The text discusses techniques for illustrating a horse in motion, focusing on the visibility and position of the muscles during a jump. It describes how to position a horse's body parts for an effective depiction, with the muscles marked for clarity. The content is written in Italian, French, Dutch, and German, reflecting a comprehensive approach to art education regarding muscle movement and structure in dynamic poses.
The Fifth Part
Chapter X
A Horse Demonstrated in Three Different Jumping Manners
From Italian:
I have found it good to demonstrate here how to draw a horse that jumps with good posture. To better understand the practice and experience of the muscles during such a powerful action is essential. Describe the horse sitting back on its hind legs with its head in the middle of its body, and the flowing mane has a slightly raised head. The depicted muscles are labeled A.B.C.D. while shoulders are labeled E.F.G., where the force of the bend is most visible. The rest is learned through experience.
From French:
It's also beneficial to depict a horse with grace while jumping, revealing the moving muscles during such powerful action. Align the horse's hind parts under the middle of the body and slightly lift its head, with its mane and front legs slightly bent, showing the muscles labeled A.B.C.D. on the thighs and E.F.G. on the shoulders. The rest can be learned through experience.
From Dutch:
No less profitable have I found showing how a horse jumping with strength can be represented: align the hinder parts under the body’s middle, marked A.B.C.D. on the hips and E.F.G. on the shoulders. The muscles are most visible during the bend, learned through experience.
From German:
It is necessary to represent a stallion or jumping horse correctly: rear parts rest beneath the belly, marked by A.B.C.D. on the hindquarters and E.C.G. on the shoulders, ensuring the legs are most visible during the bend. Experience reveals more.
Translation Notes
The original text provides various depictions of a horse jumping from multiple languages, demonstrating the position and visibility of muscles, essential for artistic representation. The terminology in anatomical descriptions may vary; 'pezzi di dietro' in Italian refers to the rear parts, translated consistently across other languages.