Of representing the emotions.

584.

THAT A FIGURE IS NOT ADMIRABLE UNLESS IT EXPRESSES BY ITS ACTION THE
PASSION OF ITS SENTIMENT.

That figure is most admirable which by its actions best expresses the passion that animates it.

HOW AN ANGRY MAN IS TO BE FIGURED.

You must make an angry person holding someone by the hair, wrenching his head against the ground, and with one knee on his ribs; his right arm and fist raised on high.  His hair must be thrown up, his brow downcast and knit, his teeth clenched and the two corners of his mouth grimly set; his neck swelled and bent forward as he leans over his foe, and full of furrows.

HOW TO REPRESENT A MAN IN DESPAIR.

You must show a man in despair with a knife, having already torn open his garments, and with one hand tearing open the wound.  And make him standing on his feet and his legs somewhat bent and his whole person leaning towards the earth; his hair flying in disorder.

Of representing imaginary animals.

585.

HOW YOU SHOULD MAKE AN IMAGINARY ANIMAL LOOK NATURAL.

You know that you cannot invent animals without limbs, each of which, in itself, must resemble those of some other animal.  Hence if you wish to make an animal, imagined by you, appear natural—­let us say a Dragon, take for its head that of a mastiff or hound, with the eyes of a cat, the ears of a porcupine, the nose of a greyhound, the brow of a lion, the temples of an old cock, the neck of a water tortoise.

[Footnote:  The sketch here inserted of two men on horseback fighting a dragon is the facsimile of a pen and ink drawing belonging to BARON EDMOND DE ROTHSCHILD of Paris.]

The selection of forms.

586.

OF THE DELUSIONS WHICH ARISE IN JUDGING OF THE LIMBS.

A painter who has clumsy hands will paint similar hands in his works, and the same will occur with any limb, unless long study has taught him to avoid it.  Therefore, O Painter, look carefully what part is most ill-favoured in your own person and take particular pains to correct it in your studies.  For if you are coarse, your figures will seem the same and devoid of charm; and it is the same with any part that may be good or poor in yourself; it will be shown in some degree in your figures.

587.

OF THE SELECTION OF BEAUTIFUL FACES.

It seems to me to be no small charm in a painter when he gives his figures a pleasing air, and this grace, if he have it not by nature, he may acquire by incidental study in this way:  Look about you and take the best parts of many beautiful faces, of which the beauty is confirmed rather by public fame than by your own judgment; for you might be mistaken and choose faces which have some resemblance to your own.  For it would seem that such resemblances often please us; and if you should be ugly, you would select faces that were not beautiful and you would then make ugly faces, as many painters do.  For often a master’s work resembles himself.  So select beauties as I tell you, and fix them in your mind.