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Breadth between the outward angles of the eyes

of the face at the temples....
of the upper part of the neck
over the shoulders....

of the body below the arm-pits
between the nipples

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from the bottoin of the chin to the horizontal line of the nipples.
of the body at the small of the waist ......
over the loins or os ilium ....

over the haunches or tops of the thigh-bones..
of the thigh at the top

of the thigh below the middle

of the thigh above the knee

of the leg below the knee

at the calf of the leg...
below the calf

above the ankle.......................
of the ankle ...

below the ankle.........
middle of the foot.........

at the roots of the toes....

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of the arm over the biceps muscle

of the arm above the elbow

of the arm below the elbow over the long supinator...

at the wrist.......

of the hand over the first joint of the thumb

of the hand over the roots of the fingers.....

over the heads of the scapulæ or shoulder blades

Length of both arms and hands, each of the Apollos being 3h. 2p. 11m. and the Venus 3h. 1p. 5m.

Breadth betwixt the tips of the middle fingers of each hand when the arms are stretched out horizontally

Side View.

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Length from the top of the head to the shoulder ....

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from the top of the shoulder to the loins above the hip
from the loins to the lower part of the hip ...
from the hip to the side of the knee, opposite to the top of the patella 1
from the side of the knee to the bottom of the heel .............

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The other most admired antique statues differ a Title from these proportions, the Laocoon measuring Th. 2p. 3m. the Hercules 7h. 3p. 7m. the Pyramus 7h. 2p. the Autinous 76. 2p. the Grecian shepherdess 7b. 3p. 6m. and the Mirmillo 8h. But all their other proportions are allowed to be harmo. nious and agreeable to the characters they repre

sent.

The most remarkable differences of the symmetry or proportions of a man and of a woman to be observed from the table are: First, the shoulders of a man are broader, measuring two heads; and the haunches narrower, measuring 1h. 1p. 5m. whereas the shoulders of a woman measure only 1b. 3p. 8m. and the haunches measure 1h. 2p. 3m. The sternum or breast bone of a man is longer, measuring 3p. 8m. and the sternum of the woman only Sp. 3m. On the contrary, the pelvis of a man is less, measuring from the top to the bottom only 4p. whereas the pelvis of a woran measures from the top to the bottom 4p. Sm.

It is a leading principle, in which every person conversant in designing has agreed, that without a perfect knowledge of the proportions, nothing can be produced but monstrous and extravagant figures; and it is also universally admitted, that the ancient Greek and Roman sculptors attained the highest success in producing the most perfect models. Indeed, the greatest of the modern artists who have examined their figures with attention admit, that several of the ancient sculptors in some degree have excelled nature, they never having found any man so perfect in all his parts as some of their figures are. Their opportunities indeed were great: Greece abounded with beauties; and Rome being mistress of the world, every thing that was curious and beautiful was brought to it from all parts. Their motives were also powerful; religion, glory, and interest. They considered it as a kind of religious worship to give the figures of their gods so much nobleness and beauty as to be able to attract the love and veneration of the people. Their own glory was also concerned, particular honours being bestowed on those who succeeded; and for their fortune they had no further care to take when they once arrived at a certain degree of merit.

SECT. VI. Of the different Attitudes of the Human
Figure.

If we are to represent, in a state of vigorous action, a figure such as that of Hercules, it is of importance to attend to the parts or limbs principally employed in performing that action. If the figure is standing, the foot must be placed in a Ight line, or perpendicular to the trunk or bulk of the body, where the centre of gravity may be supposed to fall. This centre is determined by the heel; or, if the figure is upon tiptoe, then the ball of the great toe is in the centre. The muscles of the leg which supports the body ought to be swelled, and their tendons drawn more to an extension than those of the other leg, which is only placed so as to receive the weight of the body towards that way to which the action inclines it. For example, suppose Hercules with a club strikg at any thing before him towards the left side: then let his right leg be placed so as to receive the whole weight of the body, and the left loosely touching the ground with its toes. Here the external muscles of the right leg ought to be expressed very strong; but those of the left scarcely ap pearing more than it were in some sedentary

The foot posture, except in the present case. being extended, the muscles which compose the ealf of the leg are in action, and appear very strong; though it is not meant that all the mus cles of the right leg, which supports the weight of the body, ought to be expressed very strong or equally swelled, but those most tumefied which are chiefly concerned in the action or posture that the leg is then in. For example, if the leg or tibia is extended, then the extending muscles placed on the thigh are most swelled: if it be bent, then the bending muscles and their tendons appear most. The like may be observed of the whole body in general when it is put into vigorous action. The Laocoon, formerly in the Vatican garden at Rome, furnishes an example of this muscular appearance through the whole; but in the Antinous, Apollo, and other figures of the ancients, in the Vatican and other places, in postures where no considerable actions are designed, we see their muscles expressed but faintly, or scarcely to be discerned.

In general, neither the clavicles or collar bones, nor the muscles, appear so strongly in women as in men; nor will any action in which a woman uses her utmost strength occasion such swellings or risings of the muscles as to give the appearance they do in men, since besides the greater quantity of fat placed under the skin in women, their mus cles are by no means so large and conspicuous. SECT. VII. Effects of the Exertion of the Muscles. It is of great importance to an artist to be acquainted with the most obvious effects of the action of those muscles which are placed externally on the human body; for these vary with every alteration of posture, and are variously enlarged and changed in their appearance by every effort that is dictated by the will.

Thus, if either of the mastoid muscles act, the head is turned to the contrary side, and the muscle which performs that action appears very plain under the skin. If the arms are lifted up, the deltoid muscles placed on the shoulders, which perform that action, swell, and make the extremities of the spines of the shoulder-blades, called the tops of the shoulders, appear indented or hollow. The shoulder-blades following the elevation of the arms, their bases incline at that time obliquely downward. If the arms are drawn down, put forwards, or pulled backwards, the shoulder-blades necessarily vary their positions accordingly. All these particulars are to be learned by consulting the life only: when being well acquainted with what then appears in every action, the artist will be able to form an adequate idea how it ought to be expressed. These circumstances are little known; and seldom enough attended to in designing.

When the cubit or fore-arm is bent, the biceps has its belly very much raised. The same happens in the triceps, when the arm is extended. The straight muscles of the abdomen appear very strong when rising from a decumbent posture. Those parts of the great serratu■ muscle which are received in the teeth or beginnings of the obliquus descendens muscle immediately below, are very much swelled when the shoulder on the same side is brought forwards; that serratus muscle then being employed in drawing the scapula forwards.

The long extending muscles of the trunk act alternately in walking, after this manner: if the right leg bears the weight of the body, and the left is in translation as on tiptoe, the last mentioned

muscles of the back on the left side may be observed to be tumefied on the other side about the region of the loins, and so on the other side. The trochanters, or outward and uppermost heads of the thigh-bones, vary so greatly in their positions that no precise observations can explain their several appearances; but the study after the life ought to be chiefly relied on. If the thigh is extended, as when the whole weight of the body rests on that side, the glutæus or buttock muscle makes a very different appearance from what offers at another time; but if the thigh be drawn backwards, that muscle appears still more and more tumefied. When the whole leg is drawn upwards and forwards, and at the same time the foot is in clined inwards, the upper part of the sartorius muscle appears to rise very strong; in other positions of the thigh, that muscle inakes a furrowing appearance in its whole progress. If a man is upon tiptoe, the extending muscles of the leg placed on the fore part of the thigh, and those of the foot that compose the calf of the leg, appear very strong, and the long peronæus makes a considerable indentation or furrowing at that time, in its progress on the outside of the leg.

Care must be also taken to make the outlines faint and small in such parts as receive the light; but where the shades fall, the outline must be strong and bold. The learner must begin his shadings from the top, and proceed downward, and use his utmost endeavours both by practice and observation to learn how to vary the shadings properly; for in this consists a great deal of the beauty and elegance of drawing. Another thing to be observed is, that as the human sight is weakened by distances, so objects must seem more or less confused or clear according to the places they hold in the piece. Those that are very distant must be weak, faint, and confused; those that are near and on the foremost ground, clear, strong, and accurately finished.

SECT. IX. Of Drapery.

In the art of clothing the figures, or casting the drapery properly and elegantly upon them, many things are to be observed. 1. The eye must never be in doubt of its object; but the shape and proportion of the part or limb, which the drapery is supposed to cover, must appear; at least so far as art and probability will permit: and this is so SECT. VIII. Of the Distribution of Light and Shade. first the naked figure, and afterwards put the gar material a consideration, that many artists draw

As soon as the learner has made himself in some measure perfect in drawing outlines, his next endeavour must be to shade them properly. It is this which gives an appearance of substance, shape, distance, and distinction, to whatever bodies he endeavours to represent, whether animate or inanimate. The best rule for doing this is, to consider from what point, and in what direction, the light falls upon the objects which he is delineating, and to let all his lights and shades be placed according to that direction throughout the whole work. That part of the object must be lightest which has the light most directly opposite to it: if the light falls sideways on the picture, he must make that side which is opposite to it lightest, and that side which is farthest from it darkest. If he is drawing the figure of a man, and the light be placed above the head, then the top of the head must be made lightest, the shoulders next lightest, and the lower parts darker by degrees. That part of the object, whether in naked figures, or drapery, or buildings, that stands farthest out, must be made the lightest, because it comes nearest to the light; and the light loses so much of its bright ness, by how much any part of the body bends inward, because those parts that stick out hinder the lustre and full brightness of the light from striking on those parts that fall in. Titian used to say, that he knew no better rule for the distribution of lights and shadows, than his observations drawn from a bunch of grapes. Satins and silks, and all other shining stuffs, have certain glancing reflections, exceedingly bright where the light falls strongest. The like is seen in armour, brass pots, or any other glittering metal, where you see a sudden brightness in the middle or centre of the light, which discovers the shining nature of such things. Observe also, that a strong light requires a strong shade, a fainter light a fainter shade; and that an equal balance be preserved throughout the piece, between the lights and shades. Those parts which must appear round require but one stroke in shading, and that sometimes but very faint; such parts as should appear steep or hollow require two strokes across cach other, or sometimes three, which is sufficient for the deepest shade.

ments upon it. 2. The drapery must not sit teo close to the parts of the body: but let it seem to flow round, as it were to embrace them; yet so as that the figure may be easy, and have a free motion. 3. The draperies which cover those parts that are exposed to great light must not be so deeply shaded as to seem to pierce them; nor should those members be crossed by folds that are too strong, lest by the too great darkness of their shades the limbs look as if they were broken. 4. The great folds must be drawn first, and then stroked into lesser ones: and great care must be taken that they do not cross one another improperly. 5. Folds in general should be large, and as few as possible. However, they must be greater or less according to the quantity and quality of the stuffs of which the drapery is supposed to be made. The quality of the persons is also to be considered in the drapery. If they are magistrates, their draperies ought to be large and ample; if country clowns or slaves, they ought to be coarse and short; if ladies or nymphs, light and soft. 6. Suit the garments to the body, and make them bend with it, according as it stands in or out, straight or crooked; or as it bends one way or another: and the closer the garment fits to the body, the narrower and smaller must be the folds. 7. Folds well imagined give much spirit to any kind of action; because their motion implies a motion in the acting member, which seems to draw them forcibly, and makes them more or less stirring as the action is more or less violent. 8. An artful complication of folds in a circular manner greatly helps the fore-shortenings. 9. All folds consist of two shades, and no more; which you may turn with the garment at pleasure, shadowing the inner side deeper, and the outer more faintly. 10. The shades in silk and fine linen are very thick and small, requiring little folds and a light shadow. 11. Observe the motion of the air or wind, in order to draw the loose apparel all flying one way; and draw that part of the garment that adheres closest to the body before you draw the looser part that flies off from it; lest, by drawing the loose part of the garment first, you should mistake the position of the figure, and place it improperly. 12. Rich

Dinaments, when judiciously and sparingly used, may sometimes contribute to the beauty of draperies. But such ornaments are far below the dignity of angels or heavenly figures; the grandeur of whose draperies ought rather to consist in the boldness and nobleness of the folds than in the quality of the stuff or the glitter of ornaments. 13. Light and flying draperies are proper only to figures in strong motion, or in the wind; but when in a calm place, and free from violent action, their draperies should be large and flowing; that by their contrast and the fall of the folds, they may appear with grace and dignity. Thus much for drapery; examples of which, as well as of human character and the passions, we have given in Plate 66; being outline sketches from Raphael's Cartoons of the blindness of Elymas the sorcerer, and of Paul preaching at Athens. See CARTOONS.

SECT. X. Of the Effects of the Passions. The passions, says M. Le Brun, are motions of the soul, either upon her pursuing what she judges to be for her good, or shunning what she thinks hurtful to her; and commonly, whatever causes emotion or passion in the soul creates also some action in the body. It is, therefore, necessary for a painter to know which are the different actions in the body that express the several passions of the soul, and how to delineate them. M. Le Brun has been extremely happy in expressing inany of the passions, and the learner cannot study any thing better than the examples which he has left us of them. However, as M. De Piles justly observes, it is absurd as well as impossible to pretend to give such particular demonstrations of them as to fix their expression to certain strokes, which the painter should be obliged to make use of as essential and invariable rules. This, says he, would be depriving the art of that excellent variety of expression which has no other principle than diversity of imagination, the number of which is infinite. The same passion may be finely expressed several ways, each yielding more or less pleasure in proportion to the painter's understanding and the spectator's discern

ment.

Though every part of the face contributes towards expressing the sentiments of the heart, yet the eye-brow, according to M. Le Brun, is the principal seat of expression, and where the passions best make themselves known. It is certain, says he, that the pupil of the eye, by its fire and motion, very well shows the agitation of the soul, but then it does not express the kind or nature of such an agitation; whereas the motion of the eyebrow differs according as the passions change their nature. To express a simple passion, the motion is simple; to express a mixed passion, the motion is compound; if the passion be gentle, the motion is gentle; and if it be violent, the motion is so too. We may observe farther, says he, that there are two kinds of elevation in the eye-brows. One, in which the eye-brows rise up in the middle; this elevation expresses agreeable sensations, and it is to be observed that then the mouth rises at the corners: another, in which the eye-brows rise up at the ends, and fall in the middle; this motion denotes bodily pain, and then the mouth falls at the corners. In laughter, all the parts agree; for the eye-brows, which fall toward the middle of the forehead, make the nose, the mouth, and the eyes, follow the same motion. In weeping, the mocompound and contrary; for the eye

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brows fall toward the nose and over the eyes, and the mouth rises that way. It is to be observed also, that the mouth is the part of the face which more particularly expresses the emotions of the heart for when the heart complains, the mouth falls at the corners; when it is at ease, the corners of the mouth are elevated; and when it has an aversion, the mouth shoots forward, and rises in the middle.

"The head (says M. De Piles) contributes more to the expression of the passions than all the other parts of the body put together. Those s parately can only show some few passions, but the head expresses them all. Some, however, are more peculiarly expressed by it than others: as humility, by hanging it down; arrogance, by lifting it up; languishment, by inclining it on one side; and obstinacy, when with a stiff and resolute air it stands upright, fixed, and stiff between the two shoulders. The head also best shows our supplications, threats, mildness, pride, love, hatred, joy, and grief The whole face, and every feature, contributes something: especially the eyes; which, as Cicero says, are the windows of the soul. The passions they more particularly discover arie, pleasure, languishing, scorn, severity, mildness, admiration, and anger; to which one might add joy and grief, if they did not proceed more particu. larly from the eye-brows and mouth, but when those two passions fall in also with the lanuage of the eyes, the harmony will be wonderful. But though the passions of the soul are most visible in the lines and features of the face, they often require the assistance also of the other parts of the body. Without the hands, for instance, all action is weak and imperfect; their motions, which are almost infinite, create numberless expressions; it is by them that we desite, hope, promise, call, send back they are the instruments of threatening, prayer, horror, and praise; by them we approve, condemn, refuse, admit, fear, ask; express our joy and grief, our doubts, regrets, pain, and admi. ration. In a word, it may be said, as they are the language of the dumb, that they contribute not a little to speak a language common to all nations, which is the language of painting. But to say how these parts must be disposed for expressing the various passions is impossible, nor can any exact rules be given for it, both because the task would be infinite, and because every one must be guided in this by his own genius and the particular

turn of his own studies."

SECT. XI. Of drawing Flowers, Fruit, Birds, &c. It may not be improper for the learner now to proceed in making some attempts at drawing flowers, fruit, birds, beasts, and the like; not only as it will be a more pleasing employment, but as it is an easier task than the drawing of hands and feet, and other parts of the human body which require not only more care, but greater exactness and nicer judgment. Very few rules or instructions are requisite upon this head; the best thing the learner can do is, to furnish himself with good prints or drawings by way of examples, and with great care and exactness to copy them. If it is the figure of a beast, begin with the forehead, and draw the nose, the upper and under jaw, and stop at the throat. Then go to the top of the bead, and form the ears, neck, back, and continue the line till you have given the full shape of the buttock. Then form the breast, and mark out the legs and feet, and all the smaller parts. And, last

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