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XXXIV. Of White and Black
XXXV. The Reflection of Colours ::: 65
XXXVI. The Union of Colours *

65 XXXVII. Of the Interposition of Air 67 XXXVIII. The Relation of Distances 67 XXXIX. Of Bodies which are distanced 68 XL. Of contiguous and separated Bodies 68 XLI. Colours very opposite to each other never to be joined :

63 XLII. Diversity of Tints and Colours

69 XLIII. The Choice of Light .': 69 XLIV. Of certain Things relating to the practical part

70 XLV. The Field of the Picture*

71 XLVI. Of the Vivacity of Colours *

71 XLVII. Of Shadows :

71 XLVIII. The Picture to be of one Piece 72 XLIX. The Looking-glass the Painter's best Master

72 L. An half Figure, or a whole one before others *

72 LI, A Portrait

73 LII. The Place of the Picture

73 LIII. Large Lights :

74 LIV. The Quantity of Light and Shade to

be adapted to the Place of the Picture 74 VOL. III.

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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,

and the Copy on the Cloth . 78 LXII. The Compass to be in the Eyes* 79 LXIII. Pride, an Enemy to good Painting * 79 LXIV. Know thyself

80 LXV. Perpetually practise, and do easily what you have conceived

81 LXVI. The Morning most proper for Work81 LXVII. Every Day do something . LXVIII. The Method of catching natural Passions

82 LXIX. Of the Table-Book **

83 LXX. The method of Studies for a young Painter ****

87 LXXI. Nature and Experience perfect Art*

90

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The following little piece has been constantly annexed to M. DU FRESNOY's Poem. It is here given from the former Editions ; but the liberty has been taken of making some alterations in the Version, which, when compared with the Original in French, appeared either to be done very carelessly by Mr. DRYDEN, or (what is more probable) to be the work of some inferior hand which he employed on the occasion.

M.

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THE

SENTIMENTS

OF

CHARLES ALPHONSE DU FRESNOY,

ON THE WORKS OF

THE PRINCIPAL AND BEST PAINTERS

OF THE TWO LAST AGES;

1600 AND 1700.

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