This text discusses the importance of understanding both the external and internal qualities of human figures for artistic representation, emphasizing the teachings of ancients and renowned masters like Philostratus. It suggests that proper practice in art involves knowing human structure and the expression of the mind's characteristics, even for those in silence. The text critiques past eras for their lack of knowledge in human studies compared to contemporary times.
Usefulness of Human Studies
...working, and the reflective images in their representations would show: and primarily, some of small capacity could not gladly suffer that they present this from anatomical exercise by means of dissection science. Yet the Ancients and all who have become renowned masters have led to this and followed this path, which we can demonstrate with many evidences and testimonies, without concerning ourselves what some adversaries from the remnants of some old stones and broken statues, which are to be seen in some bas-reliefs, might bring forward, to prove that those times were more ignorant in human studies than our current ones: in order to understand the nature of this, we must consider that such decline and unartful centuries must be attributed to times that came long after the primary days. As we have more broadly noted in our architecture. How the Ancients appreciated human studies, the renowned Philostratus will show you the truth of this in these few words. If someone, he says, is to practice the art of painting correctly, he must not only understand the external appearance of the natural being and structure of humans, but he must also distinctly express the true properties of the mind, even in those who remain silent, and thus it is necessary that he thoroughly understands where the principal forces of human passions lie, which one observes in the gazing of eyes, movement of eyebrows, fluttering of jaws, mouth and lips, motion of hands,
Translation Notes:
Menschkunde: translated as 'human studies.'