* Mix'd with that simple unity of shade,

As all were from one single palette spread.

+ Much will the mirror teach, or evening gray, When o'er some ample space her twilight ray 530 Obscurely gleams; hence art shall best perceive On distant parts what fainter hues to give. Whate'er the form which our first glance commands,

Whether in front or in profile he stands,
Whether he rule the group, or singly reign,
Or shine at distance on some ample plain,
On that high-finish'd form let paint bestow
Her midnight shadow, her meridian glow.

535

§ Tota siet tabula ex unâ depicta patella. Multa ex naturâ speculum præclara docebit; ¶ Quæque procul sero spatiis spectantur in amplis. || Dimidia effigies, quæ sola, vel integra plures Ante alias posita ad lucem, stat proxima visu, 390 Et latis spectando locis, oculisque remota, Luminis umbrarumque gradu sit picta supremo.

* XLIX. The Picture to be of one Piece.

+L. The Looking Glass the Painter's best Master.

LI. A half Figure or a whole one before others.

§ XLIX. Ex una tella sit tabula.

pa.

¶ L. Speculum Pictorum Magister.

||LI. Dimidia Figura, vel integra, ante alias.

540

* The portrait claims from imitative art
Resemblance close in each minuter part,
And this to give, the ready hand and eye
With playful skill the kindred features ply;
From part to part alternately convey
The harmonizing gloom, the darting ray,
With tones so just, in such gradation thrown, 545
Adopting Nature owns the work her own.

+ Say is the piece thy hand prepares to trace
Ordain'd for nearer sight, or narrow space-
Paint it of soft and amicable hue:
But, if predestin'd to remoter view,
Thy strong unequal varied colours blend;
And ample space to ample figures lend,

550

Partibus in minimis imitatio justa juvabit Effigiem, alternas referendo tempore eodem Consimiles partes, cum luminis atque coloris 395 Compositis, justisque tonis; tunc parta labore Si facili et vegeto micat ardens, viva videtur.

§ Visa loco angusto tenerè pingantur, amico Juncta colore, graduque; procul quæ picta, feroci Sint et inæquali variata colore tonoque. Grandia signa volunt spatia ampla, ferosque colores.

*LII. A Portrait.

+ LIII. The Place of the Picture.

LII. Effigies.

400

LIII. Locus Tabulæ.

Where to broad lights the circumambient shade In liquid play by labour just is laid;

+ Alike with liveliest touch the forms pourtray, 555 Where the dim window half excludes the day; But, when expos'd in fuller light or air,

A brown and sober cast the group may bear.

Fly ev'ry foe to elegance and grace, Each yawning hollow, each divided space; Whate'er is trite, minute, abrupt, or dry, Where light meets shade in flat equality; Each theme fantastic, filthy, vile, or vain, That gives the soul disgust or senses pain,

560

§ Lumina lata, unctas simul undique copulet umbras || Extremus labor. In tabulas demissa fenestris Si fuerit lux parva, color clarissimus esto: Vividus at contra, obscurusque, in lumine aperto. ¶ Quæ vacuis divisa cavis, vitare memento; 406 Trita, minuta, simul quæ non stipata dehiscunt, Barbara, cruda oculis, rugis fucata colorum;

* LIV. Large Lights. +LV. The quantity of Light and Shade to be adapted to the Place of the Picture.

LVI. Things which are disagreeable in Painting to be avoided.

§ LIV. Lumina lata. LV. Quantitas luminis loci in quo tabula est exponenda.

¶ LVI. Errores et Litia Picturæ.

Monsters of barbarous birth, chimeras drear, 565
That pall with ugliness, or awe with fear.

And all that chaos of sharp broken parts,
Where reigns confusion, or whence discord starts.
* Yet hear me, youths! while zealous ye forsake
Detected faults, this friendly caution take,- 560
Shun all excess; and with true wisdom deem
That vice alike resides in each extreme.

+ Know, if supreme perfection be your aim,
If classic praise your pencil hope to claim,
Your noble outlines must be chaste, yet free, 575
Connected all with studied harmony:

Luminis umbrarumque tonis æqualia cuncta;
Fœda, cruenta, cruces, obscœna, ingrata, chimeras,
Sordidaque et misera, et vel acuta, vel aspera tactu;
Quæque dabunt formæ, temerè congesta, ruinam,
Implicitas aliis confundent mixtaque partes.

+ Dumque fugis vitiosa, cave in contraria labi Damna mali; vitium extremis nam super inhærit. § Pulchra gradu summo, graphidos stabilita ve

tustæ

416

*LVII. The prudential part of a Painter.

+ LVIII. The idea of a beautiful Picture.

+ LVII. Prudentia in Pictore.

§ LVIII. Elegantium Idæa Tabularum.

Few in their parts, yet those distinct and great;
Your Colouring boldly strong, yet softly sweet.

* Know, he that well begins has half achiev'd His destin'd work. Yet late shall be retriev'd 580 That time mispent, that labour worse than lost, The young disciple, to his dearest cost, Gives to a dull preceptor's tame designs; His tawdry colours, his erroneous lines, Will to the soul that poison rank convey, Which life's best length shall fail to purge away. Yet let not your untutor❜d childhood strive Of Nature's living charms the sketch to give,

585

Nobilibus signis, sunt grandia, dissita, pura,
Tersa, velut minimè confusa, labore ligata,
Partibus ex magnis paucisque efficta, colorum
Corporibus distincta feris, sed semper amicis. 420
+ Qui bene cœpit, uti facti jam fertur habere
Dimidium; picturam ita nil sub limine primo
Ingrediens, puer offendit damnosius arti,
Quàm varia errorum genera, ignorante magistro,
Ex pravis libare typis, mentemque veneno
Inficere, in toto quod non abstergitur ævo.
Nec graphidos rudis artis adhuc cito qualiacunque

425

*LIX. Advice to a young † LIX. Pictor Tyro. Painter.