Drawing

M. de Piles advises in his remarks on the Poem of Dufrenoy: this would be, he says, a good way to learn if, having drawn a head from a model, one would immediately redraw it without seeing it, then examine if it matches the initial drawing: practicing on the same head, turning it ten or twelve ways. The same should be done for feet and hands, then for entire figures; but, he adds, to understand the beauty of these figures and the correctness of their outlines, one must necessarily know anatomy.

This practice is an excellent means to facilitate genius and prepare for beautiful composition. It's like one could not hope to become skillful simply by considering the works of the greatest artists; it's necessary to draw and practice. Similarly, it is not enough to always draw from their best productions and copy them continually; it's also advisable to try to approach and equal them, if possible; and one can only achieve this by acquiring the same foundational knowledge of nature that the great masters had, whom one takes as models.

Bernard du Puy du Grez, previously mentioned, teaches one of the simplest and easiest methods to practice independently. All that's needed is a large smooth slate and white chalk: trace the figures you want on this slate; then easily erase them with a cloth or dry sponge, and start over; this way, you gradually train your hand to represent everything you conceive in imagination. He says, 'Do not,' continues this author...

Translation Notes

- 'bosse': translates to 'model' in this context, referring to sculpture or model for reference.
- 'ardoise': means 'slate', used here as a drawing surface.
- 'connoissance': an old spelling of 'connaissance', meaning 'knowledge'.