The text discusses how figures should be balanced when posing, emphasizing the positioning of the feet and body weight. It highlights the importance of showing natural bending in toes and limbs to avoid rigidity, critiquing the style of some Dutch masters who overly restrained their figures. The text advises against lifeless representation, promoting a more life-like and fluid depiction.
Position of the Figures
When one leg or foot would be found upon the other, both feet should be planted, as we've said, the entire weight stays between them, resting through the belly between the legs. And so that we don't step over what's appropriate in another place, this must be gently remembered: in any of the various positions of figures, never let the weight rest on the planted foot without showing any bending or movement in the toes. But the other foot, somewhat uncertain or soberly bent, even slightly cramped, standing as if ready to serve the standing area, can show this bending of the toes more clearly and obviously when the foot rests on the heel and is free at the front. Some Dutch masters practiced cramping the toes and fingers so unchecked, that some of their figures, thus trammelled with toes and fingers, seemed to play on a clavier with their hands and feet, or pluck the strings of another instrument. Because such a thing could also be seen in the feet where the figures rested, or in the hands that held a settled doctrine; this was therefore rightly argued against, and wisely abandoned; because it was almost adopted as a general manner; and those who put forward claimed it, let no life nor interest in the figures be perceived, for this was not to the extreme.
Translation Notes
1. 'Twijfelagtigh' could mean 'uncertain' or 'doubtful,' used here metaphorically for slight bending.
2. 'Trammelled' refers to a restrained or controlled style that was critiqued.