62 63 XXXIX. The relation of distances XL. Of bodies which are distanced XLI. Of contiguous and separated bodies.. 63 XLII. Colours very opposite to each other never to be joined XLIII. Diversity of tints and colours XLIV. The choice of light XLV. Of certain things relating to the prac tical part XLVI. The field of the picture * XLVII. Of the vivacity of colours* 64 64 65 66 66 66 67 XLVIII. Of shadows XLIX. The picture to be of one piece.. 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 LIV. Large lights LV. The quantity of light and shade to 68 68 69 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 the copy on the cloth 72 73 LXIII. The compass to be in the eyes LXVI. Perpetually practice, and do easily 74 74 .75 76 LXVII. The morning most proper for work 76 LXVIII. Every day do something LXIX. The method of catching natural pas sions 77 77 78 •.82 85 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. |