'Tis taste, 'tis genius, 'tis the heav'nly ray
Prometheus ravish'd from the car of day.
In Egypt first the infant art appear❜d,
Rude and unform'd; but when to Greece she

steer'd

130

Her prosperous course, fair Fancy met the

Maid;

Wit, Reason, Judgment, lent their powerful aid;
Till all complete the gradual wonder shone,
And vanquish'd Nature own'd herself outdone.
'Twas there the Goddess fix'd her blest

135

abodes, There reign'd in Corinth, Athens, Sicyon, Rhodes,

Ardua pars nequit addisci: rarissima namque,
Ni priùs æthereo rapuit quod ab axe Prometheus
Sit jubar infusum menti cum flamine vitæ.
Mortali haud cuivis divina hæc munera dantur;
Non uti Dædaleam licet omnibus ire Corinthum.

Ægypto informis quondam pictura reperta,
Græcorum studiis, et mentis acumine crevit :
Egregiis tandem illustrata et adulta magistris,
Naturam visa est miro superare labore.

90

95

Quos inter, Graphidos Gymnasia prima fuêre Portus Athenarum, Sicyon, Rhodes, atque Corinthus,

Her various votaries various talents crown'd:

Yet each alike her inspiration owned:
Witness those marble miracles of grace,
Those tests of symmetry where still we trace 140
All art's perfection: With reluctant gaze
To these the genius of succeeding days
Looks dazzled up, and, as their glories spread,
Hides in his mantle his diminish'd head.

P Learn then from Greece, ye youths, Pro

portion's law,

Inform'd by her, each just POSITION draw 9
Skilful to range each large unequal part,
With varied motion and contrasted art;
Full in the front the nobler limbs to place,
And poise each figure on its central base.

Disparia inter se modicum ratione laboris ;

145

150

Ut patet ex veterum Statuis, formæ atque decoris 100 Archetypis; queis posterior nil protulit ætas

Condignum, et non inferius longè, arte modoque.

Horum igitur vera ad normam positura legetur : Grandia, inæqualis, formosaque partibus amplis Anteriora dabit membra, in contraria motu Diverso variata, suo librataque centro.

P VII. Design or Position, the second part of Painting.

I I

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VII. Graphis seu Positura secunda Picturæ pars.

But chief from her that flowing outline take, Which floats, in wavy windings, like the snake, Or lambent flame; which, ample, broad, and long,

Reliev'd not swell'd, at once both light and

strong,

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Glides thro' the graceful whole. Her art divine
Cuts not, in parts minute, the tame design,

But by a few bold strokes, distinct and free,
Calls forth the charms of perfect symmetry.
True to anatomy, more true to grace,

She bids each muscle know its native place; 160
Bids small from great in just gradation rise,
And, at one visual point, approach the eyes.

Membrorumque sinus ignis flammantis ad instar,
Serpenti undantes flexu; sed lævi, plana,
Magnaque signa, quasi sine tubere subdita tactu,
Ex longo deducta fluant, non secta minutim.
Insertisque toris sint nota ligamina, juxta
Compagem anatomes, et membrificatio Græco
Deformata modo, paucisque expressa lacertis,
Qualis, apud veteres; totoque Eurythmia partes
Componat; genitumque suo generante sequenti
Sit minus, et puncto videantur cuncta sub uno.

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115

Yet deem not, youths, that perspective can give Those charms complete by which your works shall live:

What tho' her rules may to your hand impart
A quick mechanick substitute for art,

166.

Yet formal, geometrick shapes she draws;
Hence the true Genius scorns her rigid laws;
By nature taught he strikes th' unerring lines,
Consults his eye, and as he sees designs.

170 'Man's changeful race, the sport of chance and time,

Varies no less in aspect than in clime;

Mark well the difference, and let each be seen Of various age, complexion, hair, and mien.

Regula certa licet nequeat prospectica dici,
Aut complimentum graphidos; sed in arte juvamen,
Et modus accelerans operandi: at corpora falso
Sub visu in multis referens, mendosa labascit:
Nam Geometralem nunquam sunt corpora juxtà
Mensuram depicta oculis, sed qualia visa.

s Non eadem formæ species, non omnibus ætas Equalis, similesque color, crinesque figuris :

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Nam, variis velut orta plagis, gens dispare vultu est. 125

VIII. Variety in the Fi

s VIII. Varietas in Fi

gures.

guris.

'Yet to each separate form adapt with care 175 Such limbs, such robes, such attitude and air, As best befit the head, and best combine

To make one whole, one uniform design:
"Learn action from the dumb; the dumb shall
teach

How happiest to supply the want of speech. 180
* Fair in the front, in all the blaze of light,
The Hero of thy piece should meet the sight.
Supreme in beauty: lavish here thine art,
And bid him boldly from the canvass start:

› Singula membra, suo capiti conformia, fiant. Unum idemque simul corpus cum vestibus ipsis: z Mutorumque silens positura imitabitur actus.

Prima figurarum: seu princeps dramatis, ultrò Prosiliat media in tabula, sub lumine primo Pulchrior ante alias, reliquis nec operta figuris.

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IX. Conformity of the Limbs and Drapery to the Head.

u X. Action of the Mutes to be imitated.

* XI. The principal Figure.

y IX. Figura sit una membris et vestibus.

z X. Mutorum actiones imitandæ.

XI. Figura princeps.