Although complete in text and illustrations, this book is not an exact pdf reproduction of
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| Note to the reader: Although complete in text and illustrations, this book is not an exact PDF reproduction of A Treastise on the Art of Painting in All its Branches published in English 1817 but an OCR'd version in WORD document format which makes it searchable and far easier to consult than the cumbersome original. The reader should be aware, however, that even the best OCR program produces literally thousands of misspelled words, wrongly inserted characters when the original PDF document presents, as in the present case, such significant variences in font clarity and horizontal alignment. The author has proof read the text to the best of his ability although such a large document is a serious challenge to those like myself who do not possess professional editing skills. All attempts were made to preserve the formatting and spelling of the original as as closely as possible. Even though this WORD version may present occasional spelling or puncttuation errors as well as a few jumbled words, de Lairesse’s treastise is of such cultural importance, that despite occasional imperfections, it can be of great help to anyone who wishes to familiarize himself with seventeenth-century painting concepts as well as the cultural mindset of the history painters of the time. De Lairesse’s work constitutes the most complete seventeenth-century painting treatise of its kind. If one wishes resolve eventual questions of transcription errors or use this book for scholarly research and citation, it is best to consult the original version, available online at: https://play.google.com/books/reader?id=TffVAAAAMAAJ&printsec=frontcover&output=reader&authuser=0&hl=it&pg=GBS.PP16 or http://ia700506.us.archive.org/7/items/treatiseonartofp01lair/treatiseonartofp01lair.pdf The Table of Contents display the original pages numbers or each chapter so that thereader mae consult the original version if he needs to verify text accuracy. Please feel free to notify me with any observations or corrections, I will be only be too glad to improve the quality of the transcription, formatting or illustrations. Jonathan Janson <jonathanjanson@essentialvermeer.com> A TREASTISE ON THE A R T O F P A I N T I N G IN ALL ITS BRANCHES ACCOMPANIED BY SEVENTY ENGRAVED PLATES AND EXEMPLIFIED BY REMARKDS ON THE PAINTINGS OF THE BEST MASTERS, IULLUSTRATING THE SUBJECT BY REFERENCE TO THEIR BEAUTIES AND IMPREFECTIONS BY GERARD DE LAIRESSE REVISED, CORRECTED, AND ACCOMPANIED BY AND ESSAY, W. M. CRAIG PAINTER TO HER MAJESTY AND DUKE AND DUCHESS OF YORK LONDON PUBLISHED AND SOLD BY EDWARD ORME, PUBLISER TO HIS MAJESTY AND HIS ROYAL HIGHNESS THE PRINCE REGENT BOND STREET, CORNER OF BROOK STREET. 1817 CONTENTS PENCILLING, SECOND TINT, AND BEAUTY. CHAP. I. Of Handling the Pencil 1 CHAP. II. Of Painting after the Life 3 CHAP. III. Of Dead Colouring, and how to perform it with Certainty and Expedition 5 CHAP. IV. Of the Second Colouring, and its Requisites 6 CHAP. V. Of Retouching, or Finishing ib. CHAP. VI. Of the Second Tint, and the Relief it occasions 7 CHAP. VII. Of Beauty, and the Proportions of the Members in the Human Body 11 CHAP. VIII. Of the Motion of the Members 16 CHAP. IX. Of Passionate and Violent Motions 19 CHAP. X. Of the different Colouring of the Naked, in a Child, Man, and Woman; in Health, Sickness, and after Death 21 CHAP. XI. Of the Colours, and their Uses, with respect to both the Sexes 23 CHAP. XII. Of agreeable and beautiful Colouring 25 BOOK II. OF ORDONNANCE, OR COMPOSITION. CHAP. I. Of the Qualities necessary to the first Idea, or Sketch 27 CHAP. II. Of` Composition 28 CHAP. III. Of` the Ordonnance of Histories 29 CHAP. IV. Of the Uses of fine Prints, Academy Figures, and Models 31 CHAP. V. Of` Probability; and what is Painter-like in a Composition of few or many Figures 33 CHAP. VI. Of the Difference between Youth and Age, in both Sexes 38 CHAP. VII. Of the Property and Choice in the Motion of the Members, in order to express the Passions 41 CHAP. VIII. Of the issue, or result of Thoughts, touching Histories 46 CHAP IX. Remarks on some Mistakes in Historical Compositions 51 CHAP. X. Of Richness and Probability in History 56 CHAP. XI. Of the Ordonnance of Hieroglyphic Figures 61 CHAP. XII. Of the Order, or Succession of the Motions proceeding from the Passions 64 CHAP. XIII. Of Use and Abuse in Painting 70 CHAP. XIV. Of particular Inclination for one Branch, whether Figures, Landscapes, Buildings, Seas, Flowers 72 CHAP. XV. Of the four Sorts of Pictures; or Compositions; what they are 76 CHAP. XVI. Of the Uses of Ovid’s Metamorphosis; and what is further necessary to the sketching, and executing a Composition, or Picture 80 CHAP. XVII. Of Rules for the Management of small Figures in a large Compass; and the contrary 85 CHAP. XVIII. Of the Composition of Histories, Portraits, Still-Life, &c. in a small Compass 87 CHAPS XIX. Of the Division of History 90 CHAP. XX. Of the Observables in a Frontispiece ·P1ate 93 CHAP. XXI. Necessary Observations in continuing a History in several Pictures, for Halls, Galleries, &c. 103 BOOK III. OF THINGS ANTIQUE AND MODERN. CHAP. I. The Difference between what is Antique and Modern 108 CHAP. II. Method for representing what is City-like, or elegant Modern 113 CHAP. III. The Nature of City-like Subjects; which daily afford plentiful Materials a Modern Painter 118 CHAP. IV. Continuation of the same 123 CHAP. V. Of Dresses 127 BOOK IV. OF COLOURING. CHAP. I. Of the Colours, and the ordering them 133 CHAP. II. Of the Property, Nature, and Colours of Dresses 140 CHAP. III. Of the Colours of Dresses, and their suiting with each other 143 CHAP. IV. Of the Disposition of shady Objects, either distant or near, against a light Ground 147 CHAP. V. Of the Harmony of Colours 150 CHAP. VI. Of the Disposition of Irregular Objects, and Light against Darkness; and ` the contrary 153 CHAP. VII. Of Agreeableness in Irregular and Contrasting Objects 157 CHAP. VIII. Of strong Objects against faint Grounds, and the contrary; or, Darkness against Light, and Light against Darkness 159 CHAP. IX. Of the painting Objects dustily 161 BOOK V. OF LIGHTS AND SHADES. CHAP. I. Of the different Lights of a Picture 163 CHAP. II. Of the Condition of the Air or Sky 166 CHAP. III. Reflections in the Water 170 CHAP. IV. Of Ground-shades according to the Difference of Light 173 CHAP. V. Of` Reflections in General 174 CHAP. VI. That Sun-shine has no more Force than common Light with respect to Shades 177 CHAP. VII. Of the Ground Shades in Sun-shine 181 CHAP. V1II. How Sun-shine is to be represented in a Picture having a common Light 185 CHAP. IX. That the Shades of Objects in Sun-shine are not more Glowing than in common Light 187 CHAP. X. Of the Difference of Ground-shades, proceeding either from the Sun or Radial Point 189 CHAP. XI. Of the Representation of different Lights in the same Picture 191 CHAP. XII. Curious Observations on Sun-shine 193 CHAP. XIII. Of the Sun’s three Qualities 194 CHAP. XIV. Of the Nature of the Sun, with respect to different Countries 107 CHAP. XV. Of the Sun’s Light upon Objects at rising and setting 199 CHAP. XVI. Of the Application of Sun-shine and other Lights 200 CHAP. XVII. Of the Properties of the Sun and other Lights in their Essential Representations ; and of the chief Times of the Day 203 CHAP. XVIII. Of the Moon and her Representation 206 CHAP. XIX. Of the Effects of Artificial Lights, as of a Torch, Lamp, Candle, or Fire 209 CHAP. XX. Necessary Hints in the Use of Perspective 213 CHAP. XXI. Of the different Colouring in great and small Pieces 216 CHAP. XXII. Of the Difference of Force in large and small Painting; and the Effects of magnifying and diminishing Glasses 217 CHAP. XXIII. An Inquiry into the Difference between a large Landscape ornamented with small Figures, and a small one with large, with respect to the Air; the Day being supposed clear in both 221 CHAP. XXIV. Of the Lights within Doors 225 CHAP. XXV. Of the Application of Lights to the different Species of Histories; with a Table or Ordonnance of all the Lights 227 BOOK VI. OF LANDSCAPES. CHAP. I. Of` Landscapes in general 230 CHAP. II. Of the Light, Form, and grouping of Objects in Landscape 235 CHAP. III. Of the By-ornaments in Landscapes 236 CHAP. IV. Of immoveable Ornaments; Tombs, Houses, &c. 239 CHAP. V. Of beautiful Colouring in Landscapes 241 CHAP. VI. Of the leafing of Trees 243 CHAP. VII. Of the placing and fellowing of Landscapes 244 CHAP. VIII. Of the Lights in a Landscape 216 CHAP. IX. Of Landscapes in a small Compass 249 CHAP. X. Of painting Rooms with Landscape 252 CHAP XI. Of ornamental Painting without-doors 255 CHAP. XII. Pictures or Compositions of Venus and Adonis, for the Embellishment of Landscapes 260 CHAP. XIII. The Fable of Dryope, for the Embellishment of Landscapes 272 CHAP. XIV.-Table of Ordonnance of Erisichton; and the Emblem of a Satyr’s Punishment: both serving for the Embellishment of Landscapes 280 CHAP. XV. Of the Word (Painter-like) 285 CHAP. XVI. Of Painter-like Beauty in the open Air 287 CHAP. XVII. Of Things deformed and broken, falsely called Painter-like 292 BOOK VII. OF PORTRAITURE. CHAP. I. Of Portraits in general 1 CHAP. II. Of the Defects in the Face and other Parts 5 CHAP. III. The Observables in a Portrait, particularly that of a Woman 8 CHAP. IV. Of the Choice of Lights, Draperies, and Grounds in a Portrait; and of the Point of Sight 11 CHAP. V. Of Portraits in Small 16 CHAP. VI. Of the Application of Requisites with respect to the different Conditions of Persons 19 CHAP. VII. Of the suiting of Colours in Draperies 92 CHAP. VIII. Of the Imitation of great Masters in painting Portraits ; and of copying their Pictures in general 23 BOOK VIII. OF ARCHITECTURE. CHAP. I. Of Architecture in general 28 CHAP. II. Of the Rises of the Ornaments, Columns, and their Pedestals 31 CHAP. III. Of the Property of a Building, and Observations thereon 32 CHAP. IV. Of the Matching of the various coloured Marbles, as well without as within a Building; with tie Management of Tombs, Vasa, and Bacchanalian Term 36 CHAP. V. Of the Veins and Eyes in Stones used in Architecture, as well without as within ; and how to dispose them 39 CHAP VI. Of Ruins 41 CHAP. VII. Principal Directions for painting the Ornaments of Halls, Rooms, &c. 42 CHAP VIII. Of the Pictures proper to various Apartments 45 CHAP. IX. Description of several Pictures adapted to the Five Orders in Architecture 51 CHAP. X. Of the Pictures in the second Story, built after the Doric Order 63 CHAP. XI. Of the Pictures in the third Story, built after the Ionic Order 71 CHAP. XII. Of the Pictures in the fourth Story, built after the Roman Order 78 CHAP. XIII. The Fable of Calisto, adapted to the Corinthian Order, in the upper Story 87 CHAP. XIV. Description of the inward View of the Temple of Apollo 91 BOOK IX. OF THE PAINTIN OF CEILINGS, OR PLAFONDS. CHAP. I. Of Ceiling-painting in general 93 CHAP. II. Of the usual Difficulties in Ceiling painting 94 CHAP. III. Of fore-shortening Objects in Ceilings 95 CHAP. IV. Of the Sizes of Ceiling Figures 96 CHAP. V. Method for viewing a Ceiling-piece on the Easel, as if on the Ceiling 98 CHAP. VI. Of designing after the Life, for the Use of Ceiling Painters ib. CHAP. VII. Of the colouring of flying Figures 101 CHAP. VIII. General Observations in Painting the Ceilings of Halls, Galleries, &c. 102 CHAP. IX. Method for Drawing fore-shortened Buildings, Figures, Trees, &c. after the Life 106 CHAP. X. Of the Harmony and Union of Colours in Ceiling Pieces 108 CHAP. XI. Of the Deities in sacred and profane History and Fables; and, first, of the Difference between a sacred and profane Representation 110 CHAP. XII. Disquisition touching the Representation of the Trinity 112 CHAP. XIII. Of the Glories proper to Angels and Heathenish Deities 117 CHAP. XIV. Of the Representations of Angels and Heathenish Genii 119 CHAP. XV. Of sacred Emblems 122 CHAP. XVI. Of the Penates, Lares, and Cupids 126 CHAP. XVII. Devotional Actions of Nature 129 CHAP. XVIII. Of the different Offerings of Nations, and their Rites 134 CHAP. XIX. Of the Sacerdotal Dresses, Vessels, and other Materials belonging to Offerings 147 BOOK X. OF STATUARY. CHAP. I. Of Statuary in general 152 CHAP. II Of the Execution of Statuary 154 CHAP. III. Of Bass-reliefs 155 CHAP. IV. Of the Force, Property, and Management of Bass-reliefs 160 CHAP. V. Of the Draperies of Statues and Bass-reliefs 162 CHAP. Vl. Of the Attitudes of Statues 166 CHAP. VII. Of the placing of Figures upon Pedastals, Frontispieces, in Niches, and .other Places 169 CHAP. VIII. Of the Usefulness of Modelling 173 CHAP. IX. Of the visual Decorum of a Statue, with its Pedestal, as well within as without Doors: as also the suiting of Vases and Busts 175 CHAP. X. Of the Ornaments of the Frontispiece of Temples, Houses, &c. 176 BOOK XI. Of STILL LIFES. CHAP. I. Of Still Life in general 178 CHAP. II. Designs for Bass-reliefs roper to Still Life 180 CHAP. III. Representations of Still Life, applicable to Particular Persons 184 CHAP. IV. Of the Origin, Nature, and Quality of the Roman Triumphal Crowns, and other Rewards of Honour 202 CHAP. V. Of the Solemnities of the Roman Triumphs 207 CHAP. Vl. Of the Manner of the four principal and public Grecian Games, and to whose Honour instituted 213 CHAP. VII. Of the Military Dresses and Arms of several Nations, particularly of the Greeks and Romans 223 CHAP. VIII. Of the Origin of the several Ensigns and Shields and their Devices, for Distinction of Nations and particular Perrsons 229 BOOK XII. OF FLOWERS. CHAP. I. Of Flowers in general 239 CHAP. II. Of painting Flowers in Halls, Apartments, Galleries, but principally on Ceilings for Ornament 241 CHAP. III. That a Flower painter should understand Perspective: also the Mistake of representing Things improperly 242 CHAP. IV. Of Flowers on all Sorts ot? Grounds 243 CHAP. V. Of the Disposition of Flowers and their Colours in Festoons and Groups 244 CHAP. VI. Continuation of the ordering and placing the Flowers 247 BOOK XIII. OF ENGRAVING. CHAP. I. 250 CHAP. II. Of the Art of En raving in general 251 CHAP. III. Of the general Elegance requisite in a good Print; and of the Difference between Book and other Prints 252 CHAP. IV. Of the Difference of Engraving and Etching 253 CHAP. V. Remarks on Hatching 257 CHAP. VI. Curious Remarks concerning Stippling 259 CHAP. VII. Of Etching Bass-reliefs 261 CHAP. VIII. Of Engraving, and the Management of the Strokes 263 CHAP. IX. Of the Black Art, or Mezzotinto 268 Conclusion by W. M. Craig THE ART OF PAINTING. BOOK I. OF PENCILING, SECOND TINT AND BEAUTY. |
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