True to anatomy, more true to grace, 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; 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, While round that sov'reign form th' inferior train 185 In groups collected fill the pictur'd plain ; 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 Stipentur, ciscumque globos locus usque vacabit ; 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 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, 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. |