DOI Page / Citation link:
https://doi.org/10.11588/diglit.19928#0284
Chaf)* 3. the Terfesiion of Painting. 251
come near. Easie invention springs! out of a great
and well rooted fulness of learning » by being conver-
sant in all sorts of studies, having familiarity with
Antiquities, the knowledge of innumerable Histo-
rical and Poetical narrations, together with a through
acquaintance with all such motions and Idea's of the
mind, as are naturally incident unto men: for the
whole force of this Art doth principally consiss: in
these things, nothing bearing a greater sway in the
manifold varieties of Painting*
III. It was the opinion of Pamphilus s the master os
ApellesJ that without the knowledge os Arithmetic^,
Geometry ■> and the Opticas-, this Art could not be brought
to Persection.
The examples of Phidias and Alcamenes is perti-
nently brought here \ The Athenians intending to set
up the Image os Minerva upon a high Pillar, employ-
ed those two workmen, purposing to chuse the bet-
ter of the two i Alcamenes ( having no skill in Geome-
try nor the Optickj ) made her wonderful fair to the
eye os them that saw her near. Phidias contrariwise
C being skilful in all Arts, chiessy the Optickj) consi-
dering that the whole shape would change according
to the height of the place, made her lips wide open,
her nose somewhat out of order, and all the rest accor-
dingly, by a kind of rtsupination: the two Images be-
ing brought to view, Phidias was in great danger to
have been stoned by the multitude, until at length the
Statues were set up > where the sweet and excellent
ilroaks of Alcamenes were drowned, and the dissigu-
red distorted hard-favouredness of Phidias his work
vaniuhed ( and all this by the height of the place i) by
which means Alcamenes was laughed at, and Phidias
much more elteemed. Os like perfection is Amulius
his Minerva \ the Image of Juno in the Temple of the
R 2 Syrim
come near. Easie invention springs! out of a great
and well rooted fulness of learning » by being conver-
sant in all sorts of studies, having familiarity with
Antiquities, the knowledge of innumerable Histo-
rical and Poetical narrations, together with a through
acquaintance with all such motions and Idea's of the
mind, as are naturally incident unto men: for the
whole force of this Art doth principally consiss: in
these things, nothing bearing a greater sway in the
manifold varieties of Painting*
III. It was the opinion of Pamphilus s the master os
ApellesJ that without the knowledge os Arithmetic^,
Geometry ■> and the Opticas-, this Art could not be brought
to Persection.
The examples of Phidias and Alcamenes is perti-
nently brought here \ The Athenians intending to set
up the Image os Minerva upon a high Pillar, employ-
ed those two workmen, purposing to chuse the bet-
ter of the two i Alcamenes ( having no skill in Geome-
try nor the Optickj ) made her wonderful fair to the
eye os them that saw her near. Phidias contrariwise
C being skilful in all Arts, chiessy the Optickj) consi-
dering that the whole shape would change according
to the height of the place, made her lips wide open,
her nose somewhat out of order, and all the rest accor-
dingly, by a kind of rtsupination: the two Images be-
ing brought to view, Phidias was in great danger to
have been stoned by the multitude, until at length the
Statues were set up > where the sweet and excellent
ilroaks of Alcamenes were drowned, and the dissigu-
red distorted hard-favouredness of Phidias his work
vaniuhed ( and all this by the height of the place i) by
which means Alcamenes was laughed at, and Phidias
much more elteemed. Os like perfection is Amulius
his Minerva \ the Image of Juno in the Temple of the
R 2 Syrim