Weigh part with part, and with prophetic eye 115
The future power of all thy tints descry;
And those, those only on the canvass place,
Whose hues are social, whose effect is grace.
* Vivid and faithful to the historic page,
Express the customs, manners, forms, and age; 120
+ Nor paint conspicuous on the foremost plain
Whate'er is false, impertinent, or vain;

But like the Tragic Muse, thy lustre throw,
Where the chief action claims its warmest glow.

This rare, this arduous task no rules can teach, No skill'd preceptor point, no practice reach; 126

Atque futurorum jam præsentire colorum
Par erit harmoniam, captando ab utrisque ve-

nustum.

80

Sit thematis genuina ac viva expressio, juxtà Textum antiquorum, propriis cum tempore formis. § Nec quod inane, nihil facit ad rem, sive videtur Improprium, miniméque urgens, potiora tenebit Ornamenta operis; Tragicæ sed lege sororis, 85 Summa ubi res agitur, vis summa requiritur Artis. Ista labore gravi, studio, monitisque magistri

* V. The Subject to be treated faithfully.

+ VI. Every foreign ornament to be rejected.

‡ V. Fidelitas Argumenti.

§ VI. Inane rejiciendum.

'Tis taste, 'tis genius, 'tis the heav'nly ray Prometheus ravish'd from the car of day. In Egypt first the infant art appear'd, Rude and unform'd; but when to Greece she steer'd

130

Her prosperous course, fair Fancy met the Maid;
Wit, Reason, Judgment, lent their powerful aid;
Till all complete the gradual wonder shone,
And vanquish'd Nature own'd herself outdone. 134
"Twas there the Goddess fix'd her blest abodes,
There reign'd in Corinth, Athens, Sicyon, Rhodes,

90

Ardua pars nequit addisci: rarissima namque,
Ni prius æthereo rapuit quod ab axe Prometheus
Sit jubar infusum menti cum flamine vitæ.
Mortali haud cuivis divina hæc munera dantur;
Non uti Dædaleam licet omnibus ire Corinthum.
Ægypto informis quondam pictura reperta,
Græcorum studiis, et mentis acumine crevit :
Egregiis tandem illustrata et adulta magistris, 95
Naturam visa est miro superare labore.

Quos inter, Graphidos Gymnasia prima fuêre Portus Athenarum, Sicyon, Rhodes, atque Corinthus,

Her various votaries various talents crown'd;
Yet each alike her inspiration own'd ;
Witness those marble miracles of grace,
Those tests of symmetry where still we trace 140
All art's perfection: With reluctant gaze
To these the genius of succeeding days

Looks dazzled up, and, as their glories spread,}
Hides in his mantle his diminish'd head.

* Learn then from Greece, ye youths, Proportion's law,

Inform'd by her, each just position draw;
Skilful to range each large unequal part,
With varied motion and contrasted art;

145

Disparia inter se modicùm ratione laboris :
Ut patet ex veterum Statuis, formæ atque decoris
Archetypis ; queis posterior nil protulit ætas
Condignum, et non inferius longè, arte modoque.
+ Horum igitur vera ad normam positura legetur:
Grandia, inæqualis, formosaque partibus amplis
Anteriora dabit membra, in contraria motu
Diverso variata, suo librataque centro.

105

* VII. Design or Position, the second part of Painting.

VII. Graphis seu Positura secunda Picturæ pars.

Full in the front the nobler limbs to place,
And poise each figure on its central base.

150

But chief from her that flowing outline take, Which floats in wavy windings, like the snake, Or lambent flame; which, ample, broad, and long, Reliev'd, not swell'd, at once both light and strong, Glides through the graceful whole. Her art divine Cuts not, in parts minute, the tame design, But by a few bold strokes, distinct and free, Calls forth the charms of perfect symmetry. True to anatomy, more true to grace,

156

She bids each muscle know its native place; 160
Bids small from great in just gradation rise,
And, at one visual point, approach the eyes.

Membrorumque sinus ignis flammantis ad instar, Serpenti undantes flexu ; sed lævi, plana, Magnaque signa, quasi sine tubere subdita tactu, Ex longo deducta fluant, non secta minutim. 110 Insertisque toris sint nota ligamina, juxta Compagem anatomes, et membrificatio Græco Deformata modo, paucisque expressa lacertis, Qualis, apud veteres ; totoque Eurythmia partes Componat; genitumque suo generante sequenti 115 Sit minus, et puncto videantur cuncta sub uno.

Yet deem not, youths, that perspective can give Those charms complete by which your works shall live:

166

What though her rules may to your hand impart
A quick mechanic substitute for art,
Yet formal, geometric shapes she draws;
Hence the true Genius scorns her rigid laws;
By nature taught he strikes th' unerring lines,
Consults his eye, and as he sees, designs.

170

* Man's changeful race, the sport of chance and time,

Varies no less in aspect than in clime;

Mark well the difference, and let each be seen
Of various age, complexion, hair, and mien.

Regula certa licet nequeat prospectica dici, Aut complimentum graphidos; sed in arte juvamen, Et modus accelerans operandi: at corpora falso Sub visu in multis referens, mendosa labascit: 120 Nam Geometralem nunquam sunt corpora juxtà Mensuram depicta oculis, sed qualia visa.

+ Non eadem formæ species, non omnibus ætas Equalis, similesque color, crinesque figuris : Nam, variis velut orta plagis, gens dispare vultu

est.

125

* VIII. Variety in the Figures.

+ VIII. Varietas in Figuris.