The text discusses the importance of studying antique sculptures, particularly as models of male deities, for drawing and enhancing artistic skill. It notes that these sculptures, while not perfect imitations of human nature, offer a divine ideal to strive for in art. Specific references are made to sculptures such as Apollo and Antinoüs, describing their representations and significance.
Drawing
It is a mixed nature. However, if one is permitted to draw something further from such an excellent piece, it seems that the legs are not as well-formed as the rest of the figure: they appear a bit bulky, or so to speak, puffed in the lower part. Nevertheless, the study of this Antique is among the most important; it is the model of all male deities in adolescence, and it is from it that one can learn to elevate themselves somewhat above nature, which means to bring it to a state of perfection we can suppose for it, although it might not exist in any man. Yet one must admit, this Antique does not present the most perfect and exact imitation of human nature; it is rather a divine nature, whose beauty is true only by supposition. The model of human nature with all the beauties it is capable of is the fighting Gladiator, as we will note in due time.
The first figure of Plate 60 represents Apollo seen from the front; the second, the same antique seen in three-quarters: Plate 61, first Figure, the same seen from behind; and Figure 2, from the side. The entire statue is supposed to be divided into thirty-one parts or units, each of which is itself subdivided into six others.
Antinoüs or the Lantin. Plates 62 & 63.
Antinoüs, called by corruption the Lantin, was a young man of great beauty, for whom the Emperor Hadrian had statues erected to immortalize him, and elevate him somewhat to the rank of the Gods. This figure, which can be seen at the Vatican, is one of the most admirable ones created.