Page Summary:

The page describes various emotions such as admiration, astonishment, and veneration, explaining their subtle differences in expressions, particularly focusing on changes in the eyes and mouth. It also discusses drapery in art, describing ancient figures like those of Romans and portraying health and compassion. Additionally, it provides a critique of sketching styles as seen in works by artists like Parmigianino and Carracci.

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English Translation of this page:

DESIGN.

Fig. 1. Simple admiration. This emotion, causing little agitation, alters the facial features very slightly; however, the eye rises, opens a little more than usual, the pupil appears evenly between the eyelids, seems fixed on the object, the mouth slightly opens in the same form; no marked change in the eyes.

2. Admiration with astonishment. The movements accompanying this emotion hardly differ from those of simple admiration, except they are more vivid and pronounced; the eyebrows rise, eyes widen, pupil is further from the lower eyelid, head tilted slightly forward, mouth open, with the parts in much more noticeable tension.

3. Veneration. Admiration becomes more intimate, producing veneration; this emotion directed at a divine or concealed object requires lowering the eyes, bowing the eyebrows, eyes closed gently and fixed, mouth closed; these movements are soft and cause little change in the other parts.

4. Ecstasy. Although ecstasy shares the same object as veneration, the movements are indeed different; the head tilts to the left, eyebrows and pupil rise strangely, mouth opens, teeth slightly raised. The rest of the parts remain in their natural state.

PLATE XXVI.

Fig. 1. Laughter. From joy mixed with surprise, it holds its position mostly in the open ground of the middle moon.

2. Crying. The features caused by crying are more intense; the brow contracts, eyes mostly closed and wet, lowered toward the cheeks; nostrils appear somewhat visible, mouth partially open, facial muscles and veins become evident, leading to swelling in cheekbones, lower lip pushed forward.

3. Compassion. This emotion is characterized by lowering the eyebrows towards the middle of the forehead, fixing the pupil toward the object, nostrils slightly elevated on the side of the nose, brows raised, mouth open.

4. Sadness. The heaviness of sadness raises the eyebrows slightly above the center of the forehead; the pupil appears troubled, whites of the eyes yellowish, eyebrows lowered, eyes without light, mouth partially open, corners turned down, neck bent to one side.

PLATE XXVII. Drapery.

Drapery thrown over a mannequin.

PLATE XXVIII. Drapery.

Fig. 1. Ancient figure representing a Roman with a toga.

2. Antique figure representing a Roman woman dressed; it's Antino Jupiter.

3. Draped figure by Hire.

PLATE XXIX.

Fig 1. Ancient figure representing Health.

3. & 4 Draped heads by Poussin.

PLATE XXX.

Sketch after a design in the style of Parmigianino.

This drawing is, as seen, very incorrect and subject to many features; but it must only be judged by the overall coordination and its feeling. The precision one could achieve by redrawing it would match its overall impact.

PLATE XXXI.

Study or sketch of the upper part of a figure drawn from nature; by Carracci. We offer this example only in relation to

Translation Notes:
"Prunelle" as pupil. "Vénération" denotes a mix of admiration and reverence. "Ecstasy" in this context indicates an absorbed admiration surmounting the typical appreciation one might expect.