THE PRINCIPLES
The main parts correspond together, from the highest position to the lowest, etc., until one has imprinted in their mind all their attitudes, which will provide great ease in execution.
It is not yet time to demand of a student that their Copy be larger or smaller than their Model; the task would be a bit too tough; thus, I limit myself to requesting that they make it the same size.
In order for this Figure to be drawn in the most accurate and precise way, they must first draw on the paper with charcoal the central or vertical Line and estimate for themselves the relationship between the head and the foot upon which the Figure is supported, as I showed in the sixth Lesson regarding the Candlestick and Beer Pot. Let them then place a point at the estimated location for the head, navel, and foot, and then sketch the main parts of the Figure from top to bottom. This done, they will broadly see to what height the next Figure must begin, and they will say to themselves, as if teaching someone, 'The top of this Woman's head must align with the Man's chest,' where they will mark a point; 'her chin must be level with the Man's navel,' another point; and so on with all other parts until the end: this way everything is in its correct place.
But to execute, the Draughtsman must be at peace and not hear any noise, because then they can easily notice their errors and correct them on the spot, becoming, so to speak, the Master, even though they are merely an Apprentice. They will hardly find more difficulty in sketching four or five Figures in a row, or twenty if desired, than a single one, except that the number takes more time; for they can follow the same method observed in this Example, and that shows how the Figures of a Composition arise in some way from one another.
When the Sketch is roughly outlined and the main parts are in their proper place, they will pay great attention to comparing their Copy with the Model, to see if the arrangement is well observed, and if the Figures produce their full effect; at least if this is not marked in the Sketch, there will be so much pain and bother in repositioning and adapting everything, that they will lose the desire and enthusiasm they had for this Work before it is half completed. But if the Sketch is well drawn, if the Contrast of parts is well observed; if one adds or removes what is needed with much accuracy, one can expect a successful outcome.
Moreover, when speaking of the red Crayon over the Sketch, one must especially be careful not to let the spirit already found in it fade; this can easily occur if one does not notice which parts cause the natural movement and action of the Figures.
DIXIE.
Translation Notes
Crainon rouge: Referenced in the text as a tool used to emphasize or finalize a drawing.