12 0/ D R A W I N G.
If that cf Sorrow, let every thing mit have' a Stroke
.of Distrds.
Take;Care to avoid introducing Figures that are
foreign to your Subject, for such may be call'd pl?a-
santly enough, Figures to be Let.
Horace, it is true, has given Poets and Painters
Permisfion to dare every thing; but yet he licence's
neither of them to transgress the known Laws os
Nature. For he adds immediately aster,
But let the Bounds of Licences be six'it,
Not things os dij'agreeing Nature's mix'd;
Not fweet withJbtv'r, nor Birds tv.th SerpentsjoyrCci,
Nor the sierce Lyon with the fearful Hind.
is
Use therefore your Licences with a becoming
Boldness, but let them be ingenious, and not mt*
moderate and extravagant.
Lastly, never trust too far to the Strength os your
Memory, and the Conceptions os Nature imprinted
on ycur Mind. The Memory is too weak, too nar-
row, to retain all the various Objects os our Sight.
The best and surest Method is to have Nature hersels,
as often as possible you can for ycur Model.
Of L i g h t s and S h a j5 0 w s.
XJAVING thus lead the young Practitioner
through the first Rudiments os Drawing -his
Out-lines, I mall now proceed to what I principally
sltn'd at in this EsTay, to inftruct him in the Dispo-
iition of the Lights and Shadows of his Figures, ac-
cording to their respeftive Situations, which is cloath-
ing the Designs or Drawings, Dressing them-up .
atsd' making them appear more lively than what th-ey
ate, _ . ' • '
Do nothing rnshly'-; weigh Well and consider what
you are about, some Parts 'require a fainter, others a
sfroriger Light ; and fome Shadows mufl be deeper
than ethers': be curious in ycur GbfervatioiVos- their
"U* . s a Quantity