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a little from these proportions, the Laocoon meafuring 7h. 2p. 3m. the Hercules 7h. 3p. 7m. the Pyramus 7h. ap. the Antinous 7h 2p. the Grecian fhepherdefs 7h. 3p. 6m. and the Mirmillo 8h. But all their other proportions are allowed to be harmonious and agreeable to the characters of the figures they reprefent.

The other most admired antique ftatues differ left fide: Then let his right leg be placed fo as to receive the whole weight of the body, and the left loosely touching the ground with its toes. Here the external mufcles of the right leg ought to be expreffed very strong; but thofe of the left scarcely appearing more than if it were in fome fedentary pofture, except in the present cafe. The foot being extended, the mufcles which compofe the calf of the leg are in action and appear very ftrong; though it is not meant that all the mufcles of the right leg, which fupports the weight of the body, ought to be expreffed very strong or equally fwelled, but thofe moft tumified which are chiefly concerned in the action or posture that the leg is then in. For example, if the leg or tibia is extended, then the extending muscles placed on the thigh are moft fwelled: but if it is bended, then the bending muscles and their tendons appear most.

The most remarkable differences of the proportions of a man and of a woman to be obferved from the Table are: First, the fhoulders of a man are broader, measuring two heads; and the haunches narrower, measuring th. p. 5m. whereas the fhoulders of a woman measure only 1h. 3p. 8m, and the haunches measure 1h. 2p. 3m. The fternum or breast bone of a man is longer, meafuring 3p. 8m. and the fternum of the woman only 3p. 3m. On the contrary, the pelvis of a man is lefs, measuring from the top to the bottom only 4p. whereas the pelvis of a woman meafures from the top to the bottom 4p. 3m.

It is a leading principle, in which every perfon converfant in defigning has agreed, that without a perfect knowledge of the proportions, nothing can be produced but monftrous and extravagant figures; and it is alfo univerfally admitted, that the ancient Greek and Roman sculptors attained the higheft fuccefs in producing the most perfect models.

The greatest modern artists, who have examined their figures with attention, admit, that feveral of the ancient sculptors in some degree have excelled pature, they never having found any man fo perfect in all his parts as fome of their figures are. Their opportunities indeed were great; Greece abounded with beauties; and Rome being miftrefs of the world, every thing that was curious and beautiful was brought to it from all parts. Their mofives were alfo powerful; religion, glory, and intereft. They confidered it as a kind of religious worship, to give the figures of their gods so much nobleness and beauty, as to be able to attract the leve and veneration of the people. Their own glory was alfo concerned, particular honours being beftowed on those who fucceeded; and for their fortune they had no further care to take, when they once arrived at a certain degree of merit.

SECT. VIII. Of the ATTITUDES of the HUMAN
BODY...

If we are to represent a strong perfon, such as Hercules or Samton, in a state of vigorous action, we must pay particular attention to the parts or limbs principally exerted in that action. If the figure is standing, the foot must be placed in a right foe, or perpendicular to the trunk or bulk of the body, where the centre of gravity may be placed quilibria. This centre is determined by the beel; or, if the figure is upon tiptoe, then the ball of the great toe is in the centre... The mufcles of the leg which fupports the body ought to be fwelled, and their tendons drawn more to an extention than thofe of the other leg, which is only placed fo as to receive the weight of the body towards that way to which the action inclines it.

For example, fuppofe HERCULES with a club Anking at any thing before him towards the

The like may be obferved of the whole body in general when it is put into vigorous action. The LAOCOON in the Vatican garden at Rome furnishes an example of this mufcular appearance through the whole; but in the Antinous, Apollo, and other figures of the ancients, in the Vatican and other places, in poftares where no confiderable actions are defigned, we see their mus cles expreffed but faintly, or icarcely appearing. The clavicles or collar bones, and muscles in general, do not appear in WOMEN as in men ; nor will any action in which a woman uses her utmoft ftrength, occafion such swellings or rifings of the mufcles to appear as they do in men. The great quantity of fat placed under the skin of women fo clothes their muscles, as to prevent any fuch appearances.

SECT. IX. Of the EFFECTS of the EXERTION of

the MUSCLES.

The most obvious effects of the exertion of those muscles, which chiefly demand the attention of a painter, are the following:

If either of the MASTOID MUSCLES (Plate CXVII. 1. 1.) act, the head is turned to the contrary fide, and the muscle which performs that action appears very plain under the skin.

if the arms are lifted up, the DELTOID MUSCLES placed on the shoulders, which perform that action, fwell, and make the extremities of the fpines of the fhoulder-blades (Plate CXV1II. 3.3.) called the tops of the shoulders, appear indented or hollow. The fhoulder blades following the elevation of the arms, their bases (4. 4.) incline at that time-obliquely downward. If the arms are drawn down, put forwards, or pulled backwards, the shoulder-blades neceffarily vary their positions accordingly. All these particulars are to be learned by confulting the life only: when being well acquainted with what then appears in every action, the artist will be able to form an adequate idea how it ought to be expressed. Thefe circumftances are little known; and hence too feldom attended to in defigning.

1

. When the cubitus or fore-arm is bended, the BICEPS (Plate CXVII. 5. 5.) has its belly very much raised, as appears in the left arm. The like may be obferved of the TRICEPS (Plate

CXVIII.

CXVIII. 6. 6.) when the arm is extended, as obferved in the right arm.

The ftraight muscles of the abdomen (Plate CXVII. 7. 7.) appear very strong when riting from a decumbent posture. Those parts of the great SERRATUS mufcle (8. 8.) which are received in the beginnings of the oblique defcending mufcle immediately below, are very much twelled when the fhoulder on the fame fide is brought forwards; the ferratus mufcle then being in action in drawing the fcapula forwards.

The long extending muscles of the trunk (Plate CXVIII. 9. 9.) act alternately in walking: If the right leg bears the weight of the body, and the eft is in tranflation as on tiptoe, the last mentioned mufcles of the back on the left fide may be obferved to be tumified on the other fide about the region of the loins, and fo on the other fide. The TROCHANTERS, or outward and uppermoft heads of the thigh bones, (Plate CXVIII. 10. 10.) vary in their pofitions in fuch a manner as no precife obfervations can explain their feveral appear ances; but the ftudy after the life ought to be carefully attended to. If the thigh is extended, as when the whole weight of the body refts on that fide, the gluteus or buttock muscle (11. 11.) makes a very different appearance from what it of fers at another time; but if the thigh is drawn backwards, that muscle appears still more and more tumified.

When the whole leg is drawn upwards for wards, and at the fame time the foot is inclined inwards, the upper part of the fartorius mufcle {Plate CXVII. 12. 12.) appears rifing very ftrong; in other pofitions of the thigh, that mufcle makes a furrowing appearance in its whole progrefs.

If a man is upon tiptoe, the extending mufcles of the leg placed on the fore-part of the thigh Plate CXVII. 13. 13. 13.), and thofe of the foot that compofe the calf of the leg (Plate CXVIII. 14. 14.), appear very strong, and the LONG PERONEUS (Plate CXVII. 15.) makes a confiderable indentation or furrowing at that time in its progrefs on the outfide of the leg. Many other remarks might be made on this fubject; but a due attention to nature will render them unneceffary. SECT. X. Of the EFFECTS of the PASSIONS in

GENERAL.

When the ftudent of drawing has made himself acquainted with the various attitudes and muscular exertions of the human body, it will be proper for him next to ftudy the effects of the paftions upon the limbs and features. The paffions, fays M. LE BRUN, are motions of the foul, either upon her pursuing what the judges to be for her good, or fhunning what the thinks hurtful to her; and commonly, whatever caufes emotion of paffion in the foul, creates alfo fome action in the body. It is therefore necessary for a painter to know which are the different actions in the body that exprefs the feveral paffions of the foul, and how to delineate them.

M. LE BRUN has been extremely happy in expreffing many of the paffions, and the learner cannot study any thing better than the examples which he has left us of them; and of which we have given a copy in Plates CXIX. and CXX.

However, as M. DE PILES jufly obferves, it is abfurd as well as impoffible, to pretend to give fuch particular demonftrations of them, as to fix their expreffion to certain ftrokes, which the painter should be obliged to make use of, as effentid and invariable rules. This, fays he, would be de priving the art of that excellent variety of expreffion, which has no other principle than diverity of imagination, the number of which is infinite. The fame paffion may be finely expreffed feveral ways, each yielding more or less pleasure in proportion to the painter's understanding and the ipectator's difcernment.

Though every part of the face contributes to wards exprefling the fentiments of the heart, yet the eye-brow, according to M. Le Brun, is the principal feat of expretion, and where the pal fions beft make themselves known. It is certain, says he, that the pupil of the eye, by its fire and motion, very well fhews the agitation of the foul, but then it does not exprefs the kind or nature of fuch an agitation; whereas the motion of the eye brow differs according as the paffions change their nature. To exprefs a fimple paffion, the motion is fimple; to exprefs a mixed paffion, the motion is compound: if the paffion be gentle, the motion is gentle; and if it be violent, the n tion is fo too.

We may obferve farther, fays he, that there are two kinds of elevation in the eye-brows: One, which the eye bows rife up in the middle; this levation expreffes agreeable fenfations, and it to be obferved that then the mouth rifes at the corners: The other, in which the eye-brows ri up at the ends, and fall in the middle; this tion denotes bodily pain, and then the mouth ta at the corners. In laughter, all the parts agter; for the eye-brows, which fall toward the midde of the forehead, make the nofe, the mouth, and the eyes, follow the fame motion. In weepi the motions are compound and contrary; for the eye-brows fall toward the nofe and over the eyes and the mouth rifes that way. It is to be ob ved alto, that the mouth is the part of the fact which more particularly expreffes the emotion of the heart: for when the heart complains, mouth falls at the corners; when it is at eafc, tie corners of the mouth are elevated, and when has an averfion, the mouth fhoots forward, a rifes in the middle.

the

"The head (fays M. DE PILES) contributes more to the expreffion of the passions than all the other parts of the body put together. Thole e parately can only fhow fome few paffions, but the head expreffes them all. Some, however, more peculiarly expreffed by it than others; hi mility, by hanging it down; arrogance, by liti it up; languifliment, by inclining it on one t and obftinacy, when with a stiff and refolute a it ftands upright, fixed, and stiff between the tw: fhoulders. The head alfo beft fhows our fupp cations, threats, mildness, pride, love, hatred joy, and grief. The whole face, and every ics ture, contributes fomething: especially the eyes, which, as Cicero fays, are the windows of the fol The paffions they more particularly discover are pleafure, languishing, fcorn, severity, mildel admiration, and anger; to which one might add

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Admiration with Astonishment.

Desire.

Acute Pain.

Veneration.

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Sadness.

The Pafsions.

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