TO THE READER.

There is no doubt that the majority of errors and misunderstandings committed in governance as well as in perception stem not only from the ignorance of general sciences but particularly from the ignorance of human studies; not knowing one's own capabilities or those of others. Additionally, nearly everyone's actions are performed merely by imitating predecessors, through mere mimicry, resulting in artists becoming simple executors, guided more by their hands than by their minds. This inevitably affects artists' ability to exercise their skills, hanging only at the tips of their fingers, instead of guided by reasoning; hence, most remain educated but seldom progress beyond minute advances. This applies to painting, portrayed as a depiction of life to follow: human studies should address the improvement of both, without departing from self-usefulness and necessity to praise. The beauty, regarded as a grand and amiable blossom on the tree of human portrayal, should not be forgotten: it must be identified, how it manifests itself in lesser degrees, by appropriate embellishments, or by excessive ornamentation, where chosen to adorn, reduced or more corrupted. Given beauty's apparent nature of coordination and arrangement of parts with the whole, the laws of proportion must be carefully revised, without neglecting how one may perhaps reveal any lack in one's body, held accountable. Yet, as coordination sufficiently reveals the diversity of parts assigned, which in form and location have different functions and uses in the whole human, human studies must indeed be analyzed in their own structure and ability; yet still, must be effectively combined with the unity of the body.