78 METHOD FOR LEARNING

... from one side as from the other. Furthermore, one cannot infer that this is entirely a defect in the figure, given the excess with which the muscles are enhanced beyond nature, since this extraordinary composition is in accordance with the author's supposition. It lacks truth; but, as has been pointed out, it is not properly a man like us that the sculptor wanted to represent, but an extraordinary nature.

It follows from what has been said, that one should only imitate the style of this Antique when one finds oneself under the same presupposition, that is, when one wants to represent a Hercules; but that it is good to study it, to learn to know nature well in certain parts, like the wrists, knees, ankles, and other details that one sees rendered with profound expertise, provided that one forgets the manner and exaggerated expressions.

There was a time when the majority of our French Painters trained themselves on this Antique, and one can see the proof through their Academies, which appeared as many Herculeses, although defined according to models that certainly did not have this character, or these forms. From there resulted paintings or sculptures that were mannered; they were regarded as learned, because they resembled a learned piece; but it was a real obstacle to the perfection of their art, whose main purpose is to please through the most perfect imitation of nature. The truth, even in an ordinary choice, satisfied more than these beautiful dreams which have no foundation. It would be even better no doubt to combine this truth with the best choice; but its imitation is the first thing.