It may be inferred from that which I have said, that the invention and the disposition are two several and distinct parts. In effect, though the last of them depends upon the first, and is commonly comprehended under it; yet we are to take great care, that we do not confound them. The invention simply finds out the subjects, and makes a choice of them suitable to the history which we treat; and the disposition distributes those things which are thus found, each to its proper place, and accommodates the figures and the groupes in particular, and the _tout ensemble_ (or whole together) of the picture in general; so that this economy produces the same effect in relation to the eyes, as a concert of music to the ears. There is one thing of great consequence to be observed in the economy of the whole work, which is, that at the first sight we may be given to understand the quality of the subject; and that the picture, at the first glance of the eye, may inspire us with the principal passion of it: for example, if the subject which you have undertaken to treat be of joy, it is necessary that every thing which enters into your picture should contribute to that passion, so that the beholders shall immediately be moved with it. If the subject be mournful, let every thing in it have a stroke of sadness; and so of the other passions and qualities of the subjects. [*†81.] “Let there be a genuine and lively expression of the subject, conformable to the text of ancient authors,” &c. Take care that the licences of painters be rather to adorn the history, than to corrupt it. And though Horace gives permission to painters and poets[155] to dare every thing, yet he encourages neither of them to make things out of nature or verisimility; for he adds immediately after, But let the bounds of licences be fixed; Not things of disagreeing natures mixed: Not sweet with sour, nor birds with serpents joined; Nor the fierce lion with the fearful hind. The thoughts of a man endued with good sense, are not of kin to visionary madness; men in fevers are only capable of such dreams. Treat then the subjects of your pictures with all possible faithfulness, and use your licences with a becoming boldness; provided they be ingenious, and not immoderate and extravagant. [*†83.] “Take care that whatsoever makes nothing to your subject,” &c. Nothing deadens so much the composition of a picture, as figures which are not appertaining to the subject: we may call them pleasantly enough, _figures to be let_. [*†89.] “This part of painting so rarely met with,” &c. That is to say, _invention_. [*†91.]