Page 91

One takes the height of the head on the scale AB; the inclination of the head is determined by the method indicated on page 63, plate 10. Hold the pencil holder horizontally so that it aligns with the lower shoulder. If the figure is upright, both shoulders, the points represented here as R and S, will appear on a horizontal line; if the figure is bent, like the one shown here in fig. 1, the right shoulder will surpass the horizontal line and the pencil holder. You can see how much higher this shoulder appears compared to the other; then from a point represented here as d, the base of the neck, draw a line represented by RS, on which you take two head lengths divided by point 2, middle of the neck. The same method is used to find the pelvis movement. From a point represented here as H, draw a line more or less oblique, depending on the leveling found, on which a dimension of one and a half head or three parts is determined, from a point represented by H to point L, and three parts from H to J.

Using the alignments and the pencil holder held horizontally, find the movement of the arms and forearms; and locate the point represented here as a, by comparing how many head widths are from the head to this point, always using simple lines on which the agreed lengths are taken, page 86, plate 31.

Then hold the pencil holder vertically, so it seems to touch the middle of the leg on which the figure seems to rest most, and you can simultaneously see at what point on the chest or the line RS, point 1, middle of the leg, corresponds. Here the figure rests on both feet, although it rests more on foot F. Thus, the body's weight is shared between both feet; hence, point 1, middle of the left leg, is vertically under a point on the head, and point I, middle of the right leg, is vertically under a point m. on the chest.

Once points I and 2 are found, draw the lines LI and JKn. Holding the pencil holder vertically, find point m, simultaneously noting how much the leg is bent; here, the line mn is vertically represented. See how much point K deviates from this line.

In any position a figure is found, the proportions remain the same, following the different movements of the body and limbs, for example, in a seated figure, like fig. 4, plate 22, from a to b, there are not eight head heights, as it lacks the length of the thigh, which in this position is horizontal, but the thigh has eight head heights, therefore it is two and a half heads less than the total eight, leaving six heads, resulting in the height of a seated figure being six heads, taken vertically, fig. 4, from a to b, there are six heads, but four heads from c to d, two from c to e, making six, and two heads from e to d, totaling eight heads.

If the figure is kneeling, like fig. 5, from e to f, there are at most six heads, so the figure is less curved; you must subtract the leg length, which is two heads, there are four heads from e to f, and two heads from e to f, making six heads, taken vertically; but there are two heads from c to d; total, eight heads.

When analyzing the movement of a figure using simple lines, mark the eight head lengths (if the figure is not perfectly straight), following the curves of the spine, thighs, and legs. Thus, a figure should have eight heads in the entire body development but not always taken vertically.

With the movement and lengths thus found, consider these lines as establishing the skeleton that must then be covered.*

On these lines, put the widths according to the demonstrations in plate 31, and shape the figure intended to be made like the figures of the same plate, without considering the large number of arms and legs depicted to demonstrate foreshortenings and flexions. The figure being thus shaped, look for the forms, as in the figures of plates 22 and 23.