The painter ought always to form in his mind a kind of system of reasoning or discussion within himself on any remarkable object before him. He should stop, take notes, and form some rule upon it; considering the place, the circumstances, the lights and shadows.
Chap. CXXXI.—Of sketching Histories and Figures.
Sketches of historical subjects must be slight, attending only to the situation of the figures, without regard to the finishing of particular members, which may be done afterwards at leisure, when the mind is so disposed.
Chap. CXXXII.—How to study Composition.
The young student should begin by sketching slightly some single figure, and turn that on all sides, knowing already how to contract, and how to extend the members; after which, he may put two together in various attitudes, we will suppose in the act of fighting boldly. This composition also he must try on all sides, and in a variety of ways, tending to the same expression. Then he may imagine one of them very courageous, while the other is a coward. Let these attitudes, and many other accidental affections of the mind, be with great care studied, examined, and dwelt upon.
Chap. CXXXIII.—Of the Attitudes of Men.
The attitudes and all the members are to be disposed in such a manner, that by them the intentions of the mind may be easily discovered.
Chap. CXXXIV.—Variety of Positions.
The positions of the human figure are to be adapted to the age and rank; and to be varied according to the difference of the sexes, men or women.