True to anatomy, more true to grace,
She bids each muscle know its native place; 160
Bids small from great in just gradation rise,
And, at one visual point, approach the eyes.
Yet deem not, youths, that perspective can

give

Those charms complete by which your works shall live:

What tho' her rules may to your hand im

part

A quick mechanick substitute for art,

165

Yet formal, geometrick shapes she draws; Hence the true Genius scorns her rigid laws ; By Nature taught he strikes th' unerring lines, Consults his eye, and as he sees designs.

Deformata modo, paucisque expressa lacertis, Qualis, apud veteres; totoque Eurythmia partes Componat; genitumque suo generante sequenti Sit minus, et puncto videantur cuncta sub uno.

170

Regula certa licet nequeat prospectica dici, Aut complimentum graphidos; sed in arte juvanem, Et modus accelerans operandi; at corpora falso Sub visu in multis referens, mendosa labascit: Nam Geometralem nunquam sunt corpora juxtâ Mensuram depicta oculis, sed qualia visa.

120

• Man's changeful race, the sport of chance and time,

Varies no less in aspect than in clime;
Mark well the difference, and let each be seen
Of various age, complexion, hair, and mien.

Yet to each separate form adapt with care175 Such limbs, such robes, such attitude and air, As best befit the head, and best combine To make one whole, one uniform design : * Learn action from the dumb; the dumb shall teach

How happiest to supply the want of speech. 180

Non eadem formæ species, non omnibus ætas Equalis, similesque color, crinesque figuris : Nam, variis velut orta plagis, gens dispare vultu

est.

Singula membra, suo capiti conformia, fiant Unum idemque simul corpus cum vestibus ipsis :

195

" VIII. Varietas in Fi.

guris.

* IX. Figura sit una membris et vestibus.

y X. Mutorum actiones

• X. Action of the Mutes imitandæ. to be imitated.

Fair in the front, in all the blaze of light, The Hero of thy piece should meet the sight,

Supreme in beauty; lavish here thine art,
And bid him boldly from the canvas start;

While round that sov'reign form th' inferior

train

185

In groups collected fill the pictur'd plain ;
Fill, but not croud; for oft some open space
Must part their ranks, and leave a vacant place,
Lest artlessly dispers'd the sever'd crew
At random rush on our bewilder'd view;
Or parts with parts, in thick confusion bound,
Spread a tumultuous chaos o'er the ground.

190

130

Prima figurarum: seu princeps dramatis, ultrò Prosiliat media in tabula, sub lumine primo Pulchrior ante alias, reliquis nec operta figuris.

C

Agglomerata simul sint membra, ipsæque
figuræ

Stipentur, ciscumque globos locus usque vacabit ;
Nè, malè dispersis dum visus ubique figuris
Dividitur, cunctisque operis fervente tumultu
Partibus implicitis, crepitans confusio surgat.

135

XII. Figurarum globi

seu cumuli.

193

d In every figur'd group the judging eye Demands the charms of contrariety; In forms, in attitudes, expects to trace Distinct inflections, and contrasted grace, Where art diversely leads each changeful line, Opposes, breaks, divides the whole design: Thus, when the rest in front their charms display

Let one with face averted turn away;

200

Shoulders oppose to breasts, and left to right, With parts that meet and parts that shun the sight.

This rule in practice uniformly true
Extends alike to many forms or few.

Inque figurarum cumulis non omnibus idem Corporis inflexus, motusque; vel artubus omnes Conversis pariter non connitantur eodem ;

204

Sed quædam in diversa trahant contraria membra, 14° Tranverséque aliis pugnent, et cætera frangant, Pluribus adversis aversam oppone figuram, Pectoribusque humeros, et dextera membra sinistris, Scu multis constabit opus, paucisve figuris.

d XIII. Diversity of Attitude in Groups.

• XIII. Positurarum di

versitas in cumulis.

f Yet keep thro' all the piece a perfect poize: If here in frequent troops the figures rise, There let some object tower with equal pride; And so arrange each correspondent side, That, thro' the well-connected plan, appear No cold vacuity, no desert drear.

g

210

Say does the Poet glow with genuine rage, Who crouds with pomp and noise his bustling

stage?

Devoid alike of taste that Painter deem,

Whose flutt'ring works with num'rous figures

teem;

↳ Altera pars tabulæ vacuo neu frigida campo,
Aut deserta siet, dum pluribus altera formis
Fervida mole sua supremam exsurgit ad oram.
Sed tibi sic positis respondeat utraque rebus,
Ut si aliquid sursum se parte attollat in unâ,
Sic aliquid parte ex aliâ consurgat, et ambas
Equiparet, geminas cumulando æqualiter oras.
Pluribus implicitum personis drama supremo
In genere, ut rarum est, multis ita densa figuris

i

f XIV. A Balance to be

kept in the Picture,

XV. Of the Number

of Figures.

145

150

XIV. Tabulæ libramen.

tum.

XV. Numerus Figu

rarum.