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A task so various how shall art fulfill,

125

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.
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 unà
Machina tota rei; non singula quæque seorsim.

1

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

* XVI. The Joints of the Feet.

163

1 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.

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

rude,

230

gesture

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,

165

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

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

m XVII. The motion of the Hands with the Head.

* XVIII. What things are to be avoided in the Distribution of the Piece.

о

170

• XVII. Motus manuum motui capitis jungendus.

XVIII. Quæ fugienda in distributione et compositione.

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 pro

long;

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

240

a 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,

Vel geometrales (ut quadra, triangula) formas; Ingratamque pari signorum ex ordine quandam Symmetriam 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.

I

Non ita naturæ astanti sis cuique revinctus,

Hanc præter nihil ut genio studioque relinquas;

Nec sine teste rei natura, artisque magistra,

*Page 43, Rule xiii.

175

9 XIX. Nature to be ac

commodated to Genius.

XIX. Natura genio accommodanda.

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For Nature is the arbitress of art.

In Error's grove ten thousand thickets spread, Ten thousand devious paths our steps mis

lead;

'Mid curves, that vary in perpetual twine,

250

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 ex

plore

255

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. 185 Non te igitur lateant antiqua numismata, gemmæ,

t

XX. The Antique the * XX. Signa antiqua NaModel to be copied.

turæ modum constituunt.

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.

W

w Peculiar toil on single forms bestow, There let expression lend its finished glow ; There each variety of tint unite

With the full harmony of shade and light.

260

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

placed;

270

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.

y

* Exquisita siet formâ, dum sola figura

Pingitur; et multis variata coloribus esto.

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Lati, amplique sinus pannorum, et nobilis ordo 195

XXI. How to paint a

single Figure.

* XXII. Of Drapery.

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