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  not omit to introduce among these precepts a new kind of speculative invention, which though apparently trifling, and almost laughable, is nevertheless of great utility in assisting the genius to find variety for composition.

By looking attentively at old and smeared walls, or stones and veined marble of various colours, you may fancy that you see in them several compositions, landscapes, battles, figures in quick motion, strange countenances, and dresses, with an infinity of other objects. By these confused lines the inventive genius is excited to new exertions.   the painter has only a single figure to represent, he must avoid any shortening whatever, as well of any particular member, as of the whole figure, because he would have to contend with the prejudices of those who have no knowledge in that branch of the art. But in subjects of history, composed of many figures, shortenings may be introduced with great propriety, nay, they are indispensable, and ought to be used without reserve, as the subject may require; particularly in battles, where of course many shortenings and contortions of figures happen, amongst such an enraged multitude of actors, possessed, as it were, of a brutal madness. Rh