DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.75271#0073
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But if the-outlines are only marked, this also is drawing, it is
giving the true form of what is pretended to, that is, the outline.
The drawing in the latter, and most common sense, besides that
it must be just, must be pronounced boldly, clearly, and without
ambiguity: consequently, neither the outlines, nor the forms of
the lights, and shadows must be confused, and uncertain, or woolly
(as painters call it) upon pretence of softness; nor on the other
hand may they be sharp, hard, or dry; for either of these are
extremes; nature lies between them.
As there are not two men in the world who at this instant, or at
any other time, have exactly the same set of ideas; nor any one
man that has the same set twice, or this moment, as he had the last :
for thoughts obtrude themselves, and pass along in the mind con-
tinually as the rivers
Stream, and perpetual draw their humid train; Milton.
So neither are there two men, nor two faces, no, not two eyes,
foreheads, noses, or any other features: nay farther, there are not
two leaves, though of the same species, perfe&ly alike.
A designer therefore must consider when he draws after nature,
that his business is to describe that very form, as distinguished from
every other form in the universe.
In order to give this just representation of nature (for that is all
we are now upon, as being all that drawing, in the present sense, and
simply considered implies, grace and greatness, is to be spoken to
afterwards) I say in order to follow nature exactly, a man must be
well acquainted with nature, and have a reasonable knowledge of
geometry, proportion (which must be varied according to the sex,
age, and quality of the person) anatomy, osteology, and perspedive.
I will add to these an acquaintance with the works of the bed
painters, and sculptors, ancient and modern: for it is a certain
maxim, no man sees what things are, that knows not what they
ought to be.
I
That
But if the-outlines are only marked, this also is drawing, it is
giving the true form of what is pretended to, that is, the outline.
The drawing in the latter, and most common sense, besides that
it must be just, must be pronounced boldly, clearly, and without
ambiguity: consequently, neither the outlines, nor the forms of
the lights, and shadows must be confused, and uncertain, or woolly
(as painters call it) upon pretence of softness; nor on the other
hand may they be sharp, hard, or dry; for either of these are
extremes; nature lies between them.
As there are not two men in the world who at this instant, or at
any other time, have exactly the same set of ideas; nor any one
man that has the same set twice, or this moment, as he had the last :
for thoughts obtrude themselves, and pass along in the mind con-
tinually as the rivers
Stream, and perpetual draw their humid train; Milton.
So neither are there two men, nor two faces, no, not two eyes,
foreheads, noses, or any other features: nay farther, there are not
two leaves, though of the same species, perfe&ly alike.
A designer therefore must consider when he draws after nature,
that his business is to describe that very form, as distinguished from
every other form in the universe.
In order to give this just representation of nature (for that is all
we are now upon, as being all that drawing, in the present sense, and
simply considered implies, grace and greatness, is to be spoken to
afterwards) I say in order to follow nature exactly, a man must be
well acquainted with nature, and have a reasonable knowledge of
geometry, proportion (which must be varied according to the sex,
age, and quality of the person) anatomy, osteology, and perspedive.
I will add to these an acquaintance with the works of the bed
painters, and sculptors, ancient and modern: for it is a certain
maxim, no man sees what things are, that knows not what they
ought to be.
I
That