In While round that sov'reign form th' inferior train groups collected fill the pictur'd plain; 185 Fill, but not croud; for oft some open space с In every figur'd group the judging eye Demands the charms of contrariety; In forms, in attitudes, expects to trace 190 195 d Agglomerata simul sint membra, ipsæque figuræ Stipentur, circumque globos locus usque vacabit; Nè, malè dispersis dum visus ubique figuris Dividitur, cunctisque operis fervente tumultu Partibus implicitis, crepitans confusio surgat. e Inque figurarum cumulis non omnibus idem Corporis inflexus, motusque; vel artubus omnes Conversis pariter non connitantur eodem ; b XII. Groups of Figures. c XIII. Diversity of Attitude in Groups. 135 d XII. Figurarum globi seu cumuli. e XIII. Positurarum diversitas in cumulis. Where art diversely leads each changeful line, Opposes, breaks, divides the whole design: Thus, when the rest in front their charms dis play Let one with face averted turn away; 200 Shoulders oppose to breasts, and left to right, With parts that meet and parts that shun the sight. This rule in practice uniformly true Extends alike to many forms or few. f 204 * Yet keep thro' all the piece a perfect poise: If here in frequent troops the figures rise, There let some object tower with equal pride; And so arrange each correspondent side, Sed quædam in diversa trahant contraria membra, 140 8 Altera pars tabulæ vacuo neu frigida campo, f XIV. A Balance to be kept in the Picture. 145 & XIV. Tabulæ libramentum. That, thro' the well-connected plan, appear b 210 Say does the Poet glow with genuine rage, Who crouds with pomp and noise his bustling stage? Devoid alike of taste that Painter deem, Whose flutt'ring works with num'rous figures teem; A task so various how shall art fulfil, When oft the simplest forms elude our skill? 215 Dear to the curious eye, and only found, Sic aliquid parte ex aliâ consurgat, et ambas 150 i Pluribus implicitum personis drama supremo In genere, ut rarum est, multis ita densa figuris Rarior est tabula excellens; vel adhuc ferè nulla Præstitit in multis, quod vix bene præstat in unâ: 155 Quippe solet rerum nimio dispersa tumultu, Majestate carere gravi, requieque decora ; Nec speciosa nitet, vacuo nisi libera campo. h XV. Of the Number of Figures. i XV. Numerus Figura rum. Yet if some grand important theme demand Judgement will so the several groups unite, That one compacted whole shall meet the sight. k The joints in each extreme distinctly treat Nor e'er conceal the outline of the feet; 226 '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. TM Each air constrain'd and forc'd, each gesture rude, Whate'er contracts or cramps the attitude, 231 160 Sed si opere in magno, plures thema grande requirat O " Præcipua extremis raro internodia membris * XVI. The Joints of the Feet. XVII. The motion of the Hands with the Head. m XVIII. What things are to be avoided in the Distri 165 n XVI. Internodia et Pedes. • 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 These all displease, and the disgusted eye Mark then our former rule*; with contrast strong 241. And mode transverse the leading lines prolong; " Nor yet to Nature such strict homage pay, As not to quit when Genius leads the way; 170 Membra sub ingrato, motusque, actusque coactos; Non ita naturæ astanti sis cuique revinctus, 175 * Page 42. Rule xiii. q XIX. Nature to be accommodated to Genius. r XIX. Natura genio accommodanda. |