The text discusses the idea that painters should continuously observe and internalize the beauty they see to effectively replicate and portray it in their works. The emphasis is placed on understanding the proportions and unity of different parts to convey beauty as seen in human figures. It highlights how this practice not only guides painters in imitation but also helps them exercise imagination when direct models are unavailable.
Beauty of Human Figures.
Read with pleasure, without further warning of Life, in the Art pictures might forget; Thus, it is noted that a learned Painter should benefit from all his capabilities, through a continuous observation of all that appeared beautiful to him, deeply impressing his thoughts and imagination. He should visualize the beauty of a human in various ways and in different degrees, as vividly as if he held the beauty itself before him. He will be able to accomplish this when he has attentively observed which parts and sections are made to be beautiful, and what proportions they must have, to sketch these according to artistic principles. Especially when he has discerned how different parts compose or diminish the beauty in this or that object, or how they unite in the entirety.
This exercise will not only be a true assistant to the painter in following natural Life but will also guide him like an invisible master in times when he lacks direct models. This is facilitated through mastering an imagined beauty that allows him to steer his hand skillfully to reach his objectives.