Template:RQ:Du Fresnoy Dryden Painting

The following documentation is located at Template:RQ:Du Fresnoy Dryden Painting/documentation.

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This template may be used in Wiktionary entries to format quotations from an English translation of Charles Alphonse du Fresnoy's work De Arte Graphica by John Dryden entitled De Arte Graphica. The Art of Painting. (1st edition, 1695). It may be used to create a link to an online version of the work at the Internet Archive.

The template takes the following parameters:

• |1= or |chapter= – the name of the chapter quoted from. If quoting from one of the chapters indicated in the second column of the following table, give the parameter the value indicated in the first column:

If quoting from the main part of the work, "The Art of Painting", indicate as the chapters the notes in the margin; for example, on page 7, |chapter=Precept I. Of What is Beautifull.

• |line= or |lines= – the line number(s) quoted from. If quoting a range of line numbers, separate the first and last numbers of the range with an en dash, like this: |lines=10–11.
• |2= or |page=, or |pages= – mandatory in some cases: the page number(s) quoted from. If quoting from one of the two prefaces, specify the page number(s) in lowercase Roman numerals. If quoting a range of pages, note the following:
  • Separate the first and last page numbers of the range with an en dash, like this: |pages=10–11 or |pages=x–xj.
  • You must also use |pageref= to indicate the page to be linked to (usually the page on which the Wiktionary entry appears).

This parameter must be specified to have the template link to the online version of the work.

• |3=, |text=, or |passage= – the passage to be quoted.
• |footer= – a comment on the passage quoted.
• |brackets= – use |brackets=on to surround a quotation with brackets. This indicates that the quotation either contains a mere mention of a term (for example, "some people find the word manoeuvre hard to spell") rather than an actual use of it (for example, "we need to manoeuvre carefully to avoid causing upset"), or does not provide an actual instance of a term but provides information about related terms.

• Wikitext:
  • {{RQ:Du Fresnoy Dryden Painting|chapter=Translator's Preface|page=ix|passage=I vviſh I had the vvings of an ''Angel'', to have aſcended into ''Paradiſe'', and there to have beheld the Forms of thoſe '''beatify'd''' Spirits, from vvhich I might have copy'd my ''Archangel'': {{...}}}}; or
  • {{RQ:Du Fresnoy Dryden Painting|Translator's Preface|ix|I vviſh I had the vvings of an ''Angel'', to have aſcended into ''Paradiſe'', and there to have beheld the Forms of thoſe '''beatify'd''' Spirits, from vvhich I might have copy'd my ''Archangel'': {{...}}}}
• Result:
  • 1695, John Dryden, “Preface of the Translator, with a Parallel, of Poetry and Painting”, in C A du Fresnoy, De Arte Graphica. The Art of Painting, , London: J Heptinstall for W. Rogers, , →OCLC, page ix:

    I [the painter Guido Reni] vviſh I had the vvings of an Angel, to have aſcended into Paradiſe, and there to have beheld the Forms of thoſe beatify'd Spirits, from vvhich I might have copy'd my Archangel: […]

• Wikitext: {{RQ:Du Fresnoy Dryden Painting|chapter=Observations|pages=161–162|pageref=161|passage=fter the great Lights, there muſt be great Shadovvs, vvhich vve call '''repoſes''': becauſe in reality the Sight vvould be tired, if it vvere attracted by a Continuity of glittering objects. {{...}} Theſe '''repoſes''' are made tvvo ſeveral vvays, one of vvhich is ''Natural'', the other ''Artificial''. The ''Natural'' is made by an extent of Lights or of Shadovvs; vvhich naturally and neceſſarily follovv ſolid Bodies, or the Maſſes of ſolid Bodies aggroupp'd vvhen the Light ſtrikes upon them. And the ''Artificial'' conſiſts in the Bodies of Colours, vvhich the Painter gives to certain things, ſuch as pleaſes him; and compoſes them in ſuch a manner, that they do no injury to the objects vvhich are near them. A Drapery, ''for example'', vvhich is made yellovv or red on ſome certain place, in another place may be brovvn, and vvill be more ſuitable to it, to produce the effect requir'd.}}
• Result:
  • 1695, [Roger de Piles], “Observations on the Art of Painting of Charles Alphonse du Fresnoy”, in C A du Fresnoy, translated by John Dryden, De Arte Graphica. The Art of Painting, , London: J Heptinstall for W. Rogers, , →OCLC, pages 161–162:

    fter the great Lights, there muſt be great Shadovvs, vvhich vve call repoſes: becauſe in reality the Sight vvould be tired, if it vvere attracted by a Continuity of glittering objects. […] Theſe repoſes are made tvvo ſeveral vvays, one of vvhich is Natural, the other Artificial. The Natural is made by an extent of Lights or of Shadovvs; vvhich naturally and neceſſarily follovv ſolid Bodies, or the Maſſes of ſolid Bodies aggroupp'd vvhen the Light ſtrikes upon them. And the Artificial conſiſts in the Bodies of Colours, vvhich the Painter gives to certain things, ſuch as pleaſes him; and compoſes them in ſuch a manner, that they do no injury to the objects vvhich are near them. A Drapery, for example, vvhich is made yellovv or red on ſome certain place, in another place may be brovvn, and vvill be more ſuitable to it, to produce the effect requir'd.