor_24_234"> <span class="label">[24]</span></a> The eyeball moving up and down to look at the hand, describes a part of a circle, from every point of which it sees it in an infinite variety of aspects. The hand also is moveable <i>ad infinitum</i> @@ -13161,24 +13035,24 @@ impossible for any memory to retain.</p> </div> <div class="footnote"> -<p><a name="Footnote_25_235" id="Footnote_25_235"></a><a href="#FNanchor_25_235"> +<p><a id="Footnote_25_235"></a><a href="#FNanchor_25_235"> <span class="label">[25]</span></a> See chap. xx. clv.</p> </div> <div class="footnote"> -<p><a name="Footnote_26_236" id="Footnote_26_236"></a><a href="#FNanchor_26_236"> +<p><a id="Footnote_26_236"></a><a href="#FNanchor_26_236"> <span class="label">[26]</span></a> About thirteen yards of our measure, the Florentine braccia, or cubit, by which the author measures, being 1 foot 10 inches 7-8ths English measure.</p> </div> <div class="footnote"> -<p><a name="Footnote_27_237" id="Footnote_27_237"></a><a href="#FNanchor_27_237"> +<p><a id="Footnote_27_237"></a><a href="#FNanchor_27_237"> <span class="label">[27]</span></a> See chap. cxxi. and cccv.</p> </div> <div class="footnote"> -<p><a name="Footnote_28_238" id="Footnote_28_238"></a><a href="#FNanchor_28_238"> +<p><a id="Footnote_28_238"></a><a href="#FNanchor_28_238"> <span class="label">[28]</span></a> It is supposed that the figures are to appear of the natural size, and not bigger. In that case, the measure of the first, to be of the exact dimension, should have its feet resting upon the bottom @@ -13190,7 +13064,7 @@ placed from the eye.</p> </div> <div class="footnote"> -<p><a name="Footnote_29_239" id="Footnote_29_239"></a><a href="#FNanchor_29_239"> +<p><a id="Footnote_29_239"></a><a href="#FNanchor_29_239"> <span class="label">[29]</span></a> The author does not mean here to say, that one historical picture cannot be hung over another. It certainly may, because, in viewing each, the spectator is at liberty (especially if they are @@ -13204,7 +13078,7 @@ in fact so many distinct subjects unconnected with each other.</p> </div> <div class="footnote"> -<p><a name="Footnote_30_240" id="Footnote_30_240"></a><a href="#FNanchor_30_240"> +<p><a id="Footnote_30_240"></a><a href="#FNanchor_30_240"> <span class="label">[30]</span></a> See chap. cccxlviii. </p> <p> @@ -13246,18 +13120,18 @@ order thereby to reduce it to one point of sight.</p> </div> <div class="footnote"> -<p><a name="Footnote_31_241" id="Footnote_31_241"></a><a href="#FNanchor_31_241"> +<p><a id="Footnote_31_241"></a><a href="#FNanchor_31_241"> <span class="label">[31]</span></a> Chap. xcvi. and civ.</p> </div> <div class="footnote"> -<p><a name="Footnote_32_242" id="Footnote_32_242"></a><a href="#FNanchor_32_242"> +<p><a id="Footnote_32_242"></a><a href="#FNanchor_32_242"> <span class="label">[32]</span></a> See the Life of the Author prefixed, and chap. xx. and ci. of the present work.</p> </div> <div class="footnote"> -<p><a name="Footnote_33_243" id="Footnote_33_243"></a><a href="#FNanchor_33_243"> +<p><a id="Footnote_33_243"></a><a href="#FNanchor_33_243"> <span class="label">[33]</span></a> The author here speaks of unpolished Nature; and indeed it is from such subjects only, that the genuine and characteristic operations of Nature are to be learnt. It is the effect of education @@ -13266,45 +13140,45 @@ assimilate one person to the rest of the world.</p> </div> <div class="footnote"> -<p><a name="Footnote_34_244" id="Footnote_34_244"></a><a href="#FNanchor_34_244"> +<p><a id="Footnote_34_244"></a><a href="#FNanchor_34_244"> <span class="label">[34]</span></a> See chap. cxxiii.</p> </div> <div class="footnote"> -<p><a name="Footnote_35_245" id="Footnote_35_245"></a><a href="#FNanchor_35_245"> +<p><a id="Footnote_35_245"></a><a href="#FNanchor_35_245"> <span class="label">[35]</span></a> See chap. cclxiv.</p> </div> <div class="footnote"> -<p><a name="Footnote_36_246" id="Footnote_36_246"></a><a href="#FNanchor_36_246"> +<p><a id="Footnote_36_246"></a><a href="#FNanchor_36_246"> <span class="label">[36]</span></a> See chapter cclxvii.</p> </div> <div class="footnote"> -<p><a name="Footnote_37_247" id="Footnote_37_247"></a><a href="#FNanchor_37_247"> +<p><a id="Footnote_37_247"></a><a href="#FNanchor_37_247"> <span class="label">[37]</span></a> Sir Joshua Reynolds frequently inculcated these precepts in his lectures, and indeed they cannot be too often enforced.</p> </div> <div class="footnote"> -<p><a name="Footnote_38_248" id="Footnote_38_248"></a><a href="#FNanchor_38_248"> +<p><a id="Footnote_38_248"></a><a href="#FNanchor_38_248"> <span class="label">[38]</span></a> Probably this would have formed a part of his intended Treatise on Light and Shadow, but no such proposition occurs in the present work.</p> </div> <div class="footnote"> -<p><a name="Footnote_39_249" id="Footnote_39_249"></a><a href="#FNanchor_39_249"> +<p><a id="Footnote_39_249"></a><a href="#FNanchor_39_249"> <span class="label">[39]</span></a> See chapters cc. and ccix.</p> </div> <div class="footnote"> -<p><a name="Footnote_40_250" id="Footnote_40_250"></a><a href="#FNanchor_40_250"> +<p><a id="Footnote_40_250"></a><a href="#FNanchor_40_250"> <span class="label">[40]</span></a> See chap. ccix.</p> </div> <div class="footnote"> -<p><a name="Footnote_41_251" id="Footnote_41_251"></a><a href="#FNanchor_41_251"> +<p><a id="Footnote_41_251"></a><a href="#FNanchor_41_251"> <span class="label">[41]</span></a> This cannot be taken as an absolute rule; it must be left in a great measure to the judgment of the painter. For much graceful softness and grandeur is acquired, sometimes, by blending the lights of @@ -13314,17 +13188,17 @@ Reynolds has often put in practice with success.</p> </div> <div class="footnote"> -<p><a name="Footnote_42_252" id="Footnote_42_252"></a><a href="#FNanchor_42_252"> +<p><a id="Footnote_42_252"></a><a href="#FNanchor_42_252"> <span class="label">[42]</span></a> See chap. cclxv.</p> </div> <div class="footnote"> -<p><a name="Footnote_43_253" id="Footnote_43_253"></a><a href="#FNanchor_43_253"> +<p><a id="Footnote_43_253"></a><a href="#FNanchor_43_253"> <span class="label">[43]</span></a> See chap. cxcvi.</p> </div> <div class="footnote"> -<p><a name="Footnote_44_254" id="Footnote_44_254"></a><a href="#FNanchor_44_254"> +<p><a id="Footnote_44_254"></a><a href="#FNanchor_44_254"> <span class="label">[44]</span></a> He means here to say, that in proportion as the body interposed between the eye and the object is more or less transparent, the greater or less quantity of the colour of the body interposed will @@ -13332,51 +13206,51 @@ be communicated to the object.</p> </div> <div class="footnote"> -<p><a name="Footnote_45_255" id="Footnote_45_255"></a><a href="#FNanchor_45_255"> +<p><a id="Footnote_45_255"></a><a href="#FNanchor_45_255"> <span class="label">[45]</span></a> See the note to chap. cc.</p> </div> <div class="footnote"> -<p><a name="Footnote_46_256" id="Footnote_46_256"></a><a href="#FNanchor_46_256"> +<p><a id="Footnote_46_256"></a><a href="#FNanchor_46_256"> <span class="label">[46]</span></a> See the preceding chapter, and chap. cc.</p> </div> <div class="footnote"> -<p><a name="Footnote_47_257" id="Footnote_47_257"></a><a href="#FNanchor_47_257"> +<p><a id="Footnote_47_257"></a><a href="#FNanchor_47_257"> <span class="label">[47]</span></a> The appearance of motion is lessened according to the distance, in the same proportion as objects diminish in size.</p> </div> <div class="footnote"> -<p><a name="Footnote_48_258" id="Footnote_48_258"></a><a href="#FNanchor_48_258"> +<p><a id="Footnote_48_258"></a><a href="#FNanchor_48_258"> <span class="label">[48]</span></a> See chap. ccxvii. and ccxix.</p> </div> <div class="footnote"> -<p><a name="Footnote_49_259" id="Footnote_49_259"></a><a href="#FNanchor_49_259"> +<p><a id="Footnote_49_259"></a><a href="#FNanchor_49_259"> <span class="label">[49]</span></a> See chap. ccxv. and ccxix.</p> </div> <div class="footnote"> -<p><a name="Footnote_50_260" id="Footnote_50_260"></a><a href="#FNanchor_50_260"> +<p><a id="Footnote_50_260"></a><a href="#FNanchor_50_260"> <span class="label">[50]</span></a> This was intended to constitute a part of some book of Perspective, which we have not; but the rule here referred to will be found in chap. cccx. of the present work.</p> </div> <div class="footnote"> -<p><a name="Footnote_51_261" id="Footnote_51_261"></a><a href="#FNanchor_51_261"> +<p><a id="Footnote_51_261"></a><a href="#FNanchor_51_261"> <span class="label">[51]</span></a> See chap. ccxv. and ccxvii.</p> </div> <div class="footnote"> -<p><a name="Footnote_52_262" id="Footnote_52_262"></a><a href="#FNanchor_52_262"> +<p><a id="Footnote_52_262"></a><a href="#FNanchor_52_262"> <span class="label">[52]</span></a> No such work was ever published, nor, for any thing that appears, ever written.</p> </div> <div class="footnote"> -<p><a name="Footnote_53_263" id="Footnote_53_263"></a><a href="#FNanchor_53_263"> +<p><a id="Footnote_53_263"></a><a href="#FNanchor_53_263"> <span class="label">[53]</span></a> The French translation of 1716 has a note on this chapter, saying, that the invention of enamel painting found out since the time of Leonardo da Vinci, would better answer to the title of this @@ -13396,33 +13270,33 @@ to large works.</p> </div> <div class="footnote"> -<p><a name="Footnote_54_264" id="Footnote_54_264"></a><a href="#FNanchor_54_264"> +<p><a id="Footnote_54_264"></a><a href="#FNanchor_54_264"> <span class="label">[54]</span></a> It is evident that distemper or size painting is here meant.</p> </div> <div class="footnote"> -<p><a name="Footnote_55_265" id="Footnote_55_265"></a><a href="#FNanchor_55_265"> +<p><a id="Footnote_55_265"></a><a href="#FNanchor_55_265"> <span class="label">[55]</span></a> Indian ink.</p> </div> <div class="footnote"> -<p><a name="Footnote_56_266" id="Footnote_56_266"></a><a href="#FNanchor_56_266"> +<p><a id="Footnote_56_266"></a><a href="#FNanchor_56_266"> <span class="label">[56]</span></a> This rule is not without exception: see chap. ccxxxiv.</p> </div> <div class="footnote"> -<p><a name="Footnote_57_267" id="Footnote_57_267"></a><a href="#FNanchor_57_267"> +<p><a id="Footnote_57_267"></a><a href="#FNanchor_57_267"> <span class="label">[57]</span></a> See chap. ccxxxviii.</p> </div> <div class="footnote"> -<p><a name="Footnote_58_268" id="Footnote_58_268"></a><a href="#FNanchor_58_268"> +<p><a id="Footnote_58_268"></a><a href="#FNanchor_58_268"> <span class="label">[58]</span></a> See chap. ccxxxvii.</p> </div> <div class="footnote"> -<p><a name="Footnote_59_269" id="Footnote_59_269"></a><a href="#FNanchor_59_269"> +<p><a id="Footnote_59_269"></a><a href="#FNanchor_59_269"> <span class="label">[59]</span></a> See chapters ccxlvii. cclxxiv. in the present work. Probably they were intended to form a part of a distinct treatise, and to have been ranged as propositions in that, but at present they are not @@ -13430,17 +13304,17 @@ so placed.</p> </div> <div class="footnote"> -<p><a name="Footnote_60_270" id="Footnote_60_270"></a><a href="#FNanchor_60_270"> +<p><a id="Footnote_60_270"></a><a href="#FNanchor_60_270"> <span class="label">[60]</span></a> See chap. ccxlviii.</p> </div> <div class="footnote"> -<p><a name="Footnote_61_271" id="Footnote_61_271"></a><a href="#FNanchor_61_271"> +<p><a id="Footnote_61_271"></a><a href="#FNanchor_61_271"> <span class="label">[61]</span></a> See chap. cclxxiv.</p> </div> <div class="footnote"> -<p><a name="Footnote_62_272" id="Footnote_62_272"></a><a href="#FNanchor_62_272"> +<p><a id="Footnote_62_272"></a><a href="#FNanchor_62_272"> <span class="label">[62]</span></a> Although the author seems to have designed that this, and many other propositions to which he refers, should have formed a part of some regular work, and he has accordingly referred to them whenever @@ -13453,25 +13327,25 @@ transferred into the projected treatise, if he had ever drawn it up.</p> </div> <div class="footnote"> -<p><a name="Footnote_63_273" id="Footnote_63_273"></a><a href="#FNanchor_63_273"> +<p><a id="Footnote_63_273"></a><a href="#FNanchor_63_273"> <span class="label">[63]</span></a> The note on the preceding chapter is in a great measure applicable to this, and the proposition mentioned in the text is also to be found in chapter ccxlvii. of the present work.</p> </div> <div class="footnote"> -<p><a name="Footnote_64_274" id="Footnote_64_274"></a><a href="#FNanchor_64_274"> +<p><a id="Footnote_64_274"></a><a href="#FNanchor_64_274"> <span class="label">[64]</span></a> See the note on the chapter next but one preceding. The proposition in the text occurs in chap. ccxlvii. of the present work.</p> </div> <div class="footnote"> -<p><a name="Footnote_65_275" id="Footnote_65_275"></a><a href="#FNanchor_65_275"> +<p><a id="Footnote_65_275"></a><a href="#FNanchor_65_275"> <span class="label">[65]</span></a> Not in this work.</p> </div> <div class="footnote"> -<p><a name="Footnote_66_276" id="Footnote_66_276"></a><a href="#FNanchor_66_276"> +<p><a id="Footnote_66_276"></a><a href="#FNanchor_66_276"> <span class="label">[66]</span></a> I do not know a better comment on this passage than Felibien’s Examination of Le Brun’s Picture of the Tent of Darius. From this (which has been reprinted with an English translation, by Colonel @@ -13483,7 +13357,7 @@ from the mere inspection of different examples of colouring.</p> </div> <div class="footnote"> -<p><a name="Footnote_67_277" id="Footnote_67_277"></a><a href="#FNanchor_67_277"> +<p><a id="Footnote_67_277"></a><a href="#FNanchor_67_277"> <span class="label">[67]</span></a> See chap. ccxxiii. ccxxxvii. cclxxiv. cclxxxii. of the present work. We have before remarked, that the propositions so frequently referred to by the author, were never reduced into form, @@ -13492,12 +13366,12 @@ included.</p> </div> <div class="footnote"> -<p><a name="Footnote_68_278" id="Footnote_68_278"></a><a href="#FNanchor_68_278"> +<p><a id="Footnote_68_278"></a><a href="#FNanchor_68_278"> <span class="label">[68]</span></a> No where in this work.</p> </div> <div class="footnote"> -<p><a name="Footnote_69_279" id="Footnote_69_279"></a><a href="#FNanchor_69_279"> +<p><a id="Footnote_69_279"></a><a href="#FNanchor_69_279"> <span class="label">[69]</span></a> This is evident in many of Vandyke’s portraits, particularly of ladies, many of whom are dressed in black velvet; and this remark will in some measure account for the delicate fairness which @@ -13505,7 +13379,7 @@ he frequently gives to the female complexion.</p> </div> <div class="footnote"> -<p><a name="Footnote_70_280" id="Footnote_70_280"></a><a href="#FNanchor_70_280"> +<p><a id="Footnote_70_280"></a><a href="#FNanchor_70_280"> <span class="label">[70]</span></a> These propositions, any more than the others mentioned in different parts of this work, were never digested into a regular treatise, as was evidently intended by the author, and consequently are @@ -13514,54 +13388,54 @@ manuscript collections.</p> </div> <div class="footnote"> -<p><a name="Footnote_71_281" id="Footnote_71_281"></a><a href="#FNanchor_71_281"> +<p><a id="Footnote_71_281"></a><a href="#FNanchor_71_281"> <span class="label">[71]</span></a> See chap. ccxciii. cccvii. cccviii.</p> </div> <div class="footnote"> -<p><a name="Footnote_72_282" id="Footnote_72_282"></a><a href="#FNanchor_72_282"> +<p><a id="Footnote_72_282"></a><a href="#FNanchor_72_282"> <span class="label">[72]</span></a> See chap. cclxxxvii.</p> </div> <div class="footnote"> -<p><a name="Footnote_73_283" id="Footnote_73_283"></a><a href="#FNanchor_73_283"> +<p><a id="Footnote_73_283"></a><a href="#FNanchor_73_283"> <span class="label">[73]</span></a> This book on perspective was never drawn up.</p> </div> <div class="footnote"> -<p><a name="Footnote_74_284" id="Footnote_74_284"></a><a href="#FNanchor_74_284"> +<p><a id="Footnote_74_284"></a><a href="#FNanchor_74_284"> <span class="label">[74]</span></a> See chap. ccxcii.</p> </div> <div class="footnote"> -<p><a name="Footnote_75_285" id="Footnote_75_285"></a><a href="#FNanchor_75_285"> +<p><a id="Footnote_75_285"></a><a href="#FNanchor_75_285"> <span class="label">[75]</span></a> See chap. ccxii. ccxlviii. cclv.</p> </div> <div class="footnote"> -<p><a name="Footnote_76_286" id="Footnote_76_286"></a><a href="#FNanchor_76_286"> +<p><a id="Footnote_76_286"></a><a href="#FNanchor_76_286"> <span class="label">[76]</span></a> There is no work of this author to which this can at present refer, but the principle is laid down in chapters cclxxxiv. cccvi. of the present treatise.</p> </div> <div class="footnote"> -<p><a name="Footnote_77_287" id="Footnote_77_287"></a><a href="#FNanchor_77_287"> +<p><a id="Footnote_77_287"></a><a href="#FNanchor_77_287"> <span class="label">[77]</span></a> See chapters cccvii. cccxxii.</p> </div> <div class="footnote"> -<p><a name="Footnote_78_288" id="Footnote_78_288"></a><a href="#FNanchor_78_288"> +<p><a id="Footnote_78_288"></a><a href="#FNanchor_78_288"> <span class="label">[78]</span></a> See chap. cxvi. cxxi. cccv.</p> </div> <div class="footnote"> -<p><a name="Footnote_79_289" id="Footnote_79_289"></a><a href="#FNanchor_79_289"> +<p><a id="Footnote_79_289"></a><a href="#FNanchor_79_289"> <span class="label">[79]</span></a> See chap. cccxiii. and cccxxiii.</p> </div> <div class="footnote"> -<p><a name="Footnote_80_290" id="Footnote_80_290"></a><a href="#FNanchor_80_290"> +<p><a id="Footnote_80_290"></a><a href="#FNanchor_80_290"> <span class="label">[80]</span></a> To our obtaining a correct idea of the magnitude and distance of any object seen from afar, it is necessary that we consider how much of distinctness an object loses at a distance (from the mere @@ -13582,63 +13456,63 @@ and consequently imagines it larger.</p> </div> <div class="footnote"> -<p><a name="Footnote_81_291" id="Footnote_81_291"></a><a href="#FNanchor_81_291"> +<p><a id="Footnote_81_291"></a><a href="#FNanchor_81_291"> <span class="label">[81]</span></a> This proposition, though undoubtedly intended to form a part of some future work, which never was drawn up, makes no part of the present.</p> </div> <div class="footnote"> -<p><a name="Footnote_82_292" id="Footnote_82_292"></a><a href="#FNanchor_82_292"> +<p><a id="Footnote_82_292"></a><a href="#FNanchor_82_292"> <span class="label">[82]</span></a> See chap. cccvii.</p> </div> <div class="footnote"> -<p><a name="Footnote_83_293" id="Footnote_83_293"></a><a href="#FNanchor_83_293"> +<p><a id="Footnote_83_293"></a><a href="#FNanchor_83_293"> <span class="label">[83]</span></a> Vide chap. ccxcii. ccciii.</p> </div> <div class="footnote"> -<p><a name="Footnote_84_294" id="Footnote_84_294"></a><a href="#FNanchor_84_294"> +<p><a id="Footnote_84_294"></a><a href="#FNanchor_84_294"> <span class="label">[84]</span></a> See chapter ccxcviii.</p> </div> <div class="footnote"> -<p><a name="Footnote_85_295" id="Footnote_85_295"></a><a href="#FNanchor_85_295"> +<p><a id="Footnote_85_295"></a><a href="#FNanchor_85_295"> <span class="label">[85]</span></a> This was probably to have been a part of some other work, but it does not occur in this.</p> </div> <div class="footnote"> -<p><a name="Footnote_86_296" id="Footnote_86_296"></a><a href="#FNanchor_86_296"> +<p><a id="Footnote_86_296"></a><a href="#FNanchor_86_296"> <span class="label">[86]</span></a> Cento braccia, or cubits. The Florence braccio is one foot ten inches seven eighths, English measure.</p> </div> <div class="footnote"> -<p><a name="Footnote_87_297" id="Footnote_87_297"></a><a href="#FNanchor_87_297"> +<p><a id="Footnote_87_297"></a><a href="#FNanchor_87_297"> <span class="label">[87]</span></a> Probably the Author here means yellow lilies, or fleurs de lis.</p> </div> <div class="footnote"> -<p><a name="Footnote_88_298" id="Footnote_88_298"></a><a href="#FNanchor_88_298"> +<p><a id="Footnote_88_298"></a><a href="#FNanchor_88_298"> <span class="label">[88]</span></a> That point is always found in the horizon, and is called the point of sight, or the vanishing point.</p> </div> <div class="footnote"> -<p><a name="Footnote_89_299" id="Footnote_89_299"></a><a href="#FNanchor_89_299"> +<p><a id="Footnote_89_299"></a><a href="#FNanchor_89_299"> <span class="label">[89]</span></a> See chap. cccxx.</p> </div> <div class="footnote"> -<p><a name="Footnote_90_300" id="Footnote_90_300"></a><a href="#FNanchor_90_300"> +<p><a id="Footnote_90_300"></a><a href="#FNanchor_90_300"> <span class="label">[90]</span></a> See chap. cccxvii.</p> </div> <div class="footnote"> -<p><a name="Footnote_91_301" id="Footnote_91_301"></a><a href="#FNanchor_91_301"> +<p><a id="Footnote_91_301"></a><a href="#FNanchor_91_301"> <span class="label">[91]</span></a> This position has been already laid down in chapter cxxiv. (and will also be found in chapter cccxlviii.); and the reader is referred to the note on that passage, which will also explain that @@ -13652,24 +13526,24 @@ different, and will consequently form different angles.</p> </div> <div class="footnote"> -<p><a name="Footnote_92_302" id="Footnote_92_302"></a><a href="#FNanchor_92_302"> +<p><a id="Footnote_92_302"></a><a href="#FNanchor_92_302"> <span class="label">[92]</span></a> The braccio is one foot ten inches and seven eighths English measure.</p> </div> <div class="footnote"> -<p><a name="Footnote_93_303" id="Footnote_93_303"></a><a href="#FNanchor_93_303"> +<p><a id="Footnote_93_303"></a><a href="#FNanchor_93_303"> <span class="label">[93]</span></a> i.e. To be abridged according to the rules of perspective.</p> </div> <div class="footnote"> -<p><a name="Footnote_94_304" id="Footnote_94_304"></a><a href="#FNanchor_94_304"> +<p><a id="Footnote_94_304"></a><a href="#FNanchor_94_304"> <span class="label">[94]</span></a> See chap. cxxii.</p> </div> <div class="footnote"> -<p><a name="Footnote_95_305" id="Footnote_95_305"></a><a href="#FNanchor_95_305"> +<p><a id="Footnote_95_305"></a><a href="#FNanchor_95_305"> <span class="label">[95]</span></a> The whole of this chapter, like the next but one preceding, depends on the circumstance of there being in fact two points of sight, one in the centre of each eye, when an object is viewed @@ -13686,35 +13560,35 @@ acquire a sight of any thing beyond.</p> </div> <div class="footnote"> -<p><a name="Footnote_96_306" id="Footnote_96_306"></a><a href="#FNanchor_96_306"> +<p><a id="Footnote_96_306"></a><a href="#FNanchor_96_306"> <span class="label">[96]</span></a> A well-known painter at Florence, contemporary with Leonardo da Vinci, who painted several altar-pieces and other public works.</p> </div> <div class="footnote"> -<p><a name="Footnote_97_307" id="Footnote_97_307"></a><a href="#FNanchor_97_307"> +<p><a id="Footnote_97_307"></a><a href="#FNanchor_97_307"> <span class="label">[97]</span></a> See chap. cxxiv. and cccxlviii.</p> </div> <div class="footnote"> -<p><a name="Footnote_98_308" id="Footnote_98_308"></a><a href="#FNanchor_98_308"> +<p><a id="Footnote_98_308"></a><a href="#FNanchor_98_308"> <span class="label">[98]</span></a> See chap. x.</p> </div> <div class="footnote"> -<p><a name="Footnote_99_309" id="Footnote_99_309"></a><a href="#FNanchor_99_309"> +<p><a id="Footnote_99_309"></a><a href="#FNanchor_99_309"> <span class="label">[99]</span></a> See chap. cci.</p> </div> <div class="footnote"> -<p><a name="Footnote_100_310" id="Footnote_100_310"></a><a href="#FNanchor_100_310"> +<p><a id="Footnote_100_310"></a><a href="#FNanchor_100_310"> <span class="label">[100]</span></a> Leonardo da Vinci was remarkably fond of this kind of invention, and is accused of having lost a great deal of time that way.</p> </div> <div class="footnote"> -<p><a name="Footnote_101_311" id="Footnote_101_311"></a><a href="#FNanchor_101_311"> +<p><a id="Footnote_101_311"></a><a href="#FNanchor_101_311"> <span class="label">[101]</span></a> The method here recommended, was the general and common practice at that time, and continued so with little, if any variation, till lately. But about thirty years ago, the late Mr. Bacon invented @@ -13723,7 +13597,7 @@ constantly used, and from him others have also adopted it into practice.</p> </div> <div class="footnote"> -<p><a name="Footnote_102_312" id="Footnote_102_312"></a><a href="#FNanchor_102_312"> +<p><a id="Footnote_102_312"></a><a href="#FNanchor_102_312"> <span class="label">[102]</span></a> This may be a good method of dividing the figure for the purpose of reducing from large to small, or <i>vice versâ</i>; but it not being the method generally used by the painters for measuring their @@ -13755,16 +13629,16 @@ text, however, are shown as plain Arabic numerals ([1]–[102]).</p> <p> # p. <a href="#Page_xviii">xviii</a>: ‘overspead’ → ‘overspread’; -‘Vincius ast oculis’ → ‘Vincius est oculis’<br /> -# p. <a href="#Page_lxxxiii">lxiii</a>: ‘Vasari, 36, ’ → ‘Vasari, p. 36,’<br /> -# p. <a href="#Page_lxxxv">lxxxv</a>: ‘Maestrodi’ → ‘Maestro di’<br /> -# p. <a href="#Page_xcii">xcii</a>: ‘Fontainbleau’ → ‘Fontainebleau’<br /> -# p. <a href="#Page_22">22</a>: Plate 2: original caption points to page 2; corrected to page 22.<br /> -# p. <a href="#Page_37">37</a>: ‘pully’ → ‘pulley’<br /> -# p. <a href="#Page_117">117</a>: ‘andso’ → ‘and so’<br /> -# p. <a href="#Page_156">156</a>: ‘A B E D’ → ‘C B E D’<br /> -# p. <a href="#Page_181">181</a>: ‘that that’ → ‘than that’<br /> -# Footnote <a href="#Footnote_62_272">62</a>: ‘tranferred’ → ‘transferred’<br /> +‘Vincius ast oculis’ → ‘Vincius est oculis’<br > +# p. <a href="#Page_lxxxiii">lxiii</a>: ‘Vasari, 36, ’ → ‘Vasari, p. 36,’<br > +# p. <a href="#Page_lxxxv">lxxxv</a>: ‘Maestrodi’ → ‘Maestro di’<br > +# p. <a href="#Page_xcii">xcii</a>: ‘Fontainbleau’ → ‘Fontainebleau’<br > +# p. <a href="#Page_22">22</a>: Plate 2: original caption points to page 2; corrected to page 22.<br > +# p. <a href="#Page_37">37</a>: ‘pully’ → ‘pulley’<br > +# p. <a href="#Page_117">117</a>: ‘andso’ → ‘and so’<br > +# p. <a href="#Page_156">156</a>: ‘A B E D’ → ‘C B E D’<br > +# p. <a href="#Page_181">181</a>: ‘that that’ → ‘than that’<br > +# Footnote <a href="#Footnote_62_272">62</a>: ‘tranferred’ → ‘transferred’<br > </p> <p>The Table of Chapters has been moved to the beginning of the text for diff --git a/LICENSE.txt b/LICENSE.txt index 6312041..b5dba15 100644 --- a/LICENSE.txt +++ b/LICENSE.txt @@ -1,4 +1,4 @@ -This eBook, including all associated images, markup, improvements, +This book, including all associated images, markup, improvements, metadata, and any other content or labor, has been confirmed to be in the PUBLIC DOMAIN IN THE UNITED STATES. @@ -7,5 +7,5 @@ the "Copyright How-To" at https://www.gutenberg.org. No investigation has been made concerning possible copyrights in jurisdictions other than the United States. Anyone seeking to utilize -this eBook outside of the United States should confirm copyright +this book outside of the United States should confirm copyright status under the laws that apply to them. @@ -1,2 +1,2 @@ Project Gutenberg (https://www.gutenberg.org) public repository for -eBook #46915 (https://www.gutenberg.org/ebooks/46915) +book #46915 (https://www.gutenberg.org/ebooks/46915) |