"An Introduction to the General Art of Drawing" by Willem Goeree. Full text.

my related posts: 
1400s-1700s drawing treatises online 

Copying a Rubens drawing (materials, techniques)
Preparing to draw (from 1400s-1700s treatises)
Hatching and shading (from 1400s-1700s treatises)
Copying a Rubens painting (materials, techniques)
Inspired by Rubens (Getty Museum page) 
English translations of drawing treatises (Goeree, de Piles, Jombert)   

Painting materials of Rubens; bibliography

Renaissance woodcut tools

Image gallery: copies and reconstructions

In 1668 Willem Goeree (1635-1711) published an influential treatise on drawing, Inleydinge tot de Al Ghemeene Teycken-Konst.  In comparison to the treatise of Leonardo which it borrows from, it contains an unusually large amount of technical information about drawing materials and techniques.  It also deals with interesting practical matters of learning and teaching drawing, that other treatises don't touch upon.  The book in Dutch was republished and reworked several times and translated to German and English in the 1600s and later. I also find bits and pieces of its text used in numerous other drawing manuals and treatises (e.g. Salmon, de Piles, Jombert) without a mention of Goeree's authorship.

I have transcribed and posted the 1674 English translation keeping the original spelling.  There are three illustrations in the text.  I substituted them with corresponding plates from editions of Goeree publicly available on-line.  

This English translation also contains many plates at the end that I haven't included because of their copyright status.  These plates don't appear in Goeree books in Dutch or German. They represent the traditional drawing book repertoire: eyes, noses, mouths, hands, feet, faces, and whole figures, most of them rather unrefined copies of well-known drawing book prints (I could recognise Fialetti, Palma il Giovane, Reni, Cousin, maybe Bloemaert and Guercino; others I have not yet identified). 

I've done this project on my own and without feedback, so I will appreciate any comments, corrections, suggestions and any other input.   I would also be happy with a greeting from anyone who studies this subject.

Illustration from a 1678 German edition (digitized here)
________________________________________________________

AN INTRODUCTION TO THE GENERAL ART OF DRAWING 

(for full name see title page)

Title Page and Introduction

CHAPTER I
What the Art of Drawing is, and in what it doth consist 

list of side notes:
Wherein the Art of Drawing doth consist. 

The Art of Drawing necessary to all men.
Principally to Picture-drawers.
The Art of Drawing is the soul  of the art of Painting. 
The Art of Drawing needeth the whole man
The Art of Drawing ought to have his Fundamental Rules as well as other Arts.
In the instruction you must go from step to step
A Simile or Similitude.
You must begin for the first step and go not the second before you well understand the first.
The Art of Drawing, beloved of all men.
The first Mover in this desire which comes of a natural inclination
Parents ought to observe the natural inclination of their children.
How you may know whether a child be born to the Art of Drawing or not.
Drawers and Picture Drawers must be of a singular nature.
Similitude.
What a young Learner must do.
How instruction is given.
Observation of this introduction
The Learner must apply himself to a good Master
Wherefore?

CHAPTER II
The first Beginning of the Art of Drawing.
 
The first exercise.
Perspective.
The first beginnings are about some particular Members.
Faces subject to most changes.
Oval.
What the Oval doth signifie.
Reason wherefore this Cross in the Oval is not understood of the young Learner.
A great fault.
Means to understand to draw with judgment all manner of faces.
A Fore-right face.
a 3/4 face
A face looking downward
A face looking upward.
A side face 
The profit that comes by the manner of this instruction.
Good Masters not always good Teachers

CHAPTER III
Of the Order and Manner to be Observed in the Art of Drawing.
 
First step. To draw after Draughts very profitable
Second step.  To draw after Pictures. Requires greater judgement. For what reason
The third Step.
A good Figure necessary to draw after.
The reason
The fourth Step
Perswasion to much drawing.
Example to others.
Custom in Rome
This should invite us to imitation.

CHAPTER IV
Of those things which in every degree of the Art of Drawing are necessary to be observed.
 
Drawing after Draughts.
Drawing after a Picture.
How to place a picture.
Distance.
Put your Principal right before you
The beginning of a Draught.
You must assure your self of every stroke.
With patience your must overcome your passions.
The Actions must appear as first in your scetzing.
To use care, thus in drawing a Schetz neater, that you lost not the action. 
Confer your draught with your principal.
Faulss (as soon as seen) to correct.
Better is one good Draught, then 100 without observation
You must sometimes behold your work with a fresh eye.
How it comes to pass that we better discern faults. 
Reason wherefore
Example

CHAPTER V 
Of the things which in the third Step, viz. in Drawing after Plaister-Rounds, or Embossed Works, are necessary to be observed.

To chuse a good light to draw after Plaister-Rounds.
Means how to amend the light.
At what height you shall chuse your light.
Night-light.
How to use the same.
Night-light giveth hard shades.
Remedy
What distance to use in sitting.
To observe how the parties the one under the other do appear.

CHAPTER VI
Of the anatomie, or Knowledge of the inward and outward forme of the Humane body, concerning Muscles and Motions of the Arteries.
 
To know Anatomy necessary.
Profitable.
Abuse.
Means to exercise themselves herein.
Anatomy in Plaister
Divers Books of Anatomy.
From the Books go to the life.
Not to make all Muscles.
Wherefore.
In what part you must observe your Muscles most.
Wherefore
Fat bodies have small Muscles.
Fair bodies must not be muscled hard.
Wherefore.
Of Muscles, many changes.
In what parts the most changes are incident.

CHAPTER VII
Of those things, which in drawing after the life, are necessarie to be observed and understood.
 
The natural Life reacheth all things.
To chuse a College
To what purpose
Place, light.
Model of what shape.
Place, light.
Divers manners to set the Model in action.
In all actions Members must make a Compact together. 
What Principally is to be observed in the good actions.
Examples of four footed beasts.
The good Position Of a figure.
Out of the tending of the Members to see what doth the figure.
The manner how to sit to draw. You shall not look too much, or imitate anothers Draught. 
Unskilful Drawers may place themselves with them that are experienced
For what reason. 
What is to be observed commonly. 
The Model shall not stand too long in his action.
Wherefore
Observation
To learn to draw compleatly
To draw Landskips

CHAPTER VIII
Of the several sorts of Chalks and Crions for the Use of Drawing, and upon what they are to be used.
 
Charcoal.
Black lead good for to scetch withal, principally for Masters, that are sure in their drawing.
Red chalk.
Black chalk.
Faults
Use.
Charcoal dipt in Linseed-oyl.
One or two houres.
Tobaccho---Pipe-clay.
White Chalk
Coloured Crions how to make them
Whereupon to draw
White Paper.
Coloured paper.

CHAPTER IX
Of the Use and Manner of Drawing.
 
Learners are counselled to follow their Principal
Manner how to do.
How to hold your drawing Pen.
Rouseling
Rouseling alone not very graceful.
Hatching and doseling a good manner.
Doesling.
Common mishap.
Remedie.
Manner how to smooth som heightenings.
Washing.
Use.

CHAPTER X
Of the General and his Parts, and how they must be understood and observed.
 
What Parts and Generals are.
Use
How to see them.
For what reason.
Example
Distinction.
Parts also have a generality in themselvs, altho' they are Part to the general.
Example.
Likeness of things dwelleth most in the general.
Example.
2 Example.
Contrapositio.

CHAPTER XI
What light and shadows be, and how thorow the same all things come to have their being.
 
Lights and shades can express all things.
Lights and Shades can express all things.
Prove.
General shadow.
Shadows upon shadows.

CHAPTER XII
Of the Plain, smooth, sharp, and sweet drawing.
 
Learners abhorre plain drawing.

CHAPTER XIII
Of the Heightenings.

CHAPTER XIV
Of the Reflection.
 
Reflections wheron they fall most.
Reflection by what occasioned.
Use not too much of reflection.
Wherefore.
Not to make reflection without cause.

CHAPTER XV
Of the Observation of Perspective of light and dark.
 
Necessitie of observation.
Similitude.
What you shuld take heed of in your observation
Dark comes forward as well as light.

CHAPTER XVI (one illustration)
Of the Circumferent or out-stroke, and his looseness and a good Position, as also of keeping of their Parts.
 
Scetch.
Circumferent stroak.
Strokes on the side of the light to make sweet.
Draughts must be drawn without circumferent strokes,
The life is without strokes.
Example
Strokes you must not draw till necessitated.
Small things are drawn without strokes, and appear as if they were.

CHAPTER XVII
Of the Finishing of a Draught.
 
Profit of this observation.
Heightenings never to make so high as the highest wont.
Observation
In Pictures dark and light difficult to distinguish.
Wherefore.

***
An Addition


PLATES (see my introduction above)



 

Goeree: Title page, Introduction

An introduction to the general art of drawing. 

A 1674 English translation of 

a drawing treatise by Willem Goeree (1635-1711)
Transcript by Lala Ragimov

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AN
INTRODUCTION
TO THE
General Art
of 
DRAWING
Wherein is set forth
The Grounds and Properties, which of this infallible
and judicious ART are necessary to be
known and understood.
BEING
Not only Profitable unto them that Practise Drawing;
VIZ.
Picture-Drawers, Engravers, Carvers, Stone-Cutters,
Jewellers, Goldsmiths, Silversmiths, &c.
But Also
To all Lovers and well-affected, as well to this as to other ARTS (flow-
ing from thence) a commodious Knowledge Communicated: With
an Illustration of twenty five Copper-Prints of Figures,
for young Learners to practise by.
LIKEWISE
An Excellent Treatise of the Art of Limning, in the which the true Grounds, and the perfect Use of Water-Colours, with all their Properties, are clearly and perfectly taught.
___________________________________________________________________

Formerly set out by that Excellent Limner Mr. GERHARD of Brugge.    And now much
Augmented and Amended, with some Observations, teaching (besides Illumination)
the Colouring and Painting with Water-Colours.
Set forth at Middleburgh by W. GORE.  Truly Translated into English by J.L.   Published
by ROBERT PRICKE for the Lovers and Practitioners of this Noble and 
Admirable ART.
___________________________________________________________________

LONDON.
Printed for Rob. Pricke, and are to be sold at his Shop Adjoyning to Cripple-Gate within :
Where likewise is very good Choice of Italian, French, Dutch and English Prints 1674.

***

 ___________________________________________________________ 

To the Lovers and well-affected to the Art of Drawing.

IT will not be necessary to detain you with a long Prologue, or to make the Noble Art of Drawing more Palletable in dressing of it, with many elegant, Rhetorical and Figurative speeches, because it is by all men of sound judgement in that esteem that she needeth not in the least those kind of Palliations; it is known sufficiently that all men want and stand in need of the Art of Drawing, being as a Fountain from whence all and singular the other Arts do flow and proceed; and although they may not stand in need of the daily practice or exercise of Drawing; yet if the knowledge and the Ground-Rules belonging unto that Art, none should be ignorant of, for the reason aforesaid; and therefore at all times I much have admired, that among so many brave, known, well-experienced, esteemed and renowned Artists, there has bin none found to undertake that labour and travel, as to bring forth somthing unto the world, touching the profitable and infallible instruction in the Art of Drawing; but not of Figures only, Drawing-books, and innumerable images, (of which the world is full) which to the young scholars, (Pict re-drawers, Silver-smiths, Glass-Painters, Carvers and Stone-Cutters, which commonly do meet in the Art of Drawing afar off, and beget a horror and aversion to understand the same judicially and fundamentally) are given to draw after, and Ape-like to imitate, just as Parrots are taught to speak; but that thorow judicial, infallible and incontradictory Reasons according to a certain Rule in the which the Art of Drawing now in our days doth flourish, and hath set forth some light in the dark understandings of the young Practitioners, might arise, and to continue the same light; and communicate the same to all Posterity (as their heir) after them.
    This (to speak plain) hath moved me, for to finish that, which others (whom it would have becom far better in respect of their office and place) have left undone: and to bring forth unto the view of the World this short Introduction to the Art of Drawing in general, not that I intend hereby to gain unto me great commendations and praises, but that (besides the benefit hereby intended unto youth) others (whom God and Nature hath indued with a greater talent of knowledge,) might not bury their better knowledge herein in the grave of Oblivion, but put and give forth the same to their Neighbor, considering that sentence, Non nobis tantum natifumus sed etiam Posteritati; like as we then also have no sinister ends in this, but only the sole good, benefit and profit of the young Practitioner.
Hoping that in case I have bin so happy, as to have (thorow a clear and judicious expression of my sense and meaning, done any good and profit to the publick, you would be pleased favourably to accept of it; and if it falls out otherwise, I acknowledge however, that I have spared no labour to set forth this Book with as few words as possibly my ability would permit, and therefore I desire that this my 

***

short lesson may be read and read again; and then according to the cast which the Ballance of infallible Reason will give, may be judged, and finde your favourable acceptance.  Be not offended with the common stile, neither the strange words, for I have used such as are proper to the Art, and makes the nearest expressions of my meaning.
    I expect then, that this small labor which I have bestowed to pass away time, and taken as a repose from my daily and usual employment, to the good and benefit of all Lovers of the Art of Drawing, will be favourably accepted of and that it will be made use of with profit, in the exercise of the Art, that we seeing your good inclination to this small Introduction, might thereby be spurred on (if God be pleased to grant us health) to write some further thing of the Art of Painting also, of which very little is written, and that not in our Mother-tongue, which can add anything to the daily exercise, or give any certain rules how best to further that Art of Painting.
    Although I am not ignorant, that some things is come forth appertaining to this study, and the same such as carry the name of the light of Painting, and the Art of Drawing in the Front, which has many Exemplars of Heads, Armes and Legs, Academy Figures, and other Proportions measured according to the Proportion of the Five Orders of Columes; and beside those, Exemplars of all sorts of Beasts.
    But how sleightly, and with what little care is written of the same, let those judge, that have the right and full knowledge of the Art; being certain, that no less then the property of the same is thought in it: so that till now, little profit is conveyed thereby to the young Practitioners, wherein the secret Mysteries, Power and Propertie of the Art of Painting, naked and clear, is discovered, which then was most necessary, neither is it to be doubted, but that many with earnest desire do long after it.
    Nevertheless, I hope that such shall have once their desires answered, for to that end and purpose I have already many rare an choice pickt-out observations, and profitable lessons, concerning which I have made a rude draught, wherein the reasonable content (of Drawing, Building, Measuring, Perspective, Ordination, Invention, or Composing of Histories, ordering of Figures, dismembring of Figures; of Muscles, Actions, Motions, good Position, Beautie, Proportion, Measure, expression of Passions, even them of the heart, cloding, Presentation of the natural life, and in them the becoming incidents, Landskips, far-off Prospects, Skies, Storms, Sun-shines, Lights, Shadows, Reflections, Colouring, Observations of strong and faint, Disputes, outwardbendings, besides dissolving of many speculative questions, and all things which further appertained to that excellent and most famous Art of Painting,) shall be put forth in one easie and rational Method, and demonstrated with infallible reasons and figures, in such a manner, that none to this day has yet produced the like; use this in the mean-while, as a fore-Runner of that which I intend to bring forth to the publicke view of the World.
 
VALE.

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Goeree, Chapter I

transcribed by Lala Ragimov, original spelling kept

An introduction to the general art of drawing. 

A 1674 English translation of
a drawing treatise by Willem Goeree (1635-1711)

 <<Previous Chapter            Table of Contents            Next Chapter>>

____________________________________________

CHAP. I.

What the Art of Drawing is, and in what it doth consist.

THE ART of Drawing, (of which very little for fundamental Instruction i(s) written, of which notwithstanding never can be written sufficient enough) may justly be called a bearing Mother of all Arts and Sciences whatever, for whatsoever is made begets thorow the same a good Aspect and well-being; and besides all this, the Art of Drawing is the Beginning and End, or Finisher of all things imaginable, wherefore she may be called a Sense of Poesie, a Second Nature, a Living Book of all things past. She is called a Poesie, because that she thorow falshoods and masked faces, represents unto the Beholder the Truth of things present and past, and by pleasant resemblances makes us in a manner believe to see that, which indeed we see not. A Second Nature she is called, because she teacheth thorow Drawings, to imitate and to set forth all the Works of the Creation. A Living Book she is called, of things present and past; because that she brings into remembrance the beholder of her, thinks long since past, so that at sight, or the least Aspect of any praise-worthy History (in our minde, and in our understanding) we receive a profitable exercise, a fair invitation to imitate their laudable Acts, and a Pleasure in beholding; and more then this, she brings to remembrance the deeds of People and Nations, dead long since; and the features and resemblance of our Fathers, Grandfathers, and great Grandfathers, she represents as living in dead shades long after their time.

Wherein the Art of Drawing doth consist.

The Art of Drawing doth consist in this, that she (by means of Drawing, Shades and Heightnings, all shapes and forms that are in being, or imaginable) doth express in plain, as if they were really those things which they only represent.

The Art of Drawing necessary to all men.

The knowledge of this Art is necessary to all men, let them be of what trade or science whatsoever, and not only to those that are necessitated thorow the same, to procure their daily subsistence; but she is necessary to be known and understood of all men, as I said before; and therefore she, as the Rudder of a Ship, giveth judgement and reason about all proposals distinctively, and produceth the end of her intended work to appear in a compleatness.

Principally to Picture-drawers.

Forasmuch then as she is so necessary, having the seed of all Arts and Sciences inclosed in her womb, who then will not judge that she must be the beginning and end of that famous and high-esteemed Art of Picture-drawing: certainly she is useful in all Sciences, but here she is most necessary: here she must do all, here she must be the soul that giveth life to the Art of Picture-drawing.

The Art of Drawing is the soul of the art of Painting.

For as the soul dwelleth in a man, and makes the body amiable and pleasant, so likewise the Art of Drawing maketh the Art of Painting have life and lively representations; and as much as the soul liveth without the body, but the body without the soul is dead; so likewise the Art of Drawing can live in a compleat draught, without Painting, but painting without drawing is dead; and in short, as the soul and body maketh a perfect man, so the Art of Drawing and the Art of painting produceth a famous picture, nevertheless, it is, and remains indisputable, that the Art of Drawing doth surpass the Art of painting (each Art in particular by it self considered) by far.

The Art of Drawing needeth the whole man

Now forasmuch as the Art of Drawing extendeth it self very far, and containeth in her self many, not imaginable mysteries and secrets, and therefore requireth the entire judgement of the whole and sole man; for to learn to understand the same judicially, it is requisite therefore that young Learners receive a short and easie introduction, but judicial, and that the Instructors, (forasmuch as may be possible) shew and teach their young Learners the properties and peculiar Observations belonging to this Art, so naked and clear, that even the dullest and stupids of wit and understanding, might reap good benefits thereby in time, tempore & labore.

The Art of Drawing ought to have his Fundamental Rules as well as other Arts.

For this art ought not to be wanting in this, less then other Arts and Sciences are, which have their Books, Beginnings and Fundamental Rules:

In the instruction you must go from step to step

And in respect, that the manner of instruction is a great matter, I have purposed to proceed slowly, by degrees, from step to step, judging this to be the easiest and the best way: for it is certain, that in all the operations of our senses, none is more ready then the sense of feeling, which in a moment discloseth things innumerable, yet in such a manner, that it doth distinguish but one at once:

A Simile or Similitude.

By example, if you with the opening of your eyes cast your eyes upon this leaf of writing, you shall be able to judge, that the whole leaf is fill'd with many and sundry Letters, without observing what letters they be, or what they express; so that it is necessary the same to reade from word to word, and from line to line, before you can understand or judge of the contents of the same.

You must begin for the first step and go not the second before you well understand the first.

In the same manner, I speak to all such as by nature are inclined unto this Art, and have a desire to attain to a compleat understanding in this Art of Drawing, that they make their beginning from the extremest parts, and keep such a rational order in the same, as not to step from this to a second, before the first be well-known and judicially understood and performed by them.

The Art of Drawing, beloved of all men.

It is known also, and daily experience doth teach us, that most men even from their youth, love the Art of Drawing, so that we may behold children compelled by natural inclination to draw shapes of man and beast, and many times draw such things which causes many times great admiration in us; but notwithstanding that this Art is pleasant to all men, yet is she difficult in her Perfection, because she undertakes to do all things: so by consequence a man must understand every thing to that Art appertaining.

The first Mover in this desire which comes of a natural inclination.

Therefore desire must possess here in the first place, viz. such a desire, which together with a good disposition of a natural inclination, is well-affected to this Art, in respect then that Children in their youth by nature are inclined to something more particular then afterward they will be.

Parents ought to observe the natural inclination of their children.

How you may know whether a child be born to the Art of Drawing or not.

The parents therefore should diligently observe the natural inclination of their young children, forasmuch as it is not in the power of the young children, neither in the power of the Parents to make of them a good Draughtsmen, much less good Limners or Picture-drawers, but onely to make notice how by nature they are inclined toward the same; I say therefore, that if the Childrens Practice come from some natural instinct or inclination, they may promise unto us something that is good; not as we behold them playing, and without pain or trouble to draw out anything with single-strokes, but when we observe them to be inclined that, which they out of their head, have drawn to shadow and to lightning also, and so to continue to the finishing of that work: And those we call Drawers and Picture-Drawers born by nature.

Drawers and Picture Drawers must be of a singular nature.

Similitude.

What a young Learner must do.
 
In respect then, that in the beginning as well as in the ending of this study, they must be of a singular nature, viz. of a gentle, quiet and speculative spirit, devoutly observing all things before him, ruminating in himself how he shall remember, and keep in remembrance at least the best figures as are presented to his view, doing by imagination like a Looking-Glass, which changes himself in such a form as is put before him, and thus represents a Second Nature, therefore a young learner as would make a good Progress in this Art, must use himself to have his thoughts continually occupied, and make so many projections, and several inventions of Figures in his brain, as he meets withal, and are worthy the beholding. Then he must use himself to stay, for to see the same in a better posture, enclining the same by his draught to some common rules, well observing the business, plane, circumstances, light, and shade, whereof in this place I shall teach further and plainer.

How instruction is given.

This exercise doth consist in two general Members: the one is the Instruction, the other is the practice of the Learner; the Instruction is done by a Master of the Nature; after that, the life is the instruction it self; the instruction of the Master is by word of mouth, or active shewing the Learner by drawing

Observation of this introduction.

before him, or likewise of writing: by the last of these we intend to shew all things briefly and in short, that thorow this short instruction of mine, of the Art of Drawing, Limning and Painting, you may be led to the commendable art of limning, graving and painting, never enough to be praised and exalted, being the whole scope and drift of our intended work.

The Learner must apply himself to a good Master.

Wherefore?

It is fit and necessary, that the Learner apply himself to a good Master, under whose experience, care and good instruction he may gain a good hand in drawing, and well-grounded knowledge in ordering his Figures, and making them of actions requisite, that after he comes to behold the life it self, he thorow his own genius, and his own exercised reason, all things nakedly and compleatly, might see and understand to be like formed with those things, of which he was formerly instructed.

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Goeree, Chapter II

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)

<<Previous Chapter            Table of Contents            Next Chapter>> 

___________________________________________

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. 

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.

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.

 

German edition, 1678  
(digitized here)

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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Goeree, Chapter III

transcribed by Lala Ragimov, original spelling kept

An introduction to the general art of drawing. 

A 1674 English translation of
a drawing treatise by Willem Goeree (1635-1711)

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CHAP. III.

Of the Order and Manner to be Observed in the Art of Drawing.

IN respect that in all things there is a manner and order, or at least ought to be, so do we esteem (observing our Promise) it necessary to go forward from step to step, therefore when the young Practitioner is now well-grounded in drawing the Oval, and knows how he must draw a face, and the several part thereunto belonging in the same Oval.

First step. To draw after Draughts very profitable

Then will I  here shew him the first step of his exercise, viz. he must exercise himself to draw with earnest desire and diligence after good Draughts or Prints, which are duly observed, and judicially compleated. And by drawing after draughts (I judge) to be most profitable for those that intend to exercise Painting, but as for those that intend Engraving or Etching, let them follow the best Prints after the ablest Masters, which they intend to practice by: therefore he that teacheth, shall at first shew the young Practitioner the easiest and facilest ways according to his intended Practice, whether for Painting, Engraving, or Etching, according to the capacity of the Practitioner, and so go forward from that which is easie to that which is harder, observing this Order as well in drawing as in the draught which you give unto him to imitate and follow, until at last put before him, observing that which (of the properties belonging to drawing) we shall declare hereafter.

Second step. To draw after Pictures. Requires greater judgement. For what reason

    The second step of his Exercise is, to draw after pictures to bring them out of a great into a small proportion, and by this oftentimes using, they will learn and be accustomed to guess well, and beget a good and sure hand in drawing. And as this is the second step of his Exercise, so it is harder and requires greater judgement and knowledge, for in a picture you finde neither a circumferent stroke, neither manner of drawing, neither difference between light and light. (which in the variety of colours lies hid) although clearly and judicially shewn; and because the just and due shades of a picture must be exprest by a mean of only one single thing, viz. black or red oker, or the like, therefore sensible observations are necessary in the situation, or that which in a picture comes forward or goes backward, to observe the same also in your draught, all which in his due place shall be spoken as thought fit.

The third Step.

Now to come to the third step, we must consider again to learn some new thing, and therefore we commend unto you the Drawing after Rounds of plaister, done by very good Masters; there be the Works of Francisco which has made many fine children in plaister:

A good Figure necessary to draw after.

in like manner the Gladiator of his a very neat and exquisite Figure, the Rape of the Sabina of J de Bolonge, the Laocoon, the Wrestlers, the Greek Venus, the Hercules, the Hermes, the Anatomy of man of several and divers Actions, and several, as well antique as modern faces:

Plaster is one Introduction to the Life

The reason

after all the young Practitioner with very much profit may practice to draw; and this exercise is therefore the more necessary, because it is an Introduction to learn to draw after the life, as drawing after pictures is harder then to draw after a draught, for the reasons abovesaid.

   In like manner, is drawing after plaister harder then drawing after pictures, because in plaister the certainty of the circumferent stroke is not so apparent, neither the shadows nor lights in such a manner apparent as they are in pictures, draughts or prints; the manner, and what is to be observed in this exercise, shall be taught in another place, when I shall speak or teach of every particular exercise by it self.

The fourth Step.

    Now coming to the fourth step, viz. the life it self of all natural things, the Compleatest, the best Master for imitation and liberty, our only observation, for here is all things to be found, of what is to be found, or ever was enquired after, by brave and famous Masters, and therefore very necessary, (as soon as Practitioner in some means understands the foregoing exercises)

Perswasion to much drawing.

to exercise to draw after the life it self, by the direction and instruction of a good Master, with diligence and continual labour of the young Practitioner, according to the old proverb, Dii laberibus omnia vendunt, the gods for labour sell all things; or Gutta cavet lapidem, non vi sit sape cadende, by continual or often dropping, (and not suddenly) is a stone made hollow; therefore before we go to the instruction of the exercises in particular, we recommend to the young Practitioner diligent and a continual drawing, forasmuch as this is the way to attain to the perfection therein, not imagining that as soon as they begin to have only a glimpse of things, that they have enough, and so desist or decline drawing any more, but forthwith take the Pencil in hand, having a desire now more to painting, and not to drawing, which seeming imaginations now adays many young Painters keep very much down and backward in their practice,

Example to others.

which is lamentable and much deplorable, notwithstanding we have so many famous Masters, which continually during their term of life, have spent much of their time in drawing the last period of their lives followed and visited their weekly Colledges and drawn their Academical Figures.

Custom in Rome.

It was a Custom in Rome, and it is as yet observed and kept inviolated, that youth was kept sixteen, eighteen, nay, twenty years to drawing only, without suffering them to take either colour or pencil in their hand, thorow which means they became so expert in the Art of Drawing, that in a little time afterward, all things appertaining unto Painting, they easily, well and perfectly understood, and Master-like made demonstration thereof by their own hand to the world; and therefore it is not to be admired, that so many brave Masters are come forth out of the Schools of Rome, and yet daily come.

This should invite us to imitation.

Which Examples also should be a spur unto us to a diligent and serious imitation, That the Art of Drawing and Painting here in England may flourish, as much as in any part beyond the Seas, nor have any occasion to give Precedency or preeminence to any foreign Artist whatsoever: which is short I had a desire to speak of, to the rousing and stirring up of all Lovers of Art, and these also that has a desire to practice in the same. Now I will proceed, and with singular attendance observe what is remarkable to be observed in every particular step by it self.

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