Portrayal of the Affects, passions, desires, and sorrows of Persons275
The Sixth Chapter
(1) No Person is so steadfast as to prevail*
Wholly over the stirrings of the heart and susceptible inclination,
But Affects and passions do verily276
Move the heart and senses from within,
Causing the external limbs to react accordantly,
And, through appreciable motion,
Making symptoms evident
In form, quality, or action.277
(2) Those knowledgeable of Nature vouchsafe us to hear
The various names of things
Called Affects, amongst which the first and foremost*
Are Love, desire, joy, sorrow, and choler,
Distress and melancholy, which strike the heart,
Pusillanimity, fear hard to overcome,
Also swollen pride and jealous hatred:
All such are named Affects.278
(3) Aristides of Thebes was the first to express*
These qualities (named Ethoi
By the Greeks) with colors,279
Searching, too, in the garden of the Arts280
To pluck lovely new florets that waft a laudable fragrance:
His wounded Woman and his sick man,
Which greatly increased his fame,
Shall serve us equally well in this context.
(4) These Affects are neither so readily nor easily
Expressed as they are praised,
First with the features of the face,*
Ten or more, diverse in aspect,
As the brow, the two eyes, and above them
The two eyebrows, and set back below them
The two cheeks, and between nose and chin
The dual-lipped mouth and what is within it.281
(5) Here the Painter must diligently observe
And thoroughly scrutinize the forms of Nature,
Thereby to position the body’s parts,
One against the other, such that they
Make known the concerns that move the heart,
Evincing them by means of Bodily gestures:
For Nature reveals more about what induces affects*
Than one can describe.282
(6) But ‘twere not fitting now to withhold
Any manner, rule, or method
Of portraying these things to good effect,
So that our personages perform
According to the Histrionic Art,283 acquitting themselves well*
In such deeds as they have been
Set on the Stage to perform, be it with joy in Comedy
Or with sadness in Tragedy.
(7) Let us now set to work, as per the order of types,
First building the edifice whereby to portray the affect of Love*
Between Men and Women,
With a friendly, smiling visage,
With embraces and clasping of arms,
And tilting of heads mutually inclined,
As filled full with Love,
And with right hands enfolded, held as one.
(8) So, too, between lovers, the magnitude of their Love,
Hardly to be concealed, is easily betrayed:
Through shamefaced chagrin and disquiet of the heart
The face turns rosy red;
And we wish here to append, as an example thereof,
(To confirm and follow through on the topic)
[The story of] Antiochus, who secretly*
Loved his Stepmother Stratonice.284
(9) In many ways, he sought to evade his foolish desire,
Having here despaired of procuring
The gratifying fruits of pleasure;
Finally, through prolonged sorrow and sighs,
He lay sick in bed and wished, by denying
Bodily nourishment, to let himself die:
But the Doctor Erasistratus recognized
At once that he was lovelorn.
(10) But unable to discover for whom,
He assiduously perused the Young Man’s person
Each time someone entered through the doors,
[To see] if the face might not redden,
And many other symptoms that
The thoughts, affects, and internal stirrings
Of a person engender
By mobilizing external signs.
(11) But nothing whatsoever occurred
Except when Stratonice came into the chamber,
Alone or accompanied by Seleucus, his Father;
Then his Pulse throbbed, as it would when pressing down on an artery,
His voice broke with stammering,
His face, fiery red, sweated profusely:
In sum, no sign failed to show there upon him
All that about which Sappho tellingly writes.285
(12) Even though the Doctor now knew positively, through many a sign,
Toward which Woman he had set his heart,
He knew not how to give him a helping hand,
Yet saw him grow paler by the day,
His soul oppressed by grievous longing,
And his flesh withering ever more from illness:
He doggedly gave thought to what remedy might profit
The King’s Son, averting his demise.
(13) Had he not known it was [the Son’s] own Stepmother,
A thing disgraceful and queer,
Then had he surely apprised the King:
But finally, assured of the benevolent,
Great love he knew
Seleucus bore for his Son,
He was emboldened to say or write
That Love was the cause of his Son’s sickness,
(14) But (said he) a Love not to be remedied:*
For the beloved Woman
Is not to be possessed by him. Thereupon, the King,
Nonplussed, inquired who she might be?
Answering, the Master withheld
The truth, and told
The King, “ ‘Tis my Wife, upon whom
His heart’s desire is wholly settled.”
(15) Ah (said the King), you who are our good,
Dear friend, shall Marriage between your
Spouse and my Son not be permissible,
Him by whom alone (as you know)
Our Kingdom and Crown are to be maintained?
You, his Father, brimming with charitable love,
Were he to have fallen in love with Stratonice
(Thus spoke the other), would not grant her to him.
(16) Ah, friend, if God were to grant me ample grace,
Or if certain Men were to vouchsafe the power
Of transferring this love
To my Wife, for the sake of my Son’s health,
So that he might live in the bloom of youth,
I would give her to him gladly,
Along with my Kingdom: such was the King’s pledge,
[Made] with a heart heavy-laden and eyes full of tears.
(17) Then did the Master grip his right hand boldly,
Saying: take heed, as a person wisely disposed,
Of your house’s well-being in this season.
You have no further need of my help,
You who are the Lover’s Father, and Husband to the beloved,
As well as King; so, in this matter you yourself
May now best forge ahead:
Thus [the King] presently let his people gather to take counsel.
(18) The King’s resolve was made known; he brooked
No dissent from Friends or Princes:
For Fatherly love so wrought*
That she who was first a Wife became a Daughter-in-Law,
[And] that the Son, freed from heartache’s firm grip,
Received still more, a parcel of Provinces.
This has been rendered in Rhyme from out of Plutarch’s prose,
To make the point that love does limn herself with blushes.
(19) In order now to take the long view, there is a Proverb*
That runs, where pain is, thither goes the hand, where love is, thither goes the eye;286
Both are true, for wherever one feels pain,
In the head or shanks, there the hand must go;
So, too, with earnest effort the sense of sight,
At the behest of the heart and by its will,
Turns toward the cherished good, swiveling round,
As did Clytie after the Sun’s rays.287
(20) When Helen lived with Menelaus,
Paris of Troy, who was their guest,
With his eyes, as the Poets say,
In various ways made known to her
His desires, imploringly;
Thus she became greatly disquieted, lest her husband
Come to know the import of such gestures,
And take offense.288
(21) But on the subject of true-hearted Motherly love,
Whoever has read Sannazzaro’s Arcadia,
Replete with sweet Pastoral Lyric,
Will have encountered the vase*
Painted from top to foot or base
By the Artificer Mantegna’s hands,
On which, besides other ornaments,
Was to be seen a Nymph, naked, her every limb most beautiful.289
(22) Except for her feet like a Goat’s,
And she sat on a goatskin full of wine,
Suckling a little Satyr, young in Years,
Gazing at it with eyes so tender and gentle*
That it appeared she herself
Might completely dissolve
From the sweet pain of Love,
As her gestures let show.290
(23) At one breast, this little Child was suckling,
On the other he laid his frail little hand,
Staring at this Breast with all his might,
For fear of losing sight of it:
Euphranor, the Painter, was also much
Praised, and gained much renown
For his Trojan Paris,
Fashioned more artfully than one might believe.291
(24) For it seems that one saw writ large on that face*
The diverse affects that he felt within,
First understanding, and a ready wit easily sufficient to the task
Of passing judgment on the Goddesses,
And, with the attractiveness of a desirous lover,
His love for Helen, not to be tempered,
Also a Manly spirit, stout of might and main,
Capable of vanquishing Achilles.292
(25) The eyes of this figure might well have293*
Openly shown a modicum of wisdom,
And the forceful pose a Virile Potency,
The laughing mouth, unbridled concupiscence.294
Herein also worthy of note and well to be prized
Is the opinion of common folk:
Now, one makes desire manifest
Through the eyes’ earnest beholding.295
(26) If one were to read Pliny, well practiced in the study of Nature,296
And also the writings of Albert the Great,
One would find that the eyes are the seat of desire;297*
Nowhere is more apt to disclose
Love and painful longing;
They are mirrors of the spirit, the heart’s firm ground,
Wherein favor and disfavor stand revealed,
Constancy, changeability, benignity, good cheer.
(27) From these two Lights that guide the Body,
Compassionate tears and sorrowful streams
Wash over the blooming field of the cheeks,
As the heart disburdens itself, crying out bitterly,
To such an extent that one might well wonder,
When grief is roused, where so great a pool of wetness lodged.
Lying hid, still and calm,
While one’s heart was glad and joyful.
(28) Hence, to portray well a merry heart*
Wherein sorrow has been dispelled,
We shall make the half-closed eyes charming,
The mouth somewhat open, sweet, laughing, blithesome:
It behooves us also to give thought
To the Latinists’ term laetae frontis,298
A carefree brow, which is smooth and clear,
Unmarked by many wrinkles.
(29) We ought to give attention to the brow, say I,*
(Which the Pagan races
Held sacred to Genius299), for some construe it
As the Witness of the Soul and the Apparency of thought,
Yea the Book of the heart, in which to read and assay
A Person’s predilections: for wrinkles and furrows
There reveal what lies hid in us –
A spirit oppressed, anxious, full of care.300
(30) Indeed, the Air and weather are sometimes likened to the brow,*
In which a multitude of sad clouds sometimes hovers
When the heart is heavy-laden with discontent:
But every dark mist falls away
When through cheering wind and joyful beams
The Sky is swept clean, clear, blue, whereby the spirit lifts,
And the light of the Sun
Triumphs like a Hero whose battle is won.
(31) The brow unwrinkles when grief departs,
And the eyes then gaily clear:
For Genius is not good at deception,
Nature (they say) cannot lie:
But they who display a glad brow
Yet have a heart full of base rancor,
Are double-browed, and indeed, they who hate under the guise of friendship*
Are known as the wiliest of enemies.
(32) Moreover, by observing the various ways in which
The eyebrows that protect the eyes are raised,*
One can descry cruelty or kindness;
Here one hits upon a Person’s thoughts,
Positive or negative; one can also see
[That Person’s] Pride, for here she holds fast301
To her lair: even if she first arises out of the heart,
Having climbed on high, she then stays in place.
(33) But Phocion, whom one might call good-natured,
Appeared so forbidding due to his eyebrows
That no person would have come readily
To speak with him without a shudder,
Had they not known him previously:
To the people of Athens who laughed at his eyebrows,
(He said) they do harm to no one,
But such idle laughter has cost this City many tears.302
(34) But it may well be that he curbed
His own tendencies (as did the Philosophers),
Not allowing himself easily to be moved
By an irascible nature, but instead going counter
To what Physiognomia taught about him;303
He who defers to Trogus on this subject,
To Adamantius or Aristotle,
Will soon find himself exasperated by their curious nonsense.304
(35) We will not trouble ourselves with the disputes
Of the Philosophers, but let them take their course
As matters that little avail us;
But for art’s sake, we must pay attention
To the external motions of the Body,305
To the changes and movements of the limbs,
Whereby one may easily recognize
What our Figures are feeling or doing.
(36) They who call us to task for our inability
To distinguish between faces that laugh or cry*
Are not mistaken:
But we see by studying life diligently
That in laughing the mouth and cheeks widen**
And rise, while the brow lowers, and between both,
The eyes, pinched half-shut and narrowed,
Create small furrows leading to the ears.306
(37) But weeping faces are not so rounded;*
The cheeks contract, and further,
The lower lips and corners of the mouth turn downward.
Already in older days there were those who understood this,
Amongst whom we might here cite
Praxiteles, certainly one of the foremost
Masters, especially in working marble,
Who produced wonders of art esteemed throughout the world.307
(38) He made two Figures, different
In Affect, first an honorable Matron
Who wept, letting her sorrow be seen;
There besides, with practiced art,
An apparently light-hearted Woman,
Laughing genially in a joyful way,
Who (they said) he portrayed after
Phryne, one of the most admired courtesans.
(39) It seemed that one could detect in that face
His attraction to her as well as the good favor
Shown by her toward him, to the delight of his every sense.308
But the Figures of Demon of Athens, with his colors*
An excellent Painter in his day,
Looked from the varied ways they gazed
To be inconstant, wrathful, angry, merciful, gentle,
Fearful, stalwart, humble, [or] majestic.309
(40) Indeed, he also strove to bring various affects
Together in a single Figure:
Timanthes of Cyprus, too, achieved fame,310*
Having painted with the utmost decorum
Great sorrow and tearful grief,
To be seen [in a picture] of the innocent Maiden Iphigenia
Before the stone Altar,
Whom they purposed to offer in sacrifice,
(41) In order to appease the outraged [goddess] Diana
And quell the Sea’s raging tempests.
There he showed how the people standing round, who were to perform the deed,
Likewise made shows of compassion.
One saw the visage of Calcas, full of grief,
But still more woebegone, Ulysses,
Her Uncle, horrified in heart
At the gruesome prospect of the murderous sacrifice.
(42) When the Painter had utilized
To the best of his ability every sort of sorrowful gesture,
Wringing of the hands, weeping and clamorous sighing,
He at last pictured Agamemnon powerfully, who as Father,
Inconsolable, faint of heart,
Surpassing all the others,
Could not bear with his eyes to see
The cruel death blow [struck] against his Child.
(43) This he accomplished by covering the face,
With clothing or with the hands.
Diverse stanzas and Poetic verses
Have been composed on this artful work,
[Securing] its glorious reputation in distant Lands.
One could always discern
Hidden meanings in his works;311
He triumphed over Colotes and Demon.312
(44) To fashion a mournful expression, full of pity*
And inner feeling, without a flow
Of tears, as sometimes occurs,
One shall turn the eyebrows sideways, to the left,
Somewhat raising them and the half-shuttered eye,
And let the little fold running from nose to cheek
Be pulled in the same direction, and abridged:
Thus shall one portray a fearful person.
(45) The head shall also hang tilted to one side,
The cheek, raised toward the aforesaid eye,
Shall pull the mouth open, sidewise.
One hand shall strike the bosom at the heart,
The other attach to its proper shoulder,
With its innermost surface turned outward,
Positioned as if to seize or avert something:
Thereby one shall plumb a heavy heart.
(46) With hands on heart, laid crosswise,
[And] the head pressing down on one shoulder, yea all
The body’s fellow citizens behaving as one,
[The eyes] like red clouds raining temperately
Onto the pale fields of the cheeks, moistening them,
The hands joined, with the fingers plaited;
Contrariwise, like West and East,
The face shall look dispiritedly in the opposite direction.
(47) To press or wipe the tearful eye,
The hand or a kerchief shall sometimes come forward,
And the head, heavy-laden with mournful damp,
Shall stand steadfast, helpful to the hand,
With the elbow propped up;
Indeed all the limbs ought, virtually without exception,
To lie slack or hang down
As if dead or wholly overcome by sickness.
(48) For just like the dead, the sick, the aged,
The sorrowful man must oftentimes let himself fall,
Must give way, folding back his limbs:313
And so, too, (as the Poets say) should*
Death, illness, old age, and sorrow**
Together populate the portal of Hell, like bedfellows,
Where they accord with others of their kind,
Like birds of a feather.314
(49) The Pagans of old, fearing the power
Of sickness, included her amongst their Gods.
At Rome was to be found the Temple of Fever;315
Yet she was not presented as an Affect,*
But instead one saw [her] painted in the manner
Of a sick person, in such wise that brought
Greater praise to Aristides than all his other works.316
One could not easily turn one’s eyes away from her.
(50) Amongst the Romans a Meleager was much praised,*
In which he was borne up,
Whereby one saw each bearer portrayed
As a mourner, with a grieving heart,
And also well displayed, their strenuous labor;
And over and beyond all this, the Art on show in that dead Corpus
Was neither lesser nor smaller:
He seemed altogether dead, his life, limb, and finger deprived of sensation.317
(51) I recall a Modern picture318*
On the Capitoline Hill, wherein with sure grace
The affects appeared, to the Painter’s glory:
It was the History of the Battlefield Combat
Between the three Horatii and three Curatii;
There one saw Tullus [Hostilius], King of Rome,
Sitting with his Generals, justly downcast alack
That their last Man must fight one against three.319
(52) And they seemed to lament the fact that two Brothers,
Their Champions, lay dead there:
The Painter proves capable of portraying,
In a proper fashion, with wonderful art,
The attitudes of these fallen Knights:
And Mettius [Fufetius] and the Albans appear there, too,
Their hearts joyfully swimming in a Sea of woe
Because their fighters (as it would seem) have the upper hand.320
(53) This is portrayed with a still presence so subtle
That many persons have been duly astonished;
Nor is it to be in any way disparaged,
Differing as it does to such an extent from the current norm,
For it may be about a hundred Years old.
Its workmanship321 and paint handling aside,
There is still little that can compare
With the manner in which the Affects are [here] seen painted.
(54) Further, in a Massacre of the Innocents*
By the subtle, faultless Bruegel is to be seen
A cadaverously pale Mother, straitened and swooning,
Yea an entire grief-stricken family,
Pleading with a Herald for a child’s life,
In whom a modicum of compassion is discernible,
But who yet promulgates the King’s Placard, though with senses mortified
That one may be merciful to no one.322
(55) Thus hearkening to truly indefatigable Examples,
Both Ancient and Modern,
Let fervent desire for these affects,*
The proper kernel323 or Soul that holds Art fast within itself,
Burn through your heart,
So that henceforth, like the pith of a nut,
They may likewise increase the virtue of the work’s Art,
And crown the workman’s profit with honor.324
(56) There was one Aristonidas who strove with all his might
Expertly to portray in a bronze Figure a thing nonpareil,*
The affect of rage [exemplified by]
Athamas, the irascible and obdurate
King of Thebes,
Who threw his own Son
To his death from a high rock.
This [Athamas] he depicted in a seated pose.325
(57) That such a [figure] might in form yet appear
As if, once come to his senses,
And having hatched so murderous a deed,
He was [now] reproaching himself, bitterly remorseful,
He admixed his Bronze with Iron,
In order thus to give the face, bewildered and desolate,
A more expedient flush of red,
When the Iron had rusted.
(58) This Figure was still to be seen in the open,
In the Greek city of Thebes, during the life of Pliny;
There under the lustrous bronze
The rusty Iron did disclose
In the visage a rubicund perplexity:
Now then, O Painters, hearing the magnitude*
Of the effort and exertion [expended] in matters of this sort,
Let your torpid spirits be awakened similarly.
(59) You could fulfill the whole of your intention
More easily and handily, by a sure path, without going astray,
By fashioning and refashioning the figures with your colors,*
Until they declare, as if by word of mouth,
Every affect hidden in their hearts:
In the head of someone irate, two burning coals**
Bulge outward, glaring crosswise,
Skulking beneath two dusky eyebrows.326
(60) In the same manner Michelangelo, following Dante,
Made the Ferryman of the infernal barge
In his illustrious Judgment,327 so shall you plant
The irises of the eyes amidst white borders,
Opened wide both above and below;
The face shall appear prominently swollen,
Its integument fiery red from choleric heat,
The brow wrinkled like a Lion’s.
(61) Emaciated Envy, full of spite,*
Cadaverous and deathly pale, fell, bitter, accursed,
Artfully described by Ovid,
We leave to her venomous meal
In her cold, dark, grisly lair;328
But the downhearted or desperate,**
One sees tearing at the seams of their garments, shredding them,
Or plucking out their own hair from their heads.
(62) Lucas van Leyden, who with his sharp,*
Learned burin artfully engraved
David before Saul, playing the Harp,
Did very naturally delineate for us
The spirit and frenzied behavior of Saul:329
But concerning those afflicted
Interiorly with fear, they shall appear pale as dead color,330
With their arms outstretched as if fleeing.
(63) In Rome is a work by the Etruscan Giotto,*
Made from inlaid glazed stones,
Called Mosaic, to resist easy decay;331
Even were it painted, ‘twere not to be dismissed:
There in a storm-tossed ship
One sees amongst the Apostles
An intensely fearful, appalled astonishment very well rendered,
On the night Christ walked across the Sea.
(64) There one sees Peter, who, having already
Stepped off the boat and frightened by the wind and waves,
Begins to sink at the feet of the Lord,
And almost to drown:
In days of old, one also saw fearful alarm
In a picture wherein Amphytrion the King*
Was painted beside Alcmene,
The mother of Hercules, both of them filled with apprehension
(65) Upon seeing young Hercules in the Crib,
Who showed his strength by throttling two fierce serpents,
Which he was squeezing mightily.
Arrested by this fearsome spectacle,
The Mother’s heart appeared full of anxious care.
But whose work this was ought not to be concealed:
It was Zeuxis of Heraclea, the Painter,
Than whom there were but a few more prolific at depicting the affects.332
(66) And still there was Parrhasius of Ephesus,
Who first set his hand
To the exterior form of the face
And to the [e]motions;333 but in this,
Aristides was wonderfully gifted,
As was said above, and though his
Body be buried, and his work no longer found,
Yet has Death not devoured his fame.334
(67) This [Aristides] had also portrayed the motions of the mind335*
[In the picture] of a City occupied by its enemies,
Wherein a small Child, innocently groping,
Had latched onto his Mother’s wound
Borne in the breast with which she gave suck:
There one saw how naturally she flinched,
Still sensitive to the grievous pain,
Though lying in a faint between death and life.
(68) This Female heart was also seen to bend
With anxious care, lest her little child,
In finding milk, might suck her blood*
Together with the rancid pap:336 thus (as all bear witness)
Was this artful Panel so famous
That no one less than the great Alexander,
Taking such pleasure in it, had it brought
With him to his birth City Pellas.
(69) This face might well have had a mouth*
Gaping open at one side, as we have
Described for [the depiction of] sad, piteous facial features,
A brow with mutually opposed wrinkles,
Eyebrows unevenly raised,
The flesh tint corrupted by the advent of death,
Blushing pale purple at the lips and cheeks.
The child [may have] stared intently with sad eyes.337
(70) In order to do more with this material,
One could well delve into deeper caverns,
Quite far from here, the whereabouts of the Cimmerians,
Whence the Father of Morpheus rules his empire,
And wont to lie snoring, dreams his dreams:338
Then is my good hope to have ignited a spark
In many a spirit and to have increased the desire
Henceforth to attend more closely to the Affects.
(71) For these are (as I think) secrets very much ad rem,
That fall sufficiently, all on their own, to Art’s share,
So that good Masters (by my reckoning)*
Make use of them more than they know,
Being as perfect in all things as they are in one:339
Then will many not belittle the matter at hand,
Clever viewers with profound insight,
Who through the affirmation of praise convert semblance into verity.340
(72) As Vasari, with his magisterial pen,
There writes about Buonarroti, avowing
That noble spirits recognize in his Judgment
The specific sin for which each [sinner] runs [his / her] hellward course,
And that in what concerns the Affects,
Never did any Painter accomplish anything before him;341
But be it through ignorance or opinion,
This does contradict Pliny all too much.342
(73) He says, too, that Angelo with his sharp-witted senses,
Through much concourse with the World and with People
Could discern as much from a [person’s] manner of life:343
And so, you Youths, let the same come about for you as well,
For in order that beyond instruction, you also gain
A measure of profit from my writing,
I direct you to follow the model*
Which Eupompus did show to Lysippus.344
End of Affects.
Footnotes
*
No one is free of passions, Affects, or the human inclination to weakness.
*
What Human Affects or passions are.
*
Aristides was the first portrayer of Affects.
*
With what features of the face the affects are to be portrayed.
*
Nature makes the Affects known.
*
Histrionica are gestures like those that Comedic actors utilize.
*
On portraying the affect of Love.
*
Example of the History of Antiochus and his Stepmother Stratonice.
*
Artful guile of Erasistratus the Doctor.
*
Wondrous love of Seleucus for his Son.
*
A Proverb: “Where love is, there’s the eye”; for the eye is the messenger of the heart.
*
A Vase is an ewer.
*
On portraying Motherly affection.
*
Trojan Paris painted, in whose face and figure many affects were to be seen.
*
Consideration of how this might be done.
*
The eyes are the seat of desire.
*
How to portray lightness of spirit.
*
On the brow, accuser of Souls and Book of hearts.
*
The brow likened to heaven.
*
On a double brow, and what makes for the most cunning of enemies.
*
On the eyebrows, in which one comes up against a person’s thoughts.
*
Painters are unable clearly to distinguish between laughing and crying faces.
**
How one portrays laughter.
*
How to portray crying.
*
Demon was artful in portraying the affects, as one reads from his life.
*
Timanthes, too, in the aforesaid sacrifice of Iphigenia, was [artful] in the portrayal [of affects].
*
How one shall portray interior sorrow with exterior motions of the limbs.
*
Aeneid, book 6.
**
Sorrow, death, and illness populate the entryway to Hell.
*
An art, too, to portray the sick and the dead.
*
Gualtherus Rivius, book 3.
*
This was a curious old Painting, in which Sorrow, Joy, and Death were well and naturally portrayed.
*
This picture is now (I think) in the possession of the Emperor Rudolph.
*
On portraying the Affects, the Soul of Art.
*
Example of rage and sorrow portrayed in a cast bronze Figure admixed with Iron in the face.
*
This example should rouse the Painters.
*
Painters draw great advantage from sundry colors.
**
On the depiction of cruelty and rage.
*
On Envy; Metamorphoses, Book 2.
**
On Downheartedness.
*
Example of Lucas van Leyden, in the portrayal of frenzy.
*
Example of Giotto, in the portrayal of terror.
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Example from Pliny, book 35, chapter 9.
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Example: how the pain of death was portrayed, withal anxious care.
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Pliny, book 35, chapter 10.
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Speculation upon how this might have been portrayed.
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More than they realize, great Masters engage in the portrayal of Affects, for he who is good at one thing is often good at all.
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Pliny, book 34, chapter 8.