n The Portrait claims from imitative art Resemblance close in each minuter part, 549 And this to give, the ready hand and eye Say, is the piece thy hand prepares to trace Ordain'd for nearer sight, or narrow space? Paint it of soft and amicable hue: But, if predestin'd to remoter view, ? Partibus in minimis imitatio justa juvabit Effigiem, alternas referendo tempore eodem Consimiles partes, cum luminis atque coloris Compositis, justisque tonis; tunc parta labore Si facili et vegeto micat ardens, viva videtur. 559 395 "Visa loco angusto tenerè pingantur, amico Juncta colore, graduque; procul quæ picta, feroci Sint et inæquali variata colore, tonoque. 400 Grandia signa volunt spatia ampla, ferosque colores. "LI. A Portrait. LII. The place of the Picture. PLI. Effigies. 1 LII. Locus Tabulæ. ▾ Where to broad lights the circumambient shade In liquid play by labour just is laid; 554 • Alike with liveliest touch the forms portray, "Lumina lata, unctas simul undique copulet umbras * Extremus labor. In tabulas demissa fenestris Si fuerit lux parva, color clarissimus esto: Vividus at contra, obscurusque, in lumine aperto. 4° * Quæ vacuis divisa cavis, vitare memento; Trita, minutą, simul quæ non stipata dehiscunt, Barbara, cruda oculis, rugis fucata colorum; } Monsters of barbarous birth, Chimeras drear, That pall with ugliness, or awe with fear, 566 And all that chaos of sharp broken parts, Where reigns confusion, or whence discord starts. 2 Yet hear me, youths! while zealous ye forsake Detected faults, this friendly caution take,— 579 Shun all excess; and with true wisdom deem, That vice alike resides in each extreme. Know, if supreme perfection be your aim, If classick praise your pencil hope to claim, Your noble outlines must be chaste, yet free, s7s Connected all with studied harmony; Luminis umbrarumque tonis æqualia cuncta; b Dumque fugis vitiosa, cave in contraria labi Damna mali; vitium extremis nam semper inhæret. 419 "Pulchra gradu summo, graphidos stabilita vetusta Few in their parts, yet those distinct and great 3 Your Colouring boldly strang, yet softly sweet. * Know, he that well begins has half achiev'd His destin'd work. Yet late shall be retriev'd 580 That time mispent, that labour worse than lost, The young disciple, to his dearest cost, Gives to a dull preceptor's tame designs : His tawdry colours, his erroneous lines, Will to the soul that poison rank convey, 585 Which life's best length shall fail to purge away, Yet let not your untutor'd childhood strive Of Nature's living charms the sketch to give, Nobilibus signis, sunt grandia, dissita, pura, с Qui bene cæpit, uti facti jam fertur habere 420 425 Nec graphidos rudis artis adhuc citò qualiacunque a LVIII. Advice to a • LVIII. Pictor Tyro. young Painter. Till, skill'd her separate features to design, f Oft, when alone, the studious hour employ On what may aid your art, and what destroy Diversity of parts is sure to please, If all the various parts unite with ease; 1 600 T A 439 Corpora viva super studium meditabitur, ante pugnant. i Corpora diversæ naturæ juncta placebunt; Şic ea quæ facili contempta labore videntur: LIX. Art must be subservient to the Painter. 8 LX. Diversity and Facility are pleasing. 435 h LIX. Ars debet servire Pictori, non Pictor Arti. i LX. Oculos recreant diversitas et operis facilitas, quæ speciatim Ars dicitur. |