m 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. 230 Each air constrain'd and forc'd; each gesture rude, Whate'er contracts or cramps the attitude, With scorn discard. When squares or angles join, When flows in tedious parallel the line, 165 • 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 Membra sub ingrato, motufque, aetufque coactos; Quodque refert signis, rectos quodammodo tractus, Sive parallelos plures simul, et vel acutas, These all displease, and the disgusted eye Mark then our former rule; with contrast strong And mode transverse the leading lines pro long; 240 For these in each design, if well exprest, Give value, force, and lustre to the rest. 9 Nor yet to Nature such strict homage pay, As not to quit when Genius leads the way; yet, tho' Genius all his succour sends, 245 Her mimick powers tho' ready memory lends, Nor Vel geometrales (ut quadra, triangula) formas; Symmetriam sed præcipua in contraria semper : 175 Signa volunt duci transversa, ut diximus anté * Summa igitur ratio signorum habeatur in omni Composito; dat enim reliquis pretium, atque I vigorem. Non ita naturæ astanti sis cuique revinctus, Hanc præter nihil ut genio studioque relinquas; Nec sine teste rei natura, artisque magistra, *Page 43, Rule xiii. 9 XIX. Nature to be ac commodated to Genius. XIX. Natura genio accommodanda. 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 mis lead; 'Mid curves, that vary in perpetual twine, Truth owns but one direct and perfect line. 250 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 yore, The vases, medals, statues, form'd of 255 gem: Quidlibet ingenio, memor ut tantummodo rerum, t Sed juxta antiquos naturam imitabere pulchram, Qualem forma rei propria, objectumque requirit. Non te igitur lateant antiqua numismata, gemmæ, XX. The Antique the Model to be copied. XX. Signa antiqua Na turæ modum constituunt. Hence all-majestick on th' expanding soul, W 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 * Free o'er the limbs the flowing vesture cast, The light broad folds with grace majestick placed; 270 Vasa, typi, statuæ, cælataque marmora signis, Magnaque se rerum facies aperit meditanti : Y > Exquisita siet formâ, dum sola figura Pingitur; et multis variata coloribus esto. 190 Lati, amplique sinus pannorum, et nobilis ordo 195 w XXI. How to paint a single Figure. * XXII. Of Drapery. VOL. III. E Y XXI. Sola Figura quomodo tractanda. 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. There let some shadowy bending intervene, 275 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 100 Membra sequens, subter latitantia lumine et umbră 205 |