The text is a notice from the bookseller regarding a translation of Rubens' work on human proportions. The bookseller explains that the original translation from Latin to French was poorly done, prompting a new translation. It is clarified that Rubens never intended for the manuscript to be published, as it was merely a collection of materials.

The text is a notice clarifying that the author is sharing invaluable fragments of Rubens' studies, although two chapters on cabalistic principles were excluded for being unintelligible and unrelated to the main subject. The document acknowledges the importance of great artists who mix design with mystical concepts. Comparable efforts by other historical figures, like Cardan and Durer, are also recognized.

The text discusses the integration of alchemical and spagyric philosophy with design, exemplified by the human body’s proportions. It cites Lomazze's observations on how harmonic proportions in art reflect a perfect symmetry akin to nature and human ingenuity. The text also explores how various disciplines, including music, geometry, and astrology, find their principles mirrored in the human form.

The text compares the measurement of the human body to the dimensions of Noah's Ark, illustrating proportions in art and architecture. It discusses how proportions have been critical in the work of illustrious painters like Michelangelo and Raphael. The focus is on the artistic rules of proportion and their significance in historical artistic achievement.

This section reflects on the historical influence on art, mentioning renowned artists like Leonardo da Vinci and Titian. There's an excerpt from a preface lauding the esteemed author Mr. de Querlon, highlighting the work's longstanding significance among art lovers. It also describes how Rubens, inspired by his teacher Otto Venius, incorporated poetic influences into his depictions, aligning them with ancient authors, particularly drawing from Virgil to create vivid battle and ceremonial scenes.

The text advises artists to develop their own poetic repertoire and highlights Rubens' practice of enriching his imagination through reading. It contrasts Rubens' approach with Leonardo da Vinci's similar methods and explains that the work is not a comprehensive drawing treatise but contains Rubens' reflections on human anatomy influenced by ancient literature. A second volume is mentioned as a supplementary resource focusing on the principles of design applied in practice.

The text describes the theory of lines and basic shapes, starting with the triangle and moving to the square and cube. It emphasizes the cube as a fundamental form, representing strength and stability, particularly in the male body, while noting a softer, spherical form in women. The cube is explained as having six equal sides, akin to a die, illustrating its structural significance.

The text discusses the three types of strong human figures as seen in ancient Greek statues, with a particular focus on the statue of Hercules by Glycon the Athenian. The description covers how this statue exemplifies strength and compares it to animalistic attributes, notably in its resemblance to a lion and bull. It also highlights the features of another Hercules statue found in Rome, emphasizing its elegance yet powerful form.

The text discusses the proportions and depiction of different human body types, focusing on the arrangement of muscles and physical features in art. It references the variability of body parts as they move away from the trunk, comparing them to pyramidal forms, and highlights the influence of culture on bodily representation. The text also touches on artistic representations of robust figures seen in historical statues like those of Hercules, similar in form to depictions in the Vatican gardens, emphasizing artistic elegance and precision in capturing human vigor.

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.

The text discusses the idea that geometric figures, like the circle and globe, are fundamental to the human form and are used in both ancient and modern art examples. It mentions Michelangelo's work in Rome as an embodiment of these principles. The circle is particularly highlighted as a core element in understanding the structure and function of different parts of the human body.

The text examines the human body's structural elements, focusing on the relationship between circles, triangles, and pyramids in anatomy. It describes the influence of the circle on facial features and morphology, then explains the geometric principles of the triangle and pyramid. These shapes are fundamental in understanding both planar and solid structures.

This chapter discusses the male form as the epitome of human beauty, crafted perfectly by the Divine. It describes how, over time, other creatures diverged from this original human form and borrowed qualities from animals like lions and bulls. The text also explains that the basic shapes of cubes and pyramids are foundational to the human body's structure.

This section compares human facial features to those of certain animals, notably the horse and the bull. It explains how specific anatomical features like the head's shape and the cheeks are rendered. The text outlines what the plates illustrate regarding these comparisons and mentions Julius Caesar and Hercules in relation to these characteristics.

The text discusses the human form's resemblance to animals, particularly in the most vigorous individuals, like athletes whose form resembles a lion but is refined. It explains that while human traits share similarities with animals, these traits are crafted so subtly they're not distinctly noticeable, though certain animal traits may dominate in an individual. It also describes the concept of a human figure at rest as maintaining perfect equilibrium, using a statue of Emperor Commodus as an example.

The text discusses notable postures observed in historical sculptures, particularly those of Hercules, Antinous, and Apollo. These figures illustrate transitions from stillness to movement, with examples found in various renowned statues. The text highlights the remarkable preservation of these masterpieces through centuries of turmoil, as well as a description of mixed postures found in some sculptures.

The text discusses various depictions of human figures and statues by artists like Baccio Bondinelli and ancient sculptors. It highlights the diverse postures and movements captured in these artworks, such as the Gladiator and children of Niobe, and contrasts them with other representations like Alexander taming Bucephalus. The passage also notes the flexibility of ancient sculptors in creating statues with varied attitudes and poses, using Laocoön as a prominent example.

The text discusses various sculptures, emphasizing their expressive poses and artistic significance. It contrasts male and female figures, discussing differences in posture and balance. The works mentioned are considered superior to ancient art, representing a high point in artistic mastery.

The text discusses the significance of the Venus Aphrodite statue, which serves as an ideal model for studying human form and beauty. It emphasizes the concept of balance in the human figure, which affects movement and posture. The text notes how variations in weight distribution lead to different postures and movements.

The text explains how the human body must be arranged for balance and flexibility. It describes how to achieve the greatest contortion, and how to position the arms and elbows for a perfect square shape, as well as an equilateral triangle when positioned differently. Additionally, it discusses how to gather strength for a forceful action by bending and turning the body appropriately.

The text discusses different types of human body movements, including natural, mental, physical, mixed, and local movements. It mentions various plates showing figures in different postures and attitudes, with some illustrating ancient statues. The text explains the characteristics and implications of each type of movement, noting the irrelevance of some to artists.

The text explores the concept of movement in the human figure, distinguishing between physical and mental aspects. It discusses how an artist captures the dynamics of movement, emphasizing the importance of understanding nuanced attitudes to convey strength without stiffness. Examples are provided to illustrate how these movements manifest in actions like striking or throwing, where posture and energy are crucial.

The text discusses the contrast between two figures and how their body positions affect the strength and speed of their movements. Figure A is more effectively positioned to use force compared to Figure B. The comparison is made with a bow, where more tension leads to a stronger release.

This text explores postures and balance of the human body. It describes how different stances affect balance, particularly under conditions like uneven weight distribution and external forces like the wind. It also examines the mechanics of pulling versus pushing, focusing on specific muscles and how leverage affects strength.

The text discusses the dynamics of body mechanics, illustrating how combining arm strength with body weight enhances power in movement. It explains the difference in body mechanics between pulling and pushing, emphasizing the role of body posture. Additionally, it describes how weight distribution affects balance when carrying loads.

The text discusses Leonardo da Vinci's observations on human balance and weight distribution, particularly when a person carries a load. It describes the importance of the shoulder's position while carrying a burden and how balance involves distributing weight effectively. The explanation includes concepts of simple and composite balance as fundamental to understanding human motion and rest.

The text discusses the concept of composite balance, using Hercules and Antaeus as an example of counterbalance in carrying a load. It then explores the proud and sublime nature of athletes' movements, referencing depictions by Virgil. The imagery of Dares in a battle stance illustrates the physicality and grandeur of such figures.

The text describes a scene where Entellus casts off his cloak, revealing his strong physique, and appears formidable in the arena. Both athletes bravely prepare to fight, skillfully avoiding each other's punches. In a dramatic confrontation, one stands up against a bull, delivering a powerful blow that breaks the skull.

The text describes artistic representations of wrestlers by Daniel of Volterra and discusses ancient athletes' customs, referencing historical figures like Dinocrates and Laocoon. Vitruvius and Roman laws against physical softness are mentioned along with observations on mythological figures Hercules and Atlas. The discussion centers on attributes of strength, agility, and mythical challenges in art and society.

The text discusses mythical references from Greek mythology, particularly focusing on Atlas and his burden of carrying the celestial globe, with Hercules taking over this labor. Further descriptions explore figures on plates depicting rest and battle, drawing from Virgil's Aeneid. The narrative involves themes of struggle, defeat, and describes the intense scenes of battle, particularly between the characters Aeneas and Turnus.

The text discusses various aspects depicted in several plates, highlighting how they demonstrate artistic principles related to body lines, particularly in deceased figures and angels. A specific work by Rubens is mentioned, modeled after an ancient bas-relief. Additionally, the text elaborates on different types of ancient statues, categorizing them by size and their representation of natural proportions.

The text describes how large statues, or 'Augusts,' were dedicated to historical leaders and figures and were considered significant if they exceeded the standard size. Mentioning Queen Dido's lament, it notes the ancient customs of granting statues only to heroes, not those who chose death. Very large statues were known as colossi.

The text discusses the origin and appropriateness of colossal statues. It explains their Greek etymology and links them to powerful deities, contrasting with Roman Emperors' inappropriate claims to such symbols. Additionally, it touches on the proportional differences between large and small statues, referencing historical examples from Pliny.

The text discusses the varying sizes of statues, attributing smaller sizes to practicality and larger ones to the magnificence or dignity of the person represented. It cites Homer and Virgil, illustrating how grandeur was conveyed in ancient art and literature. The passage also references an example involving the Goddess Pallas and Ulysses, indicating the symbolic use of statues and monuments to honor notable figures.

The text discusses the appearance of Aeneas as he emerges from a cloud, made by Venus to look divine, to charm Dido. It reflects on the emphasis on beauty and majesty, similar to how Cyrus and Alexander the Great were portrayed, with larger-than-life statues to enhance admiration. The text suggests that this tradition continued with Roman Emperors' statues.

The text discusses the types of statues made for gods, heroes, and notable figures. It explains the different terms used in Latin and Greek for these representations, based on their subjects and the materials used. The text also clarifies how statues differ from other forms of portrayal, which capture outlines on flat surfaces.

The text discusses the historical use of bronze in making statues, beginning with statues of gods and eventually humans. It highlights the custom of creating statues to commemorate those whose actions merited immortality, especially in context of Olympic victories. The widespread adoption of this practice, which started in ancient Rome and Greece, also included inscribing bases to perpetuate the memories of significant figures.

The text discusses how tombs were replaced by statues as monuments of remembrance, evolving into public displays in galleries and homes. It explains the transition of sculptural practices from Greek to Roman, focusing on clothing styles and the addition of armor to statues. Equestrian statues originated from the Greeks, and the tradition expanded to include chariots for victors with multiple horses.

The text discusses the customs of representing victorious figures on chariots and statues in ancient Rome. It highlights various historical figures and their monuments, such as C. Moenius, Caius Duillius, and M. Horatius Cocles, emphasizing their achievements and the public honors conferred to them. The narrative reflects on the tradition of erecting statues in recognition of victories and public contributions.

The text discusses various ancient statues placed near the speaking platform in Rome, including those of the Sibyl, Romulus, and other historical figures. It notes the significant backgrounds of these figures and the honors given by the Republic. Included is a mention of Cn. Octavius and his notable interaction with King Antiochus.