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A task so various how shall art fulfill,
When oft the simplest forms elude our skill?
But, did the toil succeed, we still should lose
That solemn majesty, that soft repose,
Dear to the curious eye, and only found,
Where few fair objects fill an ample ground. 220
Yet if some grand important theme demand
Of many needful forms a busy band,
Judgement will so the several groups unite,
That one compacted whole shall meet the sight.
k The joints in each extreme distinctly

treat,
Nor e'er conceal the outline of the feet :

225

Rarior est tabula excellens; vel adhuc ferè nulla
Præstitit in multis, quod vix bene præstat in unâ : "55
Quippe solet rerum nimio dispersa tumultu,
Majestate carere gravi, requieque decora;
Nec speciosa nitet, vacuo nisi libera campo.
Sed si opere in magno, plures thema grande requirat
Esse figurarum cumulos, spectabitur und
Machina tota rei; non singula quæque seorsim.

Præcipua extremis raro internodia membris Abdita sint; sed summa pedum vestigia nunquam.

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* XVI. The Joints of the Feet.

XVI. Internodia et Pedes.

m

The hands alike demand to be exprest In half-shown figures rang'd behind the rest; Nor can such forms with force or beauty shine; Save when the head and hands in action

join.

230

n Each air constrain'd and forc'd, each gesture

rude, Whate'er contracts or cramps the attitude, With scorn discard. When squares or angles

join, When flows in tedious parallel the line, Acute, obtuse, whene'er the shapes appear, 235 Or take a formal geometrick air,

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165

Gratia nulla manet, motusque, vigorque figura's Retro aliis subter majori ex parte latentes. Ni capitis motum manibus comitentur agendo.

p Difficiles fugito aspectus, contractaque visu Membra sub ingrato, motusque, aetusque coactos ; Quodque refert signis, rectos quodammodo tractus, Sive parallelos plures simul, et vel acutas,

m XVII. The motion of • XVII. Motus manuum the Hands with the Head. motui capitis jungendus. * XVIII. What things are a XVIII. Quæ

fugienda in to be avoided in the Distris distributione et compositione. bution of the Piece.

1709

These all displease, and the disgusted eye Nauseates the tame and irksome symmetry. Mark then our former rule *; with contrast

strong

And mode transverse the leading lines prolong;

240 For these in each design, if well exprest, Give value, force, and lustre to the rest.

9 Nor yet to Nature such strict homage pay, As not to quit when Genius leads the way; Nor yet, tho'Genius all his succour sends, 245 Her mimick powers tho' ready memory lends,

175

Vel geometrales (ut quadra, triangula) formas ; Ingratamque pari signorum ex ordine quandam Syınmetriam : sed præcipua in contraria semper Signa volunt duci transversa, ut diximus anté Summa igitur ratio signorum habeatur in omni Composito ; dat enim reliquis pretium, atque

vigorem.
Non ita naturæ astanti sis cuique revinctus,
Hanc præter nihil ut genio studioque relinquas;
Nec sine teste rei natura, artisque magistra,

I

* Page 43, Rule xiii. 9 XIX. Nature to be ac. XIX. Natura genio accommodated to Genius. commodanda.

Presume from Nature wholly to depart,
For Nature is the arbitress of art.
In Error's grove ten thousand thickets spread,
Ten thousand devious paths our steps mis-

lead;

250

'Mid curves, that vary in perpetual twine, Truth owns but one direct and perfect line. Spread then her genuine charms o'er all the

piece, Sublime and perfect as they glow'd in Greece. Those genuine charms to seize, with zeal explore

155 The vases, medals, statues, form'd of yore, Relievos high that swell the column's stem, Speak from the marble, sparkle from the gem:

Quidlibet ingenio, memor ut tantummodo rerum,
Pingere posse putes errorum est plurima sylva,
Multiplicesque viæ, bene agendi terminus unus,
Linea recta velut sola est, et mille recurvæ.

• Sed juxta antiquos naturam imitabere pulchram, Qualem forma rei propria, objectumque requirit. 18 Non te igitur lateant antiqua numismata, gemmæ,

. XX. The Antique the Model to be copied.

? XX. Signa antiqua Nas turæ modum constituunt.

260

Hence all-majestick on th' expanding soul,
In copious tide the bright ideas roll;
Fill it with radiant forms unknown before,
Forms such as demigods and heroes wore :
Here pause and pity our enervate days,
Hopeless to rival their transcendent praise.

Peculiar toil on single forms bestow, 265
There let expression lend its finished glow;
There each variety of tint unite
With the full harmony of shade and light.

* Free o’er the limbs the flowing vesture cast, The light broad folds with grace majestick

placed;

W

270

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Vasa, typi, statuæ, cælataque marmora signis,
Quodque refert specie veterum post sæcula mentern;
Splendidior quippe ex illis assurgit imago,
Magnaque se rerum facies aperit meditanti:
Tunc nostri tenuem sæcli miserebere sortem,
Cùm spes nulla siet redituræ æqualis in ævum.

• Exquisita siet formâ, dum sola figura Pingitur ; et multis variata coloribus esto. 2 Lati, amplique sinus pannorum, et nobilis ordo 195 XXI. How to paint a

y XXI. Sola Figura quosingle Figure.

modo tractanda. * XXII. Of Drapery.

? XXII. Quid in Pannis observandum.

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