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XXXIX. The relation of distances

XL. Of bodies which are distanced

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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*

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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

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

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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*
LXII. The original must be in the head, and

the copy on the cloth

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LXIII. The compass to be in the eyes
LXIV. Pride, an enemy to good painting*
LXV. Know thyself

LXVI. Perpetually practice, and do easily
what you have conceived . .

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LXVII. The morning most proper for work 76 LXVIII. Every day do something

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LXIX. The method of catching natural pas

sions

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APPENDIX.

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.

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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