If there be a half figure, or a whole one, to be set before the other figures, and placed nearer to the view, and next the light; or if it is to be painted in a great place, though at a distance from the eye; be sure on these occasions not to be sparing of great {390.} lights, the most lively colours, nor the strongest shadows. [Sidenote: LI. A portrait.] [*†393.] As for a portrait, or pictures by the life, you are to work precisely after nature, and to express what she shows you, working at the same time on those parts which are resembling to each {395.} other: as for example, the eyes, the cheeks, the nostrils, and the lips: so that you are to touch the one, as soon as you have given a stroke of the pencil to the other, lest the interruption of time cause you to lose the idea of one part, which nature has produced to resemble the other; and thus imitating feature for feature, with a just and harmonious composition of the lights and shadows, and of the colours; and giving to the picture that liveliness, which the freedom and force of the pencil make appear, it may seem, the living hand of nature. [Sidenote: LII. The place of the picture.] The works which are painted to be seen near, in little or narrow places, must be very tender and well united with tints and colours; “let those which are to be seen at a distance, be varied with fiercer colours and stronger tints. “Very large figures must have room enough, {400.} and strong, or rather fierce colouring.” [Sidenote: LIII. Large lights.] [*†403.] You are to “take the utmost care, that broad lights may be joined to a like breadth of shadows.” [Sidenote: LIV. What lights are requisite.] If the picture be set in a place which receives but little light, the colours must be very clear; as, on the contrary, very brown, if the place be {405.} strongly enlightened, or in the open air. [Sidenote: LV. Things which are vicious in painting to be avoided.] Remember to avoid objects which are full of hollows, broken in pieces, little, and which are separated, or in parcels; shun also those things which are barbarous, shocking to the eye, and party-coloured, and which are all of an equal force of light and shadow; as also all things which are obscene, {410.} impudent, filthy, unseemly, cruel, fantastical, poor, and wretched; and those things which are sharp to the feeling; in short, all things which corrupt their natural forms, by a confusion of their parts which are entangled in each other: “For the eyes have a horror for those things, which the hands will not condescend to touch.” [Sidenote: LVI. The prudential part of a painter.] But while you endeavour to avoid one vice, be cautious lest you fall into another; for “extremes are always vicious.” {415.} [Sidenote: LVII. The idea of a beautiful piece.] [Sidenote: LVIII. Advice to a young painter.]