Quippe ubi non sonipes motus clangore tubarum ORA terens Note LIX. Verse 785. But mark the Proteus-policy of state. M. If this translation should live as many years as the original has done, already, which by its being printed with that original, and illustrated by such a Commentator, is a thing not impossible, it may not be amiss, in order to prevent an hallucination of some future critic, similar to that of the French editor, mentioned in the last note, to conclude with a memorandum that the translation was finished, and these occasional verses added, in the year 1781; leaving, however, the political sentiments, which ⚫ they express, to be approved or condemned by him, as the annals of the time (written at a period distant enough for history to become impartial) may determine his judgment. M. THE END OF THE NOTES. The Precepts which Sir JOSHUA REYNOLDS has illustrated, are marked in the following Table with one or more Asterisks, according to the number of his Notes. II. Of Theory and Practice ** III. Of the Subject * INVENTION, the first part of Painting * IV. Disposition, or œconomy of the whole V. The Subject to be treated faithfully * 28 29 29 30 30 VI. Every foreign ornament to be rejected * * * 30 VII. DESIGN or POSITION, the second part of Painting ** 32 VIII. Variety in the figures 34 IX. Conformity of the limbs and drapery to the head * 34 XIV. A balance to be kept in the Picture XV. Of the number of figures ** XVI. The joints and feet page 36 37 38 XVII. The motion of the hands with the head 38 XVIII. What things are to be avoided in the Distribu 46 COLOURING, the third Part of Painting XXXI. The conduct of the Tints of Light and Shadow 48 XXXII. Dense and opaque bodies with translucent ones XXXIII. There must not be two equal lights in the 50 XXXVIII. The relation of distances page 55 56 XL. Of contiguous and separated bodies 56 XLI. Colours very opposite to each other never to be joined XLII. Diversity of Tints and Colours XLIII. The choice of Light. XLIV. Of certain things relating to the practical part XLV. The Field of the Picture * 56 56 57 57 58 XLIX. The Looking-glass the Painter's best master 59 L. A half Figure or a whole one before others * 59 60 LII. The place of the Picture 60 LIII. Large lights 60 LIV. The quantity of light and shade to be adapted to the place of the Picture 61 |