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)
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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