A task so various how shall art fulfill, 125 When oft the simplest forms elude our skill? Dear to the curious eye, and only found, treat, Nor e'er conceal the outline of the feet: 225 Rarior est tabula excellens; vel adhuc ferè nulla 1 Præcipua extremis raro internodia membris Abdita sint; sed summa pedum vestigia nunquam. * XVI. The Joints of the Feet. 163 1 XVI. Internodia et Pedes. m The hands alike demand to be exprest In half-shown figures rang'd behind the rest; Nor can such forms with force or beauty shine, Save when the head and hands in action join. n Each air constrain'd and forc'd, each rude, 230 gesture Whate'er contracts or cramps the attitude, With scorn discard. When squares or angles join, When flows in tedious parallel the line, Acute, obtuse, whene'er the shapes appear, 235 Or take a formal geometrick air, 165 • Gratia nulla manet, motusque, vigorque figuras Retro aliis subter majori ex parte latentes. Ni capitis motum manibus comitentur agendo. P Difficiles fugito aspectus, contractaque visu Membra sub ingrato, motufque, aetufque coactos; Quodque refert signis, rectos quodammodo tractus, Sive parallelos plures simul, et vel acutas, m XVII. The motion of the Hands with the Head. * XVIII. What things are to be avoided in the Distribution of the Piece. о 170 • XVII. Motus manuum motui capitis jungendus. 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 a 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 anté* Summa igitur ratio signorum habeatur in omni Composito; dat enim reliquis pretium, atque vigorem. I 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. 175 9 XIX. Nature to be ac commodated to Genius. XIX. Natura genio accommodanda. For Nature is the arbitress of art. In Error's grove ten thousand thickets spread, Ten thousand devious paths our steps mis lead; 'Mid curves, that vary in perpetual twine, 250 Truth owns but one direct and perfect line. • Spread then her genuine charms o'er all the piece, Sublime and perfect as they glow'd in Greece. Those genuine charms to seize, with zeal ex plore 255 The vases, medals, statues, form'd of yore, Relievos high that swell the column's stem, Speak from the marble, sparkle from the gem: Quidlibet ingenio, memor ut tantummodo rerum, Sed juxta antiquos naturam imitabere pulchram, Qualem forma rei propria, objectumque requirit. 185 Non te igitur lateant antiqua numismata, gemmæ, t XX. The Antique the * XX. Signa antiqua NaModel to be copied. turæ modum constituunt. Hence all-majestick on th' expanding soul, W w Peculiar toil on single forms bestow, There let expression lend its finished glow ; There each variety of tint unite With the full harmony of shade and light. 260 265 × Free o'er the limbs the flowing vesture cast, The light broad folds with grace majestick placed; 270 Vasa, typi, statuæ, cælataque marmora signis, Cùm spes nulla siet redituræ æqualis in ævum. y * Exquisita siet formâ, dum sola figura Pingitur; et multis variata coloribus esto. Lati, amplique sinus pannorum, et nobilis ordo 195 XXI. How to paint a single Figure. * XXII. Of Drapery. |