NOTES. 89 



intention was to mew that he thought it necefTary to have 

 fome model of nature before you, however you deviate from 

 it, and correct it from the idea which you have formed in your 

 mind of perfect beauty. 



In Painting it is far better to have a model even to depart 

 from, than to have nothing fixed and certain to determine 

 the idea : There is fomething then to proceed on, fomething 

 to be corrected -, fo that even fuppofmg no part is taken, the 

 model has ftill been not without ufe. 



Such habits of intercourfe with nature, will at leafl create 

 that variety which will prevent any one's prognofticating what 

 manner of work is to be produced, on knowing the fubject, 

 which is the moft difagreeable character an Artiit can have. 



R. 



NOTE XXIX. VERSE 265. 

 Peculiar toil on fingle forms bejlow y 

 There let expreffion lend its jini/h'd glow. 



When the picture confifts of a fingle figure only, that figure 

 mutt be contrafled in its limbs and drapery with great variety 

 of lines : It is to be as much as poflible a compofition of 

 itfelf. It may be remarked, that fuch a complete figure will 

 never unite or make a part of a group ; as on the other hand, 

 no figure of a well-conducted group will ftand by itfelf. A 

 compofition, where every figure is fuch as I fuppofe a fingle 

 figure ought to be, and thofe likewife contrafted to each 

 other, which is not uncommon in the works of young artifts, 

 produces fuch an aflemblage of artifice and affectation as is in 

 the higheft degree unnatural and difguftful. 



There is another circumftance which, tho' not improper 

 in fingle figures, ought never to be practifed in hiflprical 

 pictures, that of making any figure looking out of the picture, 

 that is, looking at the perfon who looks at the picture. This 



M conduct 



