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ponnesus; but we are told by Martial,* that
there was a fountain in Spain called Nemea,
which, perhaps, led Fresnoy astray in this
passage. However this be, Hercules killed
so many lions, besides that which constitu-
ted the first of his twelve labours, that either
he, or at least some one of his namesakes,
may well be supposed to have killed one in
Spain. Geryon is described by all the Poets
as a man with three heads, and therefore
could not well have been called a Lion by
Fresnoy; neither does the plural Ora mean
any more than the Jaws of a single beast
So Lucan, lib. iv. ver. 739.

Quippe ubi non sonipes motus clangore tubarum
Saxa quatit pulsu, rigidos vexantia frænos
ORA terens,


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But mark the Proteus Policy of State. If this translation should live as many years as the original has done already, which,

* Avidam rigens Dircenna placabit sitim
Et Nemea quæ vincit nives.

Mart, lib. i. Epig. 50, de Hipso. lac. M.

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, to be 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 judgement.



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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,





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1. Of the Beautiful ***

Page 30 II. Of Theory and Practice *

33 III. Of the Subject *

34 INVENTION, the first part of Painting** 35 IV. Disposition, or economy 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* XI. The principal Figure * XII. Groups of Figures .

42 XIII. Diversity of Attitude in Groups


41 42



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