THE DRAWING

at different times, because while some exercises provide a break for others, the change of activity serves as a strong refreshment for the mind.

After your students have copied various parts of the face for some time, such as eyes, ears, etc. (See Plates 10, 11, 12 and following), they will be instructed to copy entire heads. It is important to then have them draw the other parts of the body, like hands, feet, legs, and arms, and finally complete figures; ensuring that the originals presented to them are of the best possible quality. The heads after Raphael included in this Collection (Plates 18, and following), and studies after antiques, found later, are very suitable for this purpose. Provide them one after the other, singly, without overwhelming them with too many originals at once, while being careful to make them notice the proportions and beauties of what they are imitating. Aid them at the beginning in sketching their figure, in properly positioning and planting it, and then refine a few strokes on the contours, but without overcorrecting, to avoid discouraging them.

However, note that since your intention is not just to create good copyists, you should train your students to occasionally produce something from their own resources, starting with eyes and other parts of the face, followed by heads, and finally complete figures. Because when they copy an original, it is to learn to understand proportions; but when they draw a figure of genius, they then practice working on their own ideas, and putting into pract-

Translation Notes

planter: This term refers to the careful placement or positioning of a figure in a composition.