head leaning much forward, and their arms very little extended.
Chap. CLXVIII.—How to paint old Women.
Old women, on the contrary, are to be represented bold and quick, with passionate motions, like furies[1]. But the motions are to appear a great deal quicker in their arms than in their legs.
Chap. CLXIX.—How to paint Women.
Women are to be represented in modest and reserved attitudes, with their knees rather close, their arms drawing near each other, or folded about the body; their heads looking downwards, and leaning a little on one side.
Chap. CLXX.—Of the Variety of Faces.
The countenances of your figures should be expressive of their different situations: men at work, at rest, weeping, laughing, crying out, in fear, or joy, and the like. The attitudes also, and all the members, ought to correspond with the sentiment expressed in the faces.
Chap.CLXXI.—The Parts of the Face, and their Motions.
The motions of the different parts of the face, occasioned by sudden agitations of the mind, are
- ↑ The author here speaks of unpolished Nature; and indeed it is from such subjects only, that the genuine and characteristic operations of Nature are to be learnt. It is the effect of education to correct the natural peculiarities and defects, and, by so doing, to assimilate one person to the rest of the world.
