A TABLE OF. THE RULES CONTAINED IN THE FOREGOING POEM. I. OF the Beautiful *** II. Of Theory and Practice ** III. Of the Subject * Page 30 33 34 35 INVENTION, the first part of Painting** 35 IV. Disposition, or economy of the whole V. The Subject to be treated faithfully * 36 VI. Every foreign Ornament to be rejected *** VII. DESIGN, or POSITION, the second part of Painting ** VIII. Variety in the Figures. IX. Conformity of the Limbs and Dra pery to the Head * X. Action of Mutes to be imitated* XI. The principal Figure * XII. Groups of Figures. XIII. Diversity of Attitude in Groups 36 38 41 41 4I 42 42 43 XVIII. What things are to be avoided in the Distribution of the Piece . . . 46 XIX.Nature to be accommodated to Genius*47 XX. The Antique the Model to be copied 48 XXI. How to paint a single Figure*. XXIII. Of picturesque Ornament XXXIV. Of White and Black .. p. 64 65 65 67 XXXVI. The Union of Colours * XLII. Diversity of Tints and Colours 69 XLIII. The Choice of Light. XLV. The Field of the Picture* XLVI. Of the Vivacity of Colours * 69 70 71 71 71 XLVIII. The Picture to be of one Piece 72 XLIX. The Looking-glass the Painter's best Master`. L. An half Figure, or a whole one before 72 72 73 73 LIV. The Quantity of Light and Shade to be adapted to the Place of the Picture 74 VOL. III. LV. Things which are disagreeable in Painting to be avoided. P. 74 LVI. The prudential part of a Painter 75 LVII. The idea of a beautiful Picture. 75 LVIII. Advice to a young Painter** 76 LIX. Art must be subservient to the Painter77 LX. Diversity and Facility are pleasing* 77 LXI. The Original must be in the Head, 78 and the Copy on the Cloth LXII. The Compass to be in the Eyes* 79 LXIII. Pride, an Enemy to good Painting* 79 LXIV. Know thyself LXV. Perpetually practise, and do easily what you have conceived. 80 81 LXVI. The Morning most proper for Work81 LXVII. Every Day do something LXIX. Of the Table-Book** LXX. The method of Studies for a young Painter **** 82 82 83 87 90 LXXI. Nature and Experience perfect Art* |