DESIGN,

CONTAINING 39 PLATES, OF WHICH 37 ARE SIMPLE AND ONE IS DOUBLE.

The collection we present here seemed to us to be best arranged in the order traditionally followed for training students, leading them step by step from the simplest drawings to more complex compositions. Mr. Cochin agreed with this plan and directed its execution. He enriched this collection with a vignette and several other designs. There is no need to praise these pieces; the talent of this Artist is well known. The vignette perfects at a glance the various details, which are gradually passed through to achieve perfect imitation of nature, the ultimate goal of art.

The art of Drawing arose from the sensations humans have experienced in response to the view of the universe, and from the respect and homage we pay to nature and its creations. It was only natural for humans to seek to recreate for their peers the ideas and resemblances of objects that affected them, whether to repeat pleasures, as a benefit for memorizing benefactors, or as the benevolence of humanity; or to pass on these events to posterity; these beauties, misfortunes, and those circumstances of times and places, insects, literature, fortune, and the nature of the climate that were so different. If we consider each object in particular and combine objects functioning together to form a tableau; a number of difficulties arise. How many different forms and characters exist in each area! Nothing in nature exists that cannot be applied to the noble study of definition. It is their first teacher, and as it always will be, they will follow its laws and principles; experience showed how to find proportions and relationships that prescribed with their indices.

This art reaches a higher degree of perfection reflected in Painting, Sculpture, and Engraving.

All individuals are equally driven to the arts, and though some have more enthusiasm, they face more difficulties than others. The study of the figure generally includes the imitation of the form and movements of the human body; the depiction of our actions and clothes; the study of animals, landscapes, plants, effects, etc. These particularly varied last arts affirm their character but are all founded on the same principles, as the light acts on all bodies in the same manner and with the same harmony. Certain of these genres have fluidity, such as history, battle scenes, portraits, etc. See Genre.

The noblest of all these genres is undoubtedly this one, for all the beauties it presents. When you consider the relationships and analogies of the parts of the body that must fit together to express, for example, the passions of humans; their character, actions, state, age, strength, etc., you will readily agree with what we state, and that the difficulties of other genres do not come close to those offered by this specific form.

It is for this reason, with all else being equal, that we have focused particularly on discussing the figure; the principles of this genre are good, common, and their application to others can derive from them through similar combinations.

ANATOMY & PERSPECTIVE are equally necessary in the field we speak of. Anatomy is needed to know the framework of the human body; that is, the bones that modify the external form of the body in general, and those of each limb in particular; to give muscles their true positions and to succeed in accommodating them suitably to the action they have on limbs and movements they imprint. Perspective, for a good understanding of the folds of a figure or group; let us look at 'GROUP', to express foreshortening and the decrease in size of bodies, even those that appear to recede from the viewer's sight, and to enable us to intelligently manage the arrangement of light and shadow with regard to the planes they occupy. The disciplines of our great masters prove that they made a profound study of these sciences, seeing them as the foundational basis of delineation; thus not only do they spare much time and effort but also ensure that whatever is defined from nature bears that character of truth and precision that strikes the eye at the first glance.

To approach the practice of design, we have represented in the first Plates of this Work the instruments to use, illustrating the different manners of treatment such as the drawing holder, blending stump, brush, pen; see Plates VI. The scale, the t-square, the compass, the pantograph, the camera obscura, the machine regarded as means to more conveniently or easily copy the different objects you want to replicate; see Plates IV., V., VI., VII.

Moreover, we join with each Plate an explanation indicating the nature and application of what is to be done; we hope to facilitate comprehension of each step respecting the manner of working from nature.

Design according to Echo.

Plate VIII. of this collection represents oval faces, seen faced front, three-quarters, in profile; upward, downward, tilted, etc. This is perhaps where one should begin; you should practice tracing them in pencil until you have made their divisions, and the lines upon which the eyes, nose, mouth, and ears are placed; because it is from this well-conceived principle that one can arrange a head in any position. He will proceed with all parts of the head seen separately, as represented in Plates IX. & XX.

He will then move on to whole heads, Plates XI. etc., applying the principles he has just laid out; for example, he must ensure that the lines upon which the eyes, nose, mouth, and ears are located are parallel, and that even if these lines are not drawn on the original he is studying, this principle remains. From these considerations, he will begin by drawing lightly the entire ensemble: by comparing the united parts with the others, and simultaneously with the reflections; he will focus on defining and conforming to the original; then he will add shadows, following exactly the original's forms. He will first establish the main masses of shadow, which he will soften towards the light by degrees.

Translation Notes:

- Planches: Plates

- Dessins: Drawings