And as each figure turns a different way, Give the large plaits their corresponding play; Yet devious oft and swelling from the part, The flowing robe with ease should seem to start; Not on the form in stiff adhesion laid, But well reliev'd by gentle light and shade. There let some shadowy bending intervene, 275 As best may teach the distant folds to join; 280 And as the limbs by few bold strokes exprest Excel in beauty, so the liberal vest 200 Membra sequens, subter latitantia lumine et umbra 205 In large, distinct, unwrinkled folds should fly; Beauty's best handmaid is Simplicity. To diff'rent ranks adapt their proper robe; 285 With ample pall let monarchs sweep the globe; In garb succinct and coarse array the swain; In light and silken veils the virgin train. 290 Where in black shade the deeper hollow lies, Assisting art some midway fold supplies, That gently meets the light, and gently spreads To break the hardness of opposing shades. * Each nobler symbol classick Sages use, To mark a virtue, or adorn a Muse, 210 Perpaucos sinuum flexus, rugasque, striasque, Lumen ut excipiens, operis quâ massa requirit, b Nobilia armajuvant Virtutum ornantque figuras," XXIII. Of Picturesque b XXIII. Tabulæ Orna Ornament. mentum. Ensigns of war, of peace, or Rites divine, 295 These in thy work with dignity may shine: C But sparingly thy earth-born stores unfold, Nor load with gems, nor lace with tawdry gold; Rare things alone are dear in custom's eye, Of absent forms the features to define, Prepare a model to direct thy line; с 300 Each garb, each custom, with precision trace, Unite in strict decorum time with place; £ And emulous alone of genuine fame, Be Grace, be Majesty thy constant aim, Qualia Musarum, Belli, cultusque Deorum. h 1 Quæ deinde ex vero nequeant præsente videri, Prototypum prius illorum formare juvabit. 305 220 * Conveniat locus, atque habitus; ritusque decusque <Servetur: Sit nobilitas, Charitumque venustas, That Majesty, that Grace so rarely given To mortal-man, nor taught by art but Heaven. 1 In all to sage propriety attend, Nor sink the clouds, nor bid the waves ascend; Lift not the mansions drear of Hell or Night Above the Thunderer's lofty arch of light; Nor build the column on an osier base; But let each object know its native place. m 310 Thy last, thy noblest task remains untold, Passion to paint, and sentiment unfold; 316 Yet how these motions of the mind display! Can colours catch them, or can lines portray? (Rarum homini munus, Coelo, non arte petendum.) Naturæ sit ubique tenor, ratioque sequenda.. n Non vicina pedum tabulata excelsa Tonantis Astra domus depicta gerent, nubesque, notosque; Nec mare depressum laquearia summa, vel Orcum ; Marmoreamque feret cannis vaga pergula molem : Congrua sed propriâ semper statione locentur. 225 Hæc præter, motus animorum, et corde re postos XXVIII. Every thing in its proper place. 230 n XXVIII. Res quæque locum suum teneat. "XXIX. Affectus. Who shall our pigmy pencils arm with might To seize the Soul, and force her into sight? 329 Jove, Jove alone; his highly-favour'd few Alone can call such miracles to view. But this to rhet'rick and the schools I leave, Content from ancient lore one rule to give: By tedious toil no passions are exprest, "His hand who feels them strongest paints them best." 325 ? Yet shall the Muse with all her force pro scribe Of base and barbarous forms that Gothick tribe, Exprimere affectus, paucisque coloribus ipsam Pingere posse animam, atque oculis præbere videndam, 66 "Hoc opus, hic labor est. Pauci, quos æquus amavit Hos ego rhetoribus tractandos desero; tantùm 235 240 9 XXX. Gothorum Or namenta fugienda. |