1 50 APPENDIX. 



kinds ; for beauty is only that which makes all things as they 

 are in their proper and perfect nature, which the beft Painters 

 always choofe, by contemplating the forms of each. We ought 

 farther to confider, that a pi&u.re being the reprefentation of 

 a human action, the Painter ought to retain in his mind the 

 examples of all affections and paffions^ as a Poet preferves the 

 idea of an angry man, of one who is fearful, fad, or merry; 

 and fo of all the reft : For it is impofiible to exprefs that with 

 the hand, which jiever entered into the imagination. In this 

 manner, as I have rudely and briefly (hewn you, Painters and 

 Sculptors choofing the moft elegant, natural beauties, perfec- 

 tionate the Idea, and advance their art, even above Nature itfelf, 

 in her individual productions, which is the utmoft maftery of 

 human performance. 



" From hence arifes that aftomfhment, and almoft adoration, 

 which is paid by the knowing to thofe divine remains of an- 

 tiquity. From hence Phidias, Lylippus, and other noble 

 Sculptors, are flill held in veneration ; and Apelles, Zeuxis, 

 Protogenes, and other admirable Painters, though their works 

 are perilhed, are and will be eternally admired ; who all of 

 them drew after the ideas of perfection; which are the miracles 

 of Nature, the providence of the Underftanding, the exemp- 

 lars of the Mind, the light of the Fancy ; the fun, which, 

 from its rifing, infpired the ftatue of Memnon, and the fire 

 which warmed into life the image of Prometheus : It is thrs 

 which caufes the Graces and the Loves to take up their habi- 

 tations in the hardefl marble, and to fubfift in the emptinefs 

 of light and fhadows. But fince the Idea of Eloquence is as 

 inferior to that of Painting, as the force of words is to the 

 fight, I mull here break off abruptly -, and having conducted 

 the reader, as it were, to a fecret walk, there leave him in the 



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