DESIGN.

Shadows follow this principle, but you must also know the effects of light. What is called chiaroscuro, see chiaroscuro. This knowledge can indeed be considered a branch of aerial perspective; however, it is distinguished from linear perspective in this context.

2°. Regarding Anatomy: to avoid creating false or random actions and attachments; to give life to the movement of muscles; to emphasize where they need to be; to enhance those in action; and to give such turn that beautifies the movement in others, where natural inflections contradict those observed in nature.

3°. Regarding the Antique: to rectify shapes that defective eyes perceive in nature and determine which it is most important to focus on warmly & maintain; because by studying nature, it is essential, while not deviating from the truth, to become accustomed to seeing primarily what it offers of grand and noble, by choosing all the parts, beyond that, one must consult with others through the comparison of nature with esteemed beautiful productions and the works of great masters.

To define other parts, it is left to man's will, from the stance, upright, leaned upon, or in whatever posture must be on account of natural judgment. This model can be listened to by the sculptor, or with a foreign language, it is represented in vigor. See Plate I. The model is beautiful to define from all sides; but not the one infinitely in disadvantage; so differently sure, may not be good. Those of the same understanding.

One must examine, when talking about academies, using the shape to make the movement of the figure lighter because the model might tire reality, when someone seeks to prepare at art proportion which is one of the greatest masters in well holding action & movement. But when perfecting all this a good executor of desires, it certain that it’s an appendage not to restrain one’s trait, which it produces before in some manner, & it’s said to always mutually resume - despite the advice of those who took the first impetus from nature, from art, Enlightenment taught one to study portraits which are always represented under the same call. The feeling one sees advances here if it could permit contrary to the lessons to give ordinarily have good masters, but it guides that we must indicate it against putting all parts properly in their places & plans, & by finishing to make simply large, observe the general proportions; see plate XV. & by indicating visible objects by contours & pencil strokes of the master often noted paying attention not to be mistaken in citing all forms, because nature does not have, that is to say, form that is always balanced by another larger or smaller reinforcing certain has to value; in such that boundaries do not end each other exactly, like those of a banister; but instead they appear to avoid meeting, & move towards each other, must consider nature to convince oneself. See also Plate XV. XVI. XVII. XVIII. XIX. XX.

To shade the figure, one must start by giving the primary shadow masses almost the unity of tone they ought to have, to be able to reflect the effects of light, with the world receiving foreign bodies from the environment. If generally considered the brightness & glare of the world, one will perceive more rarely the deceit, within the middle rather than incidental details by most or least interruptions of feet or better muscles, but what allow these feet; thus one must that all these details.

all these illuminated parts should be linked together, in a way that they indicate what they are, equally receiving from those who are the most faint, & who receive the light the widest, the greatest highlights.

Upon examining nature, one notices that light has the property to make all details of objects perceptible in a general manner, & which contrarily, masses of shadows arrange & confuse these same details, unless they are reflected by other illuminated objects; whence follows shadows of the heaviest & strongest are not always upon the first plans; but those extended where it is impossible they cannot have received any reflection or which are too distant for this light of reflection to reach our eyes, & declare here, strongly to produce some finite accent; generally main groups of light principles are always held by the shadows cast the strongest. These observations may be for several grouped figures. See Plate XIX.

Finally one will finish the figure by giving shadows all the strength seen in the model, observing the softness of the side of lights by half-tones, so they do not contrast harshly. One would advantageous shadows in touches receiving much of the reflections; one must imagining contours where one might be tempted, & give more sharpness to those permitted; it must do the comparison of all parts with each other, & place lights in the most forceful & deep touches; & to do so, advancing or enabling that this good sleep; one would give one's disposition all the harmony & effect of nature. It must especially apply on two; ignore the head, & the arms these feet; these clearly defined parts give much grace to a figure, & often judge generally the capacity of the drafter.

One must take care that what is done by Anatomy, does not lead to making the muscles too evident; a fault many young people fall into, believing it gives male character & strength to their figures, but they are wrong; they progress as much in the figure serving Anatomy; when wanting to express strength & vigor, a more robust, more nervous model should be chosen, & if desiring that, lastly, one will find a model done after nature, & which one, completely clear, demonstrated

those others more dangerous for those wanting to invent this manner, who was made almost played precisely finished made by the line would suffice to render the graces & simplicity of nature; one must therefore get used early to define objects as they are seen, using only the lights one has acquired to judge actually.

One must follow the same principles to define after nature the women, the children, observing that 'the muscles are less visible, which makes the contours-flowing; & that these proportions have differences. See Plate XIX. XX. XXI. XXII. XXXI. XXXV. & their explanations.

When one wishes to characterize childhood, adolescence, & reality, one must do studies from nature; & make a good choice of modules one will serve. See Pl, XIX, & XXIII.

The expression of passions is a study demanding much application; which one must not neglect; because the slightest commotions hold an object which necessarily leads the draftsman to give his figures' heads the character fitting relatively to the subject; but how can one define after nature the movements of the soul? how could one leap from a composite science of several people (called that the draftsman is made appellation) all the study that affect them differently, following the specific interest they take in the view common to them; or of hatred, or anger, or despair, or amazement, or horror? When one is to propose doing