The Second Part

Problem XI

Representation of Figures, their proportions & measurements, reducing them into the form of a square block.

Having followed some initial precepts of proportion of men and women; and those of children with their tall, slender, and heavy forms, and after having called them, they are not destroyed but renewed: And they represent them in various forms, available and set in those who draw them. Near the nature within the Academy: I have not found a more expedient way to make the young people known that those larger are the way with quadrangular wood cases that seem drawn but still need to be reclined and turned inside the basin, and afterward that I write this book does not serve the painters as an example that the sculptors should indeed I want to represent my good motion outside of it, in the way of a quadrangular wood block, interlaced with each other, and how some figures follow in space, in six varied ways, towards the basin, and for most turned straight, facing, another rotation behind the side in profile and even more, but the square looks upward, and the fifth one bends & looks at the ground, & the pulled extends lengthwise on the ground, & by that time because it changes as the measures vary, to the basin, & even the cubes take on and give new proportions stand in their form only in broad & contour, like the first frame has tightened the sheet for support to a Lineal B as still a C line D, takes the second sitting up from the side by the next line E passes above the neck, & The line of the letter F passes over the top of the place; and the line of G passes above the calf of the thigh their lower line H passes smoothly under the knee, & the line of the letter I gently comes down the side of the calf the last line K gently goes under the base of the foot, so here is the measure; & although the three models are represented in three different shapes with various true objects, and the measures advance a similar proportion, and gather in each one of those places.

The Gestures of Figures, in the form of Blocks.

I mention my thoughts enough that the beginnings and these first principles of learning (as well of Men as Women and children.) understand the observations enough in the figures to convey: And since people are not deaf or wooden figures; but need and move in behavior, interlocking these representations and presenting in a lively demonstration: and naturally, block by block to mark as they appear visibly. So I present this book with a recommendation for those students or observers who cannot resist, consistently all in the middle where they stand of visible bodies) and reflect on their expression and present and assign where the drawing is with its painter skills – as necessity seems to want them to see further; And furthermore my Book does not only show plans suggestively, but also that of Painting but also that of their beauty – like my Bricklayers leading together things in their forms / orderly blocks here represent clear skills if then sky raising towards a stair lifting above / come on couching towards self selection. / Etc. 1. small flat-downward-standing in forms. ; 2. positions guarding eye etc. 3. top looking upward set1etc. and conventional the Sylvanos with play joints edge set resemble outer which must logical who of schooling for observing any cheat specifying desire to understand without surprised. / however harmonious and folding preserves and follow the grandmother helps- descending physical attire revealing – and unanimously existing relation a twining brings being visible benign toned. } Also briefly down depart ten flrash long litt. D.) over to post / V put ; a looks move the Natr! the 4. anchors towards one the carried nut corp. Tackle; to edge the girth more if can skins / very thick detail elevated essec above. Eethletics. 2 Stocks : I Tempted 1 especially ffin cares year also its besides. W button / each measure together the wadegster know fled acrossed fists of Lineo K / Gaiutheff lisking 8. 8. latest / gave exit with proportions lower over the forming to Defensively value stability It ; stop yes behind the their Mode alter glued fiery herd say finally ; 3 good with ensconced / joy allotting stability occasion and borrowed share. But reason I one subjective gestations and associate in these significant summit I put finish with that.

Representation of Figures, their proportional measures & reductions, in the shape of square blocks.

Having written enough regarding the initial precepts & proportions of men, women, and small children in their tall, thin, & fat statues: & since living humans are not statues but moving bodies, & subsequently represent them in various postures & changes in viewpoint, they display. Those who learn to design in relief rather than flat painting, I have not been able to find a simpler way to make these understood by the youth, than through the means of blocks or casters, because although we define them on flat painting, it is still necessary that they can render them by view what we define must be consistent with their execution in sight by sculptors as much as painters. Thus showing my man fixed in the form of attached blocks with each other, as the following figure with changes in the view, to know first-hand with the element present; then pass through half-circle movements & on such premises raising heavens up, & dropping to earth, incidence on earthen ground suggestive of the critique can easily learn every part by viewing; & though view may vary, proportions remain in their forms, lengthening or shortening. & as the first part shows the heads of A. B. C. D aligned following the couple parts: E the third part the faces: F the fourth part the genitals: G the fifth part through the legs: H the sixth part knee; I the seventh sfiros down the depth of the leg K the eighth & the last at the plant of foot. Here’s the measure: & that the models, are represented in three different objects, these measures keep at least a similar proportion & compliance together in their places.

Translation Notes:

1. The word "vaso" refers to a kind of basin or container, which is used metaphorically to describe compositional space in art.

2. Terms like "banca quadrata" and "blocchi quare" indicate a teaching method using square blocks as a tool for understanding spatial forms and proportions in art.