The Idea of this Beauty , is indeed various , according to the several forms which the Painter or Sculptour wou'd describe : As one in Strength , another in Magnanimity ; and sometimes it consists in Chearfulness , and sometimes in Delicacy ; and is always diversify'd by the Sex and Age.

The Beauty of Jove is one , and that of Juno another : Hercules , and Cupid are perfect Beauties , though of different kinds ; for Beauty is onely that which makes all things as they are in their proper and perfect Nature ; which the best Painters always choose by contemplating the Forms of each . We ought farther to consider , that a Picture being the representation of a humane action , the Painter ought to retain in his mind , the Examples of all Affections , and Passions , as a Poet preserves the Idea of an Angry man , of one who is fearfull , sad or merry , and so of all the rest . For 't is impossible to express that with the Hand , which never enter'd into the Imagination . In this manner as I have rudely and briefly shewn you , Painters and Sculptours , choosing the most elegant natural Beauties , perfectionate the Idea , and advance their Art , even above Nature it self , in her individual productions , which is the utmost mastery of humane performance .

From hence arises that astonishment , and almost adoration which is paid by the Knowing to those divine remainders of Antiquity . From hence Phydias , Lysippus , and other noble Sculptours , are still held in veneration ; and Apelles , Zeuxis , Protogenes , and other admirable Painters , though their Works are perish'd , are and will be eternally admir'd ; who all of them drew after the Idea's of Perfection ; which are the Miracles of Nature , the Providence of the Understanding , the Exemplars of the Mind , the Light of the Fancy ; the Sun which from its rising , inspir'd the Statue of Memnon , and the fire which warm'd into life the Image of Prometheus : 'T is this which causes the Graces , and the Loves to take up their habitations in the hardest Marble , and to subsist in the emptiness of Light , and Shadows . But since the Idea of Eloquence is as far inferiour to that of Painting , as the force of Words is to the Sight ; I must here break off abruptly , and having conducted the Reader as it were to a secret Walk , there leave him in the midst of Silence to contemplate those Idea's ; which I have onely sketch'd , and which every man must finish for himself .

In these pompous Expressions , or such as these the Italian has given you his Idea of a Painter ; and though I cannot much commend the Style , I must needs say there is somewhat in the Matter : Plato himself is accustom'd to write loftily , imitating , as the Critiques tell us , the manner of Homer ; but surely that inimitable Poet , had not so much of Smoke in his writing , though not less of Fire . But in short , this is the present Genius of Italy . What Philostratus tells us in the Proem of his Figures is somewhat plainer ; and therefore I will translate it almost word for word . " He who will rightly govern the Art of Painting , ought of necessity first to understand Humane Nature . He ought likewise to be endued with a Genius to express the signs of their Passions whom he represents ; and to make the dumb as it were to speak : He must yet further understand what is contain'd in the constitution of the Cheeks , in the temperament of the Eyes , in the naturalness ( if I may so call it ) of the Eye-brows : and in short whatsoever belongs to the Mind and Thought . He who throughly possesses all these things will obtain the whole . And the Hand will exquisitely represent the action of every particular person . If it happen that he be either mad , or angry , melancholique , or chearfull , a sprightly Youth , or a languishing Lover ; in one word , he will be able to paint whatsoever is proportionable to any one . And even in all this there is a sweet errour without causing any shame . For the Eyes and Minds of the beholders being fasten'd on Objects which have no real Being , as if they were truly Existent , and being induc'd by them to believe them so , what pleasure is it not capable of giving ? The Ancients , and other Wise Men , have written many things concerning the Symmetry which is in the Art of Painting ; constituting as it were some certain Laws for the proportion of every Member , not thinking it possible for a Painter to undertake the expression of those motions which are in the Mind , without a concurrent Harmony in the natural measure . For that which is out of its own kind and measure , is not receiv'd from Nature , whose motion is always right . On a serious consideration of this matter it will be found , That the Art of Painting has a wonderfull affinity with that of Poetry ; and that there is betwixt them a certain common Imagination . For as the Poets introduc●● the Gods and Heroes , and all those things which are either Majestical , Honest or Delightfull , in like manner the Painters , by the virtue of their Out-lines , Colours , Lights and Shadows , represent the same Things and Persons in their Pictures . "

Thus , as Convoy Ships either accompany , or shou'd accompany their Merchants till they may prosecute the rest of their Voyage without danger , so Philostratus has brought me thus far on my way , and I can now sail on without him . He has begun to speak of the great relation betwixt Painting and Poetry , and thither the greatest part of this Discourse by my promise was directed . I have not ingag'd my self to any perfect Method , neither am I loaded with a full Cargo . 'T is sufficient if I bring a Sample of some Goods in this Voyage . It will be easie for others to add more when the Commerce is settled . For a Treatise twice as large as this of Painting cou'd not contain all that might be said on the Parallel of these two Sister Arts. I will take my rise from Bellori before I proceed to the Authour of this Book .

The business of his Preface is to prove , that a learned Painter shou'd form to himself an Idea of perfect Nature . This Image he is to set before his Mind in all his Undertakings , and to draw from thence as from a Store-house , the Beauties which are to enter into his Work ; thereby correcting Nature from what actually she is in individuals , to what she ought to be , and what she was created . Now as this Idea of Perfection is of little use in Portraits ( or the resemblances of particular persons ) so neither is it in the Characters of Comedy , and Tragedy ; which are never to be made perfect , but always to be drawn with some specks of frailty and deficience ; such as they have been described to us in History , if they were real Characters ; or such as the Poet began to shew them at their first appearance , if they were onely fictitious , ( or imaginary . ) The perfection of such Stage-characters consists chiefly in their likeness to the deficient faulty Nature , which is their Original . Onely , as it is observ'd more at large hereafter , in such cases●● there will always be found a better likeness , and a worse ; and the better is constantly to be chosen : I mean in Tragedy , which represents the Figures of the highest form amongst Mankind . Thus in Portraits , the Painter will not take that side of the Face which has some notorious blemish in it ; but either draw it in profile ( as Apelles did Antigonus , who had lost one of his Eyes ) or else shadow the more imperfect side . For an ingenious flattery is to be allow'd to the Professours of both Arts ; so long as the likeness is not destroy'd . 'T is true that all manner of Imperfections must not be taken away from the Characters , and the reason is , that there may be left some grounds of pity for their misfortunes . We can never be griev'd for their miseries who are thoroughly wicked , and have thereby justly call'd their calamities on themselves . Such Men are the natural Objects of our hatred , not of our commiseration . If on the other side their Characters were wholly perfect , ( such as for Example , the Character of a Saint or Martyr in a Play , ) his , or her misfortunes , wou'd produce impious thoughts in the Beholders : they wou'd accuse the Heavens of injustice , and think of leaving a Religion , where Piety was so ill requited . I say the greater part wou'd be tempted so to do , I say not that they ought : and the consequence is too dangerous for the practice . In this I have accus'd my self for my own St. Catharine , but let truth prevail . Sophocles has taken the just medium in his Oedipus . He is somewhat arrogant at his first entrance ; and is too inquisitive through the whole Tragedy : Yet these Imperfections being balanc'd by great Vertues , they hinder not our compassion for his miseries ; neither yet can they destroy that horrour which the nature of his Crimes have excited in us . Such in Painting are the Warts and Moles , which adding a likeness to the Face , are not therefore to be omitted . But these produce no loathing in us . But how far to proceed , and where to stop , is left to the judgment of the Poet and the Painter . In Comedy there is somewhat more of the worse likeness to be taken . Because that is often to produce laughter ; which is occasion'd by the sight of some deformity : but for this I referr the Reader to Aristotle . 'T is a sharp manner of Instruction for the Vulgar who are never well amended , till they are more than sufficiently expos'd . That I may return to the beginning of this Remark , concerning perfect Idea's , I have onely this to say , that the Parallel is often true in Epique-Poetry .

The Heroes of the Poets are to be drawn according to this Rule . There is scarce a frailty to be left in the best of them ; any more than is to be found in a Divine Nature . And if Aeneas sometimes weeps , it is not in bemoaning his own miseries , but those which his people undergo . If this be an Imperfection , the Son of God when he was incarnate shed tears of Compassion over Ierusalem . And Lentulus describes him often weeping , but never laughing ; so that Virgil is justify'd even from the Holy Scriptures . I have but one word more , which for once I will anticipate from the Authour of this Book . Though it must be an Idea of Perfection , from which both the Epique Poet , and the History Painter draws ; yet all Perfections are not suitable to all Subjects : But every one must be design'd according to that perfect Beauty which is proper to him . An Apollo must be distinguish'd from a Iupiter , a Pallas from a Venus : and so in Poetry an Aeneas from any other Heroe : for Piety is his chief Perfection . Homer's Achilles is a kind of Exception to this Rule : but then he is not a perfect Heroe , nor so intended by the Poet. All his Gods had somewhat of humane imperfection ; for which he has been tax'd by Plato , as an Imitatour of what was bad . But Virgil observ'd his fault , and mended it . Yet Achilles was perfect in the strength of his Body , and the vigour of his Mind . Had he been less passionate , or less revengefull , the Poet well foresaw that Hector had been kill'd , and Troy taken at the first assault ; which had destroy'd the beautifull contrivance of his Iliads , and the moral of preventing Discord amongst Confederate Princes , which was his principal intention . For the Moral ( as Bossu observes ) is the first business of the Poet , as being the ground-work of his Instruction . This being form'd , he contrives such a Design , or Fable , as may be most suitable to the Moral . After this he begins to think of the Persons , whom he is to employ in carrying on his Design : and gives them the Manners , which are most proper to their several Characters . The thoughts and words are the last parts , which give Beauty and Colouring to the Piece . When I say , that the Manners of the Heroe ought to be good in perfection , I contradict not the Marquess of Normanby's opinion , in that admirable Verse , where speaking of a perfect Character , he calls it A Faultless Monster , which the World ne'er knew . For that Excellent Critique , intended onely to speak of Dramatique Characters , and not of Epique . Thus at lea●●t I have shewn , that in the most perfect Poem , which is that of Virgil , a perfect Idea was requir'd , and follow'd . And consequently that all succeeding Poets ought rather to imitate him , than even Homer . I will now proceed as I promis'd , to the Authour of this Book . He tells you almost in the first lines of it , that the chief end of Painting is to please the Eyes : and 't is one great End of Poetry to please the Mind . Thus far the Parallel of the Arts holds true : with this difference , That the Principal end of Painting is to please ; and the chief design of Poetry is to instruct . In this the latter seems to have the advantage of the former . But if we consider the Artists themselves on both sides , certainly their aims are the very same : they wou'd both make sure of pleasing , and that in preference to instruction . Next , the means of this pleasure is by Deceipt . One imposes on the Sight , and the other on the Understanding . Fiction is of the Essence of Poetry as well as of Painting ; there is a resemblance in one , of Humane Bodies , Things and Actions which are not real , and in the other , of a true Story by a Fiction . And as all Stories are not proper Subjects for an Epique Poem , or a Tragedy , so neither are they for a noble Picture . The Subjects both of the one , and of the other , ought to have nothing of immoral , low , or filthy in them ; but this being treated at large in the Book itself , I wave it to avoid repetition . Onely I must add , that though●● Catullus , Ovid and others were of another opinion , that the Subject of Poets , and even their thoughts and expressions might be loose , provided their lives were chast and holy , yet there are no such licences permitted in that Art any more than in Painting , to design and colour obscene Nudities . Vita proba est , is no excuse , for it will scarcely be admitted , that either a Poet or a Painter can be chast , who give us the contrary examples in their Writings and their Pictures . We see nothing of this kind in Virgil : that which comes the nearest to it , is the adventure of the Cave , where Dido and Aeneas were driven by the Storm : Yet even there the Poet pretends a Marriage before the Consummation ; and Iuno her self was present at it . Neither is there any expression in that Story , which a Roman Matron might not reade without a blush . Besides the Poet passes it over as hastily as he can , as if he were afraid of staying in the Cave with the two Lovers , and of being a witness to their Actions . Now I suppose that a Painter wou'd not be much commended , who shou'd pick out this Cavern from the whole Eneids , when there is not another in the Work . He had better leave them in their obscurity , than let in a flash of Lightning to clear the natural darkness of the place , by which he must discover himself as much as them . The Altar-Pieces , and holy Decorations of Painting , show that Art may be apply'd to better uses , as well as Poetry .

And amongst many other instances , the Farnesian Gallery , painted by Hannibal Carracci , is a sufficient witness yet remaining : the whole Work being morally instructive , and particularly the Herculis Bivium , which is a perfect Triumph of Vertue over Vice , as it is wonderfully well describ'd by the ingenious Bellori .

Hitherto I have onely told the Reader what ought not to be the subject of a Picture or of a Poem : what it ought to be on either side ; our Author tells us : it must in general be great and noble : and in this , the Parallel is exactly true . The subject of a Poet either in Tragedy or in an Epique Poem is a great action of some illustrious Hero . 'T is the same in Painting ; not every action , nor every person is considerable enough to enter into the Cloth . It must be the Anger of an Achilles , the Piety of an Aeneas , the Sacrifice of an Iphigenia ( for Heroins as well as Heroes are comprehended in the Rule ; ) but the Parallel is more compleat in Tragedy , than in an Epique Poem . For as a Tragedy may be made out of many particular Episodes of Homer or of Virgil , so may a noble Picture be design'd out of this or that particular Story in either Author . History is also fruitfull of designs both for the Painter and the Tragique Poet : Curtius throwing himself into a Gulph , and the two Decii sacrificing themselves for the safety of their Country , are subjects for Tragedy and Picture . Such is Scipio restoring the Spanish Bride , whom he either lov'd or may be supsos'd to love , by which he gain'd the Hearts of a great Nation , to interess themselves for Rome against Carthage : These are all but particular Pieces in Livy's History ; and yet are full compleat Subjects for the Pen and Pencil . Now the reason of this is evident . Tragedy and Picture are more narrowly circumscrib'd by the Mechanick Rules of Time and Place than the Epique Poem . The time of this last is left indefinite . 'T is true , Homer took up onely the space of eight and forty days for his Iliads ; but whether Virgil's action was comprehended in a year or somewhat more , is not determin'd by Bossu . Homer made the place of his action Troy , and the Grecian Camp besieging it . Virgil introduces his Aeneas , sometimes in Sicily , sometimes in Carthage , and other times at Cumae , before he brings him to Laurentum ; and even after that , he wanders again to the Kingdom of Evander and some parts of Tuscany , before he returns to finish the War by the death of Turnus . But Tragedy according to the Practice of the Ancients , was always confin'd within the compass of 24 hours , and seldom takes up so much time . As for the place of it , it was always one , and that not in a larger Sence ; as for example , A whole City or two or three several Houses in it ; but the Market or some other publick place , common to the Chorus and all the Actours . Which establish'd Law of theirs , I have not an opportunity to examine in this place , because I cannot do it without digression from my subject , though it seems too strict at the first appearance because it excludes all secret Intrigues , which are the Beauties of the modern Stage : for nothing can be carry'd on with Privacy , when the Chorus is suppos'd to be always present . But to proceed , I must say this to the advantage of Painting , even above Tragedy , that what this last represents in the space of many Hours , the former shows us in one Moment . The Action , the Passion , and the manners of so many Persons as are contain'd in a Picture , are to be discern'd at once , in the twinkling of an Eye ; at least they would be so , if the Sight could travel over so many different Objects all at once , or the Mind could digest them all at the same instant or point of time . Thus in the famous Picture of Poussin , which represents the Institution of the Blessed Sacrament , you see our Saviour and his twelve Disciples , all concurring in the same action , after different manners , and in different postures , onely the manners of Iudas are distinguish'd from the rest . Here is but one indivisible point of time observ'd : but one action perform'd by so many Persons , in one Room and at the same Table : yet the Eye cannot comprehend at once the whole Object , nor the Mind follow it so fast ; 't is consider'd at leisure , and seen by intervals . Such are the Subjects of Noble Pictures : and such are onely to be undertaken by Noble Hands . There are other parts of Nature , which are meaner , and yet are the Subjects both of Painters , and of Poets .

For to proceed in the Parallel , as Comedy is a representation of Humane Life , in inferiour persons , and low Subjects , and by that means creeps into the nature of Poetry , and is a kind of Iuniper , a Shrub belonging to the species of Cedar , so is the painting of Clowns , the representation of a Dutch Kermis , the brutal sport of Snick or Snee , and a thousand other things of this mean invention , a kind of Picture , which belongs to Nature , but of the lowest form . Such is a Lazar in comparison to a Venus ; both are drawn in Humane Figures : they have Faces alike , though not like Faces . There is yet a lower sort of Poetry and Painting , which is out of Nature . For a Farce is that in Poetry , which Grotesque is in a Picture . The Persons , and Action of a Farce are all unnatural , and the Manners false , that is , inconsisting with the characters of Mankind . Grotesque-painting is the just resemblance of this ; and Horace begins his Art of Poetry by describing such a Figure ; with a Man's Head , a Horse's Neck , the Wings of a Bird , and a Fishes Tail ; parts of different species jumbled together , according to the mad imagination of the Dawber ; and the end of all this , as he tells you afterward , to cause Laughter . A very Monster in a Bartholomew-Fair for the Mob to gape at for their two-pence . Laughter is indeed the propriety of a Man , but just enough to distinguish him from his elder Brother , with four Legs . 'T is a kind of Bastard-pleasure too , taken in at the Eyes of the vulgar gazers , and at the Ears of the beastly Audience . Church-Painters use it to divert the honest Countryman at Publick Prayers , and keep his Eyes open at a heavy Sermon . And Farce-Scriblers make use of the same noble invention to entertain Citizens , Country-Gentlemen , and Covent-Garden Fops . If they are merry , all goes well on the Poet's side . The better sort goe thither too , but in despair of Sense , and the just Images of Nature , which are the adequate pleasures of the Mind . But the Authour can give the Stage no better than what was given him by Nature : and the Actors must represent such things , as they are capable to perform , and by which both they and the Scribbler may get their living . After all , 't is a good thing to laugh at any rate , and if a straw can tickle a man , 't is an instrument of happiness . Beasts can weep when they suffer , but they cannot laugh . And as Sir William Davenant observes in his Preface to Gondibert , 'T is the wisdom of a Government to permit Plays ( he might have added Farces ) as 't is the prudence of a Carter to put Bells upon his Horses , to make them carry their Burthens chearfully .

I have already shewn , that one main end of Poetry and Painting is to please , and have said something of the kinds of both , and of their Subjects , in which they bear a great resemblance to each other . I must now consider them , as they are great and noble Arts ; and as they are Arts , they must have Rules which may direct them to their common end .

To all Arts and Sciences , but more particularly to these may be apply'd what Hippocrates says of Physick , as I find him cited by an eminent French Critique . " Medicine has long subsisted in the World . The Principles of it are certain , and it has a certain way ; by both which there has been found in the course of many Ages , an infinite number of things , the experience of which has confirm'd its usefulness and goodness . All that is wanting to the perfection of this Art , will undoubtedly be found , if able Men , and such as are instructed in the Ancient Rules will make a farther enquiry into it , and endeavour to arrive at that , which is hitherto unknown , by that which is already known . But all , who having rejected the Ancient Rules , and taken the opposite ways , yet boast themselves to be Masters of this Art , do but deceive others , and are themselves deceiv'd ; for that is absolutely impossible . "

This is notoriously true in these two Arts : for the way to please being to imitate Nature ; both the Poets and the Painters , in Ancient times , and in the best Ages , have study'd her : and from the practice of both these Arts , the Rules have been drawn , by which we are instructed how to please , and to compass that end which they obtain'd , by following their Example . For Nature is still the same in all Ages , and can never be contrary to her self . Thus from the practice of Aeschylus , Sophocles , and Euripides , Aristotle drew his Rules for Tragedy ; and Philostratus for Painting . Thus amongst the Moderns , the Italian and French Critiques by studying the Precepts of Aristotle , and Horace , and having the Example of the Grecian Poets before their Eyes , have given us the Rules of Modern Tragedy : and thus the Critiques of the same Countries , in the Art of Painting have given the Precepts of perfecting that Art . 'T is true that Poetry has one advantage over Painting in these last Ages , that we have still the remaining Examples both of the Greek and Latine Poets : whereas the Painters have nothing left them from Apelles , Protogenes , Parrhasius , Xeuxis and the rest , but onely the testimonies which are given of their incomparable Works . But instead of this , they have some of their best Statues , Bass-Relievo's , Columns , Obilisques , &c. which were sav'd out of the common ruine , and are still preserv'd in Italy : and by well distinguishing what is proper to Sculpture , and what to Painting , and what is common to them both , they have judiciously repair'd that loss . And the great Genius of Raphael , and others , having succeeded to the times of Barbarism and Ignorance , the knowledge of Painting is now arriv'd to a supreme perfection , though the performance of it is much declin'd in the present Age. The greatest Age for Poetry amongst the Romans was certainly that of Augustus Caesar ; and yet we are told that Painting was then at its lowest Ebb , and perhaps Sculpture was also declining at the same time . In the Reign of Domitian , and some who succeeded him , Poetry was but meanly cultivated , but Painting eminently flourish'd . I am not here to give the History of the two Arts ; how they were both in a manner extinguish'd , by the Irruption of the barbarous Nations , and both restor'd about the times of Leo the Tenth , Charles the Fifth , and Francis the First ; though I might observe , that neither Ariosto , nor any of his Contemporary Poets ever arriv'd at the Excellency of Raphael , Titian , and the rest in Painting . But in revenge at this time , or lately in many Countries , Poetry is better practis'd than her Sister-Art . To what height the Magnificence and Encouragement of the present King of France may carry Painting and Sculpture is uncertain , but by what he has done , before the War in which he is ingag'd , we may expect what he will do after the happy Conclusion of a Peace , which is the Prayer and Wish of all those who have not an interest to prolong the miseries of Europe . For'tis most certain , as our Author amongst others has observ'd , That Reward is the Spur of Vertue , as well in all good Arts , as in all laudable Attempts : and Emulation which is the other Spur , will never be wanting either amongst Poets or Painters , when particular Rewards and Prizes are propos'd to the best deservers . But to return from this digression , though it was almost necessary ; all the Rules of Painting are methodically , concisely , and yet clearly deliver'd in this present Treatise which I have translated . Bossu has not given more exact Rules for the Epique Poem , nor Dacier for Tragedy in his late excellent Translation of Aristotle and his notes upon him , than our Fresnoy has made for Painting ; with the Parallel of which I must resume my Discourse , following my Author's Text , though with more brevity than I intended , because Virgil calls me . The principal and most important parts of Painting , is to know what is most beautifull in Nature , and most proper for that Art : that which is the most beautifull is the most noble Subject : so in Poetry , Tragedy is more beautifull than Comedy ; because , as I said , the Persons are greater whom the Poet instructs , and consequently the instructions of more benefit to Mankind : the action is likewise greater and more noble , and thence is deriv'd the greater and more noble Pleasure .