NOTES, 85 



NOTE XXIV. VERSE 180. 

 Fair in the front, in all the blaze of tight % 

 The Hero of thy piece Jhould meet the fight. 



There can be no doubt that this figure fhould be laboured^ 

 in proportion as it claims the attention of the fpectator, but 

 there is no neceflity that it fhould be placed in the middle of 

 the picture, or receive the principal light; this conduct, if 

 always obferved, would reduce the art of .Competition to too 

 great a uniformity. 



It is fufficient, if the place he holds, or the attention "of 

 the other figures to him, denote him the hero of the piece. 



The principal figure may be too principal. The harmony 

 of compofition requires that the inferiour characters bear fome 

 proportion, according to their feveral ftations, to the hero of 

 the work-. 



This rule, as enforced by Frefnoy, may be faid more pro- 

 perly to belong to the art in its infant ftate, or the firft pre- 

 cept given to young ftudents ; but the more advanced know 

 that fuch an apparent artificial difpofition would be in reality 

 for that reafon inartificial. R.. 



NOTE XXV. VERSE 193. 

 In evry Jigurd group the judging eye 

 Demands the charms of contrariety. 



The rule of contrafting figures, or groups, is not only imi- 

 verfally known and adopted, but it is frequently carried to 

 fuch excefs* that our Author might, perhaps, with more 

 propriety have fixed his caution on the other fide, and recom- 

 mended to the artifr,. nqt to deftroy the grandeur and fimpli- 

 oity of his defign by violent and affected contrafts. 



The artlefs uniformity of the compofitions of the old Gothic 

 Painters is far preferable to this falfe refinement, this often- 



L 3 tatious 



