l e m e . l i b r a r y . u t o r o n t o . c a

w i n g a 7 6 5

v e r . 1 . 0  ( 2 0 1 8 )


An Explanation 
OF 
Some Terms of the ART of
PAINTING.



Air. 
IS properly taken for the Look of a Fi­
gure, and is used in this Manner, The 
Air of the Heads of Young Women, or 
Grave Men, &c.

Antique. 
This word Comprehends all the Works of 
Painting, Sculpture, and Archite­
cture that have been made in the Time of 
the Antient Greeks and Romans, from 
Alexander the Great, to the Emperour 
Phocas; under whom the Goths Ravaged 
Italy.

Aptitude. 
It comes from the Italian word Attitu­
dine, and means the posture and action that 
any Figure is represented in.





Cartoon. 
It is taken for a Design made of many 
Sheets of Paper pasted together; in which 
the whole Story to be painted in Fresco, is 
all drawn exactly, as it must be upon the Wall 
in Colours: Great Painters never paint­
ing in Fresco, but they make Cartoons first.

Colouring. 
'Tis one of the parts of Painting, by 
which the Objects to be painted receive their 
Complexion, together with their True 
Lights and Shadows.

Chiaro-Scuro. 
It is taken in two Senses: first, Painting 
in Chiaro-Scuro, is meant, when there are 
only two Colours employed. Secondly, It 
is taken for the disposing of the Lights and 
Shadows Skilfully; as when we say, A 
Painter understands well the Chiaro-
Scuro.

Contour.
The Contours of a Body, are the Lines





that environ it, and make the Superficies 
of it.

Design. 
Has two Significations: First, As a part 
of Painting, it signifies the just Measures,
Proportions, and Outward Forms 
that a Body, imitated from Nature, ought 
to have. Secondly, It signifies the whole 
Composition of a piece of Painting; 
as when we say, There is great Design 
in such a Piece.

Distemper. 
A sort of Painting that implys the Co­
lours mingled with Gumm. And the dif­
ference between that and Miniature, is, 
that the one only uses the Point of the Pen­
cil, the other gives the Pencil its whole Li­
berty.

Drapery. 
Is a General Word for all sorts of Cloa­
thing, with which Figures are Adorn­
ed: So we say, Such a Painter disposes 
well the Foldings of his Drapery.





Figure. 
Though this word be very General, and may 
be taken for any painted Object; yet it is 
in Painting, generally taken for Humane 
Figures.

Fresco. 
A sort of Painting, where the Colours 
are applyed upon fresh Mortar, that they 
may Incorporate with the Lime and Sand.

Festoon. 
Is an Ornament of Flowers, employed in 
Borders and Decorations.

Grotesk. 
Is properly the Painting that is found un­
der Ground in the Ruines of Rome; but it 
signifies more commonly a sort of Painting that 
expresses odd Figures of Animals, Birds,
Flowers, Leaves, or such like, mingled to­
gether in one Ornament or Border.

Gruppo. 
Is a Knot of Figures together, either in 
the middle or sides of a piece of Painting.





So Carache would not allow above three
Gruppos, nor above twelve Figures for 
any Piece.

History. 
History-Painting is an Assembling of 
many Figures in one Piece, to Represent any 
Action of Life, whether True or Fabulous, 
accompanied with all its Ornaments of Land­
skip and Perspective.

Manner. 
We call Manner the Habit of a Painter, 
not only of his Hand, but of his Mind; that is, 
his way of expressing himself in the three prin­
cipal Parts of Painting, Design, Colou­
ring, and Invention; it answers to Stile 
in Authors; for a Painter is known by his
Manner, as an Author by his Stile, or a
Man's Hand by his Writing.

Model. 
Is any Object that a Painter works by, either 
after Nature, or otherwise; but most common­





ly it signifies that which Sculptors, Pain­
ters, and Architects make to Govern them­
selves by in their Design.

Nudity. 
Signifies properly any Naked Figure of Man 
or Woman; but most commonly of Woman; as 
when we say, 'Tis a Nudity, we mean the 
Figure of a Naked Woman.

Print. 
Is the Impression of a Graven or Wooden 
Plate upon Paper or Silk, Representing some 
Piece that it has been Graved after.

Relievo. 
Is properly any Embossed Sculpture that 
rises from a flat Superficies. It is said like­
wise of Painting, that it has a great Relie­
vo, when it is strong, and that the Figures 
appear round, and as it were, out of the Piece.

Mezzo-Relievo. 
Is where the Figures rise, but not above 
half of them is seen, the rest being supposed in 
the Marble or Wood.





Basso-Relievo, 
Is, when the Figures are little more than
Designed, and do rise but very little above 
the Plain: Such are the Figures of the An­
tients about their Cups and other Vessels.

Shortning. 
Is, when a Figure seems of greater quantity 
than really it is; as, if it seems to be three 
foot long, when it is but one: Some call it 
Fore-Shortning.

Stucco-Work. 
Is Figures of all sorts, made in a kind of 
Plaister, and employed to Adorn a Room, ei­
ther under the Cornishes, or round the Cei­
ling, or in Compartiments, or Divisi­
ons.

Schizzo. 
Is the first Design or Attempt of a Painter to 
Express his Thoughts upon any Subject. The Schiz­
zos are ordinarily reduced into Cartoons in Fresco
Painting, or Copyed and Enlarged in Oyl-Painting.

Tinto. 
Is, when a thing is done only with one Colour, and 
that generally Black.