The text discusses the French School of painting and emphasizes the need for specific drawing techniques. It warns against having outer contours meet like balusters and advises on how outer and inner contours should flow. The text also references du Frenoy's idea of contours resembling flames and stresses that muscles should be well integrated based on anatomical knowledge.
METHOD FOR LEARNING
To speak of many others from the French School, like Poussin, Vouet, the Boullognes, the Coypels, Mignard, Rigaud, and Largilliere, etc., who could contend with other schools for having pushed the different parts of Painting to the degree of perfection it can reach. But it is time to return to our subject, from which this digression has diverted us a bit.
One must be careful never to let the outer contours of parts meet face to face like balusters, which rarely happens in nature, or so rarely that one can always make a rule of the contrary. The outer contour of the thigh, for example, is large and envelops the inner above the knee, whereas the inner contour of the knee descends lower and envelops the outer. Similarly, the outer calf begins higher than the inner and also ends higher. Regarding the fitting of the foot, the inner ankle, that is, the one on the side of the big toe, is always higher than the outer or the one that is outside.
"The limbs (says du Frenoy, in his excellent Poem on Painting) should have their contours undulating (a) and resemble a rising flame, or a serpent advancing while coiling on itself. These contours will be flowing, large, almost imperceptible to the touch, without eminence or considerable cavities. They should be drawn from afar and conducted seamlessly to avoid an excessive number. The muscles should be well integrated and linked together according to the knowledge given by Anatomy. They should be refined.
(a) Membrorumque sinus, ignis flammantis ad instar Serpenti undantes flexu, etc. by du Frenoy, from the Graphic Art.