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m The hands alike demand to be exprest In half-shown figures rang'd behind the rest; Nor can such forms with force or beauty shine, Save when the head and hands in action join.

230

Each air constrain'd and forc'd; each gesture

rude,

Whate'er contracts or cramps

the attitude,

With scorn discard. When squares or angles

join,

When flows in tedious parallel the line,
Acute, obtuse, whene'er the shapes appear, 235
Or take a formal geometrick air,

165

• Gratia nulla manet, motusque, vigorque figuras Retro aliis subter majori ex parte latentes. Ni capitis motum manibus comitentur agendo.

P Difficiles fugito aspectus, contractaque visu Membra sub ingrato, motufque, aetufque coactos; Quodque refert signis, rectos quodammodo tractus, Sive parallelos plures simul, et vel acutas,

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These all displease, and the disgusted eye
Nauseates the tame and irksome symmetry.

Mark then our former rule; with contrast

strong

And mode transverse the leading lines pro

long;

240

For these in each design, if well exprest, Give value, force, and lustre to the rest. 9 Nor yet to Nature such strict homage pay, As not to quit when Genius leads the way; yet, tho' Genius all his succour sends, 245 Her mimick powers tho' ready memory lends,

Nor

Vel geometrales (ut quadra, triangula) formas;
Ingratamque pari signorum ex ordine quandam

Symmetriam sed præcipua in contraria semper

:

175

Signa volunt duci transversa, ut diximus anté * Summa igitur ratio signorum habeatur in omni Composito; dat enim reliquis pretium, atque

I

vigorem.

Non ita naturæ astanti sis cuique revinctus,

Hanc præter nihil ut genio studioque relinquas;

Nec sine teste rei natura, artisque magistra,

*Page 43, Rule xiii.

9 XIX. Nature to be ac

commodated to Genius.

XIX. Natura genio accommodanda.

Presume from Nature wholly to depart,

For Nature is the arbitress of art.

In Error's grove ten thousand thickets spread, Ten thousand devious paths our steps mis

lead;

'Mid curves, that vary in perpetual twine,

Truth owns but one direct and perfect line.

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250

Spread then her genuine charms o'er all the

piece,

Sublime and perfect as they glow'd in Greece. Those genuine charms to seize, with zeal ex

plore

yore,

The vases, medals, statues, form'd of
Relievos high that swell the column's stem,
Speak from the marble, sparkle from the

255

gem:

Quidlibet ingenio, memor ut tantummodo rerum,
Pingere posse putes errorum est plurima sylva,
Multiplicesque viæ, bene agendi terminus unus,
Linea recta velut sola est, et mille recurvæ.

t

Sed juxta antiquos naturam imitabere pulchram, Qualem forma rei propria, objectumque requirit. Non te igitur lateant antiqua numismata, gemmæ,

XX. The Antique the Model to be copied.

XX. Signa antiqua Na turæ modum constituunt.

Hence all-majestick on th' expanding soul,
In copious tide the bright ideas roll;
Fill it with radiant forms unknown before,
Forms such as demigods and heroes wore :
Here pause and pity our enervate days,
Hopeless to rival their transcendent praise.

W

Peculiar toil on single forms bestow, There let expression lend its finished glow ; There each variety of tint unite

With the full harmony of shade and light.

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260

265

* Free o'er the limbs the flowing vesture cast,

The light broad folds with grace majestick

placed;

270

Vasa, typi, statuæ, cælataque marmora signis,
Quodque refert specie veterum post sæcula mentem;
Splendidior quippe ex illis assurgit imago,

Magnaque se rerum facies aperit meditanti :
Tunc nostri tenuem sæcli miserebere sortem,
Cùm spes nulla siet redituræ æqualis in ævum.

Y

> Exquisita siet formâ, dum sola figura

Pingitur; et multis variata coloribus esto.

190

Lati, amplique sinus pannorum, et nobilis ordo 195

w XXI. How to paint a

single Figure.

* XXII. Of Drapery.

VOL. III.

E

Y XXI. Sola Figura quomodo tractanda.

XXII. Quid in Pannis observandum.

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.
Where'er a flat vacuity is seen,

There let some shadowy bending intervene,
Above, below, to lead its varied line,

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

100

Membra sequens, subter latitantia lumine et umbră
Exprimet; ille licet transversus sæpe feratur,
Et circumfusos pannorum porrigat extra
Membra sinus, non contiguos, ipsisque figuræ
Partibus impressos, quasi pannus adhæreat illis;
Sed modicè expressos cum lumine servet et umbris:
Quæque intermissis passim sunt dissita vanis,
Copulet, inductis subtérve, supérve lacernis.
Et membra, ut magnis, paucisque expressa lacertis,
Majestate aliis præstant, forma, atque decore:
Haud secus in pannis, quos supra optavimus amplos,

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