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~..

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; I

NOTION
OFT H E

Hiftorical Draught
. .'.'

:. O.R ..

TABLATURE
.'. of

the,.]uDGMENT.of
,

, '

HE R'e U. L B

S~

According to

P R'O DIe U S,
Lib. 11. Xen. de Mem. Soc.
---------Potiores
HI! R. C U LIS zrumnas credat, fzvofque Labores,
Et Venere, & c(Cnis, & pluma SA R D A NAP ALl.
~

.. .
~

.'

'.'Ulnal. Slit.

10.

;:

).

'!

..

"'-

.,.t'

,..:;-.

~,

y" ,!<
t 2..'~'"

....,

"

A DV E R T'I'SEM ENT.
Utll, -i
",hitb pAjfe) in li'tench 1IIIalr th,
T HE
Titl, of Le Jugement d'Hereole,' hA'lli"l :b,,'; ",.;rt",i{6

ginaOy commll1lic""a in MAnuf",ilt to ~h, f""'~ Painter,

ana V I RT U OfS of, f~"'hofo Vfl ;t ..ill ctlmy.s'a beyona{ea in that La"g1lll,~'; And comi"g aftn'fl1.as to b, publijb'a in f'!'l' oIl'" fDrrfgn 1D11fnals,.,i!om .,lpc, ,,-hlf!e
'111116 .likefihoo4 tif its '~mg ffHlrt ,,"'aafjf""nglijh;: th, :cf
{e,m'd to ,efJ1l;',e of tJU, EnglHh .Auth",., that h, foou a
himfelf proauce hu ,1i", in. its. prpp" Ana natflral LAnguag', rath,r than foffer it to Ctml, 'ilbroaa trAnjlAt,a ", a
]frang, Han.a., '11;eR,ad,r ther'.for, htU it ~er, pre[ent,a
to h~fllit fut:&. DUi: )1uth" ha4 J~ r(~ljt' ,r,.pnu'tf it, a
year be!or" to a Noble Lord, 'bU Fr.,,,d!
.

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1'1 '14-1

( i)

"

"

THE

JU.D .G .ME .N T
OF

IN
(I.)

T~ (71)

.. 1

U eT.! O"N.

EFORE we enter on the

Examination of our Rift-orical Sketch, it may be proper to remark, ' that by the
word TablAttlre (fol' which
we . have yet no name in Englifb beli<;l~
the general One QLPi[lure) we denote, ac.cording to the original word TAB U LA, a
Work
A 2'
"

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. The

JUDGMENT

Work not only diftina from a mere Portraiture, but from all thofe .wil~er forts of
, 'Painting which are in'a manner ahfoluh!.
and indepc;ndent; fuch as the Paintings in:
Frefto upon the Walls, the Ceilings, th,e
Stair-cafes, the Cqpolots, and otlielo r~~
markable places either of. Churchesor,Pa.laces
. (2.) ACCOB.~INGLY we are to underftand,. that it is not merely the Shape
or Dimenfion of a Cloth or Board which
denomillates the Piece Qr Tablaiure; fince' a
Work of this kind may be compos'd of
any colour'd Subftance, as it may of any
Form, whether fquare, oval, or round:
but it is then that in Painting we may give
to any particular Work ~he name of Tablature, when the Work is in reality " a Single
" Piece, comprehended in one View, and
" form'd according to one fingle Intelli" gence, Meaning,or Defign; which confti" tutes a real Whole, by a mutual and necef fary Relation of its Parts, the fame as
" of the Members in a ~atpral Body.'~ ~
that one may fay of 'a PICl:ure compos'd Of
any numbel" of Figures diff~rent~y r~ng'd,
and without any regard tQ this Gonoefpon.
dency or Union defcrib'd, that it is no
more a real Piece or T"bl"tiire, than a Picture wou'd be a Man's Pii/flre, or propet
porlraitfiYe, which reprefented' on the fame
Cloth, in ditrerent plac~s, the Legs, Arms,
"
Nofe~
Google
Digitized by

of HERCULES..
:Nofe, and Eyes of fuch a Perfon, withOut
. ad jufting them according to the true Proportion, Air, an<l Character which b~
'ldn~"d

to him.

. (1') TH IS Regulation has place even

in the infe'riour degrees of Painting; fince
the mere Flower-Painter is, we fee, oblig'd to ftudy the Form of Feftom, and to
make ufe of a peculiar Order, or Architecture of PllfeS, 1"'s, CAnnipers, PeaeftAIs,
and other Inventions, which ferve as MA&hilles to frame a certain proportionate At:
femblage, or united Mars; according to
the Rules of PerfpeeHve, -and with regard as ~en to the differeq.t fbapes and
fizes of his feveral Flowers, as to the harmony of ColQurs refulting frQIIl the whole:
this being the only thing capable of ren..
c1ring his Work worthy the nam,c of a
t:ompoJition or Relll Pie&e.

(4.) So much the more therefore is this

Regulation applicable to Hiftory-Painting,
where not only Men, but s'l.[anllers t and
4uman Paffions arereprefented. Here the
Unity of Defign muft with more particular
exaanefs be preferv'~ according to the
juft Rules of Poetick,Art; that in the Reprefentation of any Event, or remarkable
Fact, the Probability, or feeming Truth
(which is the real Truth of Art) may with
file higheft advantage . be fupported ~d~
Digitized

bY~~

CH A p. ad vanc'd: as we fhaU- bett~ underftand

ArgmHept whieh P{)110H e1_
VV".J hiftorical TAillatttreof:the j*dg~~t.Qf
E
U E S,
being 'young, and
tir'd to a folitary place, in ordnr tCF deJ
berate on the choiee he wa~ to make Qf -the
of LiS W",* aN'oi}:F,f d;ffe""'nt
o~r 'Hiil:orian rela~es)'? by s;he .~w;'G_odanh P irefurr,
iiTue of the Controverfy between thefe
itha'* thF Ch::? na!:l.FF of.',", H DeL
depends; fo that we. may naturally give to
chis hiece end Hill:0ry, ns well
,Tide
the Education as the Choice or Judg1Nent of
f

~m

="

'Se

CU

""~""

\':'L~"",

.E
~-

~'"

'~

HA
feller:?! Ccnjliltttion er

On

the Tnblatute.

)THI.

F'W"le '''r
''''''y
variouii; re~refented ac~~'~ding
;to the Order of 'hime.
Either in'the inil:ant when the two Godheifer
trtut anh Plc:ejure atenil
E
L

C U

LE~.

on rheir Di{t
Or
nutes.
Or whtn then'
is already far
vanr'd, and ViJitUJi feenl''b to hll:in her Ceuft.
f

(2.) Ac ..

7
, : ; " .) i

~ eRA,p.

,"

" 1(2:');~CC'OilDING

to t~ Ji!.ffN~ I: '
tiOrt;"IH'~ RCUL>E.s :muilof neccffi~ feem V"V"V

furpriz'tlon ,thcdirftiappeartnceof fuch mi~

ntmdous, POrms ';' 'ihe' "ad~~rts;: h~' co~em..
p~tes,!; ~ut' 'is not '~yet,~gag'4:~ iuter~tt~l
A:ctotdmg to the flto.' ~btl0n,' ,he IS In.
wreftcW:; ,(Jiv'idtd;.' ia:,ad'!in d0ubt" , Accot.

ding. t()'tlie H1i~,J, ihe :i5 wrotigh~ agi~ted~

afuf-ttorn by, ~Oritnirr Paffidns., ?Tts the
la;ft :EffOrt 'Of, the vroious one,' ftriving for
pa(feffio,n ,ovt!rihim.' He agonizes, and
Wi~b, a~l ~ hi~ ftreng~tt of Rea-fon .endeavo~rs

to: bverc.<?l'nc hfrrifelf: "

:':;"',

r;:"

,,'

.. ;

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"

,h Jirtmilflr rAtifJr!t xili",,,s,: 1);,;uq'" U/JorAtL

:.'

(l.) ,9 F thef~ ~i{ferent periods o~ !ime,

the, latter'has been chdfen,~' as ~btIng' the
only; one bf:the' three, '~hidb cah~n ferttt
toex-prefs mCtGrlin4 'E'lIt,,';, ot;;rtoafequent
Rtfolbtion of H F. it C U 'L It: ~,1.at'lctt11c ChOlrJe
be ;afblaUy 'made"-ofa Lifu,',ful"or ,T-ti>i
~:Q.ttaa:rdfbip,:iu~er ~he {!ondufl: 'of y!rL
tfh.:, (Or 'the deliv.erance of Mapkind &Gm

Tyrarmyand oppreffmn~ .'And .~t~st~ (.It

a Piece of Tablature as reprefents this: iffue

of th~ BallalJce in. our PQn~ering ,Hero,
th~~';"~ ,may' jufHy give :the ,title, of the
. Dee~1i ~r ,j~dgme1i!,of ~ E R: C 'u L i! s. :'t.l
.'

; i'

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<

. '

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t_.

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(4~)' :T 'H E:',faUle Hiftary may I be reprt:'

.f~~ yet 'acCording to 'a fdl4fth" Date: or

J

.' \

Di9itizedbyGOo~'iod,

The JUDG'M ENT

,C H AP. Period, as at the time when HE It C U L E ~
'L is intirely won by Pirtlle-: - but .th$. the

figns ot this refolute Determination r~ign

iag abfolutely in the Attitude, and'Air of
our young Hero, there wou'd be 1)0. room
left to reprefertt his Agolly or inward: Conilia, which. indeed makes .the priD~ipal
AcHon here; 3$ it wo~'d do in a POt~ were
this SubjeB: to be treated .by a good ,Poet.
Nor wou'd there any more be rOQm left in
this cafe; either for the perfuafive Rhetorick of Pirtue, (who. mUft have already
ended her Difcourfe) .or for the infinuat~
Addrefs of Ple4}ure, ;who having loLl her
. Caufe, muO: neceffarily appear <lifpleas'd,
or out' of humour; 'a Circu~R:ance . which
.
wou'd no way fuit her Charaaer.

V"V"'J

: (~.)1 N' the original StQry orP~ble of

this Adv~nture of our young HE IlC Uf. E s, 'li$l.parti~ularl! noted, that Ple.forf
advancing Wjly befo.r9 Virtlle, ~n her
Plea, and was' heard with .preve~~ion.; ~as
.being. firft .in turn. And as this Fable is
wholly P~ilofophi&'!l and Moral, .. this ~ir
cumftanc~' in pa.rt~cularis tq be confider'd
as effential. .
.

(6.) IN. this third. Period therefore of

our Hiilory (dividingit, as we have don~,
into four fucceffive Dates or Points of
Time) HER. C.U L- E s: ,being Auditor, -~nd
attentive, fpeaks not. .PJe4jllre has fpoken,
. . Yirllle
Digitized by

Google

of HE-RCtfLE s.

'

'9

;rr;.~ ;is run (peaking. She is"about the CHAP

.middle, or tow.ards. the end of her Dif- I.
oourfe; in th~ place where, accerding to ~
juft ~torick, th, higheft Tone of Voice ,

,ancl ftrongeft AB:ion are employ'd.

.'..

(7') .1T I S .evident that C\1!=ry Mafter in

Pa.mting,. when he ~as made choice of the
~eter-tnin$ .nat~ or ~oint of Time, ac.a>rdi..g to .which..be wotf.d t~prefent his
Hiiorr, is 81ftulWa.t.ds. debap'd the taking
..avantage from any ooher aaion than what
';is .imftl(tdiatclf: Pt.~t, aad ;~IODging to
-that fmgle .~ftaRt: .hed"rcribe.$: for if he
-pa{fes ..~~feu ~ly ,for, a mom!=nt, he
~:as.waUfXlfJ itJor.:many years; and ~
this reckoning he may with as .good' riglJt
re~t t~e fam~ F~ure (ever~l ~i!Il~s oyer,
-ana: ~ 1iC?* ..aad '~6 . ,jQ~' rl~ure repre~t ill ~ R-C n. Li.S , In ,~ -Cra~le fhug'~lAg :wIlth .. the: ,Scr~ts, ;a~ .the fame
~ It It. cu L e & ~ .fun Agt. {ight~~' w~t~
the ;H#I., \Ma .A1ItIS, .a~ Wit)} Ce~i
.,..,.,s: . Wbich ,~~ prove a .~reoonfus'd
-Heap; .or XIIf)t .of PieceS, and not a fin,gle'iAt~ellicte,.9r TAb~Mtw~ ofthe Hiftorical ,~iad.
.
. (8.) Iy . ~y,holVever be aUowahle, Qn
fO!De ~~afions, to ma~e ufe o~ c~rtain Enig...;,.l ,or EmbJemaucal DeviCeS, to rep refent a .future Till)e: as when HER Cu-'
~ E s, ~ a me.r.e Boy~ is teen bQId ing .a
,
B
Googf~al~
Digitized by

10

The

lUDG -ME NT

CH A P. fmall Club, or wearing the Skin of 'a young

I. .Lion, for fo we often find him in the bcft
~ Antiques. And tho Hiitory had never related of HER C U L E s, that being very
young he kill'd a Lion with his own hand,
this Reprefentation of him wou'd never.thelefs be intirely conformable to Poeti,k
.Tr/llh; which not only admits, but neceffarily prefuppofes Prophe'J or ProgTJojlicatioTJ,
with regard to the Aaions and Lives of
Hero's and great Men. Befides that as to
'our Subjea in particular, the natural Ge,nius of HER. C U LE 5, even in his tendereft
.Youth, might alone anfwer for his handling fuch Arms as thefe, and bearing, as it
were in play, thefe early tokens of the future Hero.
'
.I ~
_.

'

.: i

(9) To preferve therefore.a jult Conformity with 1/i.jlori{al Truth, and with the
VlIity of Time. and Anioll, there. remains' no
Jother way by whicI\we' can poffibly give
. hint of any thing future; or call to .mind
,any thing paIl, than by fetting in vie.wJuch
.J>afages or Events as have aaually fub. fifted, or according to Nature might well
fubfift, or happen together in ont:and the
Jttme inftant. And this is what we may
; pr9perly call the Rule of COTJJiftelltJ~' .;
.

(10.) fl 0 w is it therefure poffible, fays

one, to exprefs a Change ,of Pa1Iion in. any
,SubjeCt, [IDee this Change.,is made,by Su<;,

Digitized by

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ceffion ,.

of-HERCU-L'tS.

1'1

celfton; and that.: in, this cafe the' Paffion C HA P.

whiCh is underfi'ood as prefent, will re':' I.
quire a Difpofidon of Body 'and Feature I../V"V
wholly different, from the Paffion which is
over and pafr? To this we anfwer, that
notwithftanding the Afcendency or Reign
of the principal and immediate Paffion, the
Artifr has power to leave ftill in his SubjeCl:
the Tracks or Footfreps of its Predeceffor;
fo as to let us behold not only a rifing Paffion together with a declining one, but,
what is more, a thong and oeterminate
Paffion, with its contrary already difcharg'd
and banHh'd. As for inftance, when the
plain tracks of Tears new fallen, with ()..
ther frefh tokens of Mourning and DejeCl:ion, remain frill in a Perfon new I y
tranfported with Joy at the fight of a Relation or Friend, who the moment before
had been lamented as one deceas'd or loft.
(11.) A GAl N, by the fame means which
are employ'd to call to mind the pall, we
may anticipate the future: as wou'd be
feen in the cafe of an able Painter, who
fhou'd undertake to paint this Hiftory or
HER. C U LE S according to the third Date ..
or Period of Time propos'd for' our hiftorical Tablature. For in this momentary
Turn of Action, HER. C U LE S remaining
frill in.a fituation expreffive of Sufpence and
Doubt, wou'd difcover neverthelefs that
,he Strengtl1 of this inwa~d ~~nHict was
B 2
Goo~~~~
Digitized by

neJUDGMERT

12.

CH A P. over, and that Via0ll' beaan fJDW to deI. clare her-felf in favour oF Yi"tlt. This
~ Tranfition, which feems at Sri fo myfto.
rious a Performance, will be eafilycOfBprehended, if one confiders that the Bodyf
which moves l1luch flGwer than the Mind,
is eafily out-ftrip'd by the latter; aad that
the Mind on a fudden turning it-felf fome
new way, the nearer fituated and more
fprightly parts of the Body (f11ch as the
Eyes and Mufcles about the Mouth and
Forehead) taking the alarlll; and moving
in an inLt:ant, may leave the heavier aBa
more diftant parts to ad;uft themfelves;
and change theil Attitude fom~ moments
after.
(12.) T HIS different Operation may be
diiHnguHh'd by the names of AlltiGip.,iOlJ
and Repe~l.

. (i ~.) I

F by any other metbdd gn Artift {hou'd pretend to introduce into his

Piece any portion of Time future or paft;
he muft either findireEtty againft the Law
of Truth and Credibility, in reprefenting
things contrary and illCompatible; or againft
that La.wof 'Unity and Simplicity of Viflgll,
which conftitutes the very Being of his
"y"ol'k. This particularly {hews it-fclf iR
~ PiCture, when one is neceffarily left ill
doubt, and unable to determine readily,
,111)i,h of. the dittinCt fucccffive parts. of the.
Google Hiftory
Digitized by

aj'HERCULES.'

I)

Hiftory or Aaion is that very one repre- eRA-pe

fented in the Defign. For even here the L
cafe is the fame as in the other Circumftan- ~
ces of Poetry and Painting: " That what

" is principal and c~ief, fiiou'~ immedi~te" ly Ihew tt-felf, without leavlllg the Mmd
" in any uncertainty."
,
...

. (14.) ACCOK.DING

to this Rule of the

'.f 'l'i"", if OM iheu'd ask ~n Aula,

who bad painted this Biftory of the '1*Jg",ellt of HER C U L E S, " which of thefe
7Jllity

" four Periods or DatCi of Time above

" propos'd he iAtendtd in his Piaure to re" prefeat;" and it {hou'd happen that he
cou'd not ,readily a'Dfwer, 'twas this or tha.t j
11: wOll'd appear plainly he had never form~d
a Rut NtJlioll of his W orkmanlliip, or of
the lliftory he intended. to reprefent: 10
'that when he had executed even to a miracle all thofe other Beautys rcquifite in a
Piete, and had fail'd 'in this fmgle one, he
wou'd frOOl hence a.iolle be prov'd to be in
truth no Hiftory-Pu"ter, or Artift in the
kind, who uooerfrood not fo much as how
to form the real DeHgo. of a Hijforictll Pi,ee

:;

CH1\. P.
Digitized by

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The

14-

JUDGMENT

CHAP.

U.

...

.-------=----~~-=----~~~

V""'-J"I

C H A P.
0/ tbe Firft or'rprincipal Figure.
(Im) - ..~

anply therefnrewhat
been
faid above to our immediate Defign or~TablAture in hand, we ma y obferve~
=h
xi ft =1 ~~ . ....
d" T.T
In
i e nrp aaa,
~egi"!"r"!"O rr E
C
L :-5, (the firfl. or pri,!cip'Al F,igure. ~! our
PIece) that being pacmd In the mldn:,
tWt~en f-he f-w r Gf-,'da{fes h" {brl&.f'd by a
skilful Mafter be f~m d;~ w~, ;s e;e~n fetting
afiPe tPe
and Feeturer of the Feee, it
fhnu'd uppuar by
very Turu!.!. or Pdition of die Body alone, that this young
t 'Hhony qSIOttc"d
He m'o
or pmOndering pert. Fna the rnanner
his turn towards the worthier of thefe
m~~::Zd
rr he
G &.f'
.' eues,
.~Heas's
.
fo :werfe or feparare fnrm rhe nther, as not
to fuffer it to be conceiv'd of him, that he
haP ener any inchnaPoa foa her or had
evaa haarken'd to her Voice. On the contrary, there ought to be fame hopes yet
rewaiaing for thi5 latter
Pi5aju-ta,
and fame regret apparent in H E It C U L E S.
Otherwife we ibousd pafs immediately from
tn tha fiYf.f.rtf PedoP ,
at
confound one with the other.

1,

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""W

,S

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iM~

=0

.1,.

of ,HERCU LES.
~,

, CHAP.

this Agony de- .I.I.

fcrib'd, may -appear either fitting or ftand- -~
ing: thQ it be more according to probabilitty for :him to appear.. ftanding, in regard
.
to the ptefence. of the two GOddeffes, and
by rcafon the cafe is far from being the
fame hIre j as: in -the; juJg1lle~t ofP A R.I 'S ;
wh~re the intereU~ Goddeffes plead their
Caufe before theii!,ludg. Here the Intere(l
of HEll C U L E S "l:lifpfc;lf is ...at ftake, 'tis
hu ~n Caure which is trying; he is in this
ref~ac llOt' fo much the jti.dg; as h~ is in
J.;e~li1;y ~~ P..r~ ju4g.'J. . -:"
.-;
(~.) H'E}lC U L E'Sin

Ta

;. r"~~)

fp~io1,1r an4 colll~~nd.mg

~ffi.on_o(, H E 1l.~ U L E S .may.~exprefs'd

eith~r by a ftrong' Admirat.oll, 9r by. ~n
. Ad:miratiQn whic~ holds chieflr of Lprve.,

----.lngenti pertul[1II It",dre

.~

~,

.r: ~

''1

- (4,) ,I, the ;latter be us'd;! then the, ~~

.1QC}a,nt P~6ion, which is not yet wholly
ov,er90me, may fh~w it-felf in .'.Pity _an~
Tendernefs, mov~d in our aerQ .by the
thpu~ht of thofe~leafures.and ~~panion&
ofl hiS Youth, whl.Ch .he IS gOing for ever
to abandon : and in this fenfe HEll C Uj
L E $ . may look either on the' one or the
other, of the Godde.(fes, with this difference,
thit if he looks on 'PleA/ure, it. {hou'd b~
faintly, and as turning his eyes back ,!ith
-..

, , ..
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The

.6

JUDGIM ENT

pity; having frill his Aaion and Gefture

11. ntrn'd
oii\er way -towards Virlll.'. If,
~ Oft the CODR'ary,ihe looks Oil YirWt, ; it
Olight to be earneMy atld widt extreme
attention, having fome Pittt c:Jf fhc Aaion
of his Body inclining,ftilltowarEls Ph.,{1W6,
tOO :difcovering by c~tain FatUfesof
Cencern 'ami Fity,. intermilt'd -with the
(:ommaMUIg er COft#ing Pa{lio.n ,l!hat
-theDecifien'he is aboiit.tomakein favour
of Vtimt; .eafl:srum ftO~:a ;litde.

CHAf'.

(~~) I p it be .d.eught -fit rather to-make

nfe of Admiration, .'merely to 8preiS ' >the
&om.mllnJing P~ffion o~ HE)l C U L E s: then
,the l'tihIM~ one may.~over it.felf. in.a

4dfld

er herrOOF,

at: Ithe thoogtlt .. et: .ti1e

Toil 'and Labeur tf)'. be fuialfi'd; ia --the

rough'-Fook1-wayappa~ OD' .the fide: of
Virtue.

(6.) AqAIN,

may be
~reIitedas lookingneitbcr towtiisYirt~enorPl.eaf1t1'e; but as tumiDg hi~ ey.es
elthertowardsthe mountainous rocky -WY
1JOi,nted O\tteo 'himfby Yirtlte, or .towards
dtef1.owry,way of -the Vale and ~dgw~
recemmeDded to -him.by .PltdflW~': andto
thefe different Attitudes maybea.pply'd
-the fame R ales for theE~preff1'Oft . of the
Ttlrnor Bananc~ of }\ldgmeRtiQ. o~r pen41vc Hero.
- :..
' .-"
l:lERC.ULES

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.; l '

H-E R C U LE S.

17
CH A P.

.,.

i , -'(7~)' W HAT E'V ER. may be the maimer 11.'

cliofen for the defigning of this' Figure of V'V"J
HE' &' C'U:L E s, according to that part of
the Hiftory in which we -have taken him;
'tis certain' he fhou'd be fo drawn, as nei"
ther by, the opening of his mouth, or by
~ny otherftgn, to leave it in the leafl: du,bious whether:hC?; ~s fpeaking or ftlent: for
~tis abfolutelr requifite that Silence fhou'd
!lediftinaly~charaaeriz'd in H;E RC U LE,S,
,not, outy as the natural effeCt: of his ftrifr
Attention, and'. the 'little leifure he has
from what paifes at this time within his
breaft '; .but in order withal to give that
appearance pf Majefty and Superiority becoming the Perfon and Charaaer of pleading Virtue, who. by her F:loquence and 0ther Charms has" e'er this' made her-felf ,.1
miftrefs of the Heart of our enamour'd

;Heto. :.

-Pe.d~tfue iterfl", "'rranti! "b ort.

This .Image of the Subli~e, in the Ditcourfe and,. Manner of VIrtue, wou'd be
'utterly deftroy'd, if in the inftant that fhe
employ'd the greate~t Force of Action, fJ1e
fhou'd appear to be mterrupted by the Ill..
tim'd Speech,' Reply, or Utterance of her
. Auditor.. Such a Defign or Reprefentation
asthlsf . \You'd prove contrary to Order,
contrary to the Hiftory, and to the DeGorum,
.
C
Google 01'
Digitized by

.' ,8
CH A P. or Decency of Manners. Nor can one well
111. avoid taking' notice here of that gen~ral
V'V"J Abfurdity committed by many Of die
efteem'd great Mafters in faintmg; who
in one ana the fame Company 'or A[embly
of Perfons jointly employ'd, and unitea
according to the Hiftory in one fingle Or
common AEHon, reprefent to us n6tonly
two or three, but feveral, and fometimes all,
'. fpeaking .at Once : which mufr natUrally
have the fame effea on the Eye, as fUch:a.
Converfation wou'd have upon the-.Ear,
were we in reality to hear 'it.
.
-

CHAP. Ill.

of the Setond Figt4re.

'(1.) AFT.ER what has -been fQ.id O~
the Subject of HE llC U LES, it
app,ears' pla~nly ,!hat the AttittlAe muft be
of our fecond Figure Virtu,; who, as we
.have taken her in this particular Peridd 'of
our Hiftory, muft of neceffitY'be f}ell/:ing
with all the Force of Aaion, fuchaswou'd
appear in an excellent Orator, when at the
height, and in the moll' affe8:ing. part of
his Difcourfe.
. .'. :

. ('2.) SHE ought therefore to be; drawn

jlandillg, finee '.tis contrary to all p1"O~ble
by Google
ApDigitized

ofHERCU,LES.

19,
Appearances, and even to Nature it-felf, C H A p.
that in the very Heat and higheft Tranfport Ill.
of Speech, the Speaker Ihou'd be feen fit- V"""V'V
ting, or in any pofture which fhou'd exprefs Repofe.
(3.) SHE may be h""ilea either as an
AMAZON with the Helmet, Lance, and
in the Robe or Veft of PAL L AS: or as
any other of the Virtues, Godde{fes, 01"
Heroines, with the plain original Crown,
without Rays, according to genuine Antiquity. Our Hiftory makes no mention
of a Helmet, or any other Armour of Virttle. It gives us only to underftand that
file was drefs'd neither negligently, nor
with much ftudy or ornament. If we follow this latter method, we need give her
only in her hand the Imperial or MagiLlerial Sword, which is her true charafre-:
rifiical Mark, and wou'd fufficiently diftinguifh her, without the Helmet, Lance, or
other military Habit; and in this manner th,e
,oppofition between her-felf and her Rival
wou'd be frill more, beautiful and regular.
" But this Beauty, fays one, wou'd be die" coverable only by the. Learned." Perhaps fOe But then again there wou'd be
no lofs for others, fince no one wou'd find
this Piece the lefs intelligible on the account
of this Regulation. On the conn"ary, one
who chanc'd to know little of Antiquity
in general, or of this JIiftory j~ particular',
.
C 2
Di9itizedbyGOO~YJ>u'~

The JUDG MENT

10

CH A P. wou'd be frill further to feek, if uponJeeing

Ill. an armed Woman in the Piece, he fhou'd
t/V"'o.) reprefent to himfelf either a PAL L A S, a
BEL L 0 N A, or any other warlike, Form
Or Deity of the female kind. .
.

(4.) A s for the' Shape, Countenance,. or

Perfon of Virtue, that which is ufually
given to PAL LA 5 may fitly ferve as a Model for this Dame; as on the other fide,
that which is given to V EN Us may ferve
in the fame manner for her Rival. The
Hifrorian we follow, reprefents Virtue to
us as a Lady of a goodly Form, tall,
and ma;eftick; and by what he relate5i of
her,he gives us fufficiently to underftand,
that tho {he was neither lean, nor of a
tann'd Complexion, {be muft have difeo..
ver'd however by the Subfrance and Colom" of her Flefh, that 1he was fufficiently
accufiom'd to exercife. P LEA SUR F; on
the other hand, by an exafr Oppofition, is
reprefented in better cafe, and of a Softnefs
of Complexion; which fpeaks her Manners,
and gives her a middle Charafrer between
the Pecfon of a V E NUS, and that of a
Bacchinal Nymph.
(~.)

A s far the Po{i:ion, or AttiUttie of

V I RT U E ; tho in a hifrorical Piece, fuch
as ours is defign'd, 'twou'd on no' account
be proper to have immediate t"ecourfe to
the way of E,!Jblerp; ~ne might, 'on this
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occa~

ofHRUE

oc~fionff end~a vour. neyerthelefs by fome C H ~ P.',

an:-tzfice, to gIve oun:- FIgure, es
as Ill.
poffible~ the refemblance of the
Goa- !~
deJf, as 1he is feen on Ivledals, and other
antient E,,#blemtuick
of like natureE
In this view 1h~ wou'd be fo. defign'd, as
tu
firru wu:h
fUife l:NpOn une
foot, having the other a little advanc'd,
aed rain:-Fid
a
piuce
gtounP Ot'
rock, inftead of the Helmet or little Globe
on wh.w:n:-h we
uf{lallo fetting her
foot, .as triumphant in thofe Pieces of the
etublcEuatkh kind. A tsartkular aduantage of this Attitude, fo judiciouLlh af~
fign.'d to I R UU
by antient Maffers,
is:? that it nnpreffrs
wnll hnr afph+inh Effort, or Afcent towards the Stars and Heaas hnn:- V iPtory
SUhFFfstriority uvest
Fortune and the World. For fo the Poets
h +Eue
F

FE F

. . . _ . . . . . _. ~.. *N.w:gAt:?? tentt&t

11 Virtlttifqfle viAm aeferit Arafl4.
~

And in our Piece particularly, where the

stocky WAy nf I RUE requEres
to be emphatically rehrefented; thr afrrnd~
ing ponure nf this nigure, with one hoot
adnanr'd,
aforn:- of nlimdinp Ahtion F
over the rough and thorny Ground, muft
~~""'~""'-

.. Horat. Lib. 3. Od.2.

lden ibidE (yd.

of

The

11

JUDGMENT

neeeJlity,
exeeuteY, create
Ill. effect, and add to the Sublime of .this
\.r~ rient PQetiz:k Vi erk~
p.

* an~

A~~~=S,
(.6 0)e A fa?Ji th~ "CJ"~JiFls
AJi
real Oratoriff and during the ftrength of

. it
,,~z..rtF
.~Sff~ =
.B yzocutIon,
mu
JiJi~CeJiJiJiF}
~Z:i.1Vz:.
,~:
=7
~~~~fi
et
of
ou~~
Good
J'
.= l.._~
s..s..S IgaIn .Jin Ji z: pe..
,~ elZ:s; .tuas..
the :Arm in particular wiicb {he has free to
end' neither
wirb
Lance or Sword, {hou'd be employ'?d anoth~r
wa Y1 end come in r9
the Drtecurtb"
and accompany it, with a juft EmphaHs
Acecrdicg1i Vif~lue
then be feen with this Hand, turn'd either
ciwetds
iVay
her with approba~ionf 01' =to the Sky or
m
ferce ilibli,Iie tecfie, or
mardz: to ihe flowrc Wac and Vale as in a
detefhng manner, and with abhorrence oh
mhaiplIfei thel"e; laLl: of ell(ie a difdain=
fu) fenfic, and with the fiame appearance of
Detebatien) etTIainb PJz:,l(urz: her=fhl EacP
Manner W(~)U'(rhave its peculia"r advantage;
~.r.Jj ~Ji~~

JiJi~

Ji

". AI .JiTl,ies;t
"tI--ke,~"iTlg

tU

the Poet HE S I 0 D: ",bicb appe/ITs bJ

ctrres,

dred

EiJ?

JiPur

firft Drallgbt of Ibil HE RC U LEA

T~v

III thi" Fo"",izZ"ion,

Tablature.'

;t );J lGlSx.o''I1I'JII 1!1 ;M~t'o, iso" iA"";U

p"i'Jrtol{.
rz' olO~~,Nf.).,tI. ~. 'nJ~

hi'I!

,,,rH,

.f" ~'f'~'Tn, r'f;'Y~ geo~ ~F9mif'f'f~JI tncl(,;J!

A3r/.Vd.TO/. f-W.xd~ J't ~ Of5r~ b,:u.o, iT' ,vnl"
T;;4

~~&r:i'ii:'T:S;TJ!Ji~ ;,,"~t~oi':f:~, '~IZ:f

and

lJ

of HERCULES.

-a:nd the beft profit fhou'd be made {)f this CH A P.

Arm aDd Hand at liberty, to exprefs either Ill.
f;he DifoPI"ob4tion or the Applaufe propos'd. ~
It might prove, however) a conftderable
advantage to our Figure of Yirllll, ~f hold~ the Lance or Imperial Sword {lightly,
With One of her Hands ftl'etch'd downw~rds, fhe cou\l by that very Hand and
Aaion be made toexprefs the latter mean:ing, opening for that purpofe fome of the
lower Fingers of this Hand in a 'refuf!ng
Qr repelling !panner; 'whilft with the other
Arm gnd:~i at liberty, fhe {hou'd exprefs as well the, former meaning, and point
out to H E'Re tI'L E s the way which leads
te) 'HOnour, and.the juft' Glory of heroick
-At-Hons.'
I"

(7.) F il 0 M all thefe Circumftances of

'Hiftory, and Afrion, accompanying this
impOrtant Figure, , the difficulty of me Def1gn will fufficiently appear, to thofe who
carry their Judgment beyo~d the mere Form,
and are able toconftder the Charaaer of
the
to which, it is fubje8:ed. For
where a real Charafrer is mark'd, and IIu
;."'~rJ, Form peculiarly defcrib'd, 'tis' necet:
faty 'he otdrP4rJ, 'fhoo'd ,give place. Whoever ihou'd expea to, fee our Figure of,
VIR T U E, in the exa8: Mien of a ftne T4lker,
curious ,in her Choice of Aaion, and form'"
ing it aCCOrding to the ufual Decorum, and
(egul~r'Mov~ment of one'of the fair Ladys
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p.u;o.

"'141eHA,po

of our

The J u b

G M'E N'~

Age, wou'd certainly 'be'

far wide

UI. of the Thought and Genius of this Piece..

~

Such ftudv'd Afrion and artificial 'Geftute

may be al1ow'd to the ACl:ors and Aareffek
of the Stage., But the' good Painter mUft
come a little'nearer to T RUT H, and take
care that liis Aaion be not theAtri,u, or' at
fecond hand; but original, and drawn from
N AT U RE her-felf. Now tho :in' the 'ordimiry Tenour of Difcourfe, the' At}ion -of
the Party might be aUow'd to appear fo far
govern'd and compos~d by Art, as to ,retain
that regular ContrAjle,andt4tice'Ballanteof
Movement which' Painters are apt' to ~d~
mire as the chief Grace orFigures,; 'yet;in
this pa.rticu~r caf~ where ;the nanrral Ea.
gernefs of Debate, fupported bya.:thorow
Antipathy and Animofity, is ,oin'd to a
fort of eilthflP4lje/iAiilifion incidcmt'to our
.prophetick Dame, mere) lean he little 'of
that fafhienable Mien~: ore 'genteel Ail' ad.
mitted. ; The PainJ:~r who;' in fuch a.. Piece
as we defcribe, is',bonnd 1;0. ptefer~ the
heroiek Stile,.wil1.doilbtlefs:bCware gf re, prefenting:his' HerGine :as'; a 'mere' Scold.
Yet this.iscertain:; "that it' were better for
him to expofe-:hitnrelf to: the Meannefsof
fuch a Fancy; and paint his Lady in' a ~igh
Rant, according to the' common WeaknefS
of the Sex; 'than to engage in the EmnelHhment of the mere Forlll;.i and forgetting
,the CharaEler of Severity and Reprimand
belonging to~ the illuftrious. Riva~ pt-efeat
,
}.er
Digitized by

Google

AJ

of HER C U L E S.

1-5

her to usa fair fpecious Perfonage, free of CHAP.

Emotion, and without the leall Bent or IV.
Movement which fhou'd exprefs the real V V " )
Pathetick of the kind

C H A P. IV.
Of the Third Fgure.
(I"CONCERNING PleAfore there
needs little to be faid, after what
has been already remark'd in relation to
the two preceding Figures. The Truth of
Appelr4ll&e, that of Hijlory, and even the
Decor"", it-felf (accordi1lg to w~t has been
explain'd above) r~uire e\fidently that in
this Period or Inftint defcrib'd, PleAf"re
fhou'd be fbund ment; fhe can have no
other Language allow'd her than that merely of the Eyes; and 'twoti'd be a happy
~gement for her in the Deftgn, if in
turning her Bres to meet thofe of H Elle U L E S, fhe Ihou'd find his Head and .
Face already turn'd fo much on the contrary ftde, as to {hew it impoffible for her
as yet to difcover the growing Paffion of
this Hero in favour of tier Rival. By this
means fhe might frill with good right retain her. fond Airs of Dalliance and Courtfhip ; as baving yet difcover'd no reafon
fhe has to be dilfatisfy'd.

Di9itizedby~~.Jg~H B

TbeJUDGMENT
CHAP.

(2.) SHE lnaybedrawneither jl4nding,

~ leaning, jittin$' or lying; without a C~own,
or crown'd etther with Rofes or with My,tle; according to the Painter's Fancy. And
fmce in this third Figure the Painter has fo
great a liberty left him, he may make
good ad van~age of. it for the other two; to
which thu latur may be fubjeaed, as the
laft in order, and of leaft confequence.
IV.

. (l.) T HAT which makes. the greateft

difficulty in the. Difpofition or Ordonnance
of ihis Figure PleAfure, is, that notwithfranding the fupine Air and Charaaer of
Eafe and Indolence which fhou'd be given
her, fhe muft retain frill fo much Life and
AB:ion, as is fufficient to exprefs her perfUAftve Effort and Manner of Ina;&Ation; towards her proper Paths; thofe of the
flowery kind, and Vale below, whither
fhe wou'd willingly guide our Hero's fteps.
N ow fho~'d this Effort be over-ftrongly
exprefs'd, not only the fupine CharaB:er
and Air of Indolence wou'd be loft: in this
Figure of PleAfure; but what is worfe, the
Figure wou'd feem to fpeak, or at leaft
wou'd fo appear, as to create a double
Meaning, or equivocAl Senfe in Painting;
which wou'd deftroy what we have effablHh'd as fundamental, concerning the abfolute Reign of Silence throughout the reft
of the Piece, .in favour of YirtNe, the foIe
fpeaking.
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o/HERCUL'ES"

17

r~king Party at this Inftant, or third Pe- C H A P.

flod of our Hiftory.

IV.
V"V"J

(4.) Ace 0 R DIN G to a Computation,

which in this, way of Reafoning might be
made, of the whole Motion or ASion to be
given to our Figure of Pletlfure; fhe {hou'd
fcarce have one fifth referv'd for that which
we may properly call aaive in her, and
have already term'd her perff!tlfive or inai'Alive Effort. All befides fhou'd be employ'd to exprefs (if one may fay fo) her Inafriol'l, her Supinene/, Effeminacy, and indulgent Eafe. The Head and Body might
intirely favour this latter Paffion. One
Hand might be abfolutely refign'd to it ;
ferving only to fupport WIth much ado the
lolling lazy Body. And if the other Hand
be requir'd to exprefs fome kind of Gellure.
or Aaion towards the Road of Pleafures
recommended by this Dame, the Geirure
ought however to be flight and negligent,
in the manner of one who has given over
fpeaking, and appears weary and fpent.
(~.)

F 0 It. the Shale, the Perfon, the Complexion, and what eIfe may be further remark'd as to the Air and M,tlnnet' of Plea.
fore; all this is naturally comprehended in
the Oppofition, as ~bove flated, between
h~r-felf and Virtue.
.
.
.
,

CHAP
,
,....

~
Digitized by

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2,8

7beJUDGMENT

CHAP~

v. --------------------------

V'V"J

C H A P. V.
0/ tbe Ornaments of tbe fieee, and cbieflJ
0/ the 'Draptry and PeT/peEli'l1e.

{I.)'TIS fufficiently known how grea*

a liberty Painters are us'd to take,
in the colouring of their Habits and other
parts of the Drapery belonging to their hi.
ftorical Pieces. If they aloe to paint a ROIII..
People, they reprefent 'em in different D(et:
fes; tho it be certain the common People
among 'em were habited very near alike,
and much after the fame colour. In like
manner, the Egypti~.s, 1ews, and other an..
tient Nations, as we may wen fuppofe,
bore in this paloticulartheir refpeCl:ive Lik~
-~ or Refemblance one to anothec, as at
prefent the Sp~n;~rJs, It~li~1J", and feveral
other People of Europe. But fuch~{ Re..
femblance as this wou'd, in the way of
Painting, prod uce a very untoward effea ;
as may be eafily conceiv'd. For this reafon
the Painter makes no fcruple to introd uce
Philofopher.r, and even Apojles, in various
Colours,after a very extraordinary manner.
'Tis here that the bijlorj,al Truth ~uft of
neceffity indeed give wJJ.y to. that which
we call Poetical, as being govern'd not fo
much by Reality as by ProbabilitJ' or plaufible
Digitized by

Google

of HERCULES.

29

fible Appearance : fo that a Painter who eRA P.

ufes his Priv~e or Prerogative in this re- V.
rpea, oug!tt hOwever to do it cautioufly. ~
and with difcretion; and when occaflOn requires that be 1hou'd preCent us his Phito.
jiJ/herl or A/oftlts thus varioufiy colour'd,
he muft take care at leaG to to mortify his
Colours, that thefe plain poor Men may
not appear in his Piece adorn'd like fo ma..

ny Lords or Princes of the modern Garb.

(2.) I F, on the other band, the Painter

{bou'd happen to take for his SubjeCl: fome
folemn Entry or Triumph, where, according to the Truth of F.t1, aD manner of
Magnificence had without doubt been actually difplay'd, and all tOrts of bright and
dazlmg Colours heap'd togethe.r and advanc'd, in emulation, one againft another;
he ought on this oocaflon, in breach of the
"iflor;,," T,.ldh, or Truth of Fill, to doh$
utmoft todiminifh and reduce theexceffive
Gayety and Splendour of thofe Objects,
which wou'd otherwife raife fuch a Confufion, Oppugnancy, and Riot of Colours,
as wou'd to any judicious Bye appear ab.:
fGlutely intolerable.
'
,\

(J.) I T becomes therefore an able Pain..

ter in this, as well a~ in the other parts of
his Workmanihip, to have regard principally, and above all, to the Agreement or
Correfpondeacy of things. And t~ that
'.
'. DigitizedbyGoogI~nd

~o

The

]'UDG'ME N'T

CH A p. end 'tis neceffary he fhou'd form in his

V. Mind a celtain Note or CharaCter of VIIiVV'V I), which being happily taken, wou'd out
of the many COlours of his Piece, produce
(if one may fay fo) IJ, pl-rliculAr dift.illS Species of an original kind: like thofe Compofitions in Mufick, where among the
different Airs (fuch as SOllaII-S, Enlrl!' or
SlJ,rJJands) there are different and dtftinfr
fpedes; of which we may fay in particular, as to each, " That it has its own pro" per CharaCler or Genius, pecuUar to it" felf."
(4.) T H U s the HarmO)lY of Painting
requires, that in whatever Key the Painter
begins his Piece, he fhou'd be fure to finifh
it in the fame.

(s.) T HIS Regulation turns on the

principal Figure, or on the two or three
which are eminent, in a Tablature compos'd of many: for if the Painter happens
to give a certajn Height or Richnefs of
Colouring to his principal Figure, the reft
muft in proportion neceffaril y partake of thi~
Genius. But if, on the contrary, the Painter fhou'd have chanc'd to give a fofter
Air, with more Gendenefs and Simplicity
of colouring, to his principal Figure, the
reft mlifl: bear a CharaCter proportionable,
and appear in an extraordinary Simplicity,
that ODe al\d the (ame, Spirit may witho~t
,
,
conteft
Digitized by

Google

31

of HERCU LES.

contef1: reign through the whole' or bisCHAP.

.v.

Deftgn.,

(6.) 0 U II Hiftorical Draught of HE lle U L E s will afford us a very clear example

in the cafe: for confidering that the Hero
is to appear on this occafion retir'd and
gloomy, being withal in a manner naked,
and without any other Covering than a
Lion's Skin, which is it-felf of a yellow
and dusky colour; it wou'd be really impraaicable for a Painter to reprefent this
principal Figure in any extraordinary
brightnefs or lufter. From whence it follows, that in the other inferiour Figures or
fuboJ;'dinate parts of the Work, the Painter
muft nece[adly make ufe of fuch frill
'quiet Colours, ,as may give to the whole
Piece a charaaer of Solemnity and Simplicity agreeable with it-felf. Now ilioud
our Painter honeftly go about to follow his
Hiftorian according to the literal Senfe of
,the Hiftory, whidi reprefents Pirtue to us
in a refplendent Robe of the purefr and
moLl gloiry white; 'tis evident he muft
after this manner deftroy his Piece. The
good P IU"ter in this, as in all other cafes of
like nature, muft do as the good Poet; who
undertaking to treat fome common and
known SubjeCt, refufes however. to follow
firialy, like a, mere Copyift or Tranflator,
any preceding Poet or Hiftorian j but fo
,
orders
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by

3l.

'lleJUDGMllNT
CsrAP. orders it, that his Work ill i~felf

becomes

V. really new and original.

~

PII~litA INA",.;,i pri1l4li ju," "lft ft

NI& cir," 'lJilm IAttll*lIIfut flkWulr;s "rb,,,, j

Nee 'lItrJumv"flo
Inter1r11.

efW.i~

";,de,, 1_
'

(1.) A s for what relates to the Perfpeaive, or 5(ene of 'our hiftorical Piece, it

ought fo to p~fent it.felf, as to make us

inffalltly conceive that 'tis Ut the Country
'and in a place of Retirement, near fome:
Wood or Foreft, that this whole Action
paffes. For 'twou'd be impertinent "to
bring Architeaure or Buildings of what-

ever kind in view, all tokens of Company,

Diverfion, or Affairs, In a. place purpofe~
chofen to denote Solitude, Thoughtfulnefs,
and premeditated Retreat. Befides, chat
according to the Poets (our Guides and
MaLlers in this Art) neither the Goddeffes
nor other divine Forll1s, of whatever kind,
car'd e\fer to prefent themfelves to human
SigJlt, elfewher~ than" in thefe ~eep RectII'es. And 'tlS .worth obfervmg here,
how particularly our philofophical Hift()o,.
rian affetl:s to fpeak,.by way of prevention, of the: folitary place where H It C uL E. S was retir'd, and of his Thoughtfulne(,
preceding this Apparition: which from
thefe Ctrcumftances may be conftr.u'd
.
henceDi"gitized by

Google

of

HER. C U L E S.

33

bence-.forward' 'as a mere Dream; but as CH AP:

' v.

Nch a truly rational, and divine-one.

, (8.) As to the Fortr~" Temple, or !,alace

fituated on a Mountain, af_r'the emblematical way; as we fee reptefented in fome Pieces form'd upon this
,SubjeCt; there is nothing of this kind exprefS'd, by our Hiftorian. And {hou'd this
et any thing of a like nature' pref~nt it{elf in OUr Defign, it wou'd fill the Mind
with for~jgn Faneys, and myfteriousYiews,
-no way agreeaJ>le to the Ta.ft~ and Genius
-of this Piece. Nor is there any thing, at
the fame time, On' Ple4fore's fide, to anfwer
by way of oppoli~ion to this Palace of Vir:tfH; which if e~pretS)d, ~ou'd o~ this acmunt ~~ftroy the juft .Simplicity and Cor.-t'efpondeticy of our, Work.

'C# 'Y I It T U E,

(~.) ANoTH ~ 1l ,Reafon' againit the

P"JieeM-part, the .ArchiteSllre, or. other

-{tooy'd Ornamentsof the L41J.l~fj!-Jsjnd, in
this particular Piece of ours, is, That in

reality there being no occaGon for thefe

Appearances, they wou'd prove a mere
Incumbrance to the Eye, and of neceffity <lifturb the Sight, by diverting it
from tbat which is principal, the Hijfory
and fMl. Whatfoever appears in, a hiftorieal De~gn, which is not effential to the
Aaion, ferves only to confound the Reprefentation and perplex the Mind; more par-

DigitizedbYCf~Tly,

V"'I"J
I

~4.ne J1!DGME NT
. CH A P. ticularly, if thefe EpifoJ,iclt parts are fO
V. Jively wrought, as to .vie with the princi-'
~ pal Subject, and contend for Precedency
with the Figures and human- Life. A juft
Defign, or Tablature, fhou'd at firfrview
difcover what Nature it is defign'd to imitate; what Life, whether of the higher or
.lower ki.{ld, it aims chiefly to reprefent.
The Piece mull by no means .be equivocal
or dubious; but mull with eafe diffinguHh
it-felf, either as hijlor;cal and moral, or as
perfpective and merely natural. If it be
the llltter of thefe Beaufys, which we de>fire to fee delineated according to its perfection, then the f~rmer muff give place.
The bigher Life mull be allay'd, and in a
manner difcountenanc'd . and obfcur'd;
whilft the lower difplays it-feIf, and eX-r
hibited as 'principal Even that which ~e:. cording to a Term of Art we commonly
call StiD.Liff, and is in reality of tlt~l}ait
and loweft degree of Painting, mull ha.~
its Superiority and juft Preference; in a Ta;.
blature of its own fpeci~. 'Tis' me fame
in Animal.Pieces; where Bealls, .or Fowl
are reprefented. In Landskip, lQanimates
.are principal: 'Tis the Earth,. the Water,
.the Stones, and Rocks which live. All 0ther Life becomes fubordinate. Humanity,
Senfe, Manners, mufr in this pla.ce yiel(J,
and become inferiour. 'Twou'd be a fault
.even to aim. at the Expreffion of any real
Beauty in this kind, or go about to animate
Google
or

is

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of HER. C U L E S.

35

or heigh~en In any confiderable degree the CH A P.

accompanying" Figures of Men, or Deitys V.
which are accidentally introduc'd, as Appen;' f../'V"'..J
dices, or Ornaments, in fuch a Piece. But
if, on the contrary:, the hU1fIarl Species be
that which firft prefents it-felf in a Pianre,
if it be the intelligent Life which is fet to
v~ew, 'tis the other. Species, the other Life, .
which muft then furl'ender and become fubferviento The merely natural muft pay homage to the hiftorical or moral. Every Beauty, every Grace muft be facrific'd to the
real Beauty of this fil"ft and higheft Order;
for nuthing can be more deform'd than a
Confufion of many B~utys: And the Confufion becomes inevitable, where the Subjeaion is not compleat

. (lOo) By the word Moral is underftood

in this place all fOl"ts of judi(:ious Reprefentations of the human PaffioDS, as we fee
even in Battel-Pieces; excepting thofe of
diltant Figures, and the diminutive kind,
which may rather be confider'd as a fort
of Landskip. In all other martial Pieces,
we fee exprefs'd in lively Aaion, the feveral degrees of Valour, Magnanimity, Cowardice, Terrour, Anger, according to the
feveral Charaaers of Nations and particular
Men. 'Tis here that we may fee Heroes and
Chiefs (fuch as the ALEXANDERS or
CO NST ANT IN Ji s) appear, even in the
hottett of the Aaion, with a Tranquillity

. E

Digitize~byGoogI@~~

36

TheluDGMENT
CH A P. and Sedatenefs of Mind peculiar t& cM,.
felves; which is indeed, in a dire8: and
V'V'J proper fenfe, profoundly 1fIIW.1.

v.

(11.) Bu T as the MWAI part is diffe..

rently treated in a Poem from what it .is in
Hiftory, orin a PhilojophifAl Work; fo muft
it, of right, in PAinting, be far differendy
ueated, from what it naturally is either in
the Hifiory or Poem. For want of a right
underftanding of this Maxim, it often happens that by endeavouring to render a Piece
highly ",orlll 'and learned, it becomea
thorowly ridiculous and impertinent.

(12.) FOR the ordinary Works of StulpIlIre, fuch as the Low-Relieves, and Orna~
ments of Columns and Edifices, great allowance is made. The very Rules of Perfpeaive are her,e wholly revers'd, as neceffity requires; and_are accommodated to the
Circumftance and Genius of the Plkce or
Building, according, to a certain Oeconomy or Order of a particular and diftin8:
kind; as will eaflly be obferv'd by thofe
who have thorowly ftudy'd the TrAj~1I and
Antoninli4-Pillars, and other Relieve-Works
of the Antients. In the fame manner, as
to Pieces of ingrav'd Work, Medals, or
whatever !hews it-felf in one Subftance (as
Brafs or Stone) or only by Shade and Light
(as in ordinary Drawings) or Stamps) much
alfo is allow'~, and mapy. things:admitted,.
of
Google
Digitized by

"of H

RC

L S.

'1

of.. fll~tttjJi&k'} ";r~t::tJoll4~ or byp,rbclitlll C t'ftA ~

kind. 'Tit:: hete, that we keve Pi"~e feope
withal for whatever is learned, C1IJbtefllllticllt, ~
er
fat:: the e~mpleatly imitative and illufive Art of P A I N TIN G,
whetk ch:ttaaar it
to empl~y in Yer
Works the united Force of different Colourrft anY mho JerpakPslg, . fo many
grees and in fo many Privileges, ell
.
human FiCtion or imitative Art, afpires in
din:e.ter matmer temardt:: Deceit
a
Command over our very Senfe; fhe muLl
of
whilteVer illS eeerleM'lJea, humorolll, or "itl}; to maintain
ker-Pelf in whar is et::rltrlli~ cresiib'k,
winnilZg of ou,. AJItnt: that !he may tYus
e~quit her~felf of what is her chief "Proemt::e, the
Appt::st::rlllJt::t:: of
01#.1t::SS
/be refrefents. . O~therwife we fhall riatu..
rallp ormy rgamlt her the Juft
of
Ho RAC E, on the fcenical Reprefentation
nuudyelly'd hew:
I

~rdcunpft?:e oftt::r;?JiI

mihi ft&~ ;fJereaulll4 odi.

(13.) WE are therefore to confider this

us a tYre
or OPfereetion
Pu~et
ing, " That a hijloriclIl and moral .Piece
oP
muuh
its netu" ral Simplicity and Grace, if any thing
enirmlltick kind be
" of the t::t::~bl'lNeticAl
4:' vilihly
dirucUy inte;:;;~ix'd*
At if,
for inftance, the Circle of the z..gdiACk,
tsrith
.n.rr

'38

ne JUDG ME N'r

CH A p. with its twelve Signs, were introduc'd.

V. Now this being an Appearance which carV'V"v rys not any manner of fimilitude or co,\
lourable refemblance to any thing extant in real Nature; it cannot poffibly pretend to
win the Senfe, or gain Belief by the help of
any PoeticAl EnthuftAfm, religious Hiftory
or Faith. For by means of ~hefe, indeed,
we are eafily induc'd to contemplate as
Realitys thofe divine Perfonages and miraculous Forms, which the lea(li~ Painters,
an dent and modern, have fpecloufly defign'd, accordi~ to the particular DoEhine
or Theology of their feveral religious and
national Beliefs. But for our Tablature in
particular, it carrys nothing with it of the
.mere emblemAticAl or enigmAtick kind :fince
for what relates to the double Way of the
Vale and Mountain, this may naturally and.
with colourable appearance be reprefented
~t the ,mountain's foot. But if on the Summet or highefr Point of it, we fhou'd place
the Fortrefs, or Palace of Virtfle, riling above the Clouds, this wou'4 immediately
give the enigmatical myfrerious Air to
our Piaflre, and of neceffity- defrroy its
perfuafive Simplicity and natural Appearance
. (14.) IN fbort, we are to carry this
Remembrance frill along with us, " That
" the fewer the ObjeCts are, befides thofe
,~ which are abfolutely neceifary in a Piece,
" th~
Digitized by

Google

39

of HERCULES.

cc the eafier it is for the Eye, by one fimple CHAP.

" Aa and in one View, to comprehend V.
" the Sum or Whole." The multiplication ~
of Subje8:s, tho fub3.Itern, renders the Subordination more difficult to execute in the
Ordonnance or Compofition of a Work:
And if the Subordination be Dot perfea,
the Order (which makes the Beauty) l"~
mains imperfect Now the SlIborainAtioll
can never be perfea, cC unIefs -Jf when the
" Ordonnance is fuch, that the Eye not on~
" ly runs over with eafe the feveral Parts
" of the Defign, (reducing frill its View
" each moment to the principal Subjefr on
" which all turns) but when the fame Eye,
" without .the leaft detainment !n ~ny of
" th~ partlcular Parts, and reftmg, as it
" were, immovable in the middle, or cen" te~ of the Tablature, may fee at"once, in
" an agreeable and perfea Correfpondency,
" all which is ~here exhibited to the Sight."

..

'" Tb.;' .",b", t~ Grecian M~ers fo b.ppil) t"t/s"d .,

ftp
word 'Eufll'0'I1o,.

fi","

CH A P.

Digitized by

Google

Tllt'J

CHAP,

VI.
t../""~

C H A P.

VI.

Of the Ca/ual or 114dtpendent Orn41lte1lts.

(I.)

H B ~!t E re~ains

tor HS HOW

confider onlY ot
feparate
Omllmellltt, indepllndllllt lIoth
Figur~s
and Perfpefrive, fuch as the MltrlJine-Work
Divil1it11
Sky,
Ctlpids, Birds, Animals, Dogs, or other loofe
Fiecll~t whit;b are intrtlduc'd

*'

.~:~u:te nec:tffi:~~n~lll~~ga chl:'yof Hu1JrdiIl4'} Lift, and to .the Comiclt'f; or "';:1('d

gind, otlk Taklattlre,
on. thacotl=
trary is wholld Epiclt, Heroic", and . . in the
.'Fragick htile, woa"d
fl1 eaflyadmit
any thing in this light way,
,

(a,) \V E nnay he fifi es

that
whereas the Ivlind is naturally led to fancy
~I yllery
a
a
tle
Stile of Painting as ours, and to confound
other
two iftinE1 kklds
the Emblematick and merely Hiftoric41 or
Foetlllk; we
Carll nllt to

It

of HER C U L E S.

4- I

it this occafion of Error and Deviation, by CH A P.

introducing into a Piece of fo uniform a VI.

. Defign, fuch Appendic~, or fupplementary

Parts, as under pretext of giving li~ht to
the Hiftory or chara8:erizing the FIgures,
1hou'd ferve only to diftrafr or diffipate the
Sight, and confOund the Judgment of the
more intelligent S~ators.
(~.) " W ILL it then, fays one, be pof" fible to make out the Story of thefe
" two Dames in company' with HER C U" . L E s, without otherwlfe diftinguifhing
" them than as above defcrib'd? " - I t
is poffible; and not only fo, but certain
and infallible in the care of one who has
the leaft Genius, or has ever heard in general concerning HER. C U LE s, without fo
much as having ever heard this Hiftory in
particular.. But if notwithftanding this,
we wou'd needs add fome exterior marks,
more declaratory and determinative of thefe
two Perfonages, Virtue and Plea!ure; it
may be perform'd, however, without any:
neceffary recourfe to what is abfolutely of
the Emblem-kind. The Manner of this
may be explain'd as follows.

(4.) T Ii E Energy or natural Force of

Virtue, according to the moral Philofophy of higheft note among the AD.tients, was exprefs'd in the double effea
F
of
Digitized by

Google

V"'V'"'J

41

The

JtiOGMENT

1"_;.11.

of *" F()f'''e~r",e and

or what \vc
VI. may call otherwifc Refrainmcnt and Su~
V"V') port: for the former; the Bit or Brilllt,
plac'd fomewherc on the ftde of Y;"'",;
may fei've as Emblem fuJicient; and for
the fecond~ the Helmet may ferve in the
fame manner; ecpecially fin(e they are eath
of them Appurtenanct9 ~ential to Herorzs
(who in the qua~tJ of Warriors were alfo
Subduers or t .Managers of Horfes) and
that at the fame time thefe are re~ny portable Inftruments, fuch IS the iIlartial Dame,
who reprefents n"""t may well be fupt'
pos'd to have brought along with her,"

-CHAP.

(5.) 0 N the fide of Ple.!.,e, certain

Vafcs and other Pieces of imbofs'd Plate,
wrought in the fiAures of S&lJrs, F.."s,
and &"I1.".ll, may ferve to ellpre& the
Debauches of the Table-kind; and certain
Draperys thrown carelefly on the groundt
and hung upon a neighbouring Tree, form,
ing a kind of Bower and Couch for this .
luxurious Dame, may ferve fufficiently to
fuggeft the Thought of other Indulgences,
and to fupport the Image of the effeminate,
indolent, and amorous Paffions. Befides
.. KItfTeelCII, E)'~T';4: T6tl ",ert tle/crllld III Sljfers in
the emblem.tid( Mord PbllofopbJ of tbe
Wllenct ,blll
knDwn Prtctpl, 'A"Xll !1'AnXll, Suftine at Abftiae.
t Ca /tor anti Pollux, ,,1/ I~t Ikrots of Homer; Alexan4er the Great, &c.
.

AnI,,,.,,,

that
Digitized by

Google

of HER. C U L E S.
that fOr this latterldnd, .we may fell fatiffy'd, 'tis what the Painter will hardly fail \
of reprefenting to the full. The fear is,
left he fuou'd oVerdo this part, and e~prefs
the AiFe8:ion too much to the life. The
Appearance will, no doubt, be ftrongly
wrought in all the Features and Propor.
don, . of this thirll FigMTe, which is of a
relHh far more popular and vulgarly insaging, than that ,the, oppos'd to it, in
our hiftorical Delign.
"

s.

se

;;

CON C .L U S ION.
(I")WB may conclude this Argument
','

withagencralRefleaion, which
fcemS to ar~ naturally frO[ll what has been
&.id on this Subjea in particular; " That
" in" real HijI~Pm,ter, the fame Know" lcdg, the fame Study and Views are reCl> quir'd, as in ~ real POt'."
Never can
. ' the Poet (whilft he juftly holds that name)
~com.c a Reb.tor or Hiftori"" at large~ He
is aUow'd only to defcribe a rmgl~ Aaion,
Dot ~ Aai9Jl of a fingle Man or People.
The Painter is a Hiftorian at the fame
rate, but frill mor~ narrowly confin'd, as
in faa appears; r~~ it wou'd certainly
prove a more ridiC~ous Attempt to cO,mprehend two or three diftinct i\aio~s or
farts of JiiLlory in, one Pi~Qre, tban tq
. F 2
'
.com-.
I

DigitizedbyGoogle ' '.'

'41

,44

ne Jlll)G MENT
comprehend ten times the number in onc
and the fame Poem.

(2.) 'T I S well known, that to each Species of Poetry, there are natural Proportions and Limits affign'd. And it wou'd
be a grofs Abfurdity indeed to imagine,
. that in a Poem there was nothing which
we cou'd call Meafure or Number, except
merely in the Verfe. An Elegy, and an Epi...
gram have each of 'em their Meafure and
Proportion, as well as a Tragedy or Epick
Poem. In the fame manner, as to Painting, Sculpture, or Statuary, there are particular Meafures which form what we call
a Piece: as f01' inftance, in mere Portraiture, a Head, or Bujf, the former of whjch
mull retain alwals the whole, or at leaf!
a certain part 0 the Neck, as the latter
the Shoulders, and a certain part of the
Breaft; if any thing be added or retrench'd,
the Piece is deftroy'd. 'Tis then a mangled Trunk, or difmember'd Body, which
prefents it-fe1f to our Imagination; and
this tOO not thro ufe merely, or on the account of cuftom, but of neceffity, and by
the nature of the Appearance: fince there
are fuch and fuch parts of the human BoP
dy, which are naturally match'd and muft
appear in company; the SecHon, if unskil.
full y made, being in reality horrid, and re.
prefenting rather an Amputation in Surgery, than a feemly Divifion or Separation
~ccor..
Google
Digitized by

of HERCULES.
accord!ng to Art. And thus it is that in
general, thro all the plaftick Arts or Works
of Imitation, " Wbatfoever is drawn from
" Nature, with the intention of raifing in'
" us the Imagination of the natui"al Species
" or ObjeCl according to real Beauty and
"Truth, fhou'd be compriz'd in certain
" compleat Portions or DiftriB:s,' which re" prefent the Correfpondency or Union of
" each ~rtof Nature, with iIitire Nature
"her-felt" And 'tis this natural Apprehenfion or antici~ting Senfe of Unity,
which makes us gIve even to the Works of
our inferiour Artizans, the name of Pieces
by way of Excellence; .and 'as denoting the
Juftnefs andlTruth of Work..
.
. ().) I N order therefore to fucceed ri~ht.
Iy ill the Formation of any thing truly
beautiful in this higher Order of Defign;
'twere to be wHh'd that the Artift, who
had Underftanding enough to comprehend'
what a real Piece or TablAture imported,
and who in order to this had acquir'd the'
Knowledg of a Whole and PArts, wou'd afterwards apply himfelf to the Study of morllj'
and poetid Truth: that by this means the
Thoughts, Sentiments, or Manners, which
hold the firft rank in hiftorical Work, might
appear. furable to the higher and nobler Spe- .
cies of Humanity in which he praB:is'd, to
the Genius of the Age which he defcrib'd,.
and to the principal or main Action which he
Googihofe
. '

Digitized by

4J

ne JUD$MENT

'46

chore to reprefcnt. He wou'd then' natu.

rally learn to rejea thoiC falfe Ornaments
of 3.ffeaed Graces, exaggerated' Paffions,
hyperbolical and prodigious Forms; which
eqUally with the merer:
and grotefque, deftroy the juft $iIIII1";IJ, and Vlli1], e[ential in a PIE C E. And for his CoIOflrillg; he wou'd then foon find how much
it became him to be referv'd, fevere, and
chaile, in this particular of his Art; where
Luxury and Libertinifm are, by the power
of Fafbion and the modern Taftc; become
fo univerfallyeftablifh'd.

'''JIri'-

(4.) 'T I S evident however from Reafon

it-(elf~ as well as from -Jf. Hiftory

and

E~

perience, that nothing is more fatal, either

to Painting, Architecture, or the other

Arts, than this f.J[e ReLifb which is govern'd

rather by what immediately ftrikes the
Senfe, than by what confequendy and ~
reHecHon pleafes the Mina, and fd.tis6es .
the Thought and Reafon. So that whllft
we look on Painting with the fame eye, as,'
we view commonly the rich Stuffs and coIour'd Silks worn by our LadYSt and admir'd in Drefs, ~uipage, 0; Furniture"
~ muft of neceffity be Cffemmate in our
Tafte, and utterly fet wrong as to
Judgment and Knowledg ill the kind. For
of this imitative Art we mayjuftly fay,:

an.

". Stt

Vitruvius""" Pliny
. Digitize~byGoogle

That

of HERCULES.
" That tho it borrows help indeed from
"Colours, and ufes them, as means, to
" execute its Defi~ns; it has nothing, how" ever, more wIde of its real Aim, or
" more remote. from its Intention, than to
" make a /be", of Colours, or from their
" mixture, to raife a '* [ep4.rl&te and fot-
" ter;lIg Pleafure to the S ENS E."

ne PltllfllT't iI

pi';"" {orti"" tI1Id feparate ; III bll.nn,

or JhtI!t in tilt proper Dtlight or Enttrttlirlmtnl .bicb
I/fltllT'fl1IJ mifts from tbt S,,*II~ tI1IIl Wor~jIJip it-folf. I<or
lilt s".1I in rtfjtll of Pltil{llT'l, III .,11 III SdtllCt, iI tlbfolllltl} compltflttd, .btn tbe DlfigI iI t:mllltd, IIIId tilt propos'J
lmitfltiOlt onct IUCOmplijll'i. AtuJ tbil it IIl"lIls iI tb, btft,
.ben tbe C.10llTs 4Ft mojf [UtI,,'d. ani mde fllbftMJitnl.
I/O "lI&tTlI

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