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;

250

'Mid curves, that vary in perpetual twine, Truth owns but one direct and perfect line.

S

• 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 explore

255

The vases, medals, statues, form'd of yore, Relievos high that swell the column's stem, Speak from the marble, sparkle from the 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. 15 Non te igitur lateant antiqua numismata, gemmæ,

XX. The Antique the Model to be copied.

XX. Signa antiqua Na turæ modum constituunt.

t

180

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.
w Peculiar toil on single forms bestow,
There let expression lend its finish'd glow;
There each variety of tint unite
With the full harmony of shade and light.

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

270

w XXI. How to paint a single Figure'.

* XXII. Of Drapery.

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.
'Exquisita siet formâ, dum sola figura

Pingitur; et multis variata coloribus esto.

Lati, amplique sinus pannorum, et nobilis ordo 195

260

265

;

190

XXI. Sola Figura quo

modo tractanda.

2 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,
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

275

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 ;
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,

200

205

In large, distinct, unwrinkled folds should fly; Beauty's best handmaid is Simplicity,

To diff'rent ranks adapt their proper robe; 285 With ample pall let monarchs sweep the globe; In garb succinct and coarse array the swain; In light and silken veils the virgin train.

Where in black shade the deeper hollow lies, Assisting art some midway fold supplies, 290 That gently meets the light, and gently spreads To break the hardness of opposing shades.

• Each nobler symbol classick Sages use, To mark a Virtue, or adorn a Muse,

Perpaucos sinuum flexus, rugasque, striasque,
Membra super, versu faciles, inducere præstat.

Naturæque rei proprius sit pannus, abundans Patriciis; succinctus erit, crassusque bubulcis, Mancipiisque; levis, teneris, gracilisque puellis. Inque cavis maculisque umbrarum aliquando tumescet,

Lumen ut excipiens, operis quà massa requirit, Latius extendat, sublatisque aggreget umbris. "Nobilia arma juvant Virtutum ornantque figuras,

210

1

215

* XXIII. Of Picturesque b XXIII. Tabule Orna

Ornament,

mentum.

Ensigns of war, of peace, or Rites divine, 295 These in thy work with dignity may shine:

But sparingly thy earth-born stores unfold, Nor load with gems, nor lace with tawdry gold; Rare things alone are dear in custom's eye, They lose their value as they multiply.

d Of absent forms the features to define, Prepare a model to direct thy line; • Each garb, each custom, with precision trace, Unite in strict decorum time with place; f And emulous alone of genuine fame, Be Grace, be Majesty thy constant aim,

Qualia Musarum, Belli, cultusque Deorum.
5 Nec sit opus nimiùm gemmis auroque refertum ;
Rara etenim magno in pretio, sed plurima vili.

Quae deinde ex vero nequeant præsente videri, Prototypum prius illorum formare juvabit.

Conveniat locus, atque habitus; ritusque decusque Servetur Sit nobilitas, Charitumque venustas,

k

i

C XXIV. Ornament of xiv. Gold and Jewels.

XXV. Of the Model:

• XXVI. Union of the -Piece.

f XXVII. Grace and Ma

jesty.

Auri et Gemmarum:

b XXV. Prototypus.

i

300

305

XXIV. Ornamentum

rerum cum Scena.

k

220

XXVI. Convenientia

bilitas.

XXVII. Charitas et No