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XXXIX. The relation of distances . .... 62 XL. Of bodies which are distanced ...... 63 XLI. Of contiguous and separated bodies . . 63 XLII. Colours very opposite to each other

never to be joined ............ 63 XLIII. Diversity of tints and colours . . . . . 64 XLIV. The choice of light iiii.icio. 64 XLV. Of certain things relating to the prac

tical part . ................. 65 XLVI. The field of the picture * ....... 66 XLVII. Of the vivacity of colours * ..... XLVIII. Of shadows ............ 66 XLIX. The picture to be of one piece .. 67 L. The looking-glass the painter's best master 67 LI. An half figure, or a whole one before others* 67 LII. A portrait .... LIII. The place of the picture ...... 68 LIV. Large lights .............. 69 LV. The quantity of light and shade to

be adapted to the place of the picture 69 LVI. Things which are disagreeable in painting

to be avoided .............. 69 LVII. The prudential part of a painter .... LVIII. The idea of a beautiful picture .... LIX. Advice to a young painter ** .... LX. Art must be subservient to the painter 72 LXI. Diversity and facility are pleasing* . . . 72 LXII. The original must be in the head, and

the copy on the cloth - ........ 73

LII.

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LXIII. The compass to be in the eyes * . . 74 LXIV. Pride, an enemy to good painting * 74 LXV. Know thyself ............. 75 LXVI. Perpetually practice, and do easily

what you have conceived ......... 76 LXVII. The morning most proper for work 76 LXVIII. Every day do something ...... 77 LXIX. The method of catching natural pas

sions ..................... 77 LXX. Of the thin ' LXX. Of the table-book ** .......... 78 LXXI. The method of studies for a young ::

painter ****.................82 LXXII. Nature and experience perfect art* . 85

APPENDIX.

The following little piece has been constantly aninexed 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.

THE

SENTIMENTS

of

CHARLES ALPHONSE DU FRESNOY

ON THE WORKS OF

THE PRINCIPAL AND BEST PAINTERS

OF THE TWO LAST AGES ;

1600 AND 1700.

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