XLI. Of contiguous and separated bodies. . 63

XLII. Colours very opposite to each

other

never to be joined

XLIII. Diversity of tints and colours

XLIV. The choice of light

XLV. Of certain things relating to the prac

tical part.

XLVI. The field of the picture

XLVII. Of the vivacity of colours *

XLVIII. Of shadows

XLIX. The picture to be of one piece

64

65

66

66

66

L. The looking-glass the painter's best master 67 LI. An half figure, or a whole one before others* 67 LII. A portrait .

LIII. The place of the picture

LIV. Large lights

68

68

69

LV. The quantity of light and shade to be adapted to the place of the picture 69 LVI. Things which are disagreeable in painting to be avoided

LVII. The prudential part of a painter
LVIII. The idea of a beautiful picture
LIX. Advice to a young painter

69

70

70

71

72

LX. Art must be subservient to the painter 72
LXI. Diversity and facility are pleasing*
LXII. The original must be in the head, and
on the cloth

the copy

73

LXIII. The compass to be in the eyes

74

LXIV. Pride, an enemy to good painting* 74 LXV. Know thyself

75

76

LXVI. Perpetually practice, and do easily
what you have conceived.
LXVII. The morning most proper for work 76
LXVIII. Every day do something

77

82

85

APPENDIX.

The following little piece has been constantly annexed to M. DU FRESNOY's Poem. It is here given from the former Editions: but the liberty has been taken of making some alterations in the Version, which, when compared with the original in French, appeared either to be done very carelessly by Mr. DRYDEN, or (what is more probable) to be the work of some inferior hand which he employed on the occasion.

M.

THE

SENTIMENTS

OF

CHARLES ALPHONSE DU FRESNOY

ON THE WORKS OF

THE PRINCIPAL AND BEST PAINTERS

OF THE TWO LAST AGES;

1600 AND 1700.