b While round that sov'reign form th' inferior train 185 In groups collected fill the pictur'd plain; C In every figur'd group the judging eye Demands the charms of contrariety; In forms, in attitudes, expects to trace 190 195 d Agglomerata simul sint membra, ipsæque figuræ Stipentur, circumque globos locus usque vacabit ; Nè, malè dispersis dum visus ubique figuris Dividitur, cunctisque operis fervente tumultu Partibus implicitis, crepitans confusio surgat. e * Inque figurarum cumulis non omnibus idem Corporis inflexus, motusque; yel artubus omnes Conversis pariter non connitantur eodem ; b XII. Groups of Figures. c XIII. Diversity of Attitude in Groups. 135 d XII. Figurarum globi seu cumuli. e XIII. Positurarum diversitas in cumulis. Where art diversely leads each changeful line, Opposes, breaks, divides the whole design: Thus, when the rest in front their charms dis play 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 Extends alike to many forms or few. 204 f Yet keep thro' all the piece a perfect poise: If here in frequent troops the figures rise, There let some object tower with equal pride; And so arrange each correspondent side, Sed quædam in diversa trahant contraria membra, 140 Transverséque aliis pugnent, et cætera frangant. Pluribus adversis aversam oppone figuram, Pectoribusque humeros, et dextera membra sinistris, Seu multis constabit opus, paucisve figuris. 8 Altera tabulæ vacuo neu frigida campo, pars Aut deserta siet, dum pluribus altera formis f XIV. A Balance to be 145 & XIV. Tabulæ libramen That, thro' the well-connected plan, appear h 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 ; A task so various how shall art fulfil, When oft the simplest forms elude our skill? 215 Dear to the curious eye, and only found, Sic aliquid parte ex aliâ consurgat, et ambas In 150 Præstitit in multis, quod vix bene præstat in unâ: 155 Majestate carere gravi, requieque decora ; h XV. Of the Number of Figures. i XV. Numerus Figura rum. Yet if some grand important theme demand 1 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. m Each air constrain'd and forc'd, each gesture rude, Whate'er contracts or cramps the attitude, 231 Sed si opere in magno, plures thema grande requirat Esse figurarum cumulos, spectabitur unà Machina tota rei; non singula quæque seorsim. "Præcipua extremis raro internodia membris Abdita sint; sed summa pedum vestigia nunquam. • 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 XVI. The Joints of the Feet. 1 XVII. The motion of the Hands with the Head. m XVIII. What things are to be avoided in the Distri 160 165 n XVI. Internodia et Pedes. • XVII. Motus manuum motui capitis jungendus. P XVIII. Quæ fugienda in distributione et compositione. With scorn discard. When squares or angles join, When flows in tedious parallel the line, Acute, obtuse, whene'er the shapes appear, 235 These all displease, and the disgusted eye Mark then our former rule*; with contrast strong And mode transverse the leading lines prolong; For these in each design, if well exprest, Give value, force, and lustre to the rest. 241 • Nor yet to Nature such strict homage pay, As not to quit when Genius leads the way; 170 Membra sub ingrato, motusque, actusque coactos; • Non ita naturæ astanti sis cuique revinctus, Hanc præter nihil ut genio studioque relinquas; 175 *Page 42. Rule xiii. 9 XIX. Nature to be accommodated to Genius. r XIX. Natura genio accommodanda. |