Zography
Original
Zographie, is an Arte Mathematicall, which teacheth and demonstrateth, how, the Intersection of all visuall Pyramides, made by any playne assigned, (the Centre, distance, and lightes, beyng determined) may be, by lynes, and due propre colours, represented. A notable Arte, is this: and would require a whole Volume, to declare the property thereof: and the Commodities ensuyng. Great skill of Geometrie, Arithmetike, Perspectiue, and Anthropographie, with many other particular Artes, hath the Zographer, nede of, for his perfection. For, the most excellent Painter, (who is but the propre Mechanicien, & Imitator sensible, of the Zographer) hath atteined to such perfection, that Sense of Man and beast, haue iudged thinges painted, to be things naturall, and not artificiall: aliue, and not dead. This Mechanicall Zographer (commonly called the Painter) is meruailous in his skill: and seemeth to haue a certaine diuine power: As, of frendes absent, to make a frendly, present comfort: yea, and of frendes dead, to giue a continuall, silent presence: not onely with vs, but with our posteritie, for many Ages. And so procedyng, Consider, How, in Winter, he can shew you, the liuely vew of Sommers Ioy, and riches: and in Sommer, exhibite the countenance of Winters dolefull State, and nakednes. Cities, Townes, Fortes, Woodes, Armyes, yea whole Kingdomes (be they neuer so farre, or greate) can he, with ease, bring with him, home (to any mans Iudgement) as Paternes liuely, of the thinges rehearsed. In one little house, can he, enclose (with great pleasure of the beholders,) the portrayture liuely, of all visible Creatures, either on earth, or in the earth, liuing: or in the waters lying, Creping, slyding, or swimming: or of any foule, or fly, in the ayre flying. Nay, in respect of the Starres, the Skie, the Cloudes: yea, in the shew of the very light it selfe (that Diuine Creature) can he match our eyes Iudgement, most nerely. What a thing is this? thinges not yet being, he can represent so, as, at their being, the Picture shall seame (in maner) to haue Created them. To what Artificer, is not Picture, a great pleasure and Commoditie? Which of them all, will refuse the Direction and ayde of Picture? The Architect, the Goldsmith, and the Arras Weauer: of Picture, make great account. Our liuely Herbals, our portraitures of birdes, beastes, and fishes: and our curious Anatomies, which way, are they most perfectly made, or with most pleasure, of vs beholden? Is it not, by Picture onely? And if Picture, by the Industry of the Painter, be thus commodious and meruailous: what shall be thought of Zographie, the Scholemaster of Picture, and chief gouernor? Though I mencion not Sculpture, in my Table of Artes Mathematicall: yet may all men perceiue, How, that Picture and Sculpture, are Sisters germaine: and both, right profitable, in a Commõ wealth. and of Sculpture, aswell as of Picture, excellent Artificers haue written great bokes in commendation. Witnesse I take, of Georgio Vasari, Pittore Aretino: of Pomponius Gauricus: and other. To these two Artes, (with other,) is a certaine od Arte, called Althalmasat, much beholdyng: more, then the common Sculptor, Entayler, Keruer, Cutter, Grauer, Founder, or Paynter (&c) know their Arte, to be commodious.
Musean translation
Modern machine-assisted Musean edition by Mouseia, from Dee's 1570 Praeface. Latin quotations and titles are translated into English, using Dee's own English glosses where provided. Printer's type-size markup is normalized; marginal notes are kept as asides. Billingsley's separate address is omitted. Uncertain readings are marked.
Drawing is a mathematical art which teaches and demonstrates how the intersection of all visual pyramids, made by any assigned plane (the center, distance, and lights being determined), may be represented by lines and proper colors. A notable art this is, and it would require a whole volume to declare its nature and the benefits ensuing from it. Great skill of geometry, arithmetic, perspective, and anthropography, with many other particular arts, the draftsman needs for his perfection. For the most excellent painter (who is but the proper mechanic and the sensible imitator of the draftsman) has attained to such perfection that the senses of men and beasts have judged painted things to be natural and not artificial, alive and not dead. This mechanical draftsman (commonly called the painter) is marvelous in his skill, and seems to have a certain divine power: to make of absent friends a friendly, present comfort; yes, and of dead friends to give a continual, silent presence, not only with us but with our posterity for many ages.
And so proceeding, consider: in winter he can show you the lively view of summer's joy and riches, and in summer present the face of winter's doleful state and nakedness. Cities, towns, forts, woods, armies, yes whole kingdoms (however distant or great) he can easily bring home with him (into anyone's judgment) as living patterns of the things rehearsed. In one little house he can enclose (to the great pleasure of the beholders) the lively portrait of all visible creatures: those on earth or living under the earth; or in the waters, lying, creeping, sliding, or swimming; or any bird or fly flying in the air. Even set against the stars, the sky, the clouds, yes, in the very appearance of light itself (that divine creature), can he match the judgment of our eyes most nearly. What a thing this is! Things that do not yet exist he can represent so that, when they do exist, the picture seems (in a manner) to have created them. To what craftsman is painting not a great pleasure and benefit? Which of them all would refuse the direction and aid of painting? The architect, the goldsmith, and the tapestry weaver hold painting in high regard. Our vivid herbals, our portraits of birds, beasts, and fishes, and our elaborate anatomies, in what way are they most perfectly made, or beheld by us with most pleasure? Is it not by painting alone? And if painting, by the painter's industry, is so beneficial and marvelous, what shall be thought of drawing, the schoolmaster of painting and its chief governor? Though I do not mention sculpture in my table of mathematical arts, yet all men may perceive how painting and sculpture are full sisters, and both very profitable in a commonwealth. And of sculpture, as much as of painting, excellent craftsmen have written large books in its praise. I take as witnesses Georgio Vasari, Pittore Aretino; of Pomponius Gauricus; and others. To these two arts (and others) a certain odd art called Althalmasat owes much, more than the ordinary sculptor, carver, cutter, engraver, founder, or painter, etc., knows his art to owe.
Plain English translation
Modern machine-assisted Plain English edition by Mouseia, from Dee's 1570 Praeface. Latin quotations and titles are translated into English, using Dee's own English glosses where provided. Printer's type-size markup is normalized; marginal notes are kept as asides. Billingsley's separate address is omitted. Uncertain readings are marked.
Drawing is a mathematical art. It teaches and shows how the intersection of all the visual pyramids, made by any assigned plane (with the center, distance, and lights determined), can be represented by lines and the proper colors. This is a remarkable art, and it would take a whole volume to set out its nature and the benefits that follow from it. For perfection, the draftsman needs great skill in geometry, arithmetic, perspective, and anthropography, along with many other particular arts. For the most excellent painter (who is only the draftsman's own craftsman and imitator of what the senses show) has reached such perfection that the senses of men and beasts have judged painted things to be natural rather than made by art: alive and not dead. This mechanical draftsman (commonly called the painter) is marvelous in his skill, and seems to have a certain divine power: he can make absent friends a warm, present comfort; yes, and he can give dead friends a lasting, silent presence, not only with us but with our descendants for many ages. And going on: consider how, in winter, he can show you a lively view of summer's joy and riches, and in summer present the face of winter's dreary state and bareness. Cities, towns, forts, woods, armies, yes whole kingdoms, however far away or great, he can easily bring home with him (into anyone's judgment) as living patterns of the things he has listed. In one little house he can enclose (to the great pleasure of the viewers) a living picture of all visible creatures: those living on the earth or under it; those in the waters lying, creeping, sliding, or swimming; and any bird or fly flying in the air. Even set beside the stars, the sky, and the clouds, yes in the very look of light itself (that divine creature), he can match our eyes' judgment very closely. What a thing this is! Things that do not yet exist he can represent so well that, when they do exist, the picture seems (in a way) to have created them. To what craftsman is painting not a great pleasure and benefit? Which of them all would refuse the guidance and help of painting? The architect, the goldsmith, and the tapestry weaver all think a great deal of painting. Our vivid herbals, our portraits of birds, beasts, and fish, and our detailed anatomical drawings: how are they most perfectly made, or looked at with most pleasure? Is it not by painting alone? And if painting, through the painter's skill, is so useful and marvelous, what should be thought of drawing, the schoolmaster of painting and its chief governor? Though I do not mention sculpture in my table of mathematical arts, everyone can see how painting and sculpture are full sisters, and both very useful in a commonwealth. And excellent craftsmen have written large books in praise of sculpture as well as painting. I take as my witnesses Georgio Vasari, Pittore Aretino, Pomponius Gauricus, and others. To these two arts (and others) a certain odd art called Althalmasat owes much: more than the ordinary sculptor, carver, engraver, cutter, graver, founder, or painter, etc., know how useful their own art is.
About this section
Zography is part of The Mathematicall Praeface to the Elements of Geometrie by John Dee. This page sets the 16th-century English original beside 2 direct-source translations, so any line can be checked against the source. It is part 28 of 34 in the work, which is kept in the European tradition.
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