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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 impart

165 A quick mechanick substitute for art, 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.

170

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

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

I20

• 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 care 175 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 Æqualis, similesque color, crinesque figuris : Nam, variis velut orta plagis, gens dispare vultu

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Singula membra, suo capiti conformia, fiant Unum idemque simul corpus cum vestibus ipsis : » Mutorumque silens positura imitabiter actus,

' VIII. Variety in the Fi. u VIII. Varietas in Fi. gures.

guris. • IX. Conformity of the IX. Figura sit una memLimbs and Drapery to the

bris et vestibus. Head.

y X. Mutorum actiones X. Action of the Mutes imitandæ. to be imitated.

z 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

131

с

b Prima figurarum: seu princeps dramatis, ultrò Prosiliat media in tabula, sub lumine primo Pulchrior ante alias, reliquis nec operta figuris. Agglomerata simul sint mcmbra, ipsæque

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

usque vacabit

135

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d.

In every figur'd group the judging eye
Demands the charms of contrariety ;
In forms, in attitudes, expects to trace

193 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 dis

play Let one with face averted turn away ; 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.

200

204

Inque figurarum cumulis non omnibus idem Corporis inflexus, motusque; vel artubus omnes Conversis pariter non connitantur eodem; Sed quædam in diversa trahant contraria membra, 140 Tranverséque aliis pugnent, ct cætera frangant, Pluribus adversis aversam oppone figuram, Pectoribusque humeros, et dextera membra sinistris, Seu multis constabit opus, paucisve figuris.

• XIII. Diversity of Attitude in Groups.

¢ XIII. Posituraruin di. versitas in cumulis,

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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.

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 Autt’ring works with num'rous figures

teem;

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148

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
Æquiparet, geminas cumulando æqualiter oras.

Pluribus implicitum personis drama supremo
In genere, ut rarum est, multis ita densa figuris

ISO

do xiy. Tabulæ libramen.

tum.

XIV. A Balance to be kept in the Picture.

XV. Of the Number of Figures.

i XV. Numerus Figu.

rarum.

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