The Principles
Their main parts respond to each other, in the positioning from the highest to the lowest, etc., until one has imprinted in their mind all their attitudes, which will greatly facilitate execution.
Moreover, it is not yet the time to demand of a student that their copy be larger or smaller than the model; the task would be a bit too harsh; thus, I am content to ask that they make it the same size.
Therefore, so that this figure may be traced in the most sure and exact manner, they must first draw on the paper, with charcoal, the central or perpendicular line, and estimate in themselves the proportion that should exist between the head and the foot on which the figure rests; as I have shown previously in the sixth lesson regarding the chandelier and the beer mug. Then, they should place a point at the location where they estimate approximately where to place the head, the navel, and the foot, and then sketch the main parts of the figure from top to bottom. Having done this, they will see roughly at what height the next figure should begin, and will say to themselves, as if teaching someone, the top of this woman's head should be level with the chest of the man, where they will mark a point; their chin should be level with the man's navel, another point; and so on for all other parts until the end: in this manner, everything is put in its proper place. But to execute it, the draftsman must be in a state of rest, and hear no noise, because only then can they easily observe their mistakes and correct them immediately, and become, so to speak, a master, even though they are but an apprentice. They will scarcely have more difficulty sketching four or five figures in succession, or a dozen if desired, than a single one; except that the number takes more time: for they can follow with regard to all the method they have observed in this example, and which shows that the figures of a composition somewhat emerge from one another. Therefore, once the rough sketch is drawn, and the main parts are in their proper place, they will pay great attention to compare their copy with their model, to see if the arrangement is well observed, and if the figures produce all their effect; at least if this is not marked in the rough sketch, there will be so much trouble and boredom in replacing and fixing everything that they will lose the desire and enthusiasm they had for this work, even before it is half completed. But if the rough sketch is well traced, if the contour of the parts is well observed, and if there is a precise addition or subtraction of what is needed, one can expect a successful outcome.
Furthermore, when one comes to apply the red chalk to the rough sketch, one must take care not to let the already present spirit disappear, which can easily happen if one does not notice which parts cause the natural movement and action of the figures.
Translation Notes:
Ebauche: A term referring to a rough sketch or outline, common in art and drawing practices.