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by its being printed with that original, and illustrated by such a Commentator, is a thing not impossible, it may not be amiss, in order to prevent an hallucination of some future critick, similar to that of the French Editor mentioned in the last note, to conclude with a memorandum that the translation was finished, and these occasional verses added, in the year 1781; leaving, however, the political sentiments, which they express,

approved or condemned by him, as the annals of the time (written at a period distant enough for history to become impartial) may determine his judgment.


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The Precepts which Sir Joshua REYNOLDS' has illustrated, are marked in the following Table with one or more Asterisks, according to the number of his Notes.





Ρ Ο Ε Μ.

Page 30

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*. 1. Of the Beautiful * * *
II. Of Theory and Practice * *

33 III. Of the Subject *

34 INVENTION, the first part of Painting** 35 IV. Disposition, or æconomy of the whole 35 V. The Subject to be treated faithfully * 36 VI. Every foreign Ornament to be re

jected ***


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VII. DESIGN, or POSITION, the second

part of Painting
VIII. Variety in the Figures

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

41 X. Action of Mutes to be imitated *

41 XI. The principal Figure

42 XII. Groups of Figures .

42 XIII. Diversity of Attitude in Groups * 43

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XXXIV. Of White and Black


64 XXXV. The Reflection of Colours .. 65 XXXVI. The Union of Colours * XXXVII. Of the Interposition of Air - 67 XXXVIH. The Relation of Distances 67 XXXIX. Of Bodies which are distanced 68 XL. Of contiguous and separated Bodies 68 XLI. Colours very opposite to each other never to be joined

68 XLII. Diversity of Tints and Colours 69 XLIII. The Choice of Light . 69 XLIV. Of certain Things relating to the practical part

70 XLV. The Field of the Picture *

71 XLVI. Of the Viyacity of Colours *

71 XLVII. Of Shadows XLVIII. The Picture to be of one Piece 72 XLIX. The Looking-glass the Painter's best Master

:72 L. An half Figure, or a whole one before others *

72 LI. A Portrait

73 LII. The Place of the Picture

73 LIII. Large Lights

74 LIV. The Quantity of Light and Shade to

be adapted to the Place of the Picture 74

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