Page:Reflections upon ancient and modern learning (IA b3032449x).pdf/111

 To represent the Figures truly; To express the Passions naturally; and, To put the whole judiciously together. For the First, It is necessary that all the Out-Lines be justly drawn, and that every Part be properly coloured. For the Second, It is necessary that the Painter should hit the different Airs and Characters of the Face, with all the Postures of the Figures, so as to express what they do, and what they think. The whole is judiciously put together, when every several Figure is set in the Place in which we see it, for a particular Purpose; and the Colouring gradually weakned, so as to suit that part of the Plain in which every Figure appears. All which is as applicable to the several Parts of a Picture that has but one Figure, as to the several Figures in a Picture that has more. That if we judge of Ancient and Modern Paintings by this Rule, we may divide them into three Classes: The First takes in the Age of Zeuxis, Apelles, Timanthes, and the rest that are so much admired in Antiquity. The Second takes in the Age of Raphael, Titian, Paul Veronese, and those other great Masters that flourished in Italy in the last Age. The Third contains the Painters of our own Age; such as Poussin,