transcribed by Lala Ragimov, 1674 original spelling kept
An introduction to the general art of drawing.
A 1674 English translation of
a drawing treatise by Willem Goeree (1635-1711)
CHAP.
II
The
first Beginning of the Art of Drawing.
The
first exercise.
TO
come now to the first exercise of a young Learner, it is then most
necessary, that he in the first place learn to understand the Art of
Perspective, that by the knowledge of the same he may come to
understand, how to give unto all things a due and just proportion of
augmentation and diminution, without which knowledge the Ground of
this Art, neither the reason of all things that are, and may be made,
cannot be judged nor understood
Perspective.
And
in this respect that this Art of Perspective doth consist in certain
lines, which appear to foreshorten and diminish all things which we
behold with our eyes, and to the same (as to a particular study) many
demonstrations and figures are necessary, we have nevertheless
resolved to pass them by, in regard there be several Books written,
even of great and famous Masters, viz.
The Works of Serlius,
Marelois
and Vignola;
or de
Vries,
the Lord de
Sargus
and Boss;
and principally that most famous work of the Learned Jesuit, but a
little while since set forth in our English
Language, in which is taught the Fundamentals of Perspective, out of
the Geometrical square or Platform, to bring all things thorow a
Geometrical square foot in Perspective; and to do the same also by
the same means in Arches, and roofs of Churches, unto whom I will
recommend all Learners, and go forward with our Art of Drawing; but
in regard that most Learners at their first begining may be too
young, and know not how to apprehend those things compleatly, yet
shall the Master as soon as possible open the Learners eyes, and
teach him the Art of Perspective, and that the Learner together with
the Art of Drawing, might also learn to know and understand the Art
of Perspective also.
The
first beginnings are about some particular Members.
Faces subject to most changes.
Oval.
Faces subject to most changes.
Oval.
The
beginings then in the Art of Drawing, are first about the knowledg
how to draw some particular members of the bodies of men, viz.
Heads, Faces, Armes, Hands, Legs, Feet, &c. of which there are
many Copies extant in Print, which
also with profit for the first begining is best to be used
principally for to learn how to draw a face or head thereby, being
subject to most changes, and there we
will instruct the Learner, first of the Oval, with his several
changes and variations, and of the Cross in the same, because the
Learner may learn to understand the better all bowings and
returnings, reclinations and inclinations of all sorts of faces,
according to the Examples at the End of this Book.
What
the Oval doth signifie.
Now
it is necessary, that in short they are instructed in this, viz. that
the Head in general has the form or shape of an Egge, and therefore
according to the Latin is called Ovale;
the things belonging to such an head or face, are the eyes,
eye-brows, nose and ears; and that they may have their due situations
and places, comes to pass by means of the Cross thorow the Oval.
Thus the perpendicular in the Oval being divided in four equal parts,
makes the whole head to be four Noses in Height, but the face only of
three noses; and the diameter crossing the perpendicular is divided
into five equal parts, each being the bredth or wideness of one eye,
and this Diameter is the ocular line wherein the eyes are to be
placed, and therefore a streight line is to be drawn from the top of
the right ear, thorow both eyes, to the top of the left ear, and from
above thorow the midst of the Nose, Mouth and Chin is drawn the whole
line which is called Perpendicular crossing the Diameter or ocular
line at right angles, which together is called the cross of the Oval,
upon which cross then (let the face turn which way it will) the eyes,
nose, mouth and ears must be placed in their due and proper places,
as in this face foreright you may observe.
 |
| Illustration (German edition, 1678, digitized here) |
Reason wherefore this Cross in the Oval is not understood of the young Learner.
But
because experience doth teach, that the Learner can neither
understand nor conceive the ground and right use of this cross in the
Oval, and
by consequence the many variations of the same, and much less the
declinations, reclinations and inclinations of faces, although they do
spend several days and weeks, to imitate such and the like faces,
according to the draughts of their drawing-books; the reason is, (as
I believe) because the drawing is done in plano, and therefore this
strange changing of the cross they cannot understand. I therefore
have invented another way, thorow which (according to my judgement)
the most stupid and dullest Learner may be instructed to understand
and apprehend the same; and although this is but a small beginning
for the Learner, nevertheless it is a thing of great consequence and
importance;
A great fault.
A great fault.
in
respect it is observed that many Masters commit errors in the same,
either thorow ignorance or neglect, not taking due observation of the
change of the cross of their faces, which fault in a Master is the
bigger, because it is the first A B C in a Learner.
 |
Means to understand to draw with judgment all manner of faces.
You
shall then (to gain this understanding) go to a Tourner, and cause
him to turn the form or shape of an egge, round, smooth and even, out
of a piece of wood fit for that purpose, like as the figure 1. doth
direct you; draw then a line from point to point longways, thorow the
midst of the same egge, as is to be seen in the figure 2. Divide
this line in two equal parts, and draw a line overthwart from the
left hand to the right, cutting the former line in that division at(?) right
Angles, as you may observe in the figure 3. This being done, you
have your desire now to bring this into practice, and to make the
learner to understand the changes and alterations of the cross, and
thorow the same to draw all manner of faces, as well those that turn
aside, as those that turn backwards or forwards; and to shew them
that this way (and no other way) it is done put then (as for the first
proof) this egge strait before him, like as you see the Figure 3. to
be; shew him therewith a few lines, the division of the face, each
particular Member drawn in his place in the line upon paper, as in
the Figure 4. and according to that Figure how to draw a face
fore-right;
A
Fore-right face.
then
turn the Oval from the left hand to the right a little about, then
the streight Perpendicular of the cross shall change and stand bent
like a bowe or arch, as is to be seen in the Figure 5.
A 3/4 face.
Shew
him there also the particular Members in his lines, as is to be seen
in the Figure 6. and make him observe how that the Nose doth project
beyond the round of the Oval; and like as in this Figure the same is
in the contrary turning, viz. from the right to the left, as
is to be observed in the figure 7
A
face looking downward
Again
turn the oval inclining downward, then the cross will appear as in
the figure 8. it appeared to shew him there a face looking downward,
as you may see in the Figure 9;
A
face looking upward.
then
let the Oval be turned backward, then the lines of the Cross will
change again, as is to be seen in the Figure 10. and a face drawn
according to them lines, appear as in the figure 11. And after this
manner you may shew so many variety of faces as you please, with this
oval,
A
side face.
(except those that come side-ward, which
commonly are directed, or thought to be drawn by means of a
Perpendicular, as to be noted in the figure 12. upon which
Perpendicular, Forehead, Nose, Mouth and Chin, are drawn as you may
observe in the figure 13.) let them be of what manner soever.
Nevertheless, this is easie and less subject unto errors.
The
profit that comes by the manner of this instruction.
This
then being well engrafted in the Learner, and being well understood
by him, he then in little time will begin to draw out of his own
invention, and fancy good fancies with good judgement and reason, and
give Master-like Master touches to the same; where otherwise, if they
draw only after a Print, Draught or Picture, they know not what they
do, neither know they what they have to observe in the same, but
learn just like unto Parrets, without any reason, and therefore
consequently know not how to draw any thing out of their own
invention; it is also observable before I go any further, to shew how
necessary then is good instruction, and therefore the learner ought
to chuse a good Master, as is able to give good instruction, and is
well-experienced in well-drawing and painting,
Good
Masters not always good Teachers
for
it is not always certain, that good Masters are also always good
instructors or Teachers; but happy is that scholar that finds both
these qualities in a Master, nevertheless, teaching with judgement is
most necessary and profitable to the learner; the great Mastership
must come afterwards out of the Practitioners own industry and
natural inclination.
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