Yet if some grand important theme demand
Of many needful forms a busy band,
Judgement will so the several groups unite,

That one compacted whole shall meet the sight.
The joints in each extreme distinctly treat
Nor e'er conceal the outline of the feet; 226
1 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.

m

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

rude,

Whate'er contracts or cramps the attitude,

231

Sed si opere in magno, plures thema grande requirat Esse figurarum cumulos, spectabitur unà

Machina tota rei; non singula quæque seorsim.

n

" Præcipua extremis raro internodia membris

Abdita sint; sed summa pedum vestigia nunquam.
• 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

* XVI. The Joints of the Feet.

1 XVII. The motion of the Hands with the Head.

m XVIII. What things are to be avoided in the Distri

160

165

a XVI. Internodia et Pedés.

o XVII. Motus manuum motui capitis jungendus.

P XVIII. Quæ fugienda in distributione et compositione.

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,

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 prolong; For these in each design, if well exprest,

Give value, force, and lustre to the rest.

241

" Nor yet to Nature such strict homage pay, As not to quit when Genius leads the way;

170

Membra sub ingrato, motusque, actusque coactos;
Quodque refert signis, rectos quodammodo tractus,
Sive parallelos plures simul, et vel acutas,
Vel geometrales (ut quadra, triangula) formas;
Ingratamque pari signorum ex ordine quandam
Symmetriam: sed præcipua in contraria semper
Signa volunt duci transversa, ut diximus anté*,
Summa igitur ratio signorum habeatur in omni
Composito; dat enim reliquis pretium, atque vigorem.

Non ita naturæ astanti sis cuique revinctus,

Hanc præter nihil ut genio studioque relinquas;

*Page 42. Rule xiii.

175

9 XIX. Nature to be ac

commodated to Genius.

XIX. Natura genio accommodanda.

245

Nor yet tho' Genius all his succour sends,
Her mimick powers tho' ready memory lends,
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 mislead
'Mid curves, that vary in perpetual twine, 251
Truth owns but one direct and perfect line.

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

The vases, medals, statues, form'd of yore,

Nec sine teste rei natura, artisque magistra,
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, Vasa, typi, statuæ, cælataque marmora signis,

XX. The Antique the Model to be copied.

255

180

185

XX. Signa antiqua Naturæ modum constituunt.

Relievos high that swell the column's stem,

Speak from the marble, sparkle from the

gem;

Hence all-majestic 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.

u

"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.

260

265

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.

Exquisita siet formâ, dum sola figura Pingitur; et multis variata coloribus esto.

190

u XXI. How to paint a

* XXI. Sola Figura quo

single Figure.

modo tractanda.

X

Free o'er the limbs the flowing vesture cast, The light broad folds with grace majestick

placed;

270

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

▾ Lati, amplique sinus pannorum, et nobilis ordo 195 Membra sequens, subter latitantia lumine et umbrâ Exprimet; ille licet transversus sæpe feratur, Et circumfusos pannorum porrigat extra Membra sinus, non contiguos, ipsisque figuræ Partibus impressos, quasi pannus adhæreat illis; 200 Sed modicè expressos cum lumine servet et umbris: Quæque intermissis passim sunt dissita vanis, Copulet, inductis subtérve, supérve lacernis.

* XXII. Of Drapery.

y XXII. Quid in Pannis observandum.