The Religion of the Ancient Romans, by Du Choul; and in English, Godwin’s Roman Antiquities. Trajan’s Pillar, with the discourse which explains the figures on it, and instructs a painter in those things with which he is indispensably to be acquainted. This is one of the most principal and most learned books, which we have for the modes, the customs, the arms, and the religion of the Romans. Julio Romano made his chief studies on the marble itself. The books of medals. The Bass-Reliefs of Perrier, and others, with their explanations at the bottom of the pages, which give a perfect understanding of them. Horace’s Art of Poetry, because of the relation which there is betwixt the rules of poetry, and those of painting. And other books of the like nature, the reading of which are profitable to warm the imagination; such as in English, are Spenser’s Fairy Queen; the Paradise Lost of Milton; Tasso, translated by Fairfax; and the History of Polybius, by Sir Henry Shere. Some romances also are very capable of entertaining the genius, and of strengthening it, by the noble ideas which they give of things: but there is this danger in them, that they almost always corrupt the truth of history. There are also other books which a painter may use upon some particular occasions, and only when he wants them: Such are, The Mythology of the Gods; The Images of the Gods; The Iconology; The Tables of Hyginus; The Practical Perspective; and some others not here mentioned. Thus it is necessary, that they who are desirous of a name in painting, should read at leisure times these books with diligence; and make their observations of such things as they find for their purpose in them, and of which they believe they may some time or other have occasion. Let the imagination be employed in this reading, and let them make sketches, and light touches of those ideas which that reading forms in their imagination. Quinctilian, Tacitus, or whoever was the author of that dialogue, which is called in Latin _De Causis corruptæ Eloquentiæ_, says, “That painting resembles fire, which is fed by the fuel, inflamed by motion, and gathers strength by burning; for the power of the genius is only augmented by the abundance of matter to supply it; and it is impossible to make a great and magnificent work, if that matter be wanting, or not disposed rightly.” And therefore a painter, who has a genius, gets nothing, by long thinking, and taking all imaginable care to make a noble composition, if he be not assisted by those studies which I have mentioned. All that he can gain by it is only to weary his imagination, and to travel over many vast countries, without dwelling on any one thing, which can give him satisfaction.