Those things which are beautiful in the utmost degree of perfection, according to the axiom of ancient painters, [*†417.] ought to have somewhat of greatness in them, and their outlines to be noble; they must be disentangled, pure, and without alteration, clean, and knit together; composed of great parts, yet those but few in number. In fine, distinguished by bold colours; but of such as are related and {420.} friendly to each other. And as it is a common saying, that “he who has begun well, has already performed half his work;” [*†422.] so there is nothing more pernicious to a youth who is yet in the elements of painting, than to engage himself under the discipline of an ignorant master; who depraves his taste, by an infinite number of mistakes, of which his wretched works are full and thereby {425.} makes him drink the poison, which infects him through all his future life. Let him, who is yet but a beginner, not make so much haste to study after nature, every thing which he intends to imitate, as not in the mean time to learn proportions, the connection of the joints, and their outlines: and let him first have {430.} well examined the excellent originals, and have thoroughly studied all the pleasing deceptions of his art; which he must be rather taught by a knowing master, than by practice; and by seeing him perform, without being contented only to hear him speak. [Sidenote: LIX. Art must be subservient to the painter.] [*†433.] Search whatsoever is aiding to your art, and convenient; and avoid those things which are repugnant to it. [Sidenote: LX. Diversity and facility are pleasing.] [*†434.] Bodies of divers natures, which are aggrouped (or combined) together, are agreeable and pleasant to the sight; [*†435.] as also those things which seem to be slightly touched, and performed with ease; because {435.} they are ever full of spirit, and appear to be animated with a kind of celestial fire. But we are not able to compass these things with facility, till we have for a long time weighed them in our judgment, and thoroughly considered them: by this means the painter shall be enabled to conceal the pains and study which his art and work have cost him, under a pleasing sort of deceit; for the greatest secret which belongs to art, is to hide it from the discovery of spectators. [Sidenote: LXI. The original must be in the head, and the copy on the cloth.] Never give the least touch with your pencil, till {440.} you have well examined your design, and have settled your outlines; [*†442.] nor till you have present in your mind a perfect idea of your work. [Sidenote: LXII. The compass to be in the eyes.] [*†443.] Let the eye be satisfied in the first place, even against and above all other reasons, which beget difficulties in your art, which of itself suffers none; and let the compass be rather in your eyes, than in your hands. [Sidenote: LXIII. Pride an enemy to good painting.]