Even if aspiring to thy pencil’s praise, Would flow secure; but humbler aims are mine; Know, when to thee I consecrate the line, ’Tis but to thank thy genius for the ray, Which pours on Fresnoy’s rules a fuller day; Those candid strictures, those reflections new, Refined by taste, yet still as nature true, Which, blended here with his instructive strains, Shall bid thy art inherit new domains; Give her in Albion as in Greece to rule, And guide (what thou hast formed) a British school. And O, if aught thy poet can pretend Beyond his favourite wish to call thee friend, Be it that here his tuneful toil has drest The muse of Fresnoy in a modern vest; And, with what skill his fancy could bestow, Taught the close folds to take an easier flow; Be it, that here thy partial smile approved, The pains he lavished on the art he loved. A. MASON. A PARALLEL OF POETRY AND PAINTING. It may be reasonably expected that I should say something on my own behalf, in respect to my present undertaking. First, then, the reader may be pleased to know, that it was not of my own choice that I undertook this work. Many of our most skilful painters, and other artists, were pleased to recommend this author to me, as one who perfectly understood the rules of painting; who gave the best and most concise instructions for performance, and the surest to inform the judgment of all who loved this noble art: that they who before, were rather fond of it, than knowingly admired it, might defend their inclination by their reason; that they might understand those excellencies which they blindly valued, so as not to be farther imposed on by bad pieces, and to know when nature was well imitated by the most able masters. It is true indeed, and they acknowledge it, that beside the rules which are given in this treatise, or which can be given in any other, to make a perfect judgment of good pictures, and to value them more or less, when compared with one another, there is farther required a long conversation with the best pieces, which are not very frequent either in France or England; yet some we have, not only from the hands of Holbein, Rubens, and Vandyck, (one of them admirable for history-painting, and the other two for portraits,) but of many Flemish masters, and those not inconsiderable, though for design not equal to the Italians. And of these latter also, we are not unfurnished with some pieces of Raphaell, Titian, Correggio, Michael Angelo, and others.