[*†81.] Let “there be a genuine and lively expression of the subject,” conformable to the text of ancient authors, to customs, and to times. [Sidenote: VI. Whatsoever palls the subject to be rejected.] “Whatever is trivial, foreign, or improper, ought by no means to take up the principal part of the picture.” [*†83.] But herein imitate the sister of painting, Tragedy; which employs the whole forces of her art in the main action. {85.} [*†89.] This part of painting, so rarely met with, is neither to be acquired by pains or study, nor by the precepts or dictates of any master. For they alone who have been inspired at their birth with {90.} some portion of that heavenly fire, [*†91.] which was stolen by Prometheus, are capable of receiving so divine a present. Painting in Egypt was at first rude and imperfect, till being brought into Greece, [*†92.] and being cultivated by the study and sublime genius of that {95.} nation, [*†95.] it arrived at length to that height of perfection, that it seemed to surpass even original nature. Amongst the academies, which were composed by the rare genius of those great men, these four are reckoned as the principal: namely, the Athenian school, that of Sicyon, that of Rhodes, and that of Corinth. These were little different from each other, only in the manner of their work; as it may {100.} be seen by the ancient statues, which are the rule of beauty and gracefulness; and to which succeeding ages have produced nothing that is equal; “or indeed that is not very much inferior, both in science, and in the manner of its execution.” [Sidenote: VII. Design, the second part of painting.] [*†103.] An attitude therefore must be chosen, according to their taste: [*†104.] the parts of it must be great and large, [*†105.] “contrasted by contrary motions; the {105.} most noble parts foremost in sight, and each figure carefully poised on its own centre.” [*†107.] “The parts must be drawn with flowing, gliding outlines, large and smooth, rising gradually, not swelling suddenly, but which may be just felt in the statues, or cause a little relievo in painting. {110.} Let the muscles have their origin and insertion, [*†112.] according to the rules of anatomy; let them not be subdivided into small sections, but kept as entire as possible, [*†113.] in imitation of the Greek forms, and expressing only the principal muscles.” In fine, [*†114.] let there be a perfect relation betwixt the parts and the whole, that they may be entirely of a piece. {115.}