“The parts must be drawn with flowing, glideing outlines,” &c. The reason of this proceeds from the action of the muscles, which are so many well-buckets: when one of them acts and draws, it is necessary that the other must obey; so that the muscles which act, drawing always towards their principal, and those which obey stretching in length, and on the side of their insertion; it must needs follow, that the parts must be designed in waves; but beware, lest in giving this form to the parts, you do not break the bones which sustain them, and which always must make them appear firm. This maxim is not altogether so general, but that actions may be found, where the masses of the muscles are situate one over against another; but that is not very common. The outlines, which are in waves, give not only a grace to the parts, but also to the whole body, when it is only supported on one leg. As we see in the figures of Antinous, Meleager, the Venus of Medicis, that of the Vatican, the two others of Borghese, and that of Flora, of the goddess Vesta, the two Bacchus’s of Borghese, and that of Ludovisio, and in fine, of the greatest number of the ancient figures, which are standing, and which always rest more upon one foot than the other. Besides, that the figures and their parts ought almost always to have a serpentine and flaming form naturally; these sorts of outlines have, I know not what of life and seeming motion in them, which very much resembles the activity of the flame, and of the serpent. [*†112.] “According to the rules of anatomy,” &c. This part is nothing known at present amongst our modern painters. I have shewn the profit, and even the necessity of it, in the preface of a little epitome which I have made, and which Monsieur Torrebat has published. I know, there are some, who think this science a kind of monster, and believe it to be of no advantage, either because they are mean spirited, or that they have not considered the want which they have of it; nor reflected, as they ought, on its importance; contenting themselves with a certain tract, to which they have been used. But certain it is, that whoever is capable of such a thought, will never be capable of becoming a great designer. [*†113.] “In imitation of the Greek forms,” &c. That is to say, according to the ancient statues, which for the most part come from Greece. [*†114.]