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Gallucci’s Commentary on Dürer’s ’Four Books on Human Proportion’

Giovanni Paolo Gallucci

On the Symmetry of Human Bodies

On the Symmetry of Human Bodies, Four Books

Albrecht Dürer
Traduction de James Hutson

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.


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


Illustrious Painter and Geometrician.

James Hutson (Traducteur)


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