It is true that poetry has one advantage over painting in these last ages, that we have still the remaining examples both of the Greek and Latin poets; whereas the painters have nothing left them from Apelles, Protogenes, Parrhasius, Xeuxis, and the rest, but only the testimonies which are given of their incomparable works. But instead of this, they have some of their best statues, bass-relievos, columns, obelisks, &c. which were saved out of the common ruin, and are still preserved in Italy; and by well distinguishing what is proper to sculpture, and what to painting, and what is common to them both, they have judiciously repaired that loss. And the great genius of Raffaelle, and others, having succeeded to the times of barbarism and ignorance, the knowledge of painting is now arrived to a supreme perfection, though the performance of it is much declined in the present age. The greatest age for poetry amongst the Romans was certainly that of Augustus Cæsar: and yet we are told that painting was then at its lowest ebb; and perhaps sculpture was also declining at the same time. In the reign of Domitian, and some who succeeded him, poetry was but meanly cultivated, but painting eminently flourished. I am not here to give the history of the two arts; how they were both in a manner extinguished by the irruption of the barbarous nations, and both restored about the times of Leo the Tenth, Charles the Fifth, and Francis the First; though I might observe, that neither Ariosto, nor any of his contemporary poets, ever arrived at the excellency of Raffaelle, Titian, and the rest, in painting. But in revenge, at this time, or lately, in many countries, poetry is better practised than her sister-art. To what height the magnificence and encouragement of the present king of France may carry painting and sculpture, is uncertain; but by what he has done before the war in which he is engaged, we may expect what he will do after the happy conclusion of a peace, which is the prayer and wish of all those who have not an interest to prolong the miseries of Europe. For it is most certain, as our author, amongst others, has observed, that reward is the spur of virtue, as well in all good arts, as in all laudable attempts; and emulation, which is the other spur, will never be wanting, either amongst poets or painters, when particular rewards and prizes are proposed to the best deservers. But to return from this digression, though it was almost necessary. All the rules of painting are methodically, concisely, and yet clearly delivered in this present treatise, which I have translated. Bossu has not given more exact rules for the epic poem, nor Dacier for tragedy, in his late excellent translation of Aristotle, and his notes upon him, than our Fresnoy has made for painting; with the parallel of which I must resume my discourse, following my author’s text, though with more brevity than I intended, because Virgil calls me.