A rectangular woodcut illustration at the top of the page depicting a "singerie" scene. Anthropomorphic monkeys are dressed in 17th-century human clothing and situated in an artist's studio. On the left, a monkey artist sits at an easel painting a portrait of another monkey. In the center, a monkey sits on a chair posing for a portrait while others observe. On the right, monkeys appear to be engaged in drawing and social interaction. The entire scene is enclosed in a decorative double-line border.

TO THE YOUTH, CULTIVATORS

OF THE PICTORIAL ART.

Now I turn to you, O youths most eager to learn; to whom I intend to propose this learned Art of Painting. If indeed there are certain talents in your most praiseworthy circle who are delighted by this art of ours—those whose souls have been imbued with this grace from the highest pole of heaven original: "à summo cœli cardine"; a reference to the belief that artistic talent was divinely or celestially ordained at birth, so that the stars, assisting at the first moment of their birth with the gaze of a fortunate nature, poured into them a natural skill for the artful strokes of Painting along with their first breath of air—let these men acknowledge with a grateful mind my own inclination to serve them. Let them attend diligently, and imprint upon their minds and memories those things which, in this book, I set before their eyes and explain fundamentally and faithfully. I entirely hope that no small amount of light will shine upon them to advance the desire of their souls. Nor do I trust any less that, just as formerly among the Romans, if a centurion exhorted his soldiers to bravery before a battle, they would demonstrate their readiness with their spears and javelins original: "telis pilisq;" held high; so too will these students joyfully show signs of the required alacrity and inclination. Thus, they may stand ready for me without delay as I call to them, and from the very first lessons, they may learn and practice the most essential part of the whole art, namely the Symmetry of man original: "symmetriam hominis"; the study of human proportions, considered the foundation of classical art, and furthermore

If anyone is incapable of all-around perfection, let him at least seek it in one or another part.

all the other parts as well. Or if by chance—as sometimes happens—nature does not always obey in all things, nor can the Spirit be disposed toward everything, let them at least aspire to perfection and excellence in one or another part.

In which parts each of the ancients was especially famous.

Examples of the Greeks.

Indeed, these circumstances are not unusual in our Art, as examples teach us, both of the ancients and the moderns: how one excelled in one part, another in another, while very few excelled in all or reached the very summit of the Art itself. For thus Apollodorus was particularly studious of beauty. Zeuxis exceeded in the size of heads, yet he could represent fruits in his paintings to the point of admiration. Eumarus studied to express all things to the life. Protogenes was at first only able to paint ships. Apelles was elegant in all things. Parrhasius excelled in his "figuring" original: "effiguratione"; likely referring to his famous mastery of the "contour" or outline of figures. Demon was rich in invention. Timanthes original: "Thimantes" was judicious in all his work, always involving hidden meanings and mystery. Pamphilus was learned. Nicomachus was swift. Athenion was sharp. Nicophanes was studious of neatness. Amulius was beautiful in his colors. Pausias was ready in the forming of children and flowers. Asclepiodorus was to be praised for measures and proportions. Amphion for order. Serapio was prudent in large things, Pyreicus in small things; Antiphilus likewise in small...