Page tion of the Piece XVIII. What Things are to be avoided in the Distribu XIX. Nature to be accommodated to Genius XX. The Antique the Model to be copied XXII. Of Drapery * 270 XXIII. Of picturesque Ornament XXIV. Ornament of Gold and Jewels*. XXV. Of the Model XXVI. Union of the Piece XXVII. Grace and Majesty * XXVIII. Every thing in its proper Place XXX. Gothic Ornament to be avoided ...... COLOURING, the third Part of Painting *. .... 273 XXXI. The Conduct of the Tints of Light and Shadow 274 XXXII. Dense and Opaque Bodies with translucent ones XXXIII. There must not be two equal Lights in the * 276 XXXVIII. The Relation of Distances XLI. Colours very opposite to each other never to be XLIV. Of certain Things relating to the practical part 281 XLIX. The Looking-glass the Painter's best Master... 283 LII. The Place of the Picture LIII. Large Lights ......... Page .......... 284 284 LIV. The Quantity of Light and Shade to be adapted LV. Things which are disagreeable in Painting to be avoided........ LVI. The prudential part of a Painter.................. 285 LVII. The idea of a beautiful Picture LVIII. Advice to a young Painter ** 285 286 ..................... LIX. Art must be subservient to the Painter 286 LX. Diversity and Facility are pleasing * ............ 287 LXI. The Original must be in the Head, and the Copy on the Cloth 287 LXII. The Compass to be in the Eyes 287 LXIII. Pride, an Enemy to good Painting * 288 LXIV. Know thyself 288 LXV. Perpetually practise, and do easily what you LXX. The Method of Studies for a young Painter**** 293 LXXI. Nature and Experience perfect Art * 29 The following little piece has been constantly annexed to M. DU FRESNOY's poem. It is here given from the former Editions: but the liberty has been taken of making some alterations in the Version, which, when compared with the original in French, appeared either to be done very carelessly by Mr. DRYDEN, or (what is more probable) to be the work of some inferior hand which he employed on the occasion. M. |