* Yet to each separate form adapt with care 175 Such limbs, such robes, such attitude and air, As best befit the head, and best combine To make one whole, one uniform design: + Learn action from the dumb; the dumb shall teach How happiest to supply the want of speech. 180 § Singula membra, suo capiti conformia, fiant Unum idemque simul corpus cum vestibus ipsis : ¶ Mutorumque silens positura imitabitur actus. || Prima figurarum: seu princeps dramatis, ultrò Prosiliat media in tabula, sub lumine primo 130 Pulchrior ante alias, reliquis nec operta figuris. * IX. Conformity of the Limbs and Drapery to the Head. + X. Action of the Mutes to be imitated. § IX. Figura sit una mem. bris et vestibus. TX. Mutorum actiones imitandæ. XI. The principal Figure. XI. Figura princeps. * While round that sov'reign form th' inferior train In groups collected fill the pictur'd plain; 185 190 Fill, but not crowd; for oft some open space 195 Agglomerata simul sint membra, ipsæque figuræ Stipentur, circumque globos locus usque vacabit; Nè, malè dispersis dum visus ubique figuris Dividitur, cunctisque operis fervente tumultu 135 Partibus implicitis, crepitans confusio surgat. ¶ Inque figurarum cumulis non omnibus idem Corporis inflexus, motusque ; vel artubus omnes Conversis pariter non connitantur eodem; * XII. Groups of Figures. + XIII. Diversity of Attitude in Groups. + XII. Figurarum globi seu cumuli. XIII. Positurarum diversitas in cumulis. Where art diversely leads each changeful line, 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. 206 *Yet keep thro' all the piece a perfect poise: Sed quædam in diversa trahant contraria mem 140 bra, Transverséque aliis pugnent, et cætera frangant. Pluribus adversis aversam oppone figuram, Pectoribusque humeros, et dextera membra sinistris, Seu multis constabit opus, paucisve figuris. +Altera pars tabulæ vacuo neu frigida campo 145 Aut deserta siet, dum pluribus altera formis Fervida mole sua supremam exsurgit ad oram. Sed tibi sic positis respondeat utraque rebus, Ut si aliquid sursum se parte attollat in unâ, * XIV. A Balance to be + XIV. Tabulæ libramentum. kept in the Picture. That, through the well connected plan, appear 210 "Say does the Poet glow with genuine rage, Who crowds 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, 215 When oft the simplest forms elude our skill? Sic aliquid parte ex aliâ consurgat, et ambas 150 Equiparet, geminas cumulando æqualiter oras. + Pluribus implicitum personis drama supremo In genere, ut rarum est, multis ita densa figuris Rarior est tabula excellens; vel adhuc ferè nulla Præstitit in multis, quod vix bene præstat in unâ : Quippe solet rerum nimio dispersa tumultu, * XV. Of the number of Figures. 155 + XV. Numerus Figura rum. Yet if some grand important theme demand +The hands alike demand to be exprest 160 Sed si opere in magno, plures thema grande requirat * XVI. The Joints of the Feet. + XVII. The motion of the Hands with the Head. XVIII. What things are to be avoided in the Distribution of the Piece. 165 § XVI. Internodia et Pedes. || XVII. Motus manuum motui capitis jungendus. ¶ XVIII. Quæ fugienda in distributione et compositione. |