Weigh part with part, and with prophetick eye 115 The future power of all thy tints descry; age; 120 m Nor paint conspicuous on the foremost plain Atque futurorum jam præsentire colorum Par erit harmoniam, captando ab utrisque ve nustum. "Sit thematis genuina ac viva expressio, juxtà Textum antiquorum, propriis cum tempore formis. Nec quod inane, nihil facit ad rem, sive videtur Improprium, miniméque urgens, potiora tenebit Ornamenta operis; Tragica sed lege sororis, Summa ubi res agitur, vis summa requiritur Artis. V. The Subject to be treated faithfully. m VI. Every foreign orna ment to be rejected. 85 » V. Fidelitas Argumenti, • VI. Inane rejiciendum. This rare, this arduous task no rules can teach, 125 No skill'd preceptor point, no practice reach; '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. Ista labore gravi, studio, monitisque magistri 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. 95 Her various vot'ries various talents crown'd, ? Learn then from Greece, ye youths, Pro- Inform'd by her, each just POSITION draw 145 Quos inter, Graphidos Gymnasia prima fuêre Portus Athenarum, Sicyon, Rhodos, atque Corinthus, Disparia inter se mod cùm ratione laboris ; 99 Ut patet ex veterum Statuis, formæ atque decoris Archetypis; queis posterior nil protulit ætas Condignum, et non inferius longè, arte modoque. Horum igitur vera ad normam positura legetur; P VII. Design or Position, the second part of Painting. བ VII. Graphis seu Positnra secunda Picturæ pars. Skilful to range each large unequal part, 150 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, Glides thro' the graceful whole. divine Her art Cuts not, in parts minute, the tame design, Grandia, inæqualis, formosaque partibus amplis 155 Membrorumque sinus ignis flammantis ad instar, Serpenti undantes flexu; sed lævia, 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 195 True to anatomy, more true to grace, She bids each muscle know its native place; 169 Bids small from great in just gradation rise, And, at one visual point, approach the eyes. 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 im part A quick mechanick substitute for art, 165 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 Deformata modo, paucisque expressa lacertis, Qualis, apud veteres; totoque Eurythmia partes Componat; genitumque suo generante sequenti " Sit minus, et puncto videantur cuncta sub uno. Regula certa licet nequeat prospectica dici, Aut complimentum graphidos; sed in arte juvanem, Et modus accelerans operandi at corpora falso Sub visu in multis referens, mendosa labascit ; Nam Geometralem nunquam sunt corpora juxtâ Mensuram depicta oculis, sed qualia visa. 120 |