195 In every figur'd group the judging eye Demands the charms of contrariety; In forms, in attitudes, expects to trace Distinct inflections, and contrasted grace, Where art diversely leads each changeful line, Opposes, breaks, divides the whole design : Thus, when the rest in front their charms display, Let one with face averted turn away; 200 Shoulders oppose to breasts, and left to right, With parts that meet and parts that shun the sight. This rule in practice uniformly true Extends alike to many forms or few. с * Inque figurarum cumulis non omnibus idem Corporis inflexus, motusque ; vel artubus omnes Conversis pariter non connitantur eodem; 204 140 Sed quædam in diversa trahant contraria membra, Tranverséque aliis pugnent, et cætera frangant. Pluribus adversis aversam oppone figuram, Pectoribusque humeros, et dextera membra sinistris, Seu multis constabit opus, paucisve figuris. XIII. Diversity of At с titude in Groups, XIII. Positurarum diversitas in cumulis. f Yet keep thro' all the piece a perfect poize; If here in frequent troops the figures rise, There let some object tower with equal pride; And so arrange each correspondent side, That, thro' the well-connected plan, appear No cold vacuity, no desert drear. 210 * Say does the Poet glow with genuine rage, Who crouds with pomp and noise his bustling stage? Devaid alike of taste that Painter deem, Whose flutt'ring works with num'rous figures teem; Altera pars tabulæ vacuo neu frigida campo, Pluribus implicitum personis drama supremo 'XIV. A Balance to be kept in the Picture. XV. Of the Number of Figures. h XIV. Tabulæ libramen, tum. i XV. Numerus Figu rarum. A task so various how shall art fulfill, 215 When oft the simplest forms elude our skill? treat, Nor e'er conceal the outline of the feet: 225 Rarior est tabula excellens; vel adhuc ferè nulla 160 XVI. Internodia et Pe The hands alike demand to be exprest In half-shewn figures rang'd behind the rest ; Nor can such forms with force or beauty shine, Save when the head and hands in action join. 230 Each air constrain'd and forc'd, each gesture rude, Whate'er contracts or cramps the attitude, With scorn discard.. When squares or angles join, When flows in tedious parallel the line, 169 • Gratia nulla manet, motusque, vigorque figuras Retro aliis subter majori ex parte latentes, Ni capitis motum manibus comitentur agendo. Difficiles fugito aspectus, contractaque visu Membra sub ingrato, motusque, actusque coactos; Quodque refert signis, rectos quodammodo tractus, Sive parallelos plures simul, et vel acutas, 170 XVII. Motus manuum motui capitis jungendus. P XVIII. Quæ fugienda in distributione et compositione. These all displease, and the disgusted eye Nauseates the tame and irksome symmetry. Mark then our former rule*; with contrast strong And mode transverse the leading lines pro long; For these in each design, if well exprest, 240 Nor yet to Nature such strict homage pay, As not to quit when Genius leads the way; Nor yet, tho' Genius all his succour sends, 245 Her mimick powers tho' ready memory lends, Vel geometrales (ut quadra, triangula) formas: Ingratamque pari signorum ex ordine quandam Symmetriam sed præcipua in contraria semper Signa volunt duci transversa, ut diximus antè.* Summa igitur ratio signorum habeatur in omni Composito; dat enim reliquis pretium, atque vigorem. Non ita naturæ astanti sis cuique revinctus, Hanc præter nihil ut genio studioque relinquas; Nec sine teste rei natura, artisque magistra, *Page 43, Rule xiii. 275 4.XIX. Nature to be ac commodated to Genius. XIX. Natura genio accommodanda. |