d In every figured group the judging eye

Demands the charms of contrariety;

In forms, in attitudes, expects to trace

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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;
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.

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e Yet keep through all the piece a perfect poise: 205 If here in frequent troops the figures rise, There let some object tower with equal pride; And so arrange each correspondent side, That, through the well-connected plan, appear No cold vacuity, no desert drear.

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

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

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8 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 consurget, et ambas
Equiparet, geminas cumulando æqualiter oras.

d XIII. Diversity of Attitude in Groups.

e XIV. A Balance to be kept in the Picture.

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f XIII. Positurarum Diversitas in Cumulis.

5 XIV. Tabulæ Libramentum.

Say does the poet glow with genuine rage,

Who crowds with pomp and noise his bustling stage? Devoid alike of taste that Painter deem,

Whose flutt'ring works with num'rous figures teem;
A task so various how shall art fulfil,

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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.
Yet if some grand important theme demand
Of many needful forms a busy band,
Judgment will so the several groups unite,
That one compacted whole shall meet the sight.
i The joints in each extreme distinctly treat,
Nor e'er conceal the outline of the feet.

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k The hands alike demand to be exprest In half-shown figures ranged behind the rest;

1 Pluribus implicitum personis drama supremo
In genere, ut rarum est, multis ita densa figuris
Rarior est tabula excellens; vel adhuc ferè nulla
Præstitit in multis, quod vix bene præstat in unâ :
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 unâ
Machina tota rei; non singula quæque seorsim.

m Præcipua extremis raro internodia membris Abdita sint; sed summa pedum vestigia nunquam. "Gratia nulla manet, motusque, vigorque figuras

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160

I XV. Numerus Figura

rum.

m XVI. Internodia et Pe

des.

n XVII. Motus Manuum Motui Capitis jungendus.

Nor can such forms with force or beauty shine,
Save when the head and hands in action join,

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• Each air constrain'd and forced, 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,
Or take a formal geometric air,

These all displease, and the disgusted eye
Nauseates the tame and irksome symmetry.

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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.

P Nor yet to Nature such strict homage pay, As not to quit when Genius leads the way;

Retro aliis subter majori ex parte latentes,
Ni capitis motum manibus commitentur agendo.
Difficiles fugito aspectus contractaque visu
Membra sub ingrato, motusque, actusque coactos;
Quodque refert signis, rectos quodammodo tractus,
Sive parallelos plures simul, et vel acutas,
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.
'Non ita naturæ astanti sis cuique revinctus,
Hanc præter nihil ut genio studioque relinquas;

Page 265. Rule XIII.

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170

175

Quæ fugienda in Distributione et Compositione.

o XVIII. What Things are 9 XVIII. to be avoided in the Distribution of the Piece.

P XIX. Nature to be accommodated to Genius.

I XIX. Natura Genio accommodanda.

Nor yet though Genius all his succour sends,
Her mimic powers though ready Memory lends,
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 mislead;
'Mid curves that vary in perpetual twine,

Truth owns but one direct and perfect line.

S

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250

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 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:
Hence all-majestic 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.

Nec sine teste rei natura, artisque magistra,

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.

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180

* Sed juxta antiquos naturam imitabere pulchram, Qualem forma rei propria, objectumque requirit. Non te igitur lateant antiqua numismata, gemmæ, Vasa, typi, statuæ, cælataque marmora signis,

185

Quodque refert specie veterum post sæcula mentem ;
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.

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s XX. The Antique the t XX. Signa antiqua Na

Model to be copied.

turæ Modum constituunt.

u 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.

x Free o'er the limbs the flowing vesture cast,
The light broad folds with grace majestic placed;
And, as each figure turns a different way,
Give the large plaits their corresponding play;
Yet devious oft and swelling from the part,

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271

The flowing robe with ease should seem to start;
Not on the form in stiff adhesion laid,

275

But well relieved by gentle light and shade.
Where'er a flat vacuity is seen,

There let some shadowy bending intervene,
Above, below, to lead its varied line,

As best may teach the distant folds to join;
And as the limbs by few bold strokes express'd
Excel in beauty, so the liberal vest

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y Exquisita siet formâ, dum sola figura Pingitur; et multis variata coloribus esto.

z Lati, amplique sinus pannorum, et nobilis ordo
Membra sequens, subter latitantia lumine et umbrâ
Exprimet; ille licet transversus sæpe feratur,
Et circumfusos pannorum porrigat extra

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Membra sinus, non contiguos, ipsisque figuræ
Partibus impressos, quasi pannus adhæreat illis;

200

Sed modicè expressos cum lumine servet et umbris:

Quæque intermissis passim sunt dissita vanis,
Copulet, inductis subtérve, supérve lacernis.
Et membra, ut magnis, paucisque expressa lacertis,
Majestate aliis præstant, forma, atque decore:

Haud secus in pannis, quos supra optavimus amplos,

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