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 constituted 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 NOTE LIX. VERSE 785. But mark the Proteus Policy of State. M. 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. ląc. 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 conIclude 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. M. THE END OF THE NOTES. 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. A TABLE OF THE RULES CONTAINED IN THE FOREGOING POEM. 1. OF the Beautiful *** II. Of Theory and Practice ** INVENTION, the first part of Painting** 35 IV. Disposition, or œconomy of the whole 35 V. The Subject to be treated faithfully * 36 VI. Every foreign Ornament to be re jected *** 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 4I 43 XIV. A Balance to be kept in thePicture p.44 XV. Of the Number of Figures ** XVII. The Motion of the Hands with the Distribution of the Piece. XIX.Nature to be accommodated to Genius*47 XX. The Antique the Model to be copied 48 COLOURING, the third part of Painting* 56 XXXI. The Conduct of the Tints of |