The text discusses the depiction of human figures, emphasizing the importance of balanced proportions to maintain elegance and prevent deformity. It cites the statue of the Gladiator in Rome as a fine example and explains how artists and sculptors have traditionally created beauty based on these principles. The text also contrasts different figure types, illustrating how characteristics attributed to figures like Hercules are used in artistic representation.
On the Human Figure
Throughout the body, where the nerves appear, resembling cords, they are noticeable from side to side under the skin. However, it should not be exaggerated to the extent that it disrupts the elegance, which is difficult to observe due to the regular proportions that one is required to follow precisely: for if neglected even a little, one soon falls into deformity.
We have a very fine model of this elegant form in Rome, in the Borghese city: it is the statue of the Gladiator, which simultaneously delivers a blow to its adversary and ensures protection from the one who threatens it. This figure is by Theophanes, of Ephesus: it is very beautiful to view from all sides.
From these three different types of proportions, an infinity of others can be formed, of which numerous ancient examples can be seen throughout Rome, in the palaces, the houses of individuals, the suburbs, vineyards, gardens, etc.
There is another kind of figure which does not seem as suitable as that of Hercules for the labors that require strength, yet without having the defect of appearing weak; but which holds a middle ground between these two characteristics. One cannot form any idea of the beauty and perfection of this particular nature based on the human figure; painters and sculptors have, so to speak, created this type of beauty based on the very principles of their art: it is the character that the ancient pagans attributed to their Jupiter, and which our modern artists have given to Jesus Christ.