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 Visual Literacy
Workbook
For Graphic Design and Fine Art Students

00_Frontmatter.indd 11/08/18 07:24 PM

Frontis: The Afternoon Meal (La Merienda), Luis Meléndez

00_Frontmatter.indd 11/08/18 07:24 PM

 Visual Literacy
Workbook
For Graphic Design and Fine Art Students

David Moyer
Brian Flynn
Pennsylvania College of Technology

New York  Oxford
OXFORD UNIVERSITY PRESS

00_Frontmatter.indd 11/08/18 07:24 PM

 Oxford University Press is a department of the University of Oxford.
It furthers the University’s objective of excellence in research, scholarship,
and education by publishing worldwide. Oxford is a registered trademark of
Oxford University Press in the UK and certain other countries.

Published in the United States of America by Oxford University Press

198 Madison Avenue, New York, NY 10016, United States of America.

© 2020 by Oxford University Press

For titles covered by Section 112 of the US Higher Education

Opportunity Act, please visit www.oup.com/us/he for the latest
information about pricing and alternate formats.

All rights reserved. No part of this publication may be reproduced, stored in

a retrieval system, or transmitted, in any form or by any means, without the
prior permission in writing of Oxford University Press, or as expressly permitted
by law, by license, or under terms agreed with the appropriate reproduction
rights organization. Inquiries concerning reproduction outside the scope of the
above should be sent to the Rights Department, Oxford University Press,
at the address above.

You must not circulate this work in any other form

and you must impose this same condition on any acquirer.

Library of Congress Cataloging-in-Publication Data

Names: Moyer, David, author. | Flynn, Brian, 1959-author.

Title: Visual literacy workbook for Graphic Design and Fine Art Students / David
Moyer, Brian Flynn.
Description: [First edition]. | New York : Oxford University Press, [2020] |
Includes bibliographical references and index.
Identifiers: LCCN 2018034021 | ISBN 9780190853426 (pbk.)
Subjects: LCSH: Art—Textbooks.
Classification: LCC N7425 .M85 2020 | DDC 700—dc23 LC record available
at https://lccn.loc.gov/2018034021

987654321
Printed by LSC Communications, United States of America

00_Frontmatter.indd 11/08/18 07:24 PM

 For Gretchen
For Jack Flynn

00_Frontmatter.indd 11/08/18 07:24 PM

 . . . art is mysterious. It reaches us in ways we don’t fully understand.
—Dana Gioia

00_Frontmatter.indd 11/08/18 07:24 PM

 Table of Contents
x Preface
xi Acknowledgments
xii Introduction

PART I Visual Literacy: Form & Content 2

4 CHAPTER 1 Visual Literacy

Visual Literacy, Visual Image, Form, Content, Elements, Unit Forms, Formal Content, Symbolic
Content, Narrative Content

8 CHAPTER 2 The Visual Image

Visual Attractiveness, Contrasts, Visual Hierarchy, Unity, Picture Plane, Format/Frame of Reference,
Negative Space/Ground, Positive Space/Figure, Closed Composition, Open Composition, Shape,
Curvilinear Shape, Rectilinear Shape, Representational Shapes, Non-Representational Shape

13 CHAPTER 3 Gestalt, Unity and Variety

Gestalt, Repetition, Rhythms, Alternating Rhythm, Progressive Rhythm, Integrative Repetition,
Proximity, Similarity, Continuation, Closure, Unity, Variety

19 CHAPTER 4 Color
Additive Color, Color Spectrum, Cool Colors, Color Temperature, Color Wheel, Four Aspects of
Color, Hue, Primary Colors, Saturation, Secondary Colors, Shading, Subtractive Color, Tertiary
Colors, Tinting, Value, Toning, Warm Colors

22 CHAPTER 5 Illusion of Space

Aerial Perspective, Atmospheric Perspective, Background, Bright Color, Cool Colors, Dark-Valued
Color, Dull Color, Foreground, Horizon Line, Light-Valued Color, Linear Perspective, Line Weight,
Mid Ground, Orthogonal Lines, Spacial Planes, Vanishing Point, Vantage Point, Value, Warm Colors

27 CHAPTER 6 Balance
Asymmetrical Balance, Axis of Symmetry, Formal Balance, Hierarchy of Visual Weight, Horizontal
Balance, Informal Balance, Near-Symmetrical Balance, Pictorial Hierarchy of Visual Weight,
Symmetrical Balance, Typographic Hierarchy of Visual Weight, Vertical Balance, Vertical Axis of
Symmetry, Visual Weight

32 CHAPTER 7 Emphasis and Eye Flow

Accent Point, Contrast, Focal Point, Line of Sight, Real Line, Scale, Suggested Line Triangulation,
Value, Visual Hierarchy

37 CHAPTER 8 Proportion
Diagonal of a Square, Dynamic Rectangles, Dynamic Symmetry, Golden Section Rectangle, Half
Diagonal, Long Rectangle, Proportion, Ratio, Rectangle, Root Rectangles, Square

vii

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 40 CHAPTER 9 Structure
Columnar Grid, Custom Grid, Echo Lines, Eyes of a Rectangle, Formal Structure, Grid Cell,
Harmonic Armature, Informal Structure, Long Rectangle, Proportion, Rabatment, Rabatment
Container, Rabatment Lines, Square, Structure, Typographic Grid

48 CHAPTER 10 Compositional Dynamics

Accent Point, Compositional Dynamics, Counter-Diagonals, Dominant Dynamic, Dynamic
Hierarchy, Dynamic Orientation, Dynamically Neutral Forms, Focal Point, Lines of Sight, Major
Axis, Minor Axis, Triangulation

54 CHAPTER 11 Visual Content

Bracketed Observation, Background, Closure, Conceptual Depth, Contextual Association,
Contextual information. Element Condition, Foreground, Form, Formal Content, Element
Function, Gestalt, Mid Ground, Narrative Content, Primary Level of Perception, Secondary Level
of Perception, Spacial Planes, Symbolic Content, Visual Content, Visual Information, Variety,
Unity/Harmony

PART II The Visual Literacy Analysis Outline 64

66 CHAPTER 12 Visual Analysis Outline

Introduction, Visual Analysis Outline Sheet.

71 CHAPTER 13 Shape Type and Distribution, Section 1

Shape Type and Distribution, Identification, and Classification of Visual Elements.

75 CHAPTER 14 Gestalt, Section 2

Identify prominent examples of the four aspects of Gestalt: proximity, similarity, continuation,
closure.

79 CHAPTER 15 Balance, Section 3

Determine the type of horizontal balance: symmetry, near symmetry, asymmetry.

83 CHAPTER 16 Focal and Accent Points, Section 4

Identify points of emphasis, focal and accent points.

86 CHAPTER 17 Geometry, Section 5

Determine picture plane proportion (dynamic rectangle), relevance of harmonic armature and
rebatment.

92 CHAPTER 18 Compositional Dynamics, Section 6

Identify the dominant, subdominant, subordinate dynamics (diagonal, vertical, horizontal) and
their importance to the composition.

95 CHAPTER 19 Unity and Variety, Section 7

Summarize and synthesize formal elements’ contribution to unity and variety.

99 CHAPTER 20 Bracketed Observation, Section 8

Discern the composition’s visual element, element function, and element condition.

103 CHAPTER 21 Contextual Information, Section 9

Discern and research nonvisual information relevant to the work.

viii Contents

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 106 CHAPTER 22 Contextual Association, Section 10
Correlate bracketed observation with contextual information.

109 CHAPTER 23 Visual Content Summary, Section 11

Identify (narrative, symbolic, formal) and synthesize visual content information.

114 Suggested Artists and Artworks, Assignment

APPENDIX
Sequencing, Handouts, Completed Visual Analysis
137 GLOSSARY

140 BIBLIOGRAPHY

141 CREDITS

145 INDEX

Contents ix

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■

Preface

Visual Literacy Workbook was developed from teaching our Visual Literacy course as
part of the foundations curriculum in the Graphic Design program at Pennsylvania
College of Technology. Visual Literacy was newly developed to serve as an introduction
to the study of design. Our students had started their foundation studies with Two-
Dimensional Design, a course in which the formal exploration of design theory and
practice is heavily tilted to the abstract. Understanding design theory while putting
it into practice can be a tall order for a first-semester freshman. The new course was
conceived as a bridge to the world of design and has in practice greatly increased student
success in the competition and quality of work in our foundations courses.
The Analysis Outline serves as a conceptual armature for the course and, by extension,
the Visual Literacy Workbook. The Outline provided a basic structure for the book,
there be­ing a very close relationship between chapter content order in the book and the
Outline. The Analysis Outline guides the student through a process of written reflections
of visual imagery. This approach to the subject grew out of an in-class process of
identifying design and content elements in projected visual imagery. The process
became one of discovery for the students and instructors, generating a lot of enthusiasm
for the subject matter.
In addition to the exploration of design theory and visual content, the analysis
process served to bridge the gap between representational and abstract imagery. Design
students all too often are only able to apply their formal knowledge in an abstract
visual environment. The ability to perceive one’s surroundings in its formal qualities
is extremely important for the artist and designer and can take considerable time to
develop. Through focusing on representational imagery, the Analysis Outline has
accelerated the student’s development of an abstracting vision.
The individual sections of the Analysis Outline in Part I were developed from design
theory, and a procedure that promotes careful observation of design elements as a
prerequisite for reaching conclusions about a visual image. The Outline sections in
Part II emphasize a similar procedure as an aid to formulating judgments about image
content. Through the process of teaching the Visual Literacy course, the Outline sections
have been modified with additions or subtractions in their form as well as adjustments
in their sequencing based on student interac­tion with the material so as to better guide
students through the learning process.

00_Frontmatter.indd 11/08/18 07:24 PM

■

Acknowledgments

We would like to thank all our friends and colleagues who have shown their
enthusiasm and given advice and support for this project. In particular, special thanks
to Dr. Tom Ask and Levi Woodward for their publishing advice, our colleagues Keith
Vanderlin and Mark Wilson for their excellent photographic work and the permis-
sion to publish their images. Also, a nod of appreciation is due to my old college friend
clinical psychologist Dr. Jack Dettwyler for reviewing the Gestalt chapter and his loan
of reading material on the subject, and to art historian Dr. Margaretta Frederick for her
encouragement and review of the visual content chapter. Karis Reitzman proofread
the manuscript prior to submission. The following is a list of people who kindly gave
permission to publish their images: Brad Holland, Ainsley Bennett, Meredith Long,
Hailie Montgomery, Andrea Neff, Ashley Tate, Minh Tu, Ed Wong-Ligda, the Enesco
Corporation, and the Odd Nerdrum Museum. Thanks to Joanna Flynn for her support
and our Dean, Dr. Mike Reed, and Assistant Dean, Tom Heffner, for their much appre-
ciated encouragement.

Thanks are also due to the following reviewers:

Alma Mary Anderson,
Indiana State University,
Nancy Ciolek,
Rochester Institute of Technology,
Meaghan Anne Dee,
Virginia Tech,
Melanie Rodgers,
York College of Pennsylvania; and
Kelli Evans,
Loyola University Chicago.

xi

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■

Introduction

Visual Literacy provides a step-by-step approach to understanding visual imagery.

The process starts with developing one’s ability to observe through a close examination
of what one sees. This ability serves as a foundation from which to examine more
complex visual issues.
The text starts with a very basic examination of imagery and transitions to more
complicated ideas through a series of written analyses that consist of topics that build
on one another. As students cover new material, they reinforce and synthesize what
they have learned and gain a comprehensive understanding of form and content
in visual imagery. Upon completion of the course, students are well prepared to
participate in the design process or to further their investigation and interpretation of
image content.
The Visual Literacy text is a classroom in a book composed of two parts. Part I
contains form and content theory along with pictures that serve as examples and a
method of classroom exploration of the theory. Part II includes the Visual Analysis
Outline, lists of artists and resources for analysis, and detailed explanations of theory
application using the analysis outline.
This book will serve as a good foundational text for a broad field of design and
interpretive studies, including Fine Arts, Graphic Design, Web Design, Industrial
Design, Art History, Museum Studies, as well as Hermeneutics and Semiotics.

xii

00_Frontmatter.indd 11/08/18 07:24 PM

 Visual Literacy
Workbook
For Graphic Design and Fine Art Students

00_Frontmatter.indd 11/08/18 07:24 PM

PART 1

Visual Literacy: Form and Content

The Pearl, Brad Holland

©Brad Holland

01_Pt_1_Chapter_1.indd 11/30/18 03:55 PM

 CONTENTS
4 CHAPTER 1         Visual Literacy

8 CHAPTER 2         The Visual Image

13 CHAPTER 3         Gestalt, Unity, and Variety

19 CHAPTER 4         Color

22 CHAPTER 5         Illusion of Space

27 CHAPTER 6         Balance

32 CHAPTER 7         Emphasis and Eye Flow

37 CHAPTER 8         Proportion

40 CHAPTER 9         Structure

48 CHAPTER 10 Compositional Dynamics

54 CHAPTER 11 Visual Content

Part 1 Visual Literacy: Form and Content 3

01_Pt_1_Chapter_1.indd 11/30/18 03:55 PM

CHAPTER 1

Visual Literacy
VOCABULARY We are exposed to an abundance of visual imagery on a daily basis and may easily look
Form: An abstract quality or property but not really see. What is visual literacy?
expressed in matter. Visual Literacy is the ability to see a Visual Image and understand its Form and
Formal Content: Information that relies
Content, much like reading the text of a book or electronic screen. It is not uncommon
on the visual nature of the unit forms and
their interaction.
for artists and designers to talk about reading a visual image. Is the image understand-
Narrative Content: Image that tells able? The visual image is composed of Design Elements or Unit Forms that are the
a story. This may include commercial equivalent of the letter forms, grammar, and syntax of the written text and serve as the
imagery. vessels for communicating the image’s meaning.
Symbolic Content: Visual unit forms
Form is an abstract quality or property expressed in matter. If we compare a grape
represent something beyond their
appearance, that is, a dove represents
and a baseball, we can see that they share the abstract quality of roundness in their
peace. shapes. The quality or property of roundness is being expressed in the matter of the
Unit Form/Design Elements: Visual grape and the baseball (fig. 1.1). In order to understand the form of a visual image, it
elements that comprise the parts of a is necessary to abstract the properties of form from what we see. Matter may express
visual image.
multiple formal qualities. The grape is round in its shape, purple in its pigmentation,
Visual Content: The message communi-
cated by a visual image. It may be formal,
and dark in value.
symbolic, narrative, or a combination of
the three.
Visual Image: A picture that one can see.
Visual Literacy: The ability to see a vis-
ual image and understand its form and
content.

Figure 1.1a, 1.1b The tracing of the single grape

and the baseball isolates the abstract quality of
roundness that is being expressed in the matter
of each. Roundness is not the only formal quality
they possess, as there are differences in their color
and value. 1.2

4 Chapter 1 Visual Literacy

01_Pt_1_Chapter_1.indd 11/30/18 03:55 PM

1.3 1.4
Figures 1.2–1.4 Piet Mondrian’s Composition (previous page bottom right), Paul Klee’s Untitled (top left),
and Paul Cézanne’s Apples (top right).

Visual Content is the message communicated to the viewer by a visual image.

­ ormal, Symbolic, and Narrative are three types of visual content that are at work
F
in an image, either separately or in combination with one another. Formal Content
relies on the abstract properties of the design elements and their interaction with one
another to express its content. Every visual image to a certain degree will be part of this
category, for without its form a picture is not a visual image. The primary examples of
this type explore purely visual speculations in the expression of their content. There
may be no visual reference to the real world or those references may defer, to varying
degrees, in their appearance to abstract explorations of the properties of form
(figs. 1.2–1.4). These images are very different from one another in their outward appear-
ance but are all good examples of formal content. The Klee and Mondrian paintings avoid
any recognizable imagery but confine their exploration to the interaction of their visual
components. Both pieces rely heavily on the repetition of shape and color. The Cézanne
still life presents the viewer with recognizable objects, but the repetition of shape and the
interaction of colors are of primary importance in the artist’s exploration of a formal idea.
Symbolic Content represents an idea that is beyond the element’s appearance, that is, an
image of a skull representing death (fig. 1.5). Narrative Content tells a story and may be
historical, religious, mythological, commercial, and so on (fig. 1.6).

Chapter 1 Visual Literacy 5

01_Pt_1_Chapter_1.indd 11/30/18 03:55 PM

Figure 1.5 Vanitas Still Life, Edwaert Collier.
This painting is primarily symbolic with its hidden human skull, overturned vessels, and fallen drapery, all symbols of an end, which is death. These
symbols are designed to make the viewer reflect on how they are living their lives, for all of us will die one day. The artist is also exploring the interplay
of force and counterforce in the placement of opposing diagonal forms.

6 Chapter 1 Visual Literacy

01_Pt_1_Chapter_1.indd 11/30/18 03:55 PM

Figure 1.6 The Crucifixion of St. Peter, Caravaggio.
This is primarily a narrative image showing an historical event of religious significance, the martyrdom
of the Apostle Peter by the Romans in the 1st century ad. It is also a symbolic image as Peter insisted on
being crucified upside down because he was not worthy to follow Christ. St. Peter’s upside-down cross is
a symbol of his humility. This image also exemplifies the artist’s formal exploration of light, shadow, the
human figure, and the dynamics of weight and motion conveyed by those figures.

Chapter 1 Visual Literacy 7

01_Pt_1_Chapter_1.indd 11/30/18 03:55 PM

CHAPTER 2

The Visual Image

Visual Analysis Outline: CHAPTER 13 In this chapter, we will become familiar with the vocabulary used to describe the basic
parts of a visual image.
The Visual Image is composed of visual unit forms or design elements that possess
a Visual Attractiveness or ability to draw the viewer’s attention. A design element’s
VOCABULARY attractiveness is determined by its Contrast, which is its degree of difference from its
Abstraction: Rendering a visual element
surroundings. The attractiveness of an image’s design elements are ordered in a Visual
or image less realistic through the elimin-
ation of visual information and simplifica-
Hierarchy from most attractive to least attractive based on each design element’s
tion of form. degree of contrast. Design elements must harmonize with one another to form a unified
Closed Composition: All the visual unit whole. There must be agreement or Unity between the design elements comprising an
forms are contained within the image image for it to be viable.
format.
The visual image is composed on an area called the Picture Plane (fig. 2.1). It may
Contrast: The amount of difference
between a visual unit form and its imme-
be of any shape, but the most common is the rectangle. The edge of this surface is
diate surroundings. referred to as the Format or Frame of Reference. Any design element whether it be
Curvilinear Shapes: Shapes made up of a large shape or the smallest dot or dash is called Positive Space or Figure. Any area
rounded flowing edges. of the picture plane not covered by positive space or figure is called Negative Space
Figure: Another name for positive space.
or Ground. Positive/Negative Space or Figure/Ground are the common pairings of
Format/Frame of Reference: The
outside edge of the picture plane. The
these terms. Every part of the picture plane is a participant in the visual image and has
format, or frame of reference, defines the the ability to attract the gaze of the viewer to some degree, whether it be positive or
overall size and shape of the image or negative space.
design. It may be any shape but is most
commonly a rectangle.
Ground: Another name for negative
space. Note: The terms are used in pairs,
positive/negative space or figure/ground.

Frame of Reference/Format

Negative Space/Ground

Positive Space/Figure

Figure 2.1 Shoes, Vincent van Gogh.

8 Chapter 2 The Visual Image

02_Chapter_2.indd 11/30/18 04:21 PM

 Images that contain all the design elements within the frame of reference are Negative Space: Any part of the picture
plane not covered by positive space.
Closed Compositions (fig. 2.2). Visual images with design elements that appear to
Negative space is also referred to as
extend beyond the picture plane’s format are Open Compositions. ground.
A Shape is a clearly defined area that one can see delineated by a line or a change Non-Representational Shape: A shape
in value or color. The edge of a shape whether defined by line, color, or value is its that does not replicate or refer to an
most active part. Shapes can be classified by their form and by what they do or object in the real world.
Open Composition: Visual unit forms
do not represent. Curvilinear Shapes are rounded and flowing in their contours.
appear to extend beyond the edge of the
picture plane. They are cut by the format.
Picture Plane: The area to be designed.
a The picture plane can be paper, canvas,
or other materials.
Positive Space: Any design element in
the picture plane whether it be a large
shape or the smallest dot or dash.
Rectilinear Shapes: Shapes made up of
straight edges.
Representational Shape: A shape that
replicates or refers to an object in the
real world.
Shape: A clearly defined area that one
can see. It may be defined by a line or a
change in value or color.
Stylization: Emphasis or the exaggera-
tion of visual form.
Unity/Harmony: The agreement be-
tween the visual unit forms that comprise
a visual image. Unity/Harmony creates a
visual whole or oneness.
Visual Attractiveness: The ability of a
visual unit form to draw attention to itself
based on its degree of contrast.
Visual Hierarchy: An ordering of visual
unit forms from greater to lesser, based
on the visual attractiveness of the unit
forms. An element or unit form’s degree
b of contrast determines its place on the
visual hierarchy.

Figure 2.2a and 2.2b A Basket of Flowers, Jan Brueghel the Younger.
In the top image, the Brueghel still life presents a closed composition with all its elements neatly con-
tained within the picture’s format, making the composition very stable and centralizing areas of focus.
In the image below, the Brueghel still life has been cropped to make an open composition enlivening the
organization of negative space and areas of emphasis.

Chapter 2 The Visual Image 9

02_Chapter_2.indd 11/30/18 04:21 PM

 Rectilinear Shapes are straight-edged in their contours. Representational Shapes
(figs. 2.3–2.6) refer to objects in the real world, and may be realistic or barely
recognizable in their appearance. Figures 2.3 and 2.4 are both figurative paint-
ings and are examples of representational images. It is important to remember that
representational images are not necessarily realistic in appearance. Figures 2.5 and 2.6
are examples of nonrepresentational images.
Abstraction (fig. 2.11) is the rendering of a visual element or image less realistic
through the elimination of visual information and the simplification of form. An
element that has become less realistic may still be considered representational if it

Figure 2.3 Madame Cézanne, Paul Cézanne Figure 2.4 Man, Paul Klee

Figure 2.5 Small Worlds, Vasily Kandinsky Figure 2.6 Untitled, Arthur Dove

10 Chapter 2 The Visual Image

02_Chapter_2.indd 11/30/18 04:21 PM

remains recognizable as an object from the real world. Stylization is the emphasis
or exaggeration of form and is often used in conjunction with abstraction. Stylized
forms are also less realistic. Cartoon c­ haracters are a common example of stylized
human figures (figs 2.7 and 2.8). The facial features in Fruchard’s bronze bust of Honoré
Daumier (Fig. 2.8) have been s­ tylized. The head has been transformed into a triangular
shape with the nose and jaw b ­ ecoming larger than life and the eyes exceedingly small,
giving the bust a menacing feeling. ­Non-Representational Shapes do not refer to ob-
jects in the real world (figs. 2.5 and 2.9).

Figure 2.7 Two Soldiers, Anonymous.

The stylized figures in this 19th-century cartoon
illustrate the exaggeration of form. The soldier on
the left exhibits the linear quality of thinness, with Figure 2.8 Jean-Marie Fruchard, model,
his counterpart on the right showing the round- Honoré Daumier.
ness of corpulence.

Figure 2.9 Untitled, Paul Klee.

Klee’s composition of line, shape, color, texture, and brushstroke is an exploration of formal ideas, and
an example of a non-representational image. None of the elements in this composition replicate objects
found in the real world.

Chapter 2 The Visual Image 11

02_Chapter_2.indd 11/30/18 04:21 PM

CHAPTER 2 vignette
The Visual Image

Figure 2.10 The pepper was designed using a

three-by-three column grid with diagonal lines
(shown in blue) intersecting at the corners of the
cells. Using the grid creates a repetition of angles,
which increases the similarity between the de-
sign’s parts, providing a sense of unity.

Figure 2.11 Bell Pepper, Ainsley Bennett.

Bell Pepper by Ainsley Bennett is a logo symbol developed through the abstraction and
stylization of a green bell pepper, resulting in a representational but not realistic rendi-
tion of the vegetable. Symbols such as those that represent commercial identities are
designed for extremely short read times, as they are used on such things as billboards,
package designs, and the sides of tractor trailers.
The forms representing the pepper have been stripped of naturalistic detail and
reduced to basic two dimensional shapes. The shapes, while still maintaining their
representational form, have been altered from curvilinear to rectilinear in their con-
tours. The amount of figure to ground is nearly equal, enabling the figure to organize the
ground into complementary shapes. The pepper symbol is composed of a series of three
mutually defining rectilinear shapes alternately repeating themselves from left to right.

12 Chapter 2 The Visual Image

02_Chapter_2.indd 11/30/18 04:21 PM

Another random document with
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A boa arte de reinar
Em um coração rendido,
A não serdes vós nascido,
Não se pudera imitar:
Vós não podeis ensinar
Com paridades e apodos
Os bons meios e os bons modos,
Com que todo o mundo embaça,
Porque sempre estaes de graça,
Por fazer-nos graça á todos.

O generoso da mão,
O coração varonil,
Onde vos cabe o Brazil,
E sobeja coração:
Com pobres a compaixão,
Com ricos o liberal,
Na amizade tão leal,
Na palavra tão massiço,
Para mim tudo é feitiço,
Sendo tudo natural.
 DESPEDE-SE
O P. DA BAHIA QUANDO FOI DEGRADADO PARA ANGOLA

Adeus, praia; adeus, cidade,

E agora me deverás,
Velhaca, dar eu a Deus
A quem devo ao demo dar.

Quero agora que me devas

Dar-te a Deus, como quem cahe,
Sendo que estás tão cahida,
Que nem Deus te quererá:

Adeus, povo; adeus, Bahia,

Digo canalha infernal,
E não fallo na nobreza,
Tabula era que se não dá.

Porque o nobre emfim é nobre,

Quem honra tem, honra dá,
Picaros dão picardias,
E ainda lhes fica que dar

E tu, cidade, és tão vil,

Que o que em ti quizer campar
Não tem mais do que metter-se
A magano, e campará.

Seja ladrão descoberto,

E qual aguia imperial
Tenha na unha o rapante,
E na vista o prespicaz.
A uns compre, a outros venda,
Que eu lhe seguro o medrar,
Seja velhaco notorio,
E tramoeiro fatal.

Compre tudo e pague nada,

Deva aqui, deva acolá,
Perca o pejo e a vergonha,
E si casar case mal.

Porfiar em ser fidalgo,

Que com tanto se achará:
Si tiver mulher formosa,
Gabe-a por esses poiaes;

De virtuosa talvez,
E de entendida outro tal;
Introduza-se ao burlesco
Nas casas onde se achar.

Que ha donzellas de belisco,

E aos punhos se gastára,
Tracte-lhes um galanteio,
E um....., que é o principal.

Arrime-se a um poderoso,
Que lhe alimente o gargaz,
Que ha pagadores na terra
Tão duros como no mar

A estes faça alguns mandados

A titulo de agradar,
E conserve o affectuoso
Confessando desegual.
Intime-lhe a fidalguia,
Que eu creio que lh’o crerá,
E que fique ella por ella
Quando lhe ouvir outro tal.

Vá visitar os amigos
No engenho de cada qual,
E comendo-os por um pé
Nunca tire o pé de lá.

Que os Brazileiros são bestas,

E estarão a trabalhar
Toda a vida, por manterem
Maganos de Portugal.

Como se vir homem rico,

Tenha cuidado em guardar,
Que aqui honram os mofinos,
E mofam dos liberaes.

No Brazil a fidalguia
No bom sangue nunca está,
Nem no bom procedimento:
Pois logo em que póde estar?

Consiste em muito dinheiro,

E consiste em o guardar,
Cada um a guardar bem,
Para ter que gastar mal.

Consiste em da-lo a maganos

Que o saibam lisongear,
Dizendo que é descendente
Da casa de Villa Real.
Si guardar o seu dinheiro,
Onde quizer casará,
Que os sogros não querem homens,
Querem caixas de guardar.

Não coma o genro, nem vista,

Que esse é genro universal,
Todos o querem por genro,
Genro de todos será.

Oh! assolada veja eu

Cidade tão suja e tal,
Avesso de todo o mundo,
Só direita em se entortar.

Terra, que não se parece

Neste mappa universal
Com outra; e ou são ruins todas,
Ou ella sómente é má.

FIM DO TOMO PRIMEIRO

 INDICE DO TOMO I
Introducção V
Vida do dr. Gregorio de Mattos Guerra pelo 1
licenceado Manuel Pereira Rebello
Aos vicios: tercetos 41
Benze-se o P. de varias acções que 45
observava na sua patria
Reprovações 48
Verdades 53
Justiça que faz o P. na honra hypocrita pelos 67
estragos que anda fazendo na verdadeira
honra
Dialogo entre o Demonio e a Alma 73
Contra os ingratos murmuradores do bem 77
que actualmente recebem da mãe universal,
que os affaga, se queixa a Bahia,
confessando-se das culpas, que lhe dão,
pelos preceitos do Decalogo
Á gente da Bahia 100
Observações criticas sobre varias materias 109
por occasião do cometa apparecido em 1680
A fome que houve na Bahia no anno de 1691 116
Retrato do governador Antonio Luiz da 120
Camara Coutinho
Milagres do Brazil. Ao padre Lourenço 126
Ribeiro, homem pardo, que foi vigario da
freguezia de Passé
A um homem humilde que se metteu a 130
fidalgo
A uma briga que teve certo vigario com um 134
ourives por causa de uma mulata
A prisão de duas mulatas por uma querella 138
que d’ellas deu o celebre capitão Domingos
Cardoso, de alcunha o Mangará, pelo furto
de um papagaio
Epigramma sobre varios assumptos 141
Descreve o P. racional e verdadeiramente 144
queixoso os extravagantes meios com que
os extranhos dominam indignamente sobre
os naturaes na sua patria
Retrato do governador Antonio de Sousa de 154
Menezes, chamado o Braço de Prata: sylva
Ao confessor do arcebispo d. frei João da 159
Madre de Deus
Em 1686 diminuiram aquelle valor a que se 164
havia erguido a moeda quando o P. estava
na côrte, onde então com seu alto juizo
sentiu mal do arbitrista que assim o
aconselhára a el-rei, &
Retrato do padre Damaso da Silva 168
Marinicolas 172
Ao Braço Forte, estando preso por ordem do 180
governador Braço de Prata
Á D. João de Alencastre, que vindo do 185
governo de Angola por escala a Bahia, e
estando nella hospede do governador
Antonio Luiz Gonçalves da Camara
Coutinho, seu cunhado, em cujo desagrado
se achava o P., se queixou de que este o não
houvesse visitado, pedindo-lhe que ao
menos lhe fizesse uma satyra por obsequio
Á João Gonçalves da Camara Coutinho, filho 188
do dito governador Antonio Luiz Gonçalves
da Camara, tomando posse de uma
Companhia de infantes em dia de S. João
Baptista, assistindo-lhe de sargento seu tio
dom João de Alencastre
Á Pedro Alvres da Neiva, quando embarcou 191
para Portugal: romance
No Boqueirão de S. Antonio do Carmo, 197
dentro de uma peça de artilharia
descavalgada esteve muitos dias uma cobra
surucucú assaltando aos que passavam com
morte de varias pessoas, sendo governador
Antonio Luiz Gonçalves da Camara Coutinho
(é este o assumpto da poesia): romance
Á Brites, uma parda dama, vulgarmente 200
chamada Betica, pedindo-lhe cem mil réis:
romance
Á Annica, outra similhante parda, pedindo- 204
lhe um cruzado para pagar uns sapatos:
romance
Á umas moças que costumavam ir a uma 207
roça: romance
Á mulata Joanna Gafeira, estando queixosa 209
do P. a haver satyrisado
Á Damazia, outra mulata que chamava seu 212
um vestido que trazia de sua senhora:
romance
Á uma dama por nome Ignacia Paredes: 215
romance
Á uma moça por nome Barbara: romance 219
Satyrisa allegoricamente a varios ladrões da 223
republica: romance
Ao padre Damaso da Silva: romance 232
Á Bento Pereira: romance 237
Aos cavalleiros que correram na Festa das 239
Virgens no anno de 1685, primeiro do
govêrno do marquez das Minas
Á cavallaria da Festa das Virgens no tempo 249
do governo de João de Alencastre, sendo
juiz Gonçalo Ravasco Cavalcante de
Albuquerque
Chegando o marquez das Minas a governar 264
o Estado com o conde do Prado, seu filho,
tractou logo de alliviar os magnates da
Bahia, chamando-os do desterro em que
padeciam, amedrontados do seu antecessor
pela morte que outros deram ao alcaide mór
Francisco Telles, e por acção de graças lhe
fez o secretario de Estado Bernardo Vieira
Ravasco esta decima, que o P. glozou com
os primeiros costumados metaphoricamente
Á uns clerigos, que indo ao exame do 270
cantochão para ordens sacras na presença
do arcebispo d. João Franco de Oliveira,
desafinaram perturbados
Epistola ao conde do Prado: romance 273
Á tres freiras do Convento da Rosa, todas 277
irmãs, a quem ouviu o auctor cantar, e a uma
tanger rabecão
Á duas moças pardas 280
Á sogra de Gonçalo Dias, mandando-lhes 283
uns sonhos
Á Brites, uma dama pretendida de muitos e 286
de nenhum lograda
Conversa que teve o auctor em uma roça 289
com a mesma dama
Á mesma Brites, arrependida de haver 291
casado
Á uma moça chamada Thereza, de côr 294
trigueira
Á uma dama a quem o P. em certa occasião 296
achou mais formosa do que costumava ver
Á uma dama esquiva 299
Dando uma que da á vista de uma dama, 302
que se entende ser a celebrada Babú
Julga o P. com subtileza a culpa de 305
acontecimentos iniquos no tempo abstracto.
Entende-se ser esta obra satyra ao
governador Antonio de Sousa de Menezes,
por alcunha o Braço de Prata
Á Luiz Cesar de Menezes, governador de 309
Angola, pedindo-lhe de Carconda certo favor
ou despacho por titulos de comedias
Redargue o P. a doutrina ou maxima do bem 312
viver que muitos politicos seguem de
involver-se na confusão de homens perdidos
o nescios, para passarem com menos
incommodo esta humana vida
Descreve o rico feitio de um celebre Gregorio 318
de Negreiros, em que varias vezes falla,
moço com quem gracejava com divertimento
naquelle sitio
Á Henrique da Cunha, chegando do sitio da 321
Itapema á Cajahyba
Pedindo-se a soltura de um mulato á seu 326
senhor
Á Antonia, moça parda de Pernamirim 329
chamada vulgarmente Catona
Á mesma Catona, despedindo-se o auctor de 332
Pernamirim para a villa de S. Francisco
Á Annica, uma mulata da Cajahyba 335
Á uma mulata de Pernamirim chamada Luzia 338
Á Antonia, moça parda, chamada a 341
Marimbonda, que morava na rua da Poeira, e
a viu o P. no Campo da Palma debaixo de
uma urupemba em casa de uma amiga.
Allude ao remedio sympathico de se queimar
a casa dos marimbondos, para se extinguir
logo a dôr das suas picadas
Saudoso de Pernamirim e por occasião de 344
haver visto na villa de S. Francisco, onde
estava, um moleque chamado Moçorongo,
escreve a um amigo d’aquelle sitio: romance
Escreve tambem queixoso a um seu amigo 347
Ignacio, morador em Pernamirim, em quem
falla no romance antecedente: romance
Á Antonio de Andrade, sendo dispenseiro da 351
Misericordia
Ao capitão João Rodrigues dos Reis, homem 354
generoso e alentado, grande amigo do P.
Despede-se o P. da Bahia quando foi 357
degradado para Angola
 Nota
A capa foi criada pelo transcritor e se coloca no dominio publico.
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