go backward and the left forward, because, without such disposition and contraste of parts, it is impossible to run well. If another figure be supposed to follow this, one of its legs should be brought somewhat forward, and the other be perpendicular under the head; the arm on the same side should pass forward. But of this we shall treat more fully in the book on motion[1].
Chap. CLVI.—On the Attitudes of the human Figure.
A painter is to be attentive to the motions and actions of men, occasioned by some sudden accident. He must observe them on the spot, take sketches, and not wait till he wants such expression, and then have it counterfeited for him; for instance, setting a model to weep when there is no cause; such an expression without a cause will be neither quick nor natural. But it will be of great use to have observed every action from nature, as it occurs, and then to have a model set in the same attitude to help the recollection, and find out something to the purpose, according to the subject in hand.
Chap. CLVII.—How to represent a Storm.
To form a just idea of a storm, you must consider it attentively in its effects. When the wind blows violently over the sea or land, it removes and carries off with it every thing that is not firmly fixed to the general mass. The clouds must appear strag-
- ↑ See the Life of the Author prefixed, and chap. xx. and ci. of the present work.
