The text discusses the concept of beauty in human figures, outlining two main aspects: dignified appearance and delightful gracefulness, found respectively in men and women. It suggests that beauty is about proper body proportion and is essential for artists to capture in painting. The text also notes the challenge of depicting beauty compared to the relative ease of capturing ugliness.
Beauty of Human Figures
Parts are completely subordinate to the whole in an orderly manner. Beauty is divided into two aspects: a beauty that consists of a dignified appearance, created through the harmonious arrangement of parts, and a beauty that is additionally found in a delightful gracefulness. The first is found in men, in as much as it matches sobriety, understanding, and wisdom. The second is found in women, in as much as it is pleasing in the eyes of men and leads to affection. This goes so far that even the most esteemed jurists such as Tiraquellus, Cabalinus, and others opine that it is less blameworthy to devote oneself to a beautiful woman than to an unattractive one.
If we want to maintain this probable description of beauty, it is essential to note for the general art of painting that the main aspect of beauty lies in having proper body proportion. Thus, all members must be known in their form, placement, combination, and function to the utmost; this we also aim to explore in this discourse.
Many sharp minds have long noted, not without reason, that depicting beauty and perfection is very difficult, while its opposite, namely ugliness and deformity, is quite clear, either born from various accidents or expressed through certain signs and recognizable traits in various ways and by stages and parts;
Why ugliness is more easily captured than beauty.
Translation Notes:
Ledentstemming: This refers to body proportion or symmetry.
Lieffkoshingh: A term for affection or endearment.