Gallucci’s Commentary on Dürer’s ’Four Books on Human Proportion’
|On the Symmetry of Human Bodies
On the Symmetry of Human Bodies, Four Books
Texte intégral
Newly translated from the Latin language into Italian, by M. Giovanni Paolo Gallucci Salodiano, Venetian academician.
And elaborated on in the Fifth Book, wherein he addresses the manners in which painters and sculptors represent the diversity of the nature of men and women, and with what passions they feel for various happenstance that occur.
The work is not only useful, but necessary for painters and sculptors, as well as all others, who in this regard wish to acquire perfect judgment.
Contents
Dedication 91
Life of Albrecht Dürer 97
Preface to Readers 105
Book Five 113
1. On the Utility of this Doctrine 115
2. On the Differences of Humans with Respect to Countries, Sex, and Age 117
3. On the Beauty of Human Bodies, Especially Women 121
4. The Figure of a Strong Man 127
5. How the Figure of a Timid Man Should Be Painted 131
6. How One Should Paint a Furious and Angry Man 134
7. The Figure of a Man, Who Is by Nature Cold and Wet, therefore, Meek and Humble, Feeble, Slow, Quiet, and Effeminate 138
8. How an Ingenious Man Should Be Painted 138
9. The Figure of an Uncouth Man Compared to One with Great Intelligence 139
10. The Figure and Painting of an Effeminate Man, Soft by Nature and also through Incident 140
11. How a Humble Man Should Be Painted, and One Who Is Shameful, either by Nature or Chance, and a Woman Again 141
12. The Figure of an Insolent and Presumptuous Man 143
13. The Figure of a Cheerful Man 144
14. The Figure of a Melancholic and Grieved Man 144
15. The Figure of a Cruel and Inhumane Man 146
16. The Figure of a Flatterer 146
17. The Figure of a Desperate Woman 147
18. The Figure of a Man Full of Astonishment 148
19. The Figure of Beastly or Savage Men 149
20. The Figure of a Fraud 149
21. The Figure of a Deceitful Man, and of a Mean, Miserable, and Cowardly Man 150
22. The Figure of a Wicked Man, Who, in Speaking, Says Impertinent Things 151
23. The Figure of an Insane Man Who Is, at the Same Time, Wicked 151
24. The Figure of Big Eater, and of One of Great Memory 152
25. The Figure of a Loquacious Man 152
26. The Figure of a Drowsy Man 152
27. The Figure of a Libidinous Man 153
28. The Figure of an Envious Man 153
29. The Figure of an Ugly Man and Woman 154
30. On the Different Feet of Men, and Those Which Are Suitable 155
31. On the Diversity of Heels or Ankles Compared to the Figure that [the Painter] Wishes to Represent 156
32. On the Diversity of Legs with Respect to the Different Figures They Want to Make 157
33. On the Diversity of Knees Appropriate to Different Figures 157
34. Which Thighs and Buttocks are Appropriate for Which Figures 158
35. Which Limbs and Stomachs Belong to Which Figures 158
36. Which Back and Ribs Suit Which Figures 159
37. Different Measures of the Stomach, Chest, and Belly that Suit Different Figures 159
38. On Some Correspondences that Some Members Have between Them 160
39. How the Chest and Shoulders Should Be Done in Several Different Figures 160
40. On the Shoulders and Chest Most Appropriate to Different Figures 161
41. On Arms and Hands Appropriate to Different Figures 162
42. Which Fingernails Are Appropriate to Different Figures 163
43. On the Diversity of Necks Appropriate to Different Figures 163
44. Diverse Cheeks Appropriate to Different Figures 165
45*. Diversity of Lips and Mouths Appropriate to Different Figures 165
45*. The Way to Form the Chin in Different Figures 167
46. On the Diversity of Noses Appropriate to Different Figures 167
47. On the Diversity of Faces Appropriate to Different Figures 169
48. On the Diversity of Eyes and Parts Nearby Appropriate to Different Figures 170
49. Which Face is Appropriate for Which Figure 171
50. On the Various Heads Appropriate to Different Figures 172
51. On the Diversity of Ears Appropriate to Different Figures 173
52. Which Hair Colors and Complexions Should Be Used for All Figures One Wants to Represent 174
53. On the Eye Colors Appropriate to Different Figures 175
54. On the Eye Movement Appropriate to Different Figures 179
55. On the Diversity of Hair Appropriate to Different Figures 181
56. On the Diversity of Stature Appropriate to Different Figures 182
57. In What Thing Beauty Consists, and Proportion of Bodies According to Marsilio Ficino and Painters 183
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